The Ciclo Brasileiro (Brazilian Cycle) is comprised of four pieces that are among the composer's more compelling efforts in the piano genre. Villa-Lobos felt strongly enough about the second to reuse its material in his charming opera Magdalena (1947). The four works are Plantio do Caboclo (Pioneer's Song), Impressões seresteiras (Impressions of the Minstrels), Festa no sertão (Festival in the Sagebrush), and Dança do índio branco (Dance of the White Indian), each of which poses problems in translation, though the parenthetical titles provided approximate their meanings well enough. The set's opening piece is an atmospheric work that suggests a lament in its lovely rocking theme and gentle rhythmic swirling in the upper register. Some translations of the title, in fact, indicate the serene, almost dreamy music here is a lamentation. The second work is the most popular in the set, mainly owing to its catchy melancholy melody, a deft creation that brings to mind a sort of Latin Rachmaninov. In contrast to the slower character of the preceding works, the third presents lively, somewhat motoric music of a cheerful nature, again with hints of Rachmaninov. The last of the four pieces provides an extraordinary finale to the set: it can be played as though two conflicting tempos are vying for rhythmic control. A fast, ferocious rhythm is heard from the bass regions, over which a grandiose slower theme is played. These opposing elements unite, so to speak, to convey a colorful struggle in bravura writing that suggests a Latin Liszt. Most piano music aficionados will enjoy these four pieces; hardly neglected fare, but works that have not achieved the popularity they deserve.

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