Uploaded April 2012 | Updated September 2026, 17 hours ago
Heitor Villa-Lobos - Bachianas Brasileiras No.3 Complete The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one "Bachian" (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
Bachianas Brasileiras No. 3
Scored for piano and orchestra (1938)
Preludio (Ponteio)
Fantasia (Devaneio) (Digression)
Aria (Modinha)
Toccata (Picapào)
Heitor Villa-Lobos - Bachianas Brasileiras No.3 Complete The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one "Bachian" (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
Bachianas Brasileiras No. 3
Scored for piano and orchestra (1938)
Preludio (Ponteio)
Fantasia (Devaneio) (Digression)
Aria (Modinha)
Toccata (Picapào)




![L. V. Beethoven - Symphony No. 2 in D major (Op. 36)
Beethoven - Symphonie No.2 Ludwig van Beethovens Symphony No. 2 in D major (Op. 36) was written between 1801 and 1802 and is dedicated to Prince Lichnowsky.
Beethovens Second Symphony was mostly written during Beethovens stay at Heiligenstadt in 1802, at which time his deafness was becoming more apparent and he began to realize that it might be incurable. The work was premiered in the Theater an der Wien in Vienna on 5 April 1803, and was conducted by the composer. During that same concert, the Third Piano Concerto and the oratorio Christ on the Mount of Olives were also debuted.[1] It is one of the last works of Beethovens so-called early period.
Beethoven wrote the Second Symphony without a standard minuet; instead, a scherzo took its place, giving the composition even greater scope and energy. The scherzo and the finale are filled with vulgar Beethovenian musical jokes, which shocked the sensibilities of many contemporary critics. One Viennese critic for the Zeitung fuer die elegante Welt (Newspaper for the Elegant World) famously wrote of the Symphony that it was a hideously writhing, wounded dragon that refuses to die, but writhing in its last agonies and, in the fourth movement, bleeding to death.
Instrumentation
The symphony is scored for two flutes, two oboes, two clarinets in A, two bassoons, two horns in D and E, two trumpets in D, timpani and strings. The composer also made a transcription of the entire symphony for piano trio which bears the same opus number.
Form
This symphony consists of four movements:
Adagio molto, 3/4 Allegro con brio, 4/4
Larghetto, 3/8 in A major
Scherzo: Allegro, 3/4
Allegro molto, 2/2 L. V. Beethoven - Symphony No. 2 in D major (Op. 36)](https://i.ytimg.com/vi/KT_Z0ABYeqk/mqdefault.jpg)

![Heitor Villa-Lobos - Bachianas Brasileiras, No. 2 Complete
Heitor Villa-Lobos - Bachianas Brasileiras, No. 2 Complete
The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent not so much a fusion between Brazilian folk and popular music on the one hand, and the style of Johann Sebastian Bach on the other, as an attempt freely to adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music (Béhague 1994, 106; Béhague 2001). Most of the movements in each suite have two titles: one Bachian (Preludio, Fuga, etc.), the other Brazilian (Embolada, O canto da nossa terra, etc.).
Bachianas Brasileiras No. 2
Scored for orchestra (1930). There are four movements, the third later transcribed for piano, and the others for cello and piano (Appleby 1988, 64 65).
Preludio (O canto do capadocio) [Despite the five translations—French, English, Italian, Spanish, and German—printed in the score, the composers own notes on this movement make it clear that the meaning of capadocio is not campagnard, countryman, campagnolo, etc., but rather Teddy boy or layabout (Round 1989, 39).]
Aria (O canto da nossa terra)
Dansa (Lembrança do sertão)
Toccata (O trenzinho [misspelled in the score: tremzinho] do caipira: The Little Train of Caipira)
Heitor Villa-Lobos (Portuguese pronunciation: [ejˌtoʁ ˌvilɐ ˈlobus]; 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). Heitor Villa-Lobos - Bachianas Brasileiras, No. 2 Complete](https://i.ytimg.com/vi/LaNoiKuJFQg/mqdefault.jpg)

![St Matthew Passion - Matthäus-Passion BWV 244 | (Complete) (Full Concert) (J. S. Bach)
St Matthew Passion - Matthäus-Passion BWV 244 | (Complete) (Full Concert) (J. S. Bach)
The St Matthew Passion, (also frequently St Matthews Passion) BWV 244, (German: Matthäus-Passion), is a sacred oratorio from the Passions written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew (in the German translation of Martin Luther) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum translates to The Passion of our Lord J[esus] C[hrist] according to the Evangelist Matthew.
Although Bach wrote four (or five) settings of the Passions only two have survived; the other is the St John Passion. The St Matthew Passion was probably first performed on Good Friday (11 April) 1727[1] in the Thomaskirche in Leipzig, where Bach was the Kantor of the School and Directoris Chori musici of Leipzig. He revised it by 1736, performing it again on 30 March 1736, this time including two organs in the instrumentation. He further revised and performed it again on 24 March 1742. Possibly due to the second organ being under repair, he switched the continuo instrument to harpsichord in Coro II, reinforced the continuo group in Coro II with a viola da gamba, and inserted a ripieno soprano in both movements 1 and 29. There is evidence of a further revision in 1743 1746, when the score as we know it originated, but no performance.
Die Matthäus-Passion, BWV 244, ist eine oratorische Passion von Johann Sebastian Bach. Der Bericht vom Leiden und Sterben Jesu Christi nach dem Evangelium nach Matthäus bildet das Rückgrat. Ergänzt wird er um eingestreute Passionschoräle und erbauliche Dichtungen von Picander in freien Chören und Arien. Die Matthäus-Passion und die Johannes-Passion sind die beiden einzigen vollständig erhaltenen authentischen Passionswerke von Bach. Mit etwa 200 Minuten Aufführungsdauer und einer Besetzung von Solisten, zwei Chören und zwei Orchestern ist die Matthäus-Passion Bachs umfangreichstes und am stärksten besetztes Werk und stellt einen Höhepunkt protestantischer Kirchenmusik dar. Die Uraufführung fand am 11. April 1727 in der Thomaskirche in Leipzig statt. Nach Bachs Tod geriet das Werk in Vergessenheit. Die Wiederaufführung in einer gekürzten Version unter Felix Mendelssohn Bartholdy im Jahr 1829 leitete die Bach-Renaissance ein.
Passio secundum Matthaeum est longissimum oratorium a Iohanne Sebastiano Bach (BWV 244) compositum.
Texus musica est apud Evangelium secundum Matthaeum quod Ultima Cena et Crucifixio Iesu tractantur.
Pasión según san Mateo, Matthäus-Passion (J. S. Bach), Pasja według św. Mateusza, Матеус пасион, Passió segons sant Mateu, Matoušovy pašije, Κατά Ματθαίον Πάθη (Μπαχ), Matthäuspassion (Bach), Matthäus-Passion, Matteus-passio (Bach), Passione secondo Matteo, マタイ受難曲, 마태오 수난곡 (바흐), Passio secundum Matthaeum (Bach), Matthäus-Passion (J.S. Bach), Matteuspasjonen (Bach), Matteuspasjonen av Bach, Страсти по Матфею (Бах), Matteuspassionen,
1727 St Matthew Passion - Matthäus-Passion BWV 244 | (Complete) (Full Concert) (J. S. Bach)](https://i.ytimg.com/vi/P21qlB0K-Bs/mqdefault.jpg)

