Bach in Brazil
Suspend your preconceptions about how Bach should sound, and prepare to listen afresh through Brazilian ears
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach, Pixinguinha, Radames Gnattali, Abel Ferreira, Heitor Villa-Lobos
Label: EMI
Magazine Review Date: 8/2000
Media Format: CD or Download
Media Runtime: 49
Mastering:
DDD
Catalogue Number: 556939-2

Tracks:
Composition | Artist Credit |
---|---|
Concerto in the Italian style, 'Italian Concerto', Movement: (Allegro) |
Johann Sebastian Bach, Composer
Brazilian Chamber Orchestra Johann Sebastian Bach, Composer |
Remexendo |
Radames Gnattali, Composer
Brazilian Chamber Orchestra Radames Gnattali, Composer |
(15) 2-Part Inventions, Movement: A minor |
Johann Sebastian Bach, Composer
Brazilian Chamber Orchestra Johann Sebastian Bach, Composer |
Concerto for 2 Violins and Strings, Movement: Vivace |
Johann Sebastian Bach, Composer
Brazilian Chamber Orchestra Johann Sebastian Bach, Composer |
Chorando Baixinho |
Abel Ferreira, Composer
Abel Ferreira, Composer Brazilian Chamber Orchestra |
Partita, Movement: Prelude |
Johann Sebastian Bach, Composer
Brazilian Chamber Orchestra Johann Sebastian Bach, Composer |
Vou Vivendo |
Pixinguinha, Composer
Pixinguinha, Composer Brazilian Chamber Orchestra |
Variaçoes sobre o Samba do Urubú |
Radames Gnattali, Composer
Brazilian Chamber Orchestra Radames Gnattali, Composer |
Bachianas brasileiras No. 5 |
Heitor Villa-Lobos, Composer
Brazilian Chamber Orchestra Heitor Villa-Lobos, Composer |
(6) Brandenburg Concertos, Movement: No. 6 in B flat, BWV1051 (vas, vcs & db: 1708-10) |
Johann Sebastian Bach, Composer
Brazilian Chamber Orchestra Johann Sebastian Bach, Composer |
Um a Zero |
Pixinguinha, Composer
Pixinguinha, Composer Brazilian Chamber Orchestra |
(4) Orchestral Suites, Movement: No. 2 in B minor, BWV1067 (flute & strings) |
Johann Sebastian Bach, Composer
Brazilian Chamber Orchestra Johann Sebastian Bach, Composer |
(6) Partitas, Movement: No. 4 in D, BWV828 |
Johann Sebastian Bach, Composer
Brazilian Chamber Orchestra Johann Sebastian Bach, Composer |
(15) 2-Part Inventions, Movement: F |
Johann Sebastian Bach, Composer
Brazilian Chamber Orchestra Johann Sebastian Bach, Composer |
Author: John Duarte
The universality of Bach’s music has been well established by the wide variety of ‘inauthentic’ treatments it has been subjected to over the years. The great majority, no matter how eccentric they may sound, can at least claim reverence and respect, dulling the cutting edge of hostile criticism; and that is how this recording should be approached.
The insert-note claims a link between baroque music and the Brazilian choro, a popular form whose name derives from that of the itinerant bands that first created and still play such music – but the exact nature of that link is not defined. The best known Bach-Brazil link is the Bachianas brasileiras of Villa-Lobos, but it is clear in only a few of these, and No 5 is in the form of an aria, not a choro. No matter, though, the Brazilian music on this album is most attractive in its own right. Bach’s music is played as it is affectionately heard through Brazilian ears – often underpinned by popular rhythms and very freely treated – with trimmings that Bach would have found strange. How else can one make each of theTwo-part Inventions last for more than two minutes? One’s normal criteria must be put on hold and the mind cleared of preconceptions in order to enjoy what is on offer, a tribute that is at once sophisticated and unsophisticated.
The annotation is somewhat woolly but the performances are not. Camerata Brasil deploys an unfamilar assortment of instruments but they are played with enthusiasm and impeccable virtuosity – the deftness of the mandolinists and players of the cavaquinho (a four-stringed instrument of the ukulele family) is impressive. Enjoy it for what it is.'
The insert-note claims a link between baroque music and the Brazilian choro, a popular form whose name derives from that of the itinerant bands that first created and still play such music – but the exact nature of that link is not defined. The best known Bach-Brazil link is the Bachianas brasileiras of Villa-Lobos, but it is clear in only a few of these, and No 5 is in the form of an aria, not a choro. No matter, though, the Brazilian music on this album is most attractive in its own right. Bach’s music is played as it is affectionately heard through Brazilian ears – often underpinned by popular rhythms and very freely treated – with trimmings that Bach would have found strange. How else can one make each of the
The annotation is somewhat woolly but the performances are not. Camerata Brasil deploys an unfamilar assortment of instruments but they are played with enthusiasm and impeccable virtuosity – the deftness of the mandolinists and players of the cavaquinho (a four-stringed instrument of the ukulele family) is impressive. Enjoy it for what it is.'
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