Heitor Villa-Lobos, one of the strongest advocates for nationalism in music, explored the keyboard in imaginative and unprecedented ways in Brazil, combining tradition with irreverence. Alma Brasileira (‘Brazilian Soul’) and Impressões Seresteiras (‘Evening Impressions’ or ‘Serenader’s Impressions’) were both inspired by Chorões, Brazilian street musicians who performed music of a melancholic nature with influences from native Indians, folklore, and African dances. Composed in 1925 and 1936, respectively, both works have a rhapsodic design with luscious harmonies and broad use of the keyboard, presenting a recurring nostalgic tune interrupted by two vibrant, lyrical, dramatic, and exuberant dance episodes. The final piece, O Polichinelo (‘The Punch’), was often played by Arthur Rubinstein, who greatly admired Villa Lobos. O Polichinelo, inspired by the mischievous Pulcinella from 17th century Comedia dell’Arte, utilizes a simple children’s folk tune embellished by an energetic and insolent accompaniment.Heitor Villa-Lobos, one of the strongest advocates for nationalism in music, explored the keyboard in imaginative and unprecedented ways in Brazil, combining tradition with irreverence. Alma Brasileira (‘Brazilian Soul’) and Impressões Seresteiras (‘Evening Impressions’ or ‘Serenader’s Impressions’) were both inspired by Chorões, Brazilian street musicians who performed music of a melancholic nature with influences from native Indians, folklore, and African dances. Composed in 1925 and 1936, respectively, both works have a rhapsodic design with luscious harmonies and broad use of the keyboard, presenting a recurring nostalgic tune interrupted by two vibrant, lyrical, dramatic, and exuberant dance episodes. The final piece, O Polichinelo (‘The Punch’), was often played by Arthur Rubinstein, who greatly admired Villa Lobos. O Polichinelo, inspired by the mischievous Pulcinella from 17th century Comedia dell’Arte, utilizes a simple children’s folk tune embellished by an energetic and insolent accompaniment.Victor Cayres
Classical Music | Piano Music
Heitor Villa-Lobos
O Polichinelo Play
Recorded on 08/03/2016, uploaded on 03/14/2017
Musician's or Publisher's Notes
Heitor Villa-Lobos, one of the strongest advocates for nationalism in music, explored the keyboard in imaginative and unprecedented ways in Brazil, combining tradition with irreverence. Alma Brasileira (‘Brazilian Soul’) and Impressões Seresteiras (‘Evening Impressions’ or ‘Serenader’s Impressions’) were both inspired by Chorões, Brazilian street musicians who performed music of a melancholic nature with influences from native Indians, folklore, and African dances. Composed in 1925 and 1936, respectively, both works have a rhapsodic design with luscious harmonies and broad use of the keyboard, presenting a recurring nostalgic tune interrupted by two vibrant, lyrical, dramatic, and exuberant dance episodes. The final piece, O Polichinelo (‘The Punch’), was often played by Arthur Rubinstein, who greatly admired Villa Lobos. O Polichinelo, inspired by the mischievous Pulcinella from 17th century Comedia dell’Arte, utilizes a simple children’s folk tune embellished by an energetic and insolent accompaniment. Heitor Villa-Lobos, one of the strongest advocates for nationalism in music, explored the keyboard in imaginative and unprecedented ways in Brazil, combining tradition with irreverence. Alma Brasileira (‘Brazilian Soul’) and Impressões Seresteiras (‘Evening Impressions’ or ‘Serenader’s Impressions’) were both inspired by Chorões, Brazilian street musicians who performed music of a melancholic nature with influences from native Indians, folklore, and African dances. Composed in 1925 and 1936, respectively, both works have a rhapsodic design with luscious harmonies and broad use of the keyboard, presenting a recurring nostalgic tune interrupted by two vibrant, lyrical, dramatic, and exuberant dance episodes. The final piece, O Polichinelo (‘The Punch’), was often played by Arthur Rubinstein, who greatly admired Villa Lobos. O Polichinelo, inspired by the mischievous Pulcinella from 17th century Comedia dell’Arte, utilizes a simple children’s folk tune embellished by an energetic and insolent accompaniment. Victor Cayres
More music by Heitor Villa-Lobos
Aria, from Bachianas Brasileiras No. 5
Prelude No 1
Song of the Black Swan
Animé, from Fantasia
Etude No 1
Trio No. 1 in c minor
"Polichinelle"
Sentimental Melody, from Forest of the Amazon
Sonata-Fantasia No. 1 “Désespérance”
Alma brasileira
Performances by same musician(s)
Nocturno in F-Sharp Major, Op.10
Three Burlesques, Op. 8c
Sonata in b minor, K. 27
Sonata in D minor, K. 32
Sonata in E Major, K. 162, L. 21
Alma brasileira
Impressoes Seresteiras
Classical Music for the Internet Era™
Courtesy of International Music Foundation.