Heitor Villa-Lobos
1887–1959. Brazilian composer. in the Brazilian Nationalism tradition.
Brazil's most celebrated classical composer; synthesized Brazilian folk and popular music with European modernism. Prolific output spanning orchestral, chamber, and guitar repertoire.
Signature works: Bachianas Brasileiras, Chôros, Guitar Concerto, Etudes for Guitar, Symphony No. 4 'A Vitória'.
43 products
Glazunov, Villa-Lobos, Martin, Rivier, & Françaix: Saxophone Concertos & Quartets
[Villa Lobos] 'incorporates nationalistic musical elements of Brazil along with melodic, lullaby-like themes, to make a truly contrasting and interesting three-movement work.' (Classic FM) 'Brazilian sonorities and rhythms are a perfect match for the saxophone' (WFMT) [Glazunov] 'persistence paid off for Raschèr, who badgered Glazunov to write him a concerto. The Russian relented and the result - three short, pleasingly lyrical movements - was premiered by Raschèr' (BBC Music Magazine) 'Glaznov's Quartet is a foundational piece for the instrument' (WFMT)
Villa-Lobos: Symphonies Nos. 1 & 2 / Karabtchevsky, Sao Paulo Symphony
Heitor Villa-Lobos’s first two symphonies take the European tradition head-on, absorbing French models prevalent in Brazil in the early twentieth century. The confident swagger of the First Symphony is characteristic of Villa-Lobos’s ‘Brazilianness,’ while the cyclical Second Symphony filters myriad influences including the music of Tchaikovsky, Rimsky-Korsakov, Debussy and Puccini. Its slow movement heralds the affecting melodic content that would later become the trademark of the Bachianas Brasileiras. This is the sixth and final volume of an acclaimed complete edition of Villa-Lobos’s symphonies in which ‘Karabtchevsky leads the way.’ (Gramophone).
Villa-Lobos: Complete Works for Solo Guitar
Villa-Lobos: Complete String Quartets / Danubius Quartet
This set consists of previously released recordings. - ArkivMusic
Heitor Villa-Lobos once confessed that he loved to write string quartets, stating ‘one could say that it is a mania.’ His 17 quartets form a substantial part of his chamber music output, covering a long career that embraced national pride and musical experimentation leading to the rarefied atmosphere of the final masterpieces. Often drawing on the musical folklore of Brazil, these quartets are an outpouring of spontaneous and daring invention. Ranging from austere polyphony to compelling expressiveness and virtuosity, they represent one of the most distinctive bodies of chamber works in 20th-century music.
REVIEWS:
Villa-Lobos once confessed that he loved to write string quartets, stating ‘one could say that it is a mania.’ His 17 quartets form a substantial part of his chamber music output, covering a long career that embraced national pride and musical experimentation leading to the rarefied atmosphere of the final masterpieces. Often drawing on the musical folklore of Brazil, these quartets are an outpouring of spontaneous and daring invention. Ranging from austere polyphony to compelling expressiveness and virtuosity, they represent one of the most distinctive bodies of chamber works in 20th-century music. 6 CDs. Danubius Quartet. Original 1992–1994 Marco Polo releases.
-- Records International
Established in 1983, the Danubius Quartet was a Hungarian group – this set was recorded in Budapest – so while they may lack the Latinamericanlo’s Brazilian ‘accent’, they nevertheless hail from Europe’s great centre of string playing. Their brightly projected sound is ideal for Villa-Lobos’s life-affirming music.
-- Limelight
BACCHIANAS BRASILEIRAS
Bach Bachianas / The Yale Cellos Of Aldo Parisot
San Francisco Chronicle: Parisot, the brilliant Brazilian cellist, knew Villa-Lobos, and premiered several of his works. (Villa-Lobos' Second Cello Concerto is dedicated to Parisot.) Parisot has the advantage of a mass of cellos - 20 or so - all from the Yale Music department, and hence, his students. (The jacket lists 34 names.) And what a sound they make - organ-like in resonance and sensational in intonation. Add to this the fact that he has the dulcet voice of soprano Auger for the famous fifth Bachianas, plus Delos' brilliantly lively sonics, and you have a very major release. Highly recommended. Opus: This is a most unusual and enjoyable release. First of all, at long last, recordings of Villa-Lobos' Bachiana brasileiras Nos. 1 and 5 that really do justice to these irresistible scores. Here the works are played by the sort of ensemble Villa-Lobos had in mind: not the usual eight cellos, but an 'orchestra of violoncellos' - the Yale Cellos, twenty in member, conducted by their mentor Aldo Parisot. The gain in tonal richness is immeasurable. And what tremendous vigor and elan they display! I don't mean to imply any degree of roughness or vehemence, however, for this is some of the suavest playing imaginable by such an ensemble. Rather, the rhythms, inflections, and articulations are executed in such an inimitably idiomatic manner as to simply sweep the listener along. In the haunting Aria ('Cantilena') of No. 5, Arleen Auger enters as if another instrument, a soprano cello perhaps. As much as I enjoyed Hendricks' performance, Auger gives the most exquisite rendition I've heard since Bidu Sayao (who recorded only this movement). The aria's central section is treated more expansively than usual, but with a wonderfully apt sensitivity. Auger and the cellists deliver the concluding Dansa ('Martelo') brilliantly, not so fast as to turn it into a meaningless display piece, but at a tempo that allows the infectious dance rhythms to tell. WG, High Performance Review: This recording is an interesting novelty: an orchestra made up entirely of violoncelli! The Villa-Lobos works are placed first and last, in between are arrangements of various compositions by J.S. Bach, including the much arranged 'Chaconne in D-Minor' for solo violin. Aldo Parisot and his student cellists give wonderfully rich, vital and colorful performances. In the famous 'Bachiana Brasileiras No. 5,' we're fortunate to have Arleen Auger. Everything this splendid American soprano does is touched with her intelligence and the beauty of her voice. The Bach pieces are all well-played, and the sound of massed 'celli, at least under Parisot's direction, is not at all as dark, opaque or lush as one might expect. There's light, almost transparent, yet rich, sound, and throughout the compact disc, it is music that's given to us, not a slick demonstration of novel sound.
VILLA-LOBOS, H.: String Quartets, Vol. 2 - Nos. 3, 8, 14 (Qu
Villa-lobos: Choros Nos 8 & 9 / Schermerhorn, Hong Kong Phil
Villa-lobos: Rudepoema, Danças / Duarte, Slovak Rso
Villa-lobos: Discovery Of Brazil Suites 1-4 / Duarte
Villa-lobos: Pequena Suíte, Etc / Rust, Apter, Pahud, Et Al
Villa-Lobos: Complete Piano Music, Vol. 2
Villa-Lobos: Piano Music Vol 1 / Sonia Rubinsky

Is Heitor Villa-Lobos the last great 20th century composer to be rediscovered? Because he wrote so much, it's easier to sidestep rather than face his overwhelming catalog point by point. The folks at Naxos, though, are tackling his Amazonian output, starting with the piano music. Brazilian pianist Sonia Rubinsky controls the undulating chordal syncopations in the wonderful Book One of A Prole do Bebê with a left hand propelled by an imaginary, rock-steady rhythm section, and never lets the pungent dissonances overshadow the melodies. Rarely heard, the delightful Cirandas are virtually the Brazilian equivalant of Bartok's folk-inspired character pieces. The improvisatory Hommage à Chopin evokes the Polish master's decorative syntax, filtered through Villa-Lobos' more lush keyboard deployment. Rubinsky is both on top and inside of the Brazilian composer's idiom, and her vivid playing is beautifully reproduced. As they say in Portuguese: "um CD sensacional."
– Jed Distler
