In the first half of the 20th century, Brazilian composer Heitor Villa-Lobos (1887-1959) composed a collection of 26 character pieces known as A próle do bébé – “The Baby’s Family”. Published over the course of three books, each “series” has its own unique storyline. These virtuosic pieces are not meant for children to play, however; they are full of difficult passagework and technique, written from the perspective of Villa-Lobos remembering his childhood.
The Baby’s Family Book 1: As Bonecas (The Dolls)
Villa-Lobos composed As Bonecas (“The Dolls”) in 1918. Each of the 8 individual movements in this book characterizes a doll, like one a baby would play with. Each doll symbolizes the racial diversity in Brazil, and the movements are just as sweet and nostalgic as their names. Villa-Lobos dedicated this book to his wife, and it is believed he was inspired by listening to her play Schumann’s Album for the Young on their piano.
Movements
Branquinha (A boneca de louça, Little Light-skinned Girl): The Porcelain Doll (0:12)
This gentle, innocent, and nostalgic piece
Moreninha (A boneca de massa, Little Dark-skinned Girl: The Papier-mâché Doll (3:02)
This movement greatly contrasts with the previous one through rapid sixteenth notes supporting a lively and playful melody.
Caboclinha (A boneca de barro, Little Brazillian Girl): The Clay Doll (4:57)
Villa-Lobos uses his characteristic syncopation to depict images of interior Brazil,
Mulatinha (A boneca de borracha, Little Mulatto Girl): The Rubber Doll (7:46)
Light and playful rhythms support a nostalgic melody. It’s easy to hear a young child imagining all sorts of interesting and magical things during playtime while listening to this movement!
Negrinha (A boneca de pau, Little Black Girl): The Wooden Doll (9:33)
One of the fastest works in the set, this movement combines rapidly repeated notes with a hidden melody that gradually emerges out of the accompaniment.
A pobrezinha (A boneca de trapo, Little Poor Girl): The Rag Doll (11:09)
The quiet, restrained music adds color and emotion to the life of the little rag doll through slow, dignified, dance-like rhythms and lush harmonies.
O polichinelo/Punch (13:08)
This is the only movement without any specified name, but historians believe this little doll is Italian. Its almost jarring dissonance combines with heavy bass notes and light accompaniment to paint an image of the comedic Pulcinella.
A bruxa (A boneca de pano, Witch): The Cloth Doll (15:05)
This final movement pulls characteristics from each previous movement to spin an atmosphere of magic and mystery.
The Baby’s Family Book 2: Os Binchinhos (The Little Animals)
Composed in 1921, Os Binchinhos is made up of 9 separate movements, each depicting a little toy animal. Although it is less well-known than Book 1, it is much more advanced and complex, and Villa-Lobos’s Brazillian roots are much more obvious in this suite. At least 4 of the 9 movements allude to popular Brazilian children’s songs. He dedicated this book to pianist Aline van Barentzen
Movements
A baratinha de papel: The Little Paper Bug (0:00)
As the melody jumps all over the keyboard, the juxtaposing rhythms between the theme and the accompaniment are reminiscent of a little bug trying not to get squished (until the end, that is).
A gatinha de papelão: The Little Cardboard Cat (2:30)
The slow rhythms and haunting harmonies paint an image of a cat stalking its prey, patiently waiting for the right moment to pounce.
O camundongo de massa: The Little Papier-Mâché Mouse (5:29)
The swirling accompaniment combines with vivid colors and a bouncing melody to infuse this movement with frantic energy. Perhaps the mouse is trying to run away from the little cat?
O cachorrinho de borracha: The Little Rubber Dog (8:58)
In this movement, the slow, constant plodding supports a strangely dissonant theme. It’s almost a little contrapuntal the way Villa-Lobos layers the different melodic ideas.
O cavalinho de pau: The Little Wooden Horse (12:11)
In this quirky movement, the rhythm imitates an energetic horse prancing and bucking. The playful personality is reminiscent of a young child’s imagination – or perhaps a young child’s stubbornness?
O boizinho de chumbo: The Little Lead Ox (15:05)
The heavy, repeated low bass combined with the rocking accompaniment tells the story of the little lead ox, who plods down the street surrounded by color and life.
O passarinho de pano: The Little Cloth Bird (20:12)
This movement is full of bird calls and trills. In fact, the music can be heard as a conversation between many different birds, each wanting to sing their own song.
O ursinho de algodão: The Little Cotton Bear (23:46)
Lighthearted and playful themes combine to create an atmosphere of childhood nostalgia. Jazz rhythms and syncopations add some bounce and texture to the music.
O lobozinho de vidro: The Little Glass Wolf (26:57)
This final movement uses repeated and dramatic rhythms to create tension and drama. It’s a fitting end to the book.
The Baby’s Family Book 3: Esportes (Sports)
Unfortunately, Book 3 of The Baby’s Family is lost. Composed sometime between 1916 and 1926, this book portrayed various games and sports played by young children, including:
- Gude (Marbles)
- Diabolô (Diabolo)
- Bilboquê (Ball in a Cup)
- Peteca (Shuttlecock)
- Pião (Top)
- Futebol (Football)
- Jogo de bolas (Ball Game)
- Soldado de
chumbo (Lead Soldier) - Capoeiragem (Capoeira)
Maybe one day someone will stumble upon the music, but until that happens, we will just have to imagine how each movement would have sounded.
