The cycle also includes an Introduction, as well as a brief ‘after-thought’: the Two Choros (bis). The Choros range from solo pieces with durations of a couple of minutes to large-scale scores for expanded symphony orchestra, sometimes comprising choir or solo instruments. In the Choros the composer’s stated aim was to achieve a synthesis of the various musical influences of Brazil: the popular urban music (such as the dances of European origin performed by chorões or street musicians), the music brought from Africa by slaves, and the chants and rhythms of the native Indian tribes. This applies especially to the two great cycles that he composed between 19: the 12 Choros and the 9 Bachianas Brasileiras. 3, ‘Pica-Pau’ (1925) 332The life and music of Villa-Lobos is intimately linked with the emergence of Brazil as a nation and cultural force during the first half of the 20th century. •Ovanir Buosi clarinet 5 Choros No.
The many solo performances appearing throughout the collection received similar praise, as witness the following examples: ‘No. The performances of the São Paulo Symphony Orchestra were naturally in focus: ‘The Brazilian players sound as if the music is in their blood … and their ensemble is in no way inferior to that of any of their rivals’ ( Gramophone) and ‘a world-class ensemble providing an assured blend of lush colours, pulsating rhythms and supple phrasing’ ( International Record Review) are only a couple of examples. Equally well-received, the cycle of Choros was already before its completion described as ‘a publishing feat’ on the website Klassik.com. All of these are included in this collection, which comprises recordings made between 20, and released as separate discs to universal acclaim: ‘The complete set of Villa-Lobos's exotic and brilliant Bachianas Brasileiras surpasses, for me, all previous recordings in terms of execution, spirit and recorded sound’ wrote the reviewer in Fanfare, including the discs on his 2008 ‘Want-List’. This cycle also consists of various scorings: from solo instrument to choir a cappella and symphony orchestra, with Villa-Lobos providing parallel versions of two of them (Nos 4 and 9). Admiring its ability to communicate across all boundaries in time or place, Villa-Lobos once described the music of Bach as ‘universal folk music’ and here attempted a fusion between Bach and Brazilian music.
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