The 1930s brought an increased consciousness among many composers of the need to reduce the complexity of their music in a bid to make their music more appealing to the common people. It was also an era of nationalistic regimes. When Villa-Lobos returned to Brazil in 1930, after several years in Paris, his music was immediately affected by both these trends.

Appealing to Brazilian national pride, he announced that he saw great similarities between Brazilian national melody and the melody-style of Johann Sebastian Bach, and began to write his series of works called Bachianas Brasileiras, meant to display this dual nature of Brazilian music.

The first of these works was for a new form of chamber ensemble: a group of eight cellos. Villa-Lobos also used this ensemble for some transcriptions of Bach works, so by including this work on programs with these transcriptions he could reinforce his contention about Brazilian music.

Bachiana Brasileira No. 1 is in three movements. In accordance with what would become his usual practice Villa-Lobos gave each movement two titles, a "Bachian" one and a Brazilian one.

"Introdução (Introduction); Embolada." An embolada is a kind of perpetuum mobile from northeastern Brazilian traveling musicians. It is a rapid and rhythmic invention with a two-section melody.

"Prelúdio; Modinha." This section has the most Bachian melody of the work, a flowing and lovely tune. Formally, it serves as the first part of a "prelude and fugue" pair. A "Modinha" is a type of Brazilian song.

"Fuga; Conversa." The Brazilian title, "Conversation" denotes the flavor of the work, which is a fugue written so that the interchanges between parts resemble the improvised musical "conversation" of a chôros ensemble.

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