He also composed between 1930 and 1945 nine pieces he called "Bachianas Brasileiras" (Brazilian Bachian pieces). These take the forms and nationalism of the "Chôros", and add the composer's love of Bach. He incorporated neoclassicism in his nationalistic style. Villa-Lobos's use of archaisms was not new (an early example is his "Pequena suíte" for cello and piano of 1913). The pieces evolved over the period rather than being conceived as a whole, some of them being revised or added to. They contain some of his most popular music, such as No.5 for soprano and eight cellos (19381945), and No.2 for orchestra of 1930 (the "Tocata" movement of which is "Otrenzinho do caipira", "The little train of the Caipira"). They also show the composer's love for the tonal qualities of the cello, both No.1 and No.5 being scored for no other instruments. In these works the often harsh dissonances of his earlier music are less evident: or, as Simon Wright puts it, they are "sweetened". The transformation of "Chôros" into "Bachianas Brasileiras" is demonstrated clearly by the comparison of No.6 for flute and bassoon with the earlier "Chôros No. 2" for flute and clarinet. The dissonances of the later piece are more controlled, the forward direction of the music easier to discern. "Bachianas Brasileiras" No.9 takes the concept so far as to be an abstract "Prelude and Fugue", a complete distillation of the composer's national influences. Villa-Lobos eventually recorded all nine of these works for EMI in Paris, mostly with the musicians of the French National Orchestra; these were originally issued on LPs and later reissued on CDs. He also recorded the first section of "Bachianas Brasileiras No.5" with Bidu Sayão and a group of cellists for Columbia.