Detailinformationen

(Nr. 1 für Orchester & Celli; Nr. 3 für Klavier & Orchester;
Nr. 5 für Sopran & Orchester; Nr. 6 für Flöte & Fagott; Nr. 2,
4, 7, 8 für Symphonieorchester; Nr. 9 für Streichorchester & Version für Chor a cappella)
+Choros Nr. 1 für Gitarre (2 Versionen); Chorus Nr. 2 für
Flöte & Klarinette; Choros Nr. 3 "Pica-Pau" für Männerchor & Bläser; Choros Nr. 4 für 3 Hörner & Posaune; Chorus Nr. 5
"Alma Brasileira" für Klavier; Choros Nr. 6, 9, 12 für
Orchester; Chorus Nr. 7 "Settimino" für Bläser, Violine & Cello; Choros Nr. 8 für 2 Klaviere & Orchester; Choros Nr. 10
"Rasga O Coracao" für gemischten Chor & Orchester; Choros
Nr. 11 für Klavier & Orchester; Introduction to the Choros
für GItarre & Orchester; 2 Choros für Violine & Cello;
Quinteto Em Forma De Choros; 5 Preludes für Gitarre; Suite
pulaire Bresilienne für Gitarre; 12 Etüden für Gitarre


  • Künstler: Fabio Zanon, Claudio Cruz, Elisabeth Plunk, Ovanir Buosi, Cristina Ortiz, Bülent Evcil, Arcadio Minczuk, Linda Bustani, Dante Yenque, Donna Brown, Jean Louis Steuerman, Sato Moughalian, Anders Miolin, Male Voices of the Choir of the Sao Paulo SO, Cellisten des Sao Paulo SO, Mitglieder des Berliner Philharmonischen Bläserquintetts, Sao Paulo SO, John Neschling, Roberto Minczuk
  • Label: BIS, DDD, 1994-2006
  • Bestellnummer: 4289087
  • Erscheinungstermin: 23.6.2009

Disk 1 von 7

  1. 1 Introduction to the Choros (für Gitarre und Orchester) (1929) Start

Two Choros (für Violine und Violoncello) (1928)

  1. 2 Nr. 1: Moderé Start
  2. 3 Nr. 2: Lent - Moins - Lent Start
  1. 4 Choros Nr. 2 (für Flöte und Klarinette) (1924) Start
  2. 5 Choros Nr. 3 (Pica Pau) (für Männerchor und Blasinstrumente) (1925) Start
  3. 6 Choros Nr. 10 "Rasga o corçao" (für gemischten Chor und Orchester) (1926) Start
  4. 7 Choros Nr. 12 (für Orchester) (1929) Start

Disk 2 von 7

  1. 1 Choros Nr. 6 (für Orchester) (1926) Start
  2. 2 Choros Nr. 1 (für Gitarre) (1920) Start
  3. 3 Choros Nr. 8 (für großes Orchester und 2 Klaviere) (192%) Start
  4. 4 Choros Nr. 4 (für 3 Hörner und Posaune) (1926) Start
  5. 5 Choros Nr. 9 (für Orchester) (1929) Start

Disk 3 von 7

Choros Nr. 11 (für Klavier und Orchester) (1928)

  1. 1 Allegro precioso ma non troppo - Start
  2. 2 Adagio - Start
  3. 3 Allegro moderato Start
  1. 4 Choros Nr. 5 "Alma Brasileira" (für Klavier) Start
  2. 5 Choros Nr. 7 "Settimino" (für Bläser, Violine und Violoncello) Start

Disk 4 von 7

Bachianas brasileiras Nr. 5 (1938-45)

  1. 1 #ria: Cantilena Start
  2. 2 Dança: Martelo Start

Bachianas brasileiras Nr. 4 (Fassung für Klavier) (1930-41)

  1. 3 Prelúdio: Introduçao Start
  2. 4 Choral: Canto do sert#o Start
  3. 5 #ria: Cantiga Start
  4. 6 Dança: Miudunho Start

Bachianas brasileiras Nr. 6 (für Flöte und Fagott) (1938)

  1. 7 #ria: Choro Start
  2. 8 Fantasia Start

Bachianas brasileiras Nr. 1

  1. 9 Introduçao: Embolada Start
  2. 10 Prelúdio: Modinha Start
  3. 11 Fuga: Conversa Start

Disk 5 von 7

Bachianas brasileiras Nr. 2 (für Orchester) (1930)

  1. 1 Preludio: O canto do capadócio Start
  2. 2 #ria: O canto da nossa terra Start
  3. 3 Dança: Lembrança do sertao Start
  4. 4 Toccata: O trenzinho do caipira Start

Bachianas brasileiras Nr. 3 (für Klavier und Orchester) (1938)

  1. 5 Prelúdio: Ponteio Start
  2. 6 Fantasia: Devaneio Start
  3. 7 #ria: Modinha Start
  4. 8 Toccata: Picapau Start

Bachianas brasileiras Nr. 4 (Fassung für Orchester) (1941)

  1. 9 Prelúdio: Introduçao Start
  2. 10 Coral: Canto do sertao Start
  3. 11 #ria: Cantiga Start
  4. 12 Dança: Miudinho Start

Disk 6 von 7

Bachianas brasileiras Nr. 7 (für Orchester) (1942)

  1. 1 Prelúdio: Ponteio Start
  2. 2 Giga: Quadrilha caipira Start
  3. 3 Toccata: Desafio Start
  4. 4 Fuga: Conversa Start

Bachianas brasileiras Nr. 9 (Fassung für Streichorchester) (1945)

  1. 5 Prelúdio Start
  2. 6 Fuga Start

Bachianas brasileiras Nr. 9 (Fassung für Chor a cappella) (1945)

  1. 7 Prelúdio Start
  2. 8 Fuga Start

Bachianas brasileiras Nr. 8 (für Orchester) (1944)

  1. 9 Prelúdio Start
  2. 10 #ria: Modinha Start
  3. 11 Toccata: Catira batida Start
  4. 12 Fuga Start
  1. 13 Quinteto em Forma de Choros (für Flöte, Oboe, Englischhorn, Klarinette und Fagott) (1928) Start

Disk 7 von 7

Préludes Nr. 1-5 (für Gitarre) (1940)

  1. 1 Nr. 1: Andantino expressivo Start
  2. 2 Nr. 2: Andantino Start
  3. 3 Nr. 3: Andante Start
  4. 4 Nr. 4: Lento Start
  5. 5 Nr. 5: Poco animato Start

Suite populaire brésilienne (für Gitarre)

  1. 6 1. Mazurka-choro Start
  2. 7 2. Shottisch-choro Start
  3. 8 3. Valsa-choro (1912) Start
  4. 9 4. Gavota-choro (1912) Start
  5. 10 5. Chorinho (1923) Start

Etüden Nr. 1-12 (für Gitarre) (1929)

  1. 11 Nr. 1: Allegro non troppo Start
  2. 12 Nr. 2: Allegro Start
  3. 13 Nr. 3: Allegro moderato Start
  4. 14 Nr. 4: Andante Start
  5. 15 Nr. 5: Andantino Start
  6. 16 Nr. 6: Poco Allegro Start
  7. 17 Nr. 7: Très animé Start
  8. 18 Nr. 8: Modéré Start
  9. 19 Nr. 9: Très peu animé Start
  10. 20 Nr. 10: Très animé Start
  11. 21 Nr. 11: Lent Start
  12. 22 Nr. 12: Animé Start
  1. 23 Choros Nr. 1 (für Gitarre) (1920) Start

Produktinfo

The life and music of Villa-Lobos is intimately linked with the emergence of Brazil as a nation and cultural force during the first half of the 20th century. This applies especially to the two great cycles that he composed between 1920 and 1945: the 12 Choros and the 9 Bachianas Brasileiras. In the Choros the composer’s stated aim was to achieve a synthesis of the various musical influences of Brazil: the popular urban music (such as the dances of European origin performed by chorões or street musicians), the music brought from Africa by slaves, and the chants and rhythms of the native Indian tribes. The Choros range from solo pieces with durations of a couple of minutes to large-scale scores for expanded symphony orchestra, sometimes comprising choir or solo instruments. The cycle also includes an Introduction, as well as a brief ‘after-thought’: the Two Choros (bis). After the completion of the Choros, Villa-Lobos in 1930 began his next great project, the Bachianas Brasileiras. Admiring its ability to communicate across all boundaries in time or place, Villa-Lobos once described the music of Bach as ‘universal folk music’ and here attempted a fusion between Bach and Brazilian music. This cycle also consists of various scorings: from solo instrument to choir a cappella and symphony orchestra, with Villa-Lobos providing parallel versions of two of them (Nos 4 and 9). All of these are included in this collection, which comprises recordings made between 2002 and 2006, and released as separate discs to universal acclaim: ‘The complete set of Villa-Lobos's exotic and brilliant Bachianas Brasileiras surpasses, for me, all previous recordings in terms of execution, spirit and recorded sound’ wrote the reviewer in Fanfare, including the discs on his 2008 ‘Want-List’. Equally well-received, the cycle of Choros was already before its completion described as ‘a publishing feat’ on the website Klassik. com. The performances of the São Paulo Symphony Orchestra were naturally in focus: ‘The Brazilian players sound as if the music is in their blood … and their ensemble is in no way inferior to that of any of their rivals’ (Gramophone) and ‘a world-class ensemble providing an assured blend of lush colours, pulsating rhythms and supple phrasing’ (International Record Review) are only a couple of examples. The many solo performances appearing throughout the collection received similar praise, as witness the following examples: ‘No. 5 with Donna Brown has to be the quintessential performance of this most famous of Bachianas’ (American Record Guide), ‘Jean Louis Steuerman plays with great finesse and understanding’ (Gramophone), ‘Cristina Ortiz proves a peerless pianist in this unique piece [Choros No. 11] ’ (classiqueinfo-disque. com). This collection also includes a performance by the Berlin Philharmonic Wind Quintet of Quinteto em forma de choros (a work often mentioned in connection with the Choros even if it does not form part of the cycle) as well as a separate disc containing Anders Miolin’s recording of the complete music for solo guitar, much of which Villa-Lobos composed for the legendary Andres Segovia.

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