01. Overture
02. A Floresta (The Forest)
03. Danca dos Indios (Dance of the Indians)
04. Em Plena Floresta (In the Depths of the Forest)
05. Passaro da Floresta - Canto I (Bird of the Forest - First Song)
06. Danca da Natureza (Nature's Dance)
07. Passaro da Floresta - Canto II (Bird of the Forest - Second Song)
08. Canto na Floresta I (Song in the Forest I)
09. Conspiracao e Danca Guerreira (Conspiracy and War Dance)
10. Veleiros (Sailing Ships)
11. Em Caminhos para a Cacada (On the way to the Hunt)
12. Passaro da Floresta - Canto III (Bird of the Forest - Third Song)
13. Cair da Tarde (Twilight)
14. Os Indios em Busca da Moca (The Indians in Search of the Girl)
15. Passaro da Floresta - Canto IV (Bird of the Forest - Fourth Song)
16. Danca Guerreira - repeticao (War Dance - repeat)
17. Interludio e Acalanto (Interlude and Lullaby)
18. Canto na Floresta II (Song in the Forest II)
19. Cacadores de Cabeca (Head Hunters)
20. Cancao do Amor (Love Song)
21. Melodia Sentimental (Sentimental Melody)
22. O Fogo na Floresta (Forest Fire)
23. Epilogue

Anna Korondi - soprano
São Paulo Symphony Orchestra
Male Voices of the Choir of the São Paulo
John Neschling – conductor

Villa-Lobos' late masterpiece, Forest of the Amazon, began life as a Hollywood film score, the majority of which was never used. So he developed the music into a huge, 80-minute-long, multi-movement suite that serves both as a tribute to his homeland and a fitting culmination of his personal musical voice. The work has everything: luscious orchestration, great tunes, a "primitive" male choir chanting in a primordial language, some lovely songs for soprano, and passages of wordless vocalise for the same singer evocative of exotic birdsong. Does it sound "Hollywood-esque"? Yes, but only to the extent that Villa-Lobos often works in a similar idiom anyway. More significantly, the piece is chock-full of contrast--but there are also recurring elements (the War Dance, for example) that help to bind it together and give it shape. It's not just 80 minutes of "atmosphere".

The only competition for this recording, for which a new edition of the score was specially prepared, comes from Alfred Heller's very good Moscow recording, which contains a touch less music. Certainly in terms of sheer sonic opulence, the performers' ability to project the style with total confidence and commitment, and the excellence of the singing (soprano Anna Korondi is superb), this vividly engineered SACD sets a new standard. If you've been collecting this Brazilian music series (and you certainly should be), then this new release will be self-recommending. It's simply magnificent. --David Hurwitz, ClassicsToday.com

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1. Genesis     18:31
2. Erosao (Origem do Rio Amazonas)      19:44
3. Amazonas      13:02
4. Dawn in a Tropical Forest       10:02

Czecho-Slovak Radio Symphony Orchestra (Bratislava)
Roberto Duarte (conductor)

Concerning his orchestral music, this is one of my very favorite Villa-Lobos cd's. If you are finished with the overrated Bachianas and discovered the supremity of the Choros, then the next step is to the ballets, symphonic poems, and symphonies. Villa-Lobos wrote a lot in each of these catogories. Genesis and Erosao are two late masterpieces, written in the fiftees. Both Genesis and especially the suprising uncommon austerity of Erosao give the listener a sense of remote, vast and humanless regions, more than any other orchestral piece by Villa-Lobos. Erosao shows influences of Bruckner in its contrast between broad brass chorales and soft playing solo instruments. The latter are at some moments accompanied by beautiful strange waving sounds in the lowest strings, a typical Villa-Lobos orchestration invention. Genesis contains more of those highly original orchestrations. Villa-Lobos really enjoys playing with sound and strange but effective combinations of instruments. In Genesis there is one nostalgic melody which permeates the piece halfway, first played by the clarinet, then by full orchestra with a suprising original contrapuntal writing, and finally in a faster tempo with Brazilian rhythms and percussion. All the four pieces on this cd contain birdsounds, but in Genesis they are the most exuberant, including a luxurious glissando of lots of instruments. You didn't hear such a thing before! At the end the music of this wonderful piece becomes more and more quiet and lonely, except for the the last few bars, when there is one large crescendo of a chord to end the piece. Amazonas (1917) belongs with Choros no. 8 and parts of Choros no. 11 to the composers most complex orchestral pieces. It is premiered only in 1929 in Paris, together with the premiere of Edgar Varese's Ameriques. Contrary to the vast spaces of Genesis and Erosao the music of Amazonas throws you in a fascinating almost claustrophobic dense web of music full of junglesounds that surrounds you in a sultry atmosphere. The waving and cradling motives of string-harmonics like sounds of insects together with clarinet birdcries somewhere in the middle of the piece give a wonderful hallucinating effect. The piece ends in an almost Ivesian soundweb of simultaneous music. After the fascinating but oppressive and sultry atmosphere of Amazonas the cd ends relieving with Dawn in a Tropical Forest which starts with a long gradually evolving introduction, consoling and beautiful rising upwards. The fast section which follows is with its fugal Bachianas influences less interesting and a little dissapointing, but the supreme beauty of the introduction makes this short piece very much worth to listen. --- A. Berenschot, amazon.com

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String Quartet No. 2
1.   		Allegro non troppo 00:06:41
2.   		Scherzo: Allegro 00:03:47
3.   		Andante 00:03:51
4.   		Allegro deciso - Presto - Prestissimo final 00:07:54
String Quartet No. 7
5.   		Allegro 00:11:36
6.   		Andante 00:08:10
7.   		Scherzo: Allegro vivace 00:07:33
8.   		Allegro giusto 00:10:48

Danubius Quartet:
Judit Tóth – 1st violin
Adél Miklós – 2nd violin
Cecilia Bodolai - viola
Ilona Wibl – cello

"I love to write quartets. One could say that it is a mania." Villa-Lobos made his confession, quoted by Pierre Vidal, in Paris in the spring of 1958. He had completed his seventeenth and final quartet the year before and had begun to sketch an eighteenth. It is usual to think of Villa-Lobos's prodigious output in orchestral terms, and it may come as a surprise that chamber music forms a substantial part of his work. Of that chamber music string quartets are by far the major constituent, and within the broader context of the twentieth-century string quartet, dominated by Bartók and Shostakovich, Villa-Lobos's seventeen quartets must be considered a significant, though poorly acknowledged, contribution.

Composed in 1915 and first performed two years later, String Quartet No. 2 could scarcely be more different from the first quartet, and the fact that both were written in the same year makes the contrast all the more startling. In his study of Villa-Lobos's quartets Arnaldo Estrella proposes that the leap from the first to the second quartet cannot be thought of as an evolutionary one but as a complete rupture or perhaps a rebeginning. During the First World War the poet Paul Claudel came to Brazil as the French ambassador, and he brought Darius Milhaud with him as a cultural aide. Milhaud brought the latest musical advances from Europe, including bitonality and atonality, and Villa-Lobos embraced those new techniques enthusiastically, finding that they resonated with his own aspirations for freedom and innovation.

Composed in 1942 and dedicated to the Borgerth Quartet, who first performed tin 1945, the seventh is the largest and most difficult of Villa-Lobos's quartets, lasting 38 minutes. The customary use of imitation and its attendant polyphony are in large part absent, replaced by long passages of transcendental virtuosity for all four instruments. There are no key signatures, but various tonalities, especially C major, affirm themselves, creating the feeling that Villa-Lobos is only flirting with the atonality that was to emerge fully in the eighth quartet. --- David Nelson, naxos.com

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Symphony No. 3, "A guerra" (War)
1.   I. Life and Labour: Allegro quasi giusto 00:06:26
2.   II. Intrigues and Rumours: Movimento vivo 00:04:40
3.   III. Suffering: Lento e marcial 00:14:05
4.   IV. The Battle: Allegro impetuoso 00:06:35

Symphony No. 4, "A vitoria" (Victory)
5.   I. Allegro impetuoso 00:06:36
6.   II. Andantino 00:06:11
7.   III. Andante 00:07:24
8.   IV. Lento - Allegro 00:11:12

São Paulo Symphony Orchestra
Isaac Karabtchevsky - conductor

Villa-Lobos’ War and Victory Symphonies were commissioned by the Brazilian government following the end of the country’s involvement in World War I. Using very large orchestral forces, and conveying the composer’s feelings about the conflict with no sense of triumphalism, the two Symphonies display a confident use of unusual and evocative effects, such as the collage of fragments of the Brazilian national anthem and La Marseillaise in the ‘Battle’ movement of the Third Symphony. Villa-Lobos’s Symphonies Nos 6 and 7 can be found on Naxos 8.573043 in “superb…full-blooded” performances. --- naxos.com

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01. Preludio #1, Em Mi Menor (1940)
02. Preludio #2, Em Mi Maior (1940)
03. Preludio #3, Em La Menor (1940)
04. Preludio #4, Em Mi Menor (1940)
05. Preludio #5, Em Re Maior (1940)         play
06. Choros #1 (1920)
07. Estudo #1, Em Mi Menor (1929)
08. Estudo #2, Em La Maior (1929)
09. Estudo #3, Em Re Maior (1929)
10. Estudo #4, Em Sol Maior (1929)
11. Estudo #5, Em Do Maior (1929)
12. Estudo #6, Em Mi Menor (1929)
13. Estudo #7, Em Mi Maior (1929)
14. Estudo #8, Em Do # Menor (1929)
15. Estudo #9, Em Fa # Menor
16. Estudo #10, Em Si Menor (1929)
17. Estudo #11, Em Mi Menor (1929)
18. Estudo #12, Em La Menor (1929)
19. Mazurka-choro (1908)                    play
20. Schottisch-choro (1908)
21. Valsa-choro (1912)
22. Gavota-choro (1912)
23. Chorinho (1923)

Turibio Santos – guitar

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 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").

Turibio Soares Santos (born March 7, 1943) is considered one of the best Brazilian guitar players alive. He established himself with a wide repertoire of pieces by Villa-lobos, Ernesto Nazareth, Francisco Mignone, and by accompanying musicians like Clara Sverner, Paulo Moura e Olivia Biyngton on many CDs. Turibio Santos is Director of the Museu Villa-Lobos in Rio de Janeiro.

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Disc 1
1. Bachianas Brasileiras No. 1: Embolada
2. Bachianas Brasileiras No. 1: Modinha
3. Bachianas Brasileiras No. 1: Conversa
4. Bachianas Brasileiras No. 2: O Canto Do Capadocio
5. Bachianas Brasileiras No. 2: O Canto Da Nossa Terra
6. Bachianas Brasileiras No. 2: Lambranca Do Sertao
7. Bachianas Brasileiras No. 2: O Trenzinho Do Caipira
8. Bachianas Brasileiras No. 3: Ponteio
9. Bachianas Brasileiras No. 3: Devaneio
10. Bachianas Brasileiras No. 3: Modinha
11. Bachianas Brasileiras No. 3: Picapau

Disc 2
1. Bachianas Brasileiras No. 4: Introducao
2. Bachianas Brasileiras No. 4: Canto Do Sertao
3. Bachianas Brasileiras No. 4: Cantiga
4. Bachianas Brasileiras No. 4: Miudinho
5. Bachianas Brasileiras No. 5: Cantilena
6. Bachianas Brasileiras No. 5: Martelo
7. Bachianas Brasileiras No. 6: Aria
8. Bachianas Brasileiras No. 6: Fantasia

Disc: 3
1. Bachianas Brasileiras No. 7: Ponteio
2. Bachianas Brasileiras No. 7: Quadrilha Caipira
3. Bachianas Brasileiras No. 7: Desafio
4. Bachianas Brasileiras No. 7: Conversa
5. Bachianas Brasileiras No. 8: Preludio
6. Bachianas Brasileiras No. 8: Modinha
7. Bachianas Brasileiras No. 8: Catira Batida
8. Bachianas Brasileiras No. 8: Fuga
9. Bachianas Brasileiras No. 9: Preludio E Fuga

Nelson Freire, piano (No. 1)
Leila Guimaraes, soprano (No. 5)
Cellos of the Brazil S.O. (Nos. 1 & 5)
Norton Morozowicz, flute (No. 6)
Noël L. Devos, bassoon (No. 6)

Brazil Symphony Orchestra
Isaac Karabtchewsky – director

Villa-Lobos' great cycle of nine Bachianas Brasileiras have been recorded often enough to make a wide selection of performances possible. This latest entry has two plusses: Isaac Karabtchewsky, the conductor who has long been associated with Villa-Lobos, and, of course, the pianist Nelson Friere of similar sympathy. One would expect exemplary performances here. Notwithstanding the evident pedigree of the performers (by reputation, at least), regrettably, the performances are all too pedestrian, and not at all clean. There are far too many issues with intonation, balance and overall ensemble to make this outing worth the money. Furthermore, the recording values are among the worst I have ever heard. The clipping and distortion are beyond belief - further, every single track is given the "home standard" 2 second pause. Thus there is absolutely no distinction between one movement and the next, or one composition and the next. It is rank amateur production on every level. My recommendation: look elsewhere. The music is poorly served here - both in performance as well as presentation. A major disappointment. --- Avrohom Leichtling, amazon.com

In 1930, the forty-three-year-old Heitor Villa-Lobos returned to his native Brazil after several years in Paris. Immediately he began two important projects. The first was the development of a long range plan for music education in Brazil’s schools. Villa-Lobos’ interest in music for the young was intense; as the government’s Superintendent of Music Education, he eventually revolutionized the musical training of Brazil’s youth. He published an important manual on Brazilian folk music still used in the schools, and organized mammoth concerts with choruses as large as 30,000 and orchestras of 1,000 performers.

The second most important project of those years was Bachianas Brasileiras, nine unmistakable Brazilian distillations of thee musical heritage bequeathed to the world by Johann Sebastian Bach. That Bach and Brazil could be joined so felicitously is perhaps surprising, but Villa-Lobos effects the union with vivid conviction. Each section of the Bachianas has both a “Bachian” and a “Brazilian” title. The fourth in the series was originally begun in 1930 as a piano solo, but after its completion in 1936, Villa Lobos set it for full orchestra. In this version, the work had its premiere in 1942 in Rio de Janeiro, the composer conducting the Orquestra de Teatro Municipal.

The Bachian titles - Prelude, Chorale, Aria, and Dance - are magically transformed into the Brazilian idiom with humor and assurance. The music evokes the country that Villa-Lobos explored so widely as a youth, wandering from corner to corner of Brazil and absorbing its rich rural folk traditions.

The chorale movement is subtitled “Canto de Sertao” (“Song of the Bush”) and is at once reverent and nostalgic in its peaceful calm. An insistently repeated high note suggests the clear, powerful bell-like call of the araponga, a bird of the Brazilian forests, and this alternates with a troubadourlike melody. The aria, renamed “Cantiga,” resembles the popular march-like songs of northeastern Brazil. Finally, the Dance brings the work to a whirling delightful conclusion. It is a “Miudinho,” a rapid dance executed with incredibly light, almost imperceptible steps. --- naxos.com

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01. Choros No. 1 (Typico)
02. Suite Populaire Brésilienne No. 1 Mazurka - Chôros
03. Suite Populaire Brésilienne No. 2 Schottisch - Chôros
04. Suite Populaire Brésilienne No. 3 Valsa - Chôros
05. Suite Populaire Brésilienne No. 4 Gavota - Chôros
06. Suite Populaire Brésilienne No. 5 Chôrinho
07. 12 Études, No. 1 Allegro Non Troppo
08. 12 Études, No. 2 Allegro
09. 12 Études, No. 3 Allegro Moderato
10. 12 Études, 4 No. 4 Un Peu Modérè
11. 12 Études, No. 5 Andantino
12. 12 Études, No. 6 Poco Allegro
13. 12 Études, No. 7 Très Animè
14. 12 Études, No. 8 Modérè
15. 12 Études, No. 9 Très Peu Animè
16. 12 Études, No. 10 Très Animè
17. 12 Études, No. 11 Lent - Animè
18. 12 Études, No. 12 Animè
19. 5 Préludes, No. 1 In E Minor
20. 5 Préludes, No. 2 In E Major
21. 5 Préludes, No. 3 In A Minor
22. 5 Préludes, No. 4 In E Minor
23. 5 Préludes, No. 5 In D Major

Norbert Kraft - guitar

Norbert Kraft has long been associated with the coordination of the classical guitar repertoire that the super-budget label Naxos has so successfully marketed in recent years. So it only seems appropriate that it is Norbert Kraft that here performs the Complete solo guitar works of Heitor Villa-Lobos - works that are central to the core repertoire written during the first half of the 20th century, works that all guitarists seem to regard as essential to their repertoires and works that also have stood the test of time.

Certainly there is an abundance of recordings of all of these pieces (particularly the 5 Preludes) so it is questionable whether further versions would enrich an already long list. However, given the range of classical guitar music in the Naxos catalogue they would be conspicuous by their absence.

The Chôros, a popular musical form similar to that of a rondo, was performed by street musicians in the cities of Brazil. Villa- Lobos was a guitarist, so it is significant that he chose the guitar for the first in his set of fourteen Chôros, all written for various instruments. To guitar enthusiasts of a certain age it is safe to say that their first experience of this work was probably Julian Bream's 1962 recording, and although at times it does bear Bream's idiosyncratic style (in particular the dwelling over the second measure of bars 10 and 12 marked 'rall' that occurs with each repeat of the section) I am sure that if Villa -Lobos had heard the recording he would have approved. Consequently any subsequent recordings that does not indulge itself in a like manner somehow seems lacking. Never the less, Norbert Kraft's reading still has its own qualities.

The Twelve Études of 1929 has been described as the guitarists equivalent of Chopin's piano Etudes Op. 10 and 25, works of a didactic nature to expand the guitarists technique. This does seem to be the case for the earlier études (1-6), indeed the first three are devised to develop arpeggio playing. But by the time we reach étude No. 7 pieces are worthy of inclusion in concert programmes, which many guitarists over the years have done. Whatever their purpose, a technique of the highest standard is required, a technique that Norbert Kraft possesses which has enabled him to produce one of the most convincingly assured performances of this set.

In writing Suite Populaire Brésilienne Villa- Lobos used his wide musical knowledge to create an exotic blend of 19th century European dance forms with the rhythms of the Brazilian Chôros. Although written between 1908 and 1912 it was only after the other works found popularity that guitarists seeking alternative pieces by Villa-Lobos turned to these, the earliest of his guitar compositions.

Perhaps over familiarity through numerous recordings has over the years diminished the impact that the 'Five Preludes' (1940) had on first hearing (even with selective purchasing I have seven sets of these Preludes in my collection). So it is not surprising that making comparisons is unavoidable, and though Norbert Kraft's view of these works has many commendable points in their favour, they still do not replace my own first choice of Julian Bream's 1971 set . (N.B. Norbert Kraft's version of Prelude No.3 is the second recent recording that for some reason does not observe the written repeat.)

It is probably true that any disc of such well known works is open to hypercriticalness, but on the whole this recording ranks as one of the best available interpretations of this music. I can recommend it to anyone wanting the complete solo guitar works of Villa-Lobos on one disc. ---Andy Daly, musicweb-international.com

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	Bachianas Brasileiras No. 2 For Orchestra
A1 	Preludio - O Canto Do Capadocio 	8:26
A2 	Aria - O Canta Da Nossa Terra 	6:25
A3 	Dansa - Lembrança Do Sertão 	5:27
A4 	Tocatta - O Tremzinho Do Caipira 	4:39
	Bachianas Brasileiras No. 5 For Soprano And Eight Cellos
B1 	Aria (Cantilena) 	6:27
B2 	Dansa (Martelo) 	4:49
	Bachianas Brasileiras No. 6 For Flute And Bassoon
B3 	Aria (Chôros) 	3:43
B4 	Fantasia 	4:55
	Bachianas Brasileiras No. 9 For String Orchestra
B5 	Preludio E Fuga 	9:19

Mady Mesplé - soprano 
Albert Tétard - cello solo 
Michel Debost - flute 
André Sennedat - bassoon 

Orchestre de Paris
Paul Capolongo – conductor

When the name Mady Mesplé comes up it is generally in relation to her great recording of the "Flower Duet" from Leo Delibes' opera Lakmé with Danielle Millet. However, relatively few know of the outstanding recording she made at the Salle Wagram in 1973 of Heitor Villa-Lobos' Bachianas Brasileiras No. 5 with eight cellos drawn from the ranks of the Orchestre de Paris. Here it is included, along with Bachianas Brasileiras No. 2, No. 6, and No. 9 as recorded by the Orchestre de Paris under Paul Capolongo; the band decided to forego a conductor in the Bachianas Brasileiras No. 5. The recording is warm and spacious in an ambience well suited to the feeling of mystery and wilderness that Villa-Lobos sought to evoke in these pieces. Villa-Lobos himself enjoyed working with French orchestras and the slight looseness to these performances serves his music well, although it is not spot-on perfect; Marcel Gallègue's handling of the trombone solo in the Bachianas Brasileiras No. 2 has a bit of a circus atmosphere to it and is a little cornball, but they impart a great lumbering and lurching quality to "The Little Train of the Caipira." As you might expect, Mesplé's voice is a good deal lighter than Bidú Sayão in her famous 1945 recording of the work, but it is still a ravishing performance with the exception that the eight cellos seem a bit distant in the recording; likewise, the flute and bassoon could've stood to be a bit more focused toward the foreground in the Bachianas Brasileiras No. 6. However, the Bachianas Brasileiras No. 9 is beautifully done, and overall this EMI Classics disc, originally recorded by the French division of HMV Le voix de son maître, is a good general introduction to Villa-Lobos crucial Bachianas Brasileiras series and a nice opportunity to hear Mady Mesplé in something other than opera. --- Uncle Dave Lewis, Rovi

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01. Concerto Para Violoncelo E Orquestra Nro. 1 - Allegro Con Brio
02. Concerto Para Violoncelo E Orquestra Nro. 1 - Assai Moderato
03. Concerto Para Violoncelo E Orquestra Nro. 1 - Allegro Moderato
04. Concerto Para Violoncelo E Orquestra Nro. 2 - Allegro Non Troppo
05. Concerto Para Violoncelo E Orquestra Nro. 2 - Molto Andante Cantabile
06. Concerto Para Violoncelo E Orquestra Nro. 2 - Scherzo                 play
07. Concerto Para Violoncelo E Orquestra Nro. 2 - Allegro Energico
08. Fantasia Para Cello E Orquestra - 1. Largo
09. Fantasia Para Cello E Orquestra - 2. Molto Vivace                    play
10. Fantasia Para Cello E Orquestra - 3. Allegro Espressivo

Antonio Meneses – cello
Galicia Symphony Orchestra
Victor Pablo Pérez – conductor

These three magnificent works belong in the repertoire of cellists everywhere. They are full of Villa-Lobos’ signature exotic instrumental textures, folk-like melodies, and abundant invention. They are also harder than hell to play, and difficult to balance. Villa-Lobos was a cellist himself, and loved the instrument’s low, dark register. Penetrating his dense orchestration without making the instrument sound like a dying cow is just one of the many challenges facing cellists attempting to come to grips with this marvelously expressive music, though recordings can solve this problem with sensitive microphone placement. Antonio Meneses understands both the music and its performance problems, and his lower register manages to sound gruff without undue signs of bovine distress. He’s helped by some very sensitive accompaniments; Pérez projects the music’s lush timbres without laying it on too thick. There’s very little competition in this music (principally the Second Concerto on Dorian, and the two numbered concertos on MDG), and I have no hesitation in recommending this disc to anyone who loves Villa-Lobos, the cello, or both. ---classicstoday.com

Héitor Villa Lobos nació en Rio de Janeiro, el 5 de marzo de 1887, falleció en Rio de Janeiro el 17 de noviembre de 1959. Fue un notable compositor brasilero autor de una gran cantidad de composiciones que alcanzan casi las dos mil, abarcando todos los géneros. Es la principal figura de música clásica de su país.

Su madre era indígena, y su padre un gran músico aficionado, que le enseñó los rudimentos del violonchelo. Más tarde, aprendería a tocar piano y varios instrumentos de viento. Estudia posteriormente en el Instituto Nacional de Música de Rio de Janeiro, con Benno Niederberger, pero se niega a recibir lecciones teóricas de música.

Los viajes que realizó al interior de Brasil desde 1905, fueron determinantes, ya que conoció los cantos tradicionales de los indígenas del Amazonas, los que se constituirían en una influencia decisiva en la consolidación de su estilo. Durante el viaje, se ganó la vida tocando en cines, teatros y otros locales. Para 1915, ya había logrado consolidar su música en las salas de conciertos. Poseedor de una originalidad armónica y formal, desacostumbradas, Héitor componía libre de las convenciones del nacionalismo académico.

En 1923 viajó a Europa, para realizar una gira de conciertos, con un éxito inesperado para su obra. Durante su viaje, conoce a Varèse.

En 1930 retorna a Brasil y se dedica a popularizara la música clásica entre la población brasileña. en 1932, llegó al puesto de Director de Educación Musical de Brasil.

En 1945 funda la Academia Brasileña de Música.

En 1959, muere Héitor Villa Lobos con 72 años y es sepultado con honores de hombre de Estado.

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Concerto for Guitar and Orchestra
01. Allegro Preciso
02. Andantino E Andante/Cadenza
03. Allegretto Non Troppo

Five Preludes
04. Andantino Espressivo
05. Andantino
06. Andante/Molto Adagio/Andante
07. Lento/Animato/Moderato/Lento
08. Poco Animato

(12) Etudes
09. Allegro Non Troppo/Lento
10. Allegro
11. Allegro Moderato
12. Poco Moderato/A Tempo/Grandioso
13. Andantino
14. Poco Allegro
15. Tres Anime/Piu Mosso
16. Moderato
17. Tres Peu Anime
18. Tres Anime/Vif/Un Peu Anime/Vif
19. Lent/Anime
20. Anime

Julian Bream – guitar
London Symphony Orchestra
André Previn – conductor

This album is a delicious offering from one of the most underrated guitar maestros of all time. Not only does he capture the Samba-inspired passion of Villa-Lobos music (unlike Rodrigo, Villa-Lobos was an accomplished guitarist in his own right), but interprets it in a way that commands and maintains the attention.

The concerto, one of the most accessible of all guitar concertos, was originally commissioned from Villa-Lobos by Segovia - but don't hold that against it! There are some memorable passages, not to mention the moody passion in the cadenza, all played with the kind of melliflouous dynamics that are synonymous with Bream's playing.

Whilst the Etudes are more of academic interest than musical, Bream conveys a level of interpretation that makes what would otherwise be dry study pieces into listenable melodies. The six preludes illustrate the full range of Villa-Lobos compositional pallete, and are some of the best kept secrets in music. --- "iancurtis3", amazon.com

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