Prepare yourself for a fascinating journey through the life and work of Heitor Villa-Lobos, the maestro who revolutionized the Brazilian sonic landscape and brought it to the world stage. Villa-Lobos, more than just a simple composer, was a true sonic alchemist. He managed to fuse rich Brazilian popular music with the European classical tradition, creating a unique and unmistakable musical universe.
Carioca Roots and Traveling Soul
Our journey begins in Rio de Janeiro in 1887, where Heitor Villa-Lobos was born amidst a vibrant cultural environment. The son of an amateur cellist and a family that loved music, Villa-Lobos demonstrated exceptional talent from an early age. The guitar and the cello became his inseparable companions, opening the doors to a universe of sonic possibilities.
Restlessness, however, pulsed in his veins. Dissatisfied with formal musical education, Villa-Lobos decided to explore deep Brazil, absorbing the melodies and rhythms of the most diverse regions. From the beat of the Carioca samba to the Northeastern rhythm, passing through the contagious energy of the Pernambucan frevo, each experience shaped his musical identity.
Music as an Instrument of Education
Villa-Lobos was not restricted to composition and conducting. He dreamed of a Brazil where music would be accessible to all, serving as an instrument of education and social transformation. His innovative vision led to the creation of the Orfeão dos Coros Escolares, a project that introduced choral singing in public schools, awakening a love for music in thousands of children.
Villa-Lobos believed that music had the power to awaken sensitivity, creativity, and a sense of collectivity. For him, musical education was essential for the formation of the citizen and for the construction of a more just and egalitarian society.
Bachianas Brasileiras
Throughout his prolific career, Villa-Lobos composed a vast work that ranges from pieces for solo guitar to symphonies and operas. The Bachianas Brasileiras is one of the composer’s most internationally known works and are true masterpieces.
In the Bachianas Brasileiras, Villa-Lobos conducts a musical dialogue between the German composer Johann Sebastian Bach and Brazilian popular music. In nine suites, he blends the complexity of baroque music with the rhythms and melodies of Brazilian folklore, creating a work of surprising beauty and originality.
The Bachianas are an example of Villa-Lobos’ ability to transcend the boundaries between musical genres. He demonstrates that Brazilian popular music, often seen as “lesser,” can dialogue on an equal footing with the European erudite tradition.
In total, the Bachianas are composed of nine compositions. The movements have classic names such as Introduction, but in parentheses, they bring some word in Portuguese like Embolada, in Bachianas No. 1. This is one of the ways Villa-Lobos invokes Brazilian culture in his work.
Bachianas No. 1
In the following video, you can hear Bachianas No. 1 performed by the Berlin Philharmonic Orchestra. This work has three movements and was composed for Cellos. The first movement is the Introduction (Embolada), the second is the Prelude (Modinha) and the third is a Fugue (Conversation)
Bachianas No. 2
In Bachianas No.2 we find the famous theme “O Trenzinho do Caipira” which can be translated as the “countryfolk train”. Villa-Lobos incorporates in his music the sounds of the train journey through the instruments of the orchestra. The arrival of the train at the station and the noise of the brakes are played impressively by the violins.
The constant and pulsating rhythm played by the piano and timpanis imitates the sound of a moving train. The wind instruments, such as trumpets and trombones, are used to imitate the whistle of the train. Percussion, especially the cymbal, is used to simulate the sound of the train passing through tracks and crossings and the strings are used to create a sonic texture that reminds a sonic texture that reminds us of the hustle and bustle of a train station.
In the following video, you can listen to the complete work performed by the Philharmonic Orchestra of Minas Gerais. The composition has 4 movements, which are: Prelude (The Song of the capadócio), Aria (The Song of our land), Dance (Memory of the backlands), and Toccata (The little train of the hillbilly).
Bachianas No. 3
Bachianas No. 3 is a concerto for piano and orchestra, although Villa-Lobos did not name the work a concerto.
The piece has four movements: 1. Prelude (Ponteio) 2. Fantasy (Daydream) 3. Aria (Modinha) 4. Toccata (Woodpecker). The Prelude (Ponteio) This movement is a slow and meditative introduction that sets the tone for the piece. It is characterized by its lyrical melody and rich harmony. The Fantasy (Daydream) is the longest and most complex movement of the piece.
It presents a series of thematic variations and is marked by its free and improvised structure. The Aria (Modinha) is a lyrical and emotional song. It is a tribute to the modinha, a type of popular Brazilian song and the Toccata (Woodpecker) is the final movement and is characterized by its fast and energetic rhythm. It is a musical representation of the woodpecker bird, known for its fast and repetitive pecking.
In the following video, you can listen to the complete Bachianas number 3 performed by the Hungarian Philharmonic Orchestra.
Bachianas No.4
Bachianas No.4 was originally composed for piano. However, Villa-Lobos also made a transcription for orchestra in 1942. Therefore, the piece can be performed in both a solo piano setting and an orchestral setting. The orchestral version is known for its rich instrumentation and the piano version highlights the convergences between Baroque and Brazilian languages.
The work has four movements. They are: 1. Prelude (Introduction) 2. Choral (Song of the backlands) 3. Aria (Song) and 4. Dance (Miudinho).
In the following video, you can listen to the complete Bachianas number 3 performed by the São Paulo Symphony Orchestra.
Bachianas No. 5
Bachianas No. 5 was composed for eight cellos and soprano voice. It is one of Villa-Lobos’s most internationally known works and was the most recorded in Brazil and internationally.
In the following video, you can listen to Bachianas number 5 performed by the Berlin Symphony Orchestra and in the voice of soprano Anna Prohaska. This Bachiana has two movements written for 8 cellos and Soprano.
First Movement (Aria/Cantilena):
This movement is characterized by an expressive vocal melody, supported by the harmony of the cellos. The lyrics are a poem by Ruth Correia Leite Cardoso, which Villa-Lobos chose for its lyrical beauty and connection with nature. The prosody of the poem is carefully considered in the composition, with the melody and rhythm of the music reflecting the natural flow of the words.
Second Movement (Dance/Hammer):
This movement is a musical representation of Brazilian birds, with the lyrics by Manuel Bandeira describing various species in their natural habitat. The music in this movement is more lively and rhythmic, reflecting the energy and diversity of Brazilian wildlife. The conductor emphasizes the importance of knowing and understanding both movements to fully appreciate the piece.
Bachianas No. 6
Bachianas No.6 is the shortest of all and has two movements. The first movement combines choro with seresta and counterpoint and the second movement is described as more free and improvisatory. He calls the first movement Aria (Choro) and Fantasy (Allegro).
In the following video, you can listen to the complete Bachianas number 6 performed by the Porto Alegre Symphony Orchestra. Villa-Lobos plays with elements of Brazilian popular music and Baroque music.
Bachianas No. 7
Bachianas No. 7 was composed with four movements: The Prelude (Ponteio), the Giga (Country Quadrille), the Toccata (Challenge) and Fugue (Conversation). It’s worth highlighting the word Giga, which is an Irish dance. Villa-Lobos also presents the second movement as a country quadrille, which is also a dance. In this way, he once again connects Brazilian culture with the Baroque.
In the following video, Bachianas Brasileiras No.7 is performed by the Symphony Orchestra of Spanish Radio and Television (RTVE).
Bachianas No. 8
Bachianas No. 8 is divided into 4 movements: Prelude (Adagio), Aria (Modinha), Toccata (Catira Batida) and Fugue. Once again we see Brazilian rhythms like Catira showing the composer’s nationalism.
Bachianas Brasileiras No. 8 has three movements: Aria, Toccata (Catira Batida) and Fugue. In the following video, you can listen to it performed by the Madrid Youth Orchestra.
Bachianas No. 9
Bachianas Brasileira No. 9 has two movements, one being a Prelude (Slow and Mystical) and a Fugue (Slightly Rushed). In the following video, you can listen to Bachianas No.9 performed by the Fresno Philharmonic Orchestra.
Choros: The Soul of Brazil in Motion
The Choros are a series of compositions that explore the rhythmic and instrumental diversity of Brazilian music. From the guitar solo to the chamber ensemble, the Choros capture the essence of choro, a typically Brazilian musical genre that combines elements of European, African, and indigenous music.
Each choro is a universe in itself, with its peculiarities and its contagious energy. Together, they form a vibrant panel of Brazilian culture, a celebration of improvisation, virtuosity, and the joy of making music.
Heitor Villa-Lobos, the famous Brazilian composer, composed a series of 14 works called “Choros”. However, two of these works were lost. Therefore, currently, we have 12 “Choros” by Villa-Lobos available. These works were composed between 1920 and 1929. Each “Choro” is unique and presents a variety of musical styles.
Choro No.1 : Violão (Guitar)
“Choro No.1: Violão” is a captivating and influential piece that emerged in the early 20th century. This remarkable composition exemplifies Villa-Lobos’s mastery and innovation, skillfully combining Brazilian folk music with elements of classical music.
The piece is written for solo guitar and captures the essence of Choro, a typically Brazilian musical genre that combines elements of European, African, and indigenous music. It’s characterized by its harmonic indications and dynamic structure.
In the following video, you can watch this work performed by Julian Bream.
Choro No.2: Flute and Clarinet
In the following video, you can watch “Choro No.2” performed by Marcelo Bomfim and Cristiano Alves. This piece, composed for flute and clarinet, showcases the unique blend of rhythms and instrumental diversity that characterizes Brazilian music. Enjoy the performance!
List of Choros
- Choro No. 1: Violão (Guitar)
- Choro No. 2: Flute and Clarinet
- Choro No. 3 (“Woodpecker”): Male choir or seven wind instruments, or both together
- Choro No. 4: Three horns and trombone
- Choro No. 5 (“Brazilian Soul”): Piano
- Choro No. 6: Orchestra
- Choro No. 7 (“Septet”): Flute, oboe, clarinet, saxophone, bassoon, violin, cello, with ad lib tam-tam
- Choro No. 8: Orchestra with 2 pianos
- Choro No. 9: Orchestra
- Choro No. 10 (“Tear the Heart”): Choir and orchestra
- Choro No. 11: Piano and orchestra
- Choro No. 12: Orchestra
- Choro No. 13: Two orchestras and bands (now lost)
- Choro No. 14: Orchestra, band, and choir (now lost)
The Legacy of Villa-Lobos: An Unfinished Symphony
Heitor Villa-Lobos passed away in 1959, leaving behind an invaluable musical legacy. His work continues to inspire generations of musicians and composers, both within and outside of Brazil. His vision of universal Brazilian music, which dialogues with the world without losing its roots, remains current and inspiring.
Villa-Lobos taught us that music is a powerful instrument of expression, education, and social transformation. He showed us that the cultural richness of Brazil is a treasure to be explored and shared with the world. His music is an unfinished symphony, an invitation to continue building a more just, more human, more musical country.
How to Explore the Sonic Universe of Villa-Lobos?
If you wish to venture into the sonic universe of Villa-Lobos, here is a list of his compositions:
Heitor Villa-Lobos was a prolific Brazilian composer, and his works span a variety of genres. Here are some of his most notable compositions:
Choros:
Introduction to Choros, for guitar and orchestra (1929), Choro No. 1 for guitar (1920), Choro No. 2 for flute and clarinet (1924), Choro No. 3 “Pica-pau” (Woodpecker) for clarinet, bassoon, saxophone, 3 horns and trombone, or for male choir, or both together (1925). Choro No. 4 for 3 horns and trombone (1926). Choro No. 5 for piano (1925) “Brazilian Soul”. Choro No. 6 for orchestra (1926). Choro No. 7 “Settimino” for flute, oboe, clarinet, saxophone, bassoon, violin, cello, with ad lib tam-tam. (1924). Choro No. 8, for orchestra with 2 pianos (1925). Choro No. 9, for orchestra (1929). Choro No. 10 for choir and orchestra (1926). “Tear the Heart”. Choro No. 11 for piano and orchestra (1928). Choro No. 12, for orchestra (1929). Choro No. 13 for 2 orchestras and bands (1929)( now lost). Choro No. 14 for orchestra, band and choir (1928) (now lost) Choro bis, for violin and cello (1928-29). Quintet (in the form of choros) for flute, oboe, horn, clarinet, and bassoon (1928); arr. flute, oboe, clarinet, horn, bassoon (1951).
Bachianas Brasileiras:
No. 1 for at least 8 cellos (1930-38). No. 2 for orchestra (1930). No. 3 for piano and orchestra (1938). No. 4 for piano (1941). No. 5 for voice and, at least, 8 cellos (1945). No. 6 for flute and bassoon (1938). No. 7 for orchestra (1942). No. 8 for orchestra (1944) No. 9, for choir or string orchestra (1945).
Concertos:
Suite for Piano and Orchestra (1913). Concerto No. 1 for Cello and Orchestra (1915). Fantasy in mixed movements for Violin and Orchestra (1921). The Martyrdom of Insects for violin and orchestra (1925). Momoprecoce, Fantasy for piano and orchestra (1929) or band (1931). Ciranda of the Seven Notes for bassoon and string orchestra (1933). Concerto No. 1 for piano and orchestra (1945). Concerto No. 2 for piano and orchestra (1948.) Fantasy for soprano saxophone, three horns, and strings (1948). Concerto for guitar and orchestra Fantasia Concertante (1951), for Andrés Segovia. Concerto No. 3 for piano and orchestra (1957). Concerto No. 4 for piano and orchestra (1952). Concerto for harp and orchestra (1953), for Zabaleta Concerto No. 2 for cello and orchestra (1953).
Other notable compositions include “Evening Fall”, “Evocation”, “Sentimental Melody”, “Miudinho”, “The Song of the Uirapuru”, “Quadrille”, “Discovery of Brazil”, “Cantinela”, “The Amazon Forest”, “Sentimental Melody”, “Uirapuru”, “Rudepôema”.
Explore, experiment, discover! The music of Villa-Lobos is a gateway to a world of beauty, emotion, and discoveries.
