![]() ![]() The lyrics by Brazilian anthropologist and philosopher Ruth V. Another stark contrast to the A section is that the B section also has lyrics, which are sung in a quick and speech-like manner on repeated notes. After a short interlude in which a solo cello takes over the melody, the B section is a huge contrast it is more in the style of recitative than an aria, which is likely what Villa-Lobos intended. The voice literally and musically soars above the cellos in a tragically gorgeous lyrical line. In the A sections of the aria, Villa-Lobos uses the voice as an instrument rather than a means of expressing text, a technique that is highly effective and reminiscent of folk music. The aria is written in the style of a da capo aria, another clear attribute of the Baroque era. The first of the two movements is an Aria, or Cantilena. ![]() Like the first set, both movements contain clear Brazilian rhythmic and harmonic qualities. The fifth set of the Bachianas Brasileiras is composed for a solo soprano and eight cellos (1938/1945). Although beautiful and lyrical, I personally think the piece drags and would be lovelier and more appealing without some of the repeats. The rhythm, tonality, and overall form of the Modinha is much more simple and even bland compared to the Embolada. The melody can barely be called a melody, however, as it is just a step-wise sequence. The Modinha is slow and thoughtful and a solo cello states the sorrowful (and almost sappy) melody while the other cellos provide a chordal accompaniment, a nod to Bach and the basso continuo of the Baroque. The second movement of the suite is a Prelude, or Modinha, a sentimental love song which was popular in Brazilian salons. The restatement of A is short but welcome, and the allargando almost seems to declare the winner of the battle. But the B section by nature in the embolada cannot last too long, and Villa-Lobos quickly moves back to the A section, restating the beginning of the piece louder and with more fervor. The B section is also more tonally centered, the hemiola less jarring, and the rhythm simpler. The B section is slower and has a more friendly feeling, like the two groups are pausing and exchanging pleasantries instead of insults. I felt a sense of jarring when the triplets entered against the syncopated sixteenth notes, and the hemiola rarely ceases. ![]() ![]() The A section begins intensely and features relentless rhythm. Disappointingly, there is no offensive language in the cello suite, but knowing the title it is easy to imagine groupings of the cellos fighting each other through hemiola, dissonance, sequence, counterpoint, and even contrasting bowing techniques. Villa-Lobos most likely picked up this style in northeast Brazil, where the embolada is very popular and famous for its gratuitous swearing. An embolada is a spar between two (or two groups of) singers (or voices in music) who basically insult each other through song back and forth until one pair is declared the winner. There are three movements in the suite, the first being the Introduction, or Embolada. Although it is not what we would consider a traditional Baroque suite, there are distinct hints of it in the music. The first set of the Bachianas Brasileiras is a suite for eight cellos (1932). ![]()
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