The B section is slower and has a more friendly feeling, like the two groups are pausing and exchanging pleasantries instead of insults. I felt a sense of jarring when the triplets entered against the syncopated sixteenth notes, and the hemiola rarely ceases. The A section begins intensely and features relentless rhythm. Disappointingly, there is no offensive language in the cello suite, but knowing the title it is easy to imagine groupings of the cellos fighting each other through hemiola, dissonance, sequence, counterpoint, and even contrasting bowing techniques. Villa-Lobos most likely picked up this style in northeast Brazil, where the embolada is very popular and famous for its gratuitous swearing. An embolada is a spar between two (or two groups of) singers (or voices in music) who basically insult each other through song back and forth until one pair is declared the winner. There are three movements in the suite, the first being the Introduction, or Embolada. Although it is not what we would consider a traditional Baroque suite, there are distinct hints of it in the music. The first set of the Bachianas Brasileiras is a suite for eight cellos (1932).
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