The Fourth of "Brazilian Bachians" by E. Villa-Lobos in the Context of Polyphonism of the 20th Century

The purpose of the work is to identify the features of E. Villa-Lobos' polyphonic thinking based on its foundation in ancient polyphony, indicative of the thinking of the 20th century, which is uniquely presented in his 4th Brazilian Bachiane for piano. The methodological basis of the research is the intonation approach, as it was noted in the works of B. Asafiev's followers in Ukraine (see the publications of D. Androsova, O. Markova, O. Muravska, A. Sokolova), as well as relying on the developments of piano performance of the Odesa school (works by L. Shevchenko, T. Levytska, and technique of I. S. Bach, whose name is associated with the title of the works. Conclusions. The Bachianism of Villa-Lobos is organically connected with the traditions of early baroque instrumentalism, which in the first half of the 18th century, that is, in the era of I. S. Bach, was clearly basic in the European musical volume. The traditions of Brazil, in the professional sphere, are related to the art of the Romance countries, growing out of the culture of the European Renaissance, vocal singing and piano playing, related to the culture of string plucked instruments, was the basis of instrumental art. In addition to the forms of imitative polyphony, the Bachian features earlier manifestations of contrasting canzono-canto polyphony, which nourished the instrumentalism of the ensemble sonata and which is concentrated in the form of a sonata-concert of early baroque typologies in the Fourth Bachian. And the latter is directly related to the sacred dancing, which appears in many Bachians and has its basis in the Old Christian church, which is organic due to the importance of Old Catholicism in Brazil.