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Playlist of Heitor Villa-Lobos

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  • Heitor Villa-Lobos Suite Popular Brasileña Pablo De Giusto

    22:12

    Pablo De Giusto interpreta la Suite Popular Brasileña de Heitor Villa-Lobos.
    Extraído del disco Música de cámara latinoamericana (DRA22- 1996)
    1) Mazurka-Choro 00:00
    2) Schottish-Choro 03:30
    3) Valsa-Choro 07:20
    4) Gavotta-Choro 12:08
    5) Chorinho 17:50

  • Heitor Villa-Lobos: 5 Preludes, 12 Studies & Modinha

    59:24

    BUY it here:
    iTunes:
    CD Baby

    About JOSÉ ANTONIO ESCOBAR - Guitarist

    “...The mastery, intelligence and sound of José Antonio on such diverse pieces undoubtedly position him among the outstanding guitarists of our time.“ (Le Cahiers de la Guitare, Paris, 2002)

    “Finally José Antonio Escobar gave us Villa-Lobos’ 12 Etudes, demonstrating that he is one of the finest young players to have emerged from South America in recent years” (Robert Matthew-Walker, Musical Opinion, London, May 2007).

    “Escobar is an expressive, mature artist who has transcended the nitty-gritty of technique and gets to the essence of the music.” (Jeffrey Rossman, Classical Voice of North Carolina, 2008).

    “Guitar aficionados need to hear Escobar’s absolutely stunning playing.” (Göran Forsling, MusicWeb International, 2008)

    I cannot and should not miss the opportunity to speak in favor of one of the most remarkable
    musicians devoting their talent to the guitar. His name is José Antonio Escobar... (Angelo Gilardino, Suonare Magazine, Italy, 2012)

    José Antonio Escobar (b. 1973), was born in Santiago de Chile, where he graduated with Top Honors after studying at the Conservatory of Music-University of Chile. Immediately after graduating, he continued to perfect his studies at the Hochschule für Musik in Augsburg, Germany with Franz Halasz. Under the influence of his first master, the lutenist Ernesto Quezada, he became deeply interested in original ancient instruments from the guitar family. This motivated him to round out his studies by attending Early Music courses and master classes with renowned specialists such as Hopkinson Smith, Eduardo Egüez, and Juan Carlos Rivera.
    While he is greatly interested in ancient music, he has always felt at home when interpreting 20th Century or contemporary music. This has led him to commission, premiere and record works by renowned composers as well as Chilean composers, in particular. He has also devoted some time to studying and interpreting music with popular and folk influences from Latin America. In this regard, he has worked in various projects both as a soloist and as part of Dúo Sudamericano, along with Javier Contreras, an outstanding Chilean composer and guitarist.
    Throughout a period encompassing almost 10 years, he obtained more than fifteen prizes in the most prestigious International Guitar Competitions today, such as Francisco Tárrega (Spain), Alessandria (Italy), Alhambra (Spain), Guitar Foundation of America (USA), Julian Arcas (Spain), Karl Sheit (Austria), among many others.
    As a soloist and chamber musician he has toured over 30 countries, covering almost all of Europe and the Americas, as well as some North African countries, the Near East, Asia and Oceania. He has also performed as a soloist with distinguished orchestras, namely Orquesta de Extremadura (Spain), Orchestra Filarmonica di Torino (Italy), St. Michel Strings (Finland), Hofer Symphoniker (Germany), and the Orquesta Sinfónica de Chile. He has also debuted in major concert halls such as the Brahms-Saal at the Vienna Musikverein, the Purcell Room at the Southbank Centre in London, the Herbst Theatre in San Francisco, Sala Cecilia Meireles in Rio de Janeiro, Teatro Monumental in Madrid, Teatro Teresa Carreño in Caracas, etc.
    He has completed several recordings under the NAXOS and RTVE labels, receiving excellent reviews from specialized media. He has also worked on several independent recordings both as an artist and producer. He is currently living in Barcelona, and he is constantly invited to not only perform at recitals but also share his expertise by giving master classes and lectures at major music festivals, courses, seminars and workshops in prestigious universities around Europe and the Americas.

    Guitar: Paco Santiago Marín (2006)

    or

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  • Heitor Villa-Lobos - Bachianas Brasileiras No. 8

    26:29

    Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, described as the single most significant creative figure in 20th-century Brazilian art music. Villa-Lobos has become the best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2000 works by his death in 1959. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces). His Etudes for guitar (1929) were dedicated to Andrés Segovia, while his 5 Preludes (1940) were dedicated to Arminda Neves d’Almeida, a.k.a. Mindinha. Both are important works in the guitar repertory.

    Bachianas Brasileiras No. 8, for orchestra, A. 444 (1944)
    Dedicated to Mindinha

    1. Prelúdio
    2. Ária (Modinha) (6:58)
    3. Tocata (Catira batida) (15:02)
    4. Fuga (20:36)

    Cincinnati Symphony Orchestra conducted by Jesús López Cobos

    Description by Joseph Stevenson [-]
    Heitor Villa-Lobos began his series of nine Bachianas Brasileiras in 1930, when he was fresh from Paris and the autocratic nationalist Estado Nova government of Getulio Vargas was newly installed. Returning to Brazil with immense prestige gained by becoming an internationally recognized composer in Europe, Villa-Lobos found favor with the Vargas government in this series of pieces intended to demonstrate a special similarity between Brazilian music and that of Johann Sebastian Bach.

    Villa-Lobos modeled his slower melodies after those of the arias in Bach's cantatas and other sources. Often he places faster rhythmic material in Brazilian rhythms against long singing lines, usually keeping these lines in the middle range.

    The first movement of Bachiana Brasileira No. 8 is named Prelúdio. Unlike most movements in the series this movement received only one title. The prelude is in a flowing Adagio tempo and has a melody in the style of a popular tune, decorated by shimmering outer voices. It progressively increases in speed to a march pace, then returns to the opening tempo.

    In the second movement, Villa-Lobos reverts to his usual practice of bestowing a double name upon it, one a classical form used by Bach, and the other a name referring to some aspect of Brazil. The title is Aria; Modinha, a modinha being a kind of Brazilian song. Yet again Villa-Lobos increases the tempo in the middle section of the movement. The basic melody is a sad song, reminiscent of the Portuguese fado as well as the modinha.

    After the tempo speeds up, to play pulsing Brazilian syncopations, the modinha theme returns as a countersubject at the same tempo and still in the middle register.

    In the third movement, Toccata; Catira batida, Villa-Lobos employs Brazilian percussion instruments to present the catira batida or cate reté, a dance long established in the mildly temperate climate of South Brazil. Here there is a slow middle section, in which a slow tune from earlier in the composition returns.

    The final movement is entitled Fuga or fugue. To this point there were two prior fugues in the whole series, in Bachianas numbers 1 and 7. In both cases they received the dual titles Fuga; Conversa, with the latter word (literally meaning conversation) referring to a name for the simultaneous improvisation of chorôs players, a type of urban street musician.

    It is striking that except in the first Bachiana Villa-Lobos more or less ignored the form of the fugue, so closely associated with Bach, in his Bachianas until he reached the seventh in the series. Thereafter the remaining three Bachianas all end in fugues. His dropping the reference to the colloquial conversa in this title reflects the fact that this fugue is more academic than the two earlier ones.

    Bachiana Brasileira No. 8 lasts about 25 minutes. Villa-Lobos conducted its world premiere at the Academy of Sta. Cecilia in Rome in 1947.

  • Heitor Villa-Lobos: Sinfonietta n.1

    21:20

    Heitor Villa-Lobos (1887-1959): Sinfonietta n.1 (1916) --- Radio-Sinfonieorchester Stuttgart des SWR diretta da Carl St. Clair ---

    I. Allegro giusto
    II. Andante non troppo [4:40]
    III. Andantino [16:23]

    ---

    The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study learned music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.

    Your collaboration will be appreciated.

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  • Nicholas Petrou - H. Villa-Lobos - Prelude No. 1

    4:35

    Guitar made by Fleta.

  • Villa Lobos - Bachianas Brasileiras n? 5 Filarmônica de Berlim

    12:51

    Festival de Waldbuhne 2008 - Berlim - Orquestra Filarmônica de Berlim. Regência Gustavo Dudanel, Soprano Ana Maria Martínez.
    Bachianas Brasileiras nº5 de Heitor Villa Lobos.

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  • Heitor Villa-lobos - 12 Études for Guitar

    28:43

    12 Etudes for Solo Guitar, 1929 by Heitor Villa-lobos:

    0:00 No. 1 - Allegro non troppo - arpejos
    1:55 No. 2 - Allegro - arpejos
    3:16 No. 3 - Allegro Moderato - arpejos
    4:33 No. 4 - Un Peu Modere - acordes repetidos
    8:29 No. 5 - Andantino
    10:54 No. 6 - Poco Allegro
    12:22 No. 7 - Tres Anime
    14:32 No. 8 - Modere-Lent
    17:22 No. 9 - Tres Peu Anima
    20:35 No.10 - Tres Anime-Vif
    22:28 No.11 - Lent-Piu Mosso-Anime
    26:33 No.12 - Anime-Piu Mosso Un Peu Plus Anime

    Guitar: Leonora Spangenberger


    This video was made only with educational purposes only.
    The videos published in this channel are only dedicated to diffussion and eduational purposes, not commercial.
    If someone, composer or company, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and the video will be removed immediately. Please and thanks. Video made only with diffusion purposes.
    ------------------------------------------------

    The videos published in this channel are only dedicated to diffussion, not commercial.
    If someone, composer or company, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and the video will be removed immediately. Please and thanks.

  • Heitor Villa-Lobos: Sinfonia n.3 A Guerra

    34:20

    Heitor Villa-Lobos (1887-1959): Sinfonia n.3 A Guerra (1919) -- SWR Radio-Sinfonieorchester Stuttgart diretta da Carl St. Clair --

    I. Allegro quasi giusto: A vida e o labor
    II. Como scherzo: Intrigas e cochichos [06:34]
    III. Lento e marcial: Sofrimento [11:11]
    IV. Allegro impetuoso: A batalha [27:23]

    -- cover image by Otto Dix ---

    The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study learned music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.

    Your collaboration will be appreciated.

  • Iakovos Kolanian -12 Etudes by Heitor Villa Lobos

    33:51

    Etude no1 (0:07), no 2 (2:08), no 3 (3:43), no 4 (6:14), no 5 (10:07),
    no 6 (12:48), no 7 (14:23), no 8 (17:49), no 9 (21:04), no 10 (24:31),
    No 11 (26:51), no 12 (31:04).
    Recorded at Athens, Greece, January 2018
    Guitar: made by German Vazquez Rubio, Year 2008
    Microphones: DPA 4011
    Microphones amplifier: Millennia HV-3C

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  • Sanel Redžić plays Etude No. 1 by Heitor Villa-Lobos on a 1986 Kevin Aram

    2:34

    Sanel Redžić plays Etude No. 1 by Heitor Villa-Lobos on a 1986 Kevin Aram.
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    Don't forget to like, comment, share and subscribe the channel
    #classical guitar #guitare classique #クラシックギター

  • Heitor Villa-Lobos - Suite Populaire Bresilienne for Guitar

    21:16

    The work as we know it was completed in 1912, but portions were written in the previous decade. This work is this one of the earliest pieces by Villa-Lobos that's normally played today.

    Recordings by different performers

    0:00 Mazurka-Choro (Samantha Muir, guitar)
    4:15 Schottisch-Choro (Kevin Ayers, guitar)
    8:02 Valsa-Choro (An Volders, guitar)
    12:39 Gavota-Choro (Samantha Muir, guitar)
    17:53 Chorinho (Luiz Foschi, guitar)

    Re-uploaded.
    -------------------------------------------------------------


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    The videos published in this channel are only dedicated to diffussion, not commercial.
    If someone, composer or company, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and the video will be removed immediately. Please and thanks.

  • Xingye Li plays Etude No. 1 by Heitor Villa Lobos on a 2014 Roy Fankhänel guitar

    2:19

    Xingye Li plays Etude No. 1 by Heitor Villa Lobos on a 2014 Roy Fankhänel guitar.
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  • Heitor Villa-Lobos: Amazonas

    11:35

    Heitor Villa-Lobos (1887-1959): Amazonas, balletto (1917) --- Orquestra Sinfônica Simón Bolívar diretta da Enrique Arturo Diemecke ---

    cover image by Tarsila do Amaral ---

    The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study learned music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.

    Your collaboration will be appreciated.

  • Villa Lobos - O Trenzinho Caipira

    5:12

  • An Volders plays Valsa Choro by Heitor Villa-Lobos on a 1948 Hermann Hauser I

    4:53

    An Volders plays Valsa Choro by Heitor Villa-Lobos on a 1948 Hermann Hauser I.
    Follow us on Facebook, Twitter, Instagram and on our website:




    Don't forget to like, comment, share and subscribe the channel
    #classical guitar #guitare classique #クラシックギター

  • Heitor Villa-Lobos - Bachianas Brasileiras No. 2

    22:08

    Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, described as the single most significant creative figure in 20th-century Brazilian art music. Villa-Lobos has become the best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2000 works by his death in 1959. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces). His Etudes for guitar (1929) were dedicated to Andrés Segovia, while his 5 Preludes (1940) were dedicated to Arminda Neves d’Almeida, a.k.a. Mindinha. Both are important works in the guitar repertory.

    Bachianas Brasileiras No. 2, for orchestra, A. 247 (1930)

    1. Preludio (O canto do capadócio)
    2. Aria (O canto da nossa terra) (7:03)
    3. Dansa (Lembranca do sertão) (12:26)
    4. Toccata (O trenzinho do caipira) (17:47)

    Cincinnati Symphony Orchestra conducted by Jesús López Cobos

    Description by Joseph Stevenson [-]
    Among the Heitor Villa-Lobos's first actions on arriving back in Brazil, after living in Paris for 13 years, was to announce that he had discovered a link between Brazilian music and the great timeless qualities of the melodies of Johann Sebastian Bach, and would demonstrate them with a series of works called Bachianas Brasileiras. This composition quickly followed. It is scored for a small orchestra of ten wind instruments, a standard string section, piano and celesta, and a percussion section of standard instruments and four native Brazilian rattles (ganzá, chocalhos, matraca, and recoreco). It is the most popular of all the eight purely instrumental Bachianas Brasileiras and is one of the rare pieces in the series that includes descriptive music. Here Villa-Lobos describes scenes of the Brazilian countryside and its people. (As usual in the Bachianas series, Villa-Lobos provided dual titles, one stating the name of a form known to Bach and the other identifying its Brazilian characteristic.)

    Prelúdio; O Canto do Capadocio. The first movement is a lovely and insinuating Adagio with a somewhat faster (Andantino mosso) central dance-like section. The Brazilian title means The Song of a Capadocio. Capadocio is the name of a popular published guitar method that was widely taught in Brazil. It also meant a musician, a kind of slacker who would sing, woo the women, and generally float through life with his music and love. Villa-Lobos transcribed this movement for cello and piano (A. 251 in Appleby's catalog).

    Aria; O Canto da Nossa Terra. Not unexpectedly, a Bachian melody that some have compared to the aria sections of Bach's cantatas dominates this movement. The Brazilian title means The Song of Our Land. It opens in the tempo Lento assai. It is in a three-part form, with a Tempo di marcia in the middle. This has a pulsing rhythm driven by the piano and melody primarily given to the saxophone.

    Dansa; Lembrança do Sertão. Villa-Lobos, who loved the mid-range instruments of the orchestra, gives the flowing dance melody to the trombone over a fluent rhythm in the strings. There is a more assertive dance rhythm in the central section. The title means Memories of the Sertão, the hot, dry northeastern region of the country.

    Toccata; O trenzinho do Caipira. This is the famous Little Train of the Caipira, and the composer's full array of percussion is held back until this concluding movement to portray the creaking and puffing of this stalwart back-country little engine that could. It is irresistible, fun music. While its bright rhythms attract attention, the listener soon realizes that the train's melody is extraordinarily beautiful.

  • Heitor Villa-Lobos: Rudá

    37:30

    Heitor Villa-Lobos (1887-1959): Rudá, Dio d'amore, balletto amerindio (1951) --- Orquestra do Teatro Municipal do Rio de Janeiro diretta da Mário Tavares ---

    I. Os Maias
    II. Os Aztecas
    III. Os Incas
    IV. Os Marajoaras
    V. A Vitória do Amor nos Trópicos

    ---


    The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study learned music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.

    Your collaboration will be appreciated.

  • Suite Populaire Brésilienne - Heitor Villa-Lobos

    19:33

    Thomas Viloteau plays the Suite Populaire Brésilienne by Heitor Villa-Lobos. Guitar by Greg Smallman, strings by Savarez.

    Get Thomas Viloteau's technique book here:



    00:00 Mazurka-Chôro
    02:30 Schottish-Chôro
    05:56 Valsa-Chôro
    10:03 Gavota-Chôro
    15:38 Chorinho

  • Heitor Villa-Lobos - Bachianas Brasileiras, No. 1 Complete

    19:24

    Bachianas Brasileiras No. 1 Heitor Villa-Lobos - Bachianas Brasileiras, No. 1 Complete Scored for orchestra of cellos (1930):
    Heitor Villa Lobos Bachianas Brasileiras, No. 1, - orchestra of cellos.
    01 - Bachianas Brasileiras, No. 1 for 'an orchestra of cellos' (1930), I. Introduction - Embolada
    02 - Bachianas Brasileiras, No. 1 for 'an orchestra of cellos' (1930), II. Preludio - Modinha
    03 - Bachianas Brasileiras, No. 1 for 'an orchestra of cellos' (1930), III. Fuga - Conversa (Conversation)
    Heitor Villa-Lobos (Portuguese pronunciation: [ejˌtoʁ ˌvilɐ ˈlobus]; March 5, 1887 -- November 17, 1959) was a Brazilian composer, described as the single most significant creative figure in 20th-century Brazilian art music.[1] Villa-Lobos has become the best-known and most significant Latin American composer to date.[2] He wrote numerous orchestral, chamber, instrumental and vocal works. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces).
    Heitor Villa-Lobos (Portuguese pronunciation: [ejˌtoʁ ˌvilɐ ˈlobus]; March 5, 1887 -- November 17, 1959) was a Brazilian composer, described as the single most significant creative figure in 20th-century Brazilian art music. Villa-Lobos has become the best-known and most significant Latin American composer to date. He wrote numerous orchestral, chamber, instrumental and vocal works. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces).

  • Documentário Índio de Casaca - Heitor Villa-Lobos

    1:51:20

    FOR CULTURAL PURPOSES ONLY.
    Documentário da Rede Manchete com imagens coloridas do Villa-Lobos e depoimentos valiosos.

    Descrevo a seguir a minutagem deste importante documentário, considerando alguns trechos que me parecem dignos de nota:

    - MÚSICA DE ABERTURA Bachianas Brasileiras Nº 2, 2º Movimento Fantasia (Devaneio): '0:01'

    - Apresentação inicial a cargo do ator Paulo José: '0:53'

    - Voz de Villa (novembro de 1950): '3:02'

    - Depoimento do poeta Hermínio B. de Carvalho: '3:44' e '5:46'

    - Prof. Manoel Castro Filho (cunhado de Villa): '4:10'

    - Depoimento da pianista Ana Stella Schic: '4:50'

    - Depoimento da Ahygara Yacira Villa-Lobos (sobrinha): '5:26'

    - Depoimento da musicóloga Mercedes Pequeno (aluna de Villa na década de 1940): '6:34' e '10:53', '01:27:35'

    - Depoimento de Walter Burle Marx (maestro): '7:34', '01:37:30'

    - Depoimento de Mindinha Villa-Lobos (segunda esposa de Villa): '8:33'

    - Sobre o catálogo das 1056 obras e depoimento de Villa-Lobos sobre inspiração: '9:23'

    - Depoimento de Tom Jobim: '10:16', '01:42:50'

    - Ária da Cantilena da Bachiana nº 5: '11:30'

    - Sobre o nacionalismo de sua obra, incluindo o depoimento Marlos Nobre e comentários sobre Raul Villa-Lobos (pai de Heitor Villa-Lobos): '14:29'

    - Depoimento de César Guerra-Peixe: '24:20','27:51', '47:23', '01:28:50'

    - Depoimento de Turíbio Santos e performance do Choros Nº 1:'24:40'

    - Depoimento de Villa-Lobos sobre a obra de Debussy: '30:36'

    - Manifestações populares: '31:00'

    - Maria Augusta Machado (historiadora): '31:33', '50:05' (fala sobre o encontro com Arthur Rubinstein em 1917), '1:24:37'

    - Embaixador Vasco Mariz (biográfo de Villa e responsável por escrever a primeira biografia): '32:26' e '34:57'

    - Histórias controversas de Villa (volta ao norte depois de um excursão mal sucedida no sul do país): '33:14', '47:10'

    - Depoimento da madame Suzanne Godeau (em francês): '34:22', '01:42:20:'

    - Livro Guia Prático (Estudo Folclórico musical que serviu para música nas escolas durante a gestão Vargas): '36:00'

    - Ana Stella Schic interpreta Sambalelê: '36:39'

    - Discorre um pouco sobre a Lucília Guimarães (primeira esposa de Villa), incluindo um depoimento de Dinorah Guimarães (cunhada de Villa): '40:40' e '57:38'

    - Depoimento de Beatriz Roquete Pinto Boinga (amiga de Villa): '47:48'

    - Depoimento do compositor francês Darius Milhaud: '51:15'

    - Prole do Bebê nº 1: '53:33'

    - Novas tendências artísticas: '55:00'

    - Graça Aranha (diplomata e escritor) e Mário de Andrade: '55:52'

    - Quarteto Simbólico (1921) música vaiada pelos paulistas na Semana de Arte Moderna (A música vaiada me encheu de glória): '58:49'

    - Sobre Paris: chega pela primeira vez aos 36 anos (Não vim estudar, vim mostrar o que fiz): '1:00:40'

    - Depoimento do musicólogo Luís Heitor C. de Azevedo (conheceu Villa na década de 30 em Paris): '01:01:49' e '01:07:45' (1927, a obra de Villa vai engrenando), '01:10:28'

    - Trio de Sopros (1924): '1:02:42'

    - Depoimento do musicólogo francês Henry Barraud (conheceu Villa em 1927): '01:06:05', '01:09:19', '1:16:26', '01:41:55'

    - Ana Stella Schic interpreta o 1º movimento de Mômoprecoce (obra dedicada a Magdalena Tagliafero, 1929). Tocada na prestigiada Salle Gaveau pela Tagliaferro: '01:08:07'

    - Sobre a relação com Andrés Segovia: '1:12:37'

    - Estudo nº 7 por Turíbio Santos: '01:14:15'

    - Dança do Índio Branco (dedicado a Mindinha, 1937): '1:22:49'

    - Em março de 1932, Villa assuma o SEMA tornando obrigatório o ensino de música e o canto orfeônico, incluindo voz de Villa-Lobos e o depoimento do compositor popular Homero Dornelas: '01:25:00'

    - Organização de corais imensos (Em 1935, Villa reúne 30 mil vozes e 1000 músicos de banda, repetindo em 1937, o que chama a atenção do Getúlio Vargas) '01:27:40'

    - Em 7 de setembro de 1940, Villa reúne 40 mil vozes em São Januário, incluindo o depoimento de Manoel Castro Filho (cunhado de Villa): '01:32:5'

    - Voz de Villa sobre o regime de Getúlio Vargas e críticas que recaíram sobre seu trabalho: '1:35:10'

    - Nova Iorque (década de 1940). Câncer diagnosticado em 1948 e operado em NY: '1:36:41'

    - Obra religiosa: Bendita Sabedoria (1958): '01:38:30'

    - Trabalhar de graça é desgraça - Voz de Villa em NY (1956): '01:39:44'

    - Voz de Villa (sobre a cultura e erudição: meu livro era o Brasil): '01:45:29'

    - Choros nº 6 (1926): '01:46:14'

    CONTATOS:





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  • Heitor Villa-Lobos - Bachianas Brasileiras No.3

    30:55

    Heitor Villa-Lobos - Bachianas Brasileiras No.3 Complete The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one Bachian (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
    Bachianas Brasileiras No. 3

    Scored for piano and orchestra (1938)
    Preludio (Ponteio)
    Fantasia (Devaneio) (Digression)
    Aria (Modinha)
    Toccata (Picapào)

  • Xingye Li plays Etude No. 2 by Heitor Villa Lobos on a 2014 Roy Fankhänel

    1:47

    Xingye Li plays Etude No. 2 by Heitor Villa Lobos on a 2014 Roy Fankhänel. Follow us on Facebook, Twitter, Instagram and on our website:




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  • Heitor Villa-Lobos: Choros n.6

    25:08

    Heitor Villa-Lobos (1887-1959): Choros n.6, per orchestra (1926) -- São Paulo Symphony Orchestra diretta da John Neschling --

    cover image by Candido Portinari

    ----

    The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.

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  • Heitor Villa-Lobos - String Quartet No. 7 Concertante Quartet

    35:04

    Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, described as the single most significant creative figure in 20th-century Brazilian art music. Villa-Lobos has become the best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2000 works by his death in 1959. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces). His Etudes for guitar (1929) were dedicated to Andrés Segovia, while his 5 Preludes (1940) were dedicated to Arminda Neves d’Almeida, a.k.a. Mindinha. Both are important works in the guitar repertory.

    String Quartet No. 7, W435 (1942)
    Dedicated: Quarteto Borgerth

    1. Allegro
    2. Andante (10:28)
    3. Scherzo - Allegro vivace (19:11)
    4. Allegro giusto (25:14)

    Cuarteto Latinamericano (Mexico)

    Villa-Lobos composed his Seventh Quartet in Rio de Janeiro in 1942. The Quarteto Borgerth, to whom the score is dedicated, gave the first performance on 30 May 1945, at the Theatro Municipal in Rio de Janeiro.
    Because of the exceptional virtuosity called for in all four movements, the composer suggested the Seventh Quartet might be called the Concertante Quartet (Villa-Lobos 1972, 230).

    The first movement is a conscious updating of sonata form in accordance with a broad conception of post-tonal organization. It may be described, therefore, as a neoclassical work (Salles 2012, 32).

  • Heitor Villa-Lobos - Sexteto mistico = Sextuor mystique

    7:23

    Sextuor mystique (Sommer)
    Artist:
    Bent Larsen (Flute), Sverre Larsen (Celesta), Björne Carl Nielsen (Oboe), Christian Hougaard (Saxophone), Jan Sommer (Guitar), Tine Rehling (Harp)
    Year Composed: 1917

    Instrumentation: Guitar, flute, oboe, saxophone, celeste, harp
    Sexteto mistico = Sextuor mystique
    Appleby Catalogue W number: W131

    The history of this piece is complicated. Villa-Lobos re-wrote the lost score of this work from memory in 1955. At that time he remembered that it was originally written in 1917. The work still sounds typical of the modernist period to me, though perhaps with a more mature sense of control. Lisa M. Peppercorn explains all of this in her article Villa-Lobos Ben Trovato, Tempo, New Series, No. 177 (Jun., 1991), pp. 32-39. Peppercorn believes that the original work may have come from the early 1920s.

  • Heitor Villa-Lobos - String Quartet No. 1

    19:33

    Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, described as the single most significant creative figure in 20th-century Brazilian art music. Villa-Lobos has become the best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2000 works by his death in 1959. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces). His Etudes for guitar (1929) were dedicated to Andrés Segovia, while his 5 Preludes (1940) were dedicated to Arminda Neves d’Almeida, a.k.a. Mindinha. Both are important works in the guitar repertory.

    String Quartet No. 1, revised from the Suíte graciosa (1946)

    1. Cantilena (Andante)
    2. Brincadeira (Allegretto scherzando)
    3. Canto lírico (Moderato)
    4. Cançoneta (Andantino quasi allegretto)
    5. Melancolia (Lento)
    6. Saltando como um Saci (Allegro)

    Cuarteto Latinoamericano (Mexico)

    Villa-Lobos composed his First Quartet in Nova Friburgo, Brazil in 1915, originally under the title Suíte de Quartetos de Corda: Suíte Graciosa and in just three movements: Cantilena (Andante), Cançonetinha Grega (Allegretto), and Brinquedo. This version, the manuscript of which is dated 5 March 1915, was given its first performance privately at the home of the Brazilian composer, pianist, and teacher Homero de Sá Barreto (1884–1924), on 3 December 1915. The score of this version, which was never given a public performance, is dedicated to the Quarteto de Friburgo, for whom it was written. In 1946, believing the original manuscript to have been lost, Villa-Lobos rewrote the score, adding three movements and retitling the work String Quartet No. 1. This version was performed in Rio de Janeiro for the first time by the Iacovino Quartet on 7 August 1946 (Peppercorn 1991, 32–33).

  • Heitor Villa-Lobos: Choros n.12

    35:19

    Heitor Villa-Lobos (1887-1959): Choros n.12, per grande orchestra (1929) --- Orchestre Philharmonique de Liège diretta da Pierre Bartholomée

    --- cover image by Henri Rousseau ----

    The music published in this channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study learned music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.

    Your collaboration will be appreciated.

  • Heitor Villa-Lobos - Bachianas Brasileiras No.4

    20:37

    Heitor Villa-Lobos - Bachianas Brasileiras No.4 Complete The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one Bachian (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
    Scored for piano (1930-41); orchestrated in 1942 (Preludio dedicated to Tomas Terán)
    Preludio (Introdução)
    Coral (Canto do sertão)
    Aria (Cantiga)
    Danza (Mindinho) [Miudinho on p. 45 of the orchestra score, and in Villa-Lobos 1974, 190.]

  • David Russell Heitor Villa-Lobos Choro No.1

    4:21

    Courtesy of the Official DavidRussellGuitar.com website. TVE Canal clasico - Spain 2003

  • Prelude No. 3 - Alexandra Whittingham

    4:07

    Young British Guitarist Alexandra Whittingham plays Heitor Villa-Lobos' Prelude No. 3. Filmed in the Medeival town of Puy-l'Eveque, South-West France.

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  • Heitor Villa Lobos - Prelude No.4 played by Svetoslav Costoff on a 2015 Stefan Zander Doubletop

    4:44

    Heitor Villa Lobos - Prelude No. 4 played by Svetoslav Costoff on a 2015 Stefan Zander Doubletop classical guitar.

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    We also recorded pieces for many great composers such as Johann Sebastian Bach, Astor Piazzolla and Isaac Albeniz (Asturias). You will also find almost all the classical music composers that wrote for the classical guitar. Make sure to discover Agustin Barrios Mangoré, Manuel Maria Ponce, Heitor Villa-Lobos and many more if you don't know their compositions already

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    The condition of this 2015 instrument is excellent with only very few playing marks. The traditional bracing combined with the double top results in a clear, generous and colourful sound. It is a very easy instrument to play and has an impressive volume. A wide audience, professional guitarists as well as ambitious amateur players seeking for a guitar of the highest level will certainly be satisfied with this beautiful instrument.

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    Heitor Villa Lobos - Prelude No. 4 played by Svetoslav Costoff on a 2015 Stefan Zander Doubletop guitarar

  • Heitor Villa-Lobos - Concerto for Guitar and Orchestra

    18:29

    Julian Bream plays Heitor Villa-Lobos Concerto for Guitar and Orchestra

  • Heitor Villa Lobos Choro No. 1 by Fabio Lima

    4:44

    Salve pessoal! Como vocês estão??? O primeiro vídeo do novo repertório que tenho estudado incessantemente. Essa que é uma das obras mais emblemáticas do violão, o Choro nº1 do nosso imenso Heitor Villa-Lobos!!! Uma música da época em que somente eram produzidas verdadeiras pérolas e que, por ser tão bela, se destaca até dentre obras de grande envergadura.
    Essa peça sempre foi um dos temas mais pedidos aqui no canal, então aumentem o volume e SOM NA CAIXA \m/
    Daqui a pouco sai mais um arranjinho express também. Hoje a produção será em massa :)
    Abraços e beijos a todos \O

    Pessoal criei um grupo para interagir mais com vocês =)



    Aulas e Videoaulas através do email: fabiolimaclasses@gmail.com

  • Etude No. 5 - Heitor Villa Lobos played by Sanel Redžić

    2:47

    Etude No. 5 from Douze Etudes - Heitor Villa Lobos
    guitar by Andreas Kirmse 2016
    Produced by Sanel Redzic
    Recorded in Schottenkirche Erfurt in June 2017

  • Heitor Villa-Lobos - Bachianas Brasileiras No. 6 Complete

    9:04

    Heitor Villa-Lobos - Bachianas Brasileiras No. 6 Complete The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one Bachian (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
    Bachianas Brasileiras No. 6
    Scored for flute and bassoon (1938)
    Aria (Choros)
    Fantasia

  • Heitor Villa-Lobos - String Quartet No.6 Brazilian

    24:46

    Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, described as the single most significant creative figure in 20th-century Brazilian art music. Villa-Lobos has become the best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2000 works by his death in 1959. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces). His Etudes for guitar (1929) were dedicated to Andrés Segovia, while his 5 Preludes (1940) were dedicated to Arminda Neves d’Almeida, a.k.a. Mindinha. Both are important works in the guitar repertory.

    String Quartet No. 6 Brazilian (1938)
    Dedicated to Orlando Frederico

    1. Poco animato
    2. Allegretto (6:59)
    3. Andante, quasi adagio (11:38)
    4. Allegro vivace (18:18)

    Cuarteto Latinamericano (Mexico)

    Villa-Lobos composed his Sixth Quartet during 1938 in Rio de Janeiro, and it was first performed in the same city by the Quarteto Haydn on 30 November 1943, on the same programme as the premiere of the Seventh Quartet. The published score bears no dedication, but the manuscript is dedicated to the violist Orlando Frederico (Villa-Lobos, sua obra 1972, 85), who many years earlier had participated in the premieres of both the Second and Third Quartets. Together with the Fifth Quartet, this work is marked by a deliberate move toward a more popular style, incorporating elements of Brazilian popular music, and the Sixth is regarded as the most nationalistic of all Villa-Lobos's string quartets (Béhague 2003, 294). Villa-Lobos originally planned to designate this work as the second popular quartet (the Fifth Quartet is subtitled Quarteto popular no. 1), but in the end abandoned the idea of such a series (Béhague 1994, 123). At the same time, it is with this quartet that the references to the quartets of Haydn, which continue throughout the composer's later quartets, become clear for the first time (Salles 2012, 94)

  • Miloš Karadaglić plays Heitor Villa Lobos Etude No.11

    4:09

    Miloš Karadaglić on NHK 2012

  • Lesson: Prelude No.1 by Heitor Villa-Lobos for Classical Guitar

    29:47

    Lesson: Prelude No.1 by Heitor Villa-Lobos (1887-1959) for Classical Guitar
    ► Full Post and Sheet Music Link:

    It's a 30min video lesson so here's the outline. The main thing I discuss is the form of the piece but my video lesson is laid out in this format: 1) I give a brief overview of the piece in terms of a large two sections (A section and B section).
    2) I break down the A and B section into smaller chunks. For the A section: the three statements of the melody and linking parts. The B section is a bit more straight forward. 3) I then give a walkthrough of every bar of the piece to discuss fingering, technique, and musical considerations.

    Sheet Music Edition - I also encourage you to look up the facsimile in his hand which is floating around online. That said, the Eshig is how the piece is played in general so always good to have a copy of that. After close inspection the Zigante edition fingering is just not doing it for me. There is very little fingering in the Eshig, which is great actually but students might find the video helpful in this regard.

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  • Heitor Villa-Lobos - Caixinha de música quebrada

    3:22

    Villa-Lobos, who had been called by Brazilian President Getulio Vargas to conceive a musical plan for schools in Brazil, left behind a concert tour in Europe and went into an experimental tour designed by him to diffuse music throughout Brazil in an attempt of unifying the country through music. It was during one of these trips, travelling by train between small cities and villages of South east Brazil that Villa-Lobos wrote the miniature for piano entitled Caixinha de Mosica Quebrada. In English: Broken Musical Box, a very hybrid piece into his vast work, with its chromatic and dissonant harmonic elements that describe the imperfect mechanism of an imaginary old musical box and its nostalgic moods. Villa-Lobos dedicated the work to his friend, the pianist and composer Joao Souza Lima, who was part of the group that followed him throughout these rather adventurous journeys. Amazingly, he managed to compose the entire piece on a train bound for Sorocabana between two stations.

    (villalobos.iu.edu, Naxos Music Library)

    Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.

    Original audio:
    (Performance by: Sonia Rubinsky)
    Original sheet music:

  • Heitor Villa-Lobos - Five Preludes for guitar

    17:20

    Jan Sommer, guitar - Villa-Lobos, Heitor. Cinq préludes: pour guitare.


    Lyric melody. Homage to the Brazilian sertanejo.
    Capadocia & capoeira melody. Homage to the carioca hustler.
    Homage to Bach.
    Homage to the Brazilian Indian.
    Homage to social life. To the young teenagers who frequent Rio's concerts and theatres.

    Heitor Villa-Lobos (March 5, 1887 in Rio de Janeiro, Brazil - November 17, 1959) was a Brazilian composer who lived from 1887 to 1959 and is considered one of Brazil's most famous composers of his life.

    Villa-Lobos was born and grew up in Rio de Janeiro, where his father taught him to play the cello until his father's death in 1899. In his childhood home, he was among others familiar with the clarinet, Bach's Well-Tempered Clavier and general music theory. He was also very inspired by Rio's street musicians who often played some so-called choro for Carnival and other festive times. As a young man was Villa-Lobos himself a part of this chôromiljø and traveled in 1905 to northern Brazil where he lived as itinerant musician and occasional farm laborer. In 1907 he went to Rio, where he briefly studied at the National Music Institute. Here he fell quickly from when he showed far more interest in folk music. He went further around in northern Brazil and visited, according to him, including the Amazon country, where he had many musical influences, which he later used. In 1923 he traveled to Europe and lived much of his time in Paris. Several times he traveled back and forth between Rio de Janeiro and Paris, but first in 1930, he moved back to Brazil where he worked for the Brazilian government. He was also married to Lucilia Guimarães, which he later abandoned in favor of Arminda Neves de Almeida.


    As mentioned, the Villa-Lobos greatly inspired by these groups of buskers, choro, as he himself was a part of. A chôrogruppe indicates a group of instruments, usually consisting of flute, clarinet, ophicleide (a kind of brass), trombone, guitar and cavaquinho (a ukulele-like instrument) with one of these instruments as a soloist and a few percussion instruments. These choro formed only from the Villa-Lobos' compositions, he also sometimes fetched a row from the Indian and negro music and nature sounds. The first choro he wrote, was choro-No.1 for solo guitar. In this he has collected many original features, the piece is short and filled with anakrusis (the unstressed nodes which begins with the next stroke the first stroke) and 16-del/8-del/16-dels-figurationer, which is very typical features the Brazilian dance rhythms.

    In 1905 he began to travel around Brazil's less accessible areas, all the time with Rio de Janeiro as a base from which he drew many different musical impression of him. Brazil had many cultural differences and were a mixture of Portuguese, African and Native American traditions. All these differences overwhelmed him, and it was among other inspirations from these trips that got his thoughts far away from any konservatorieuddannelse. How much he has been completely out of the jungle is not known since most of his stories were tall tales, mostly told for their entertainment value, for example on whether he should have met his first wife to see her shortly before she should have been eaten by some cannibals, after which he rescued her by playing beautiful cello music of the cannibals, only to receive her as a gift. Some of his inspirations may also have come from his father, who liked to tell his children Indian legends and traditional Brazilian stories. It is known that Villa-Lobos, in 1920, during his stay in Paris, had found a lot of material about the Brazilian Indians, among others transcribed melodies of books from various European explorers in Biblioteques Nationale. Most of this material was not to get on in Brazil. Also present were a man named E. Roquette Pinto in a Brazilian expedition in the jungle in 1907-15, where he was very interested in Indian music and recorded several songs on cylinders (contemporary LPs). According to his family to Villa-Lobos have borrowed some of these. These loans and the things he has been able to find on Biblioteques National, could conceivably have been some of the biggest inspirations, as he has had from the less accessible areas in Brazil

  • Zóltan Kocsis – Heitor Villa-Lobos: Uirapuru

    21:24

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    Zóltan Kocsis, conductor
    Hungarian National Philharmonic

    Heitor Villa-Lobos
    Uirapuru (1917)
    Béla Bartok National Concert Hall

  • Tal Hurwitz plays Étude No. 1 Heitor Villa-Lobos on a 1981 Dominique Field

    1:32

    Tal Hurwitz plays Étude No. 1 Heitor Villa-Lobos on a 1981 Dominique Field . Follow us on Facebook, Twitter, Instagram and on our website:




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    #classical guitar #guitare classique #クラシックギター

  • Villa-Lobos - Bachianas Brasileiras Nº 2 - IV. Tocata . Minczuk

    5:26

    Heitor Villa-Lobos - Bachianas Brasileiras Nº 2 - IV. Tocata (O trenzinho do caipira)

    Roberto Minczuk, Maestro . Orquestra Sinfônica Brasileira

    Cidade das Artes - Rio de Janeiro
    Março 2015

    Acompanhe a OSB pelas Redes Sociais:

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    EQUIPE DE FILMAGEM

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    PRODUÇÃO
    CHAMON AUDIOVISUAL

  • Etude No. 1 by Heitor Villa-Lobos | Guitar Etudes with Gohar Vardanyan

    18:40

    #classicalguitarlesson #guitaretudes
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    Etude no. 1 by Heitor Villa-Lobos

    🎸Guitar: 2012 Jean Rompré

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    Strings: RC Strings Recital


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  • Heitor Villa-Lobos - Melodia Sentimental

    3:23


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  • Heitor Villa-Lobos - Bachianas Brasileiras No. 8 Complete

    24:47

    Heitor Villa-Lobos Bachianas Brasileiras No. 8 Eight Complete HD By Heitor Villa-Lobos
    The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one Bachian (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
    Bachianas Brasileiras No. 8
    Scored for symphony orchestra (1944) (dedicated to Mindinha)
    Preludio
    Aria (Modinha)
    Tocata (Catira batida)
    Fuga (Also arranged for four-part a cappella choir.)

  • Choro N° 1 - Turibio Santos

    3:17

    Choro N° 1, composto em 1920 pelo brasileiro Heitor Villa-Lobos, para violão solo, aqui executado pelo exímio violonista brasileiro Turibio Soares Santos.

    - Arquivo Raíssa Amaral & Sergio Napoleão Belluco - Piracicaba / SP - Brasil -

  • Heitor Villa-Lobos : Aria cantilena

    6:31

    L'aria cantilena, extrait de la Bachiana Brasileira n°5 de Villa-Lobos, chanté par Piia Komsi.

    A retrouver sur

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  • Villa-Lobos: Bachianas Brasileiras 4 - Orquesta Simón Bolívar & Roberto Tibiriçá

    24:36

    Orquesta Simón Bolívar
    Conductor: Roberto Tibiriçá
    Recorded live during the V Festival Villa-Lobos in 15/04/2012
    Sala Simón Bolívar - Caracas, Venezuela
    Centro de Acción Social por La Música
    Sede Nacional de las Orquestas y Coros Juveniles e Infantiles de Venezuela
    - Prelúdio (Introdução)
    - Coral (Canto do sertão)
    - Ária (Cantiga)
    - Dança (Miudinho)

  • Nora Buschmann plays Prelude No. 5 by Heitor Villa Lobos on 1999 Paco Santiago Marin

    3:56

    Nora Buschmann plays Prelude No. 5 by Heitor Villa Lobos on 1999 Paco Santiago Marin. Follow us on Facebook, Twitter, Instagram and on our website:




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    #classical guitar #guitare classique #クラシックギター

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