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Heitor Villa-Lobos was a key figure in twentieth-century Brazilian music, an instinctive creator with a luxuriant imagination, at once provocative and conformist. He forged a personal style by founding his idiom on the melodic and rhythmic traditions of his country and enriching it with all the innovations he found among his contemporaries. His protean music captivates the listener with the diversity of it's aesthetic orientations, which exalt his ardent patriotism and find expression in vast epic scores or, on the contrary, in delicious, piquant miniatures. A champion of contrast and surprise, Villa-Lobos looks equally to the spirits of his ancestors and the primeval forces of nature in his native Brazil, a penchant that earned him the sobriquet 'White Indian'. Deeply committed to the musical education of young people, he introduced into his piano works many folksongs, often collected by himself, to serve as a support for three cycles that are veritable keyboard encyclopaedias: Guia prático (Practical guide), A próle do bébé (The baby's family) and Cirandas (Round dances). Among his other works for piano solo are Bachianas brasileiras no.4, Chôro no.5, and the magnificent Ciclo brasileiro, the last-named of which Wilhem Latchoumia recorded in 2008 in a program entitled Impressoes that also included works by Guastavino and Ginastera.
Heitor Villa-Lobos was a key figure in twentieth-century Brazilian music, an instinctive creator with a luxuriant imagination, at once provocative and conformist. He forged a personal style by founding his idiom on the melodic and rhythmic traditions of his country and enriching it with all the innovations he found among his contemporaries. His protean music captivates the listener with the diversity of it's aesthetic orientations, which exalt his ardent patriotism and find expression in vast epic scores or, on the contrary, in delicious, piquant miniatures. A champion of contrast and surprise, Villa-Lobos looks equally to the spirits of his ancestors and the primeval forces of nature in his native Brazil, a penchant that earned him the sobriquet 'White Indian'. Deeply committed to the musical education of young people, he introduced into his piano works many folksongs, often collected by himself, to serve as a support for three cycles that are veritable keyboard encyclopaedias: Guia prático (Practical guide), A próle do bébé (The baby's family) and Cirandas (Round dances). Among his other works for piano solo are Bachianas brasileiras no.4, Chôro no.5, and the magnificent Ciclo brasileiro, the last-named of which Wilhem Latchoumia recorded in 2008 in a program entitled Impressoes that also included works by Guastavino and Ginastera.
3770001905136
Villa Lobos: Do Brasil
Artist: Wilhem Latchoumia
Format: CD
New: Available $23.98
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Formats and Editions

DISC: 1

1. Villa Lobos: Chôro n° 5 (Alma brasileira / Brazilian soul) W205
2. Villa Lobos: Chôro n° 2 W198
3. Villa Lobos: Ondulando, estudio (Undulating, étude) op.31 W82
4. Villa Lobos: Cirandas W220 - n° 3 Senhora dona Sancha (Madame Sancha)
5. Villa Lobos: Cirandas W220 - n° 6 Passa passa gaviao (Go away, go away, hawk)
6. Villa Lobos: Cirandas W220 - n° 15 Que lindos olhos (What beautiful eyes!)
7. Villa Lobos: Cirandas W220 - n° 10 O pintor de Cannahy (The painter of Cannahy)
8. Villa Lobos: Cirandas W220 - n° 9 Fui no Tororó (I went to Tororó)
9. Villa Lobos: Cirandas W220 - n° 4 O cravo brigou com a rosa (The carnation quarrelled with the rose)
10. Villa Lobos: Cirandas W220 - n° 2 A condessa (The countess)
11. Villa Lobos: Cirandas W220 - n° 8 Vamos atrás da serra, Calunga (Let's go to the other side of the mountain, Calunga)
12. Villa Lobos: Cirandas W220 - n° 5 Pobre cega - Toada da rede (Poor blind woman - Net song)
13. Villa Lobos: Cirandas W220 - n° 16 Có-Có-Có (Cheep, cheep, cheep)
14. Villa Lobos:La caixinha de música quebrada W256 (The little broken music box)
15. Villa Lobos:Nenê vai dormir W53 (Baby's going to sleep - Suite infantil n°1)
16. Villa Lobos:New York Skyline Melody W407
17. Villa Lobos:Rudepoêma W184 (Savage poem)

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Heitor Villa-Lobos was a key figure in twentieth-century Brazilian music, an instinctive creator with a luxuriant imagination, at once provocative and conformist. He forged a personal style by founding his idiom on the melodic and rhythmic traditions of his country and enriching it with all the innovations he found among his contemporaries. His protean music captivates the listener with the diversity of it's aesthetic orientations, which exalt his ardent patriotism and find expression in vast epic scores or, on the contrary, in delicious, piquant miniatures. A champion of contrast and surprise, Villa-Lobos looks equally to the spirits of his ancestors and the primeval forces of nature in his native Brazil, a penchant that earned him the sobriquet 'White Indian'. Deeply committed to the musical education of young people, he introduced into his piano works many folksongs, often collected by himself, to serve as a support for three cycles that are veritable keyboard encyclopaedias: Guia prático (Practical guide), A próle do bébé (The baby's family) and Cirandas (Round dances). Among his other works for piano solo are Bachianas brasileiras no.4, Chôro no.5, and the magnificent Ciclo brasileiro, the last-named of which Wilhem Latchoumia recorded in 2008 in a program entitled Impressoes that also included works by Guastavino and Ginastera.
        
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