https://musictheoryprint.com/works/heitor-villa-lobos/ Recent content in Heitor Villa-Lobos on Music Theory Print Hugo en https://musictheoryprint.com/works/heitor-villa-lobos/a-prole-do-bebe/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/a-prole-do-bebe/ <div class="mtp-special-block"> <h2 id="book-1-as-bonecasthe-dolls">Book 1 (As Bonecas/The Dolls)<a class="anchor" href="#book-1-as-bonecasthe-dolls">#</a></h2> <ul> <li>Branquinha (A boneca de louça)/Little Light-skinned Girl (The Porcelain Doll)</li> <li>Moreninha (A boneca de massa)/Little Dark-skinned Girl (The Papier-mâché Doll)</li> <li>Caboclinha (A boneca de barro)/Little Mestizo Girl (The Clay Doll)</li> <li>Mulatinha (A boneca de borracha)/Little Mulatto Girl (The Rubber Doll)</li> <li>Negrinha (A boneca de pau)/Little Black Girl (The Wooden Doll)</li> <li>A pobrezinha (A boneca de trapo)/The Little Poor Girl (The Rag Doll)</li> <li>O polichinelo/Punch</li> <li>A bruxa (A boneca de pano)/Witch (The Cloth Doll)</li> </ul> </div> <div class="mtp-special-block"> <h2 id="book-2-os-bichinhosthe-little-animals">Book 2 (Os Bichinhos/The Little Animals)<a class="anchor" href="#book-2-os-bichinhosthe-little-animals">#</a></h2> <ul> <li>A baratinha de papel (The Little Paper Bug)</li> <li>A gatinha de papelão (The Little Cardboard Cat)</li> <li>O camundongo de massa (The Little Toy Mouse)</li> <li>O cachorrinho de borracha (The Little Rubber Dog)</li> <li>O cavalinho de pau (The Little Wooden Horse)</li> <li>O boizinho de chumbo (The Little Lead Ox)</li> <li>O passarinho de pano (The Little Cloth Bird)</li> <li>O ursinho de algodão (The Little Cotton Bear)</li> <li>O lobozinho de vidro (The Little Glass Wolf)</li> </ul> </div> <div class="mtp-special-block"> <h2 id="book-3-esportessports">Book 3 (Esportes/Sports)<a class="anchor" href="#book-3-esportessports">#</a></h2> <ul> <li>Gude (Marbles)</li> <li>Diabolô (Diabolo)</li> <li>Bilboquê (Ball in a Cup)</li> <li>Peteca (Shuttlecock)</li> <li>Pião (Top)</li> <li>Futebol (Football)</li> <li>Jogo de bolas (Ball Game)</li> <li>Soldado de chumbo (Lead Soldier)</li> <li>Capoeiragem (Capoeira)</li> </ul> </div> <div class="mtp-special-block"> <h2 id="further-reading">Further reading<a class="anchor" href="#further-reading">#</a></h2> <ul> <li>Appleby, David P. 2002. Heitor Villa-Lobos: A Life (1887–1959). Lanham, MD, and London: Scarecrow Press. .</li> <li>Béhague, Gerard. 1994. Villa-Lobos: The Search for Brazil&rsquo;s Musical Soul. Austin: Institute of Latin American Studies, University of Texas at Austin, 1994. .</li> <li>Demarquez, Suzanne. 1929. &ldquo;Villa-Lobos&rdquo;. Revue Musicale 10, no. 10 (November): 1–22.</li> <li>Negwer, Manuel. 2008. Villa-Lobos: Der Aufbruch der brasilianischen Musik. Mainz: Schott Music. . Portuguese version as Villa Lobos e o florescimento da música brasileira. São Paulo: Martins Fontes, 2009. .</li> <li>Peppercorn, Lisa M. 1991. Villa-Lobos: The Music: An Analysis of His Style, translated by Stefan de Haan. London: Kahn &amp; Averill; White Plains, NY: Pro/Am Music Resources Inc. (Kahn &amp; Averill); (Pro/Am).</li> <li>Wright, Simon. 1992. Villa-Lobos. Oxford Studies of Composers. Oxford and New York: Oxford University Press. (cloth); (pbk).</li> </ul> </div> https://musictheoryprint.com/works/heitor-villa-lobos/bachianas-brasileiras/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/bachianas-brasileiras/ <div class="mtp-special-block"> <h2 id="no-1">No. 1<a class="anchor" href="#no-1">#</a></h2> <p>Scored for orchestra of cellos and dedicated to Pablo Casals, Bachianas Brasileiras No. 1 (1930) consists of three movements:</p> </div> <div class="mtp-special-block"> <h2 id="no-2">No. 2<a class="anchor" href="#no-2">#</a></h2> <p>Scored for orchestra, Bachianas Brasileiras No. 2 (1930) consists of four movements: According to one opinion, the third movement was later transcribed for piano, and the others for cello and piano. According to another, it was the other way around: three pieces for cello and piano and a solo piano piece, none of them connected with each other and none of them originally with any Bach associations, were brought together and scored for chamber orchestra. This work is scored for flute, oboe, clarinet, tenor and baritone saxophones, bassoon, contrabassoon, 2 horns, trombone, timpani, ganzá, chocalho, pandeira, reco, matraca, caixa, triangle, cymbals, tam-tam, bass drum, celesta, piano, and strings.</p> https://musictheoryprint.com/works/heitor-villa-lobos/cello-concerto-no-1-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/cello-concerto-no-1-villa-lobos/ <div class="mtp-special-block"> <h2 id="structure-and-scoring">Structure and scoring<a class="anchor" href="#structure-and-scoring">#</a></h2> <p>The concerto is in three movements: It is scored for an orchestra consisting of piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, harp, and strings. The music has been described as &ldquo;full of youthful energy&rdquo;. The music shows the influence of Tchaikovsky. A performance lasts about twenty minutes.</p> </div> <div class="mtp-special-block"> <h2 id="recordings">Recordings<a class="anchor" href="#recordings">#</a></h2> <p>The cello concerto was recorded, together with the composer&rsquo;s second cello concerto, in 1989 by soloist Ulrich Schmid with the Nordwestdeutsche Philharmonie conducted by Dominique Roggen. A CD of both cello concertos combined with the composer&rsquo;s Fantasia for cello and orchestra was released in 2023, with soloist Antonio Meneses and the São Paulo Symphony Orchestra conducted by Isaac Karabtchevsky.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros/ <div class="mtp-special-block"> <h2 id="origin-and-conception">Origin and conception<a class="anchor" href="#origin-and-conception">#</a></h2> <p>The word chôro (; nowadays spelled simply choro) is Portuguese for &ldquo;weeping&rdquo;, &ldquo;cry&rdquo;, and came to be the name used for music played by an ensemble of Brazilian street musicians (called chorões) using both African and European instruments, who improvise in a free and often dissonant kind of counterpoint called contracanto. In this context, the term does not refer to any definite form of composition, but rather includes a variety of Brazilian types. Villa-Lobos described the basic concept of his Chôros as a &ldquo;brasilofonia&rdquo;—an extension of the popular street-musicians&rsquo; chôro to a pan-Brazilian synthesis of native folklore, both Indian and popular. The tenth work in the series is for mixed choir and large orchestra, and quotes at length from a popular song, originally composed as an instrumental schottische, Yará, in 1896 by Anacleto de Medeiros. In 1907, Catullo da Paixão Cearense transformed it into a popular song by adding words to the melody, retitling it &ldquo;Rasga o coração&rdquo; (&ldquo;Rend Your Heart&rdquo;). The Villa-Lobos work bears this phrase as a subtitle.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-bis/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-bis/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Villa-Lobos composed the Chôros bis in Paris in 1928–29, and they were first given a private reading on 29 June 1929 at the residence of Mme Frédéric Moreau in Paris, performed by Tony Close (violin) and André Asselin (cello) under the provisional title Duo (Chôros bis). The public premiere was given by the same performers on 14 March 1930 at the Salle Chopin, Paris, as part of the Festival de Musique Moderne, in a concert that also included the world premieres of the Quinteto (em forma de chôros), the Cirandas for piano, and the Chansons typiques brésiliennes. The manuscript scores of the two movements bear separate dedications: the first to Jacques Serres, the second to Tony Close and Maurice Raskin. These two short movements were not originally intended as part of the series of fourteen Chôros but, as their characteristics are similar to most of those compositions, Villa-Lobos proposed them as an &ldquo;encore&rdquo;, in case such a thing might be required following a complete performance of the entire series which, prefaced by the Introdução aos Chôros, would last about three hours.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-1/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-1/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Villa-Lobos composed Chôros No. 1 in Rio de Janeiro in 1920, originally publishing it under the title Chôro típico, then Chôro típico brasileiro. The title is taken from an improvisational genre of Brazilian instrumental popular music that originated in Rio de Janeiro in the nineteenth century. The Portuguese word choro (pronounced ˈʃoɾu ), means &ldquo;cry&rdquo; or &ldquo;lament&rdquo;, though most music of this type is far from being sorrowful. Four years after composing this work, at the time of his first visit to Paris, he decided to make it part of an extended cycle of works collectively titled Chôros, which eventually included fourteen numbered compositions, plus an Introduction aux chôros (Introdução aos chôros): Ouverture, for guitar and orchestra, designed to be played before a complete performance of the cycle, and Chôros bis, a two-movement duo for violin and cello, considered as a sort of encore piece. A Quintet (&ldquo;em forma de chôros&rdquo;), for five woodwind instruments (1928) is sometimes considered as related. In the context of the larger cycle, Chôros No. 1 &ldquo;is like the essence, the embryo, the psychological model that will be developed technically in the conception of all the Chôros&rdquo;. The score of Chôros No. 1 is dedicated to Ernesto Nazareth, and a recording of it made by the composer lasts just under four minutes. Unlike the successor works, there is no attempt here to synthesize different aspects of Brazilian music into a stylistic montage. Instead, it employs the patterns, figurations, and simple structure characteristic of the improvised music of such celebrated chorões of the late-nineteenth and early twentieth centuries as Zequinha de Abreu, , Chiquinha Gonzaga, and Catulo da Paixão Cearense. This simplicity and the beauty of its composition have made it a favourite with professional guitarists.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-10/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-10/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Chôros No. 10 was composed in Rio de Janeiro in 1926, and the score is dedicated to Paulo Prado. It was premiered in a concert presented in homage to the President of Brazil, Washington Luís, on 11 November 1926 at the Teatro Lírico in Rio de Janeiro by the Grande Orquestra da Empresa Viggiani, the Coro de artistas brasileiros, and the Deutscher Männerchor, conducted by the composer. This was also Villa-Lobos&rsquo;s farewell performance to Rio de Janeiro. The programme contained an announcement of his imminent departure for Europe. The European premiere took place in Paris on 3 December 1927 at the Salle Gaveau with the Orchestre des Concerts Colonne and L&rsquo;Art Choral, once again with the composer conducting. The American premiere was given by the Philharmonic-Symphony Orchestra of New York and the Schola Cantorum, conducted by Hugh Ross, on 15 January 1930, at Carnegie Hall in New York. Already within the composer&rsquo;s lifetime the work became the best-known of all the Chôros. In the second half of the work, Villa-Lobos introduces a popular melody, originally a schottische called Yára, written by Anacleto de Medeiros. In a slower tempo, sung to a poem written by Villa-Lobos&rsquo;s friend and former fellow chorão, Catulo da Paixão Cearense, it had become a popular song, &ldquo;Rasga o coração&rdquo; (Rend the Heart). It was in this form that Villa-Lobos used both the melody and the words, and he used the song&rsquo;s title as a subtitle for the Chôros, together with an acknowledgement, &ldquo;D&rsquo;après la poésie de Catullo Cearence&rdquo; sic . The poet attended the 1926 premiere of Chôros No. 10 in the Teatro Lírico, and was overcome with emotion, embracing the composer in a gesture of gratitude. Unfortunately, in a moment of financial distress, Catulo had sold the rights of all his literary works to a man named Guimarães Martins, who evidently remained ignorant of Villa-Lobos&rsquo;s use of the text for nearly thirty years until by chance, at a demonstration of new gramophone players at the Ministry of Education in Rio de Janeiro, a recording of the work was used as an example. Martins initiated a breach of copyright action against Villa-Lobos, which was finally resolved only in 1956—in the composer&rsquo;s favour. Nevertheless, the performance of the work Villa-Lobos recorded in Paris in May 1957 substituted neutral syllables for Catulo&rsquo;s text, and when the publisher Max Eschig reissued the score in 1975, the text was likewise removed. Most performances since then, however, have restored the words of Catulo&rsquo;s poem..</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-11/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-11/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>According to the official account, Chôros No. 11 was composed in Rio de Janeiro in 1928, and the score is dedicated to Arthur Rubinstein. The first known performance was given on 18 July 1942 in Rio de Janeiro by , piano, and the Orquestra Sinfônica do Theatro Municipal, conducted by the composer. However, for a variety of reasons it seems more likely that it may have begun in 1928, but was only completed in 1941, after Arthur Rubinstein had requested a piano concerto during a visit to Rio in 1939. The only known surviving page of the original 1928 score (marked &ldquo;page 8&rdquo; in the margin) is reproduced in. The piano solo part is identical with the final published score, at rehearsal number 43, but there are differences in the orchestration. Because he realised that its extraordinary length, in a single movement, would inhibit uncut performances, Villa-Lobos specified cuts that would make a shorter performing version of only about thirty-five minutes.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-12/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-12/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>According to the score and the official catalog of the Museu Villa-Lobos, Chôros No. 12 was composed in Rio de Janeiro in 1925, and the score is dedicated to . It was premiered at Harvard University by the Boston Symphony Orchestra, conducted by the composer, on 21 October 1945 according to the official catalogue of the composer&rsquo;s works. However, this programme was announced for 23 February of that year, and a broadcast of the work by the BSO with Villa-Lobos conducting was made on Saturday, 24 February 1945. According to contemporary reports in the Daily Boston Globe, it was performed in Cambridge on 23 February and was to have been performed two more times at Symphony Hall on 23 and 24 February. At the time of the Boston premiere, Villa-Lobos said that he had written the work &ldquo;for and in admiration of Serge Koussevitzky&rdquo;, whose Paris concerts he had attended in the 1920s. Other sources give 1929 as the year of composition found in the score. However, Lisa Peppercorn casts doubt on such an early date of composition, based on the fact that it was Villa-Lobos&rsquo;s habit to secure premieres of his works as soon as they were completed. In her opinion, the difference of two (or nearly two) decades between the nominal date of composition and that of the world premiere suggests that, although the score may have been begun or at least conceived in 1925, it was probably not completed until shortly before the premiere in 1945. Based on his detailed analysis of the score, Guilherme Seixas concludes that stylistic considerations do not support a date of completion as early as the mid-1920s, either, and agrees with Peppercorn&rsquo;s hypothesis</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-13/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-13/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>According to the official catalog of the Museu Villa-Lobos, Chôros No. 13 was composed in 1929; however, the full score cannot now be located. When Villa-Lobos travelled home to Brazil in June 1930 to fulfill some conducting engagements, it was his intention to return to Paris in a few months&rsquo; time. However, when the Revolution of 1930 brought Getúlio Vargas to power, it became impossible for a time to travel or make payments abroad. As a result, Villa-Lobos was unable to pay the rent on his Paris apartment and he was evicted in absentia. A number of works of art and many manuscripts left behind were never recovered, amongst which are believed to have been the scores of Chôros No. 13 and No. 14. The first page of a piano reduction of Chôros No. 13, however, is held by the Villa-Lobos Museum, and the composer published a substantial verbal description of the entire work. Another, unpublished document containing musical examples from both Chôros No. 13 and Chôros No. 14 exists and, while Adhemar Nóbrega accepts this as evidence that this composition, as well as Chôros No. 14, were completed, Lisa Peppercorn doubts that either ever actually existed.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-14/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-14/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>According to the official catalog of the Museu Villa-Lobos, Chôros No. 14 was composed in 1928, but the full score cannot now be located. When Villa-Lobos travelled home to Brazil in June 1930 to fulfill some conducting engagements, it was his intention to return to Paris in a few months&rsquo; time. However, when the Revolution of 1930 brought Getúlio Vargas to power, it became impossible for a time to travel or make payments abroad. As a result, Villa-Lobos was unable to pay the rent on his Paris apartment and he was evicted in absentia. A number of works of art and many manuscripts left behind were never recovered, amongst which are believed to have been the scores of Chôros No. 13 and No. 14. The composer published a verbal description of the entire work, and another, unpublished document containing musical examples from both Chôros No. 13 and Chôros No. 14 exists. While Adhemar Nóbrega accepts this as evidence that these last two compositions in the series were completed, Lisa Peppercorn doubts either of them ever actually existed.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-2/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-2/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>In 1920, Villa-Lobos composed a guitar piece first titled Chôro típico, and slightly later republished as Chôro típico brasileiro, taking his title from an improvisational genre of Brazilian instrumental popular music that originated in Rio de Janeiro in the nineteenth century. The Portuguese word choro (pronounced ˈʃoɾu ), means &ldquo;cry&rdquo; or &ldquo;lament&rdquo;, though most music of this type is far from being sorrowful. Four years later, at the time of his first visit to Paris, he decided to create an extended cycle of works collectively titled Chôros. The guitar composition became No. 1 in that series, and Chôros No. 2 was composed in Rio de Janeiro in 1924. The score is dedicated to Mário de Andrade. It was premiered at the Teatro Sant&rsquo;Anna in São Paulo on 18 February 1925 by Spartaco Rossi (flute), and Antenor Driussi (clarinet), as part of a concert in homage to Olívia Guedes Penteado and . The European premiere was given by Gaston Blanquart (flute), and Louis Cahuzac (clarinet), at the Salle Gaveau in Paris on 24 October 1927, on the first of a pair of concerts devoted to works by Villa-Lobos. The composer transcribed the work for piano in the year in which it was composed.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-3/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-3/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Chôros No. 3 was composed in São Paulo in 1925, the year after Chôros Nos. 2 and 7 were written, and the score is dedicated to the painter Tarsila do Amaral and the poet Oswald de Andrade. It was premiered 30 November 1925 at the Theatro Municipal in São Paulo by Antenor Driussi (clarinet), Canelle, Pierre, Martin Palka, Nicola Micelli, Paulo Alpenien, and Frederico del Ré (trombone), conducted by the composer. The first European performance took place on 5 December 1927 in Paris, on the second of two concerts dedicated to Villa-Lobos&rsquo;s music, at the Salle Gaveau. The instrumentalists were Louis Cahuzac (clarinet), Hippolyte Poimboeuf (alto saxophone), Gustave Dhérin (bassoon), Edmond Entraigue, Jean-Lazare Pénable, and Mr. Marquette (horns) and Jules Dervaux (trombone), conducted by Robert Siohan. A recording by the latter ensemble, including a male choir, appears to have been made shortly after the French premiere and released as a part of a 78 rpm disc ?Disque Gramophone GW-914.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-4/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-4/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Chôros No. 4 was composed in Rio de Janeiro in 1926, and was premiered on 24 October 1927 at the Salle Gaveau in Paris, in the first of a pair of concerts devoted to works by Villa-Lobos. The performers were Edmond Entraigue, Jean-Lazare Pénable, and Mr. Marquette, horns; Jules Dervaux, trombone. On the same programme, Arthur Rubinstein gave the premiere of Rudepoêma. The first North American performance took place on 16 October 1940 at the Museum of Modern Art in New York City. The score is dedicated to Villa-Lobos&rsquo;s patron , the brother of the dedicatee of Chôros No. 5.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-5/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-5/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Chôros No. 5 was composed in Rio de Janeiro in 1925 (the same year as Chôros No. 3, but a year before No. 4 was written), and the score is dedicated to Villa-Lobos&rsquo;s patron , the brother of the dedicatee of Chôros No. 4. The date, place, and performer of the premiere are not recorded. The score was first published ca. 1925 by Casa Arthur Napoleão in Rio de Janeiro, subsequently in 1948 by the Villa-Lobos Music Corporation, Consolidated Music Publishers, and Edward B. Marks Music Corporation in New York, and by Casa Vieira Machado in Rio de Janeiro. A corrected edition was published in 1955 by Max Eschig in Paris.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-6/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-6/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>According to the score and the official catalog of the Museu Villa-Lobos, Chôros No. 6 was composed in Rio de Janeiro in 1926, and the score was dedicated to Arminda Neves d&rsquo;Almeida, in 1936. It was premiered in Rio de Janeiro on 18 July 1942 by the Orquestra Sinfônica do Theatro Municipal, conducted by the composer. However, Lisa Peppercorn casts doubt on the date of composition, based on the fact that it was Villa-Lobos&rsquo;s habit to secure premieres of his works as soon as they were completed. In her opinion, the delay between the nominal date of composition and that of the world premiere suggests that, although the score may have been begun or at least conceived in 1926, it was probably not completed until shortly before the premiere in 1942. Based on his detailed analysis of the score, Guilherme Seixas concludes that stylistic considerations do not support a date of completion as early as the mid-1920s, and agrees with Peppercorn&rsquo;s hypothesis. In a 1929 article, Suzanne Demarquez reported that Villa-Lobos had described Chôros No. 6 to her as a chamber-music composition, scored for &ldquo;un curieux ensemble de petite clarinette, trompette, bombardine et guitar&rdquo; (a strange ensemble of E-flat clarinet, trumpet, euphonium, and guitar), which is completely at odds with the large-scale orchestral composition finally unveiled in 1942.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-7/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-7/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Chôros No. 7 was composed in Rio de Janeiro in 1924 (immediately after Chôros No. 2 and two years before the orchestral Chôros No. 6), making it the third member of the series to be written. The score is dedicated to the composer&rsquo;s patron , to whom Villa-Lobos would also dedicate Chôros No. 5. It was premiered at the Escola Nacional de Música in Rio de Janeiro on 19 September 1925 by Ary Ferreira (flute), Antão Soares (clarinet), Rodolfo Attanasio (oboe), Felipe Duchamps (alto saxophone), Assis Republicano (bassoon), Cardoso Menezes (violin), and Newton Pádua (cello). The European premiere took place on the first of a pair of concerts devoted to Villa-Lobos&rsquo;s work, at the Salle Gaveau in Paris on 24 October 1927. The performers were Gaston Blanquart (flute), Lucien-Joseph-Francis de Nattes (oboe), Louis Cahuzac (clarinet), Hippolyte Poimboeuf (alto saxophone), Gustave Dhérin (bassoon), Marcel Darrieux (violin), and Robert Krabansky (cello). Chôros No. 7 was choreographed and performed as a ballet by the New York City Ballet in 1960.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-8/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-8/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Chôros No. 8 was composed in Rio de Janeiro in 1925, and the score is dedicated to the pianist Tomás Terán. It was premiered in Paris on 24 October 1927, at the Salle Gaveau, with the composer conducting the Orchestra of the Concerts Colonne and Aline van Barentzen and Tomás Terán, pianos. The first American performance took place on 12 April 1929 in Philadelphia, again with Barentzen and Terán playing the pianos, and the Philadelphia Orchestra conducted by Leopold Stokowski. Despite these documented performances, the year of composition has been called into question by one scholar, who asserts that the work was conceived in Paris in 1925, but completed only after the composer&rsquo;s return to Rio de Janeiro in 1930. The work was never performed in Latin America in the composer&rsquo;s lifetime. The first performance in Brazil took place in the context of a Villa-Lobos Festival at the Theatro Municipal in Rio de Janeiro on 23 November 1963, with Luiz Carlos de Moura Castro and Luiz Medalha, pianos, and the Orquestra Sinfônica Nacional, conducted by Isaac Karabtchevsky.</p> https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-9/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/choros-no-9/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>According to the score and the official catalog of the Museu Villa-Lobos, Chôros No. 9 was composed in Rio de Janeiro in 1929, and the score was dedicated in 1936 to Arminda Neves de Almeida. It was given its first performance on 15 July 1942 in Rio de Janeiro by the Orquestra Sinfônica do Theatro Municipal, conducted by the composer, just three days before the premiere of Chôros No. 6 in the same venue by the same forces. The American premiere was given in Carnegie Hall, New York, on 8 February 1945, by the Philharmonic-Symphony Society of New York, conducted by the composer, who also directed the Orquestra Sinfônica de Córdoba in the Argentine premiere on 12 November 1946, at the Teatro Rivera Indarte, in Córdoba. However, Lisa Peppercorn casts doubt on such an early date of composition, based on the fact that it was Villa-Lobos&rsquo;s habit to secure premieres of his works as soon as they were completed. In her opinion, the delay of more than a decade between the nominal date of composition and that of the world premiere suggests that, although the score may have been begun or at least conceived in 1929, it was probably not completed until shortly before the premiere in 1942. Based on his detailed analysis of the score, Guilherme Seixas agrees with Peppercorn&rsquo;s hypothesis, concluding that stylistic considerations also do not support a date of completion as early as 1929.</p> https://musictheoryprint.com/works/heitor-villa-lobos/etude-no-1-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/etude-no-1-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>The first public performance of this étude (together with those of Études 7 and 8) was given by Andrés Segovia on 5 March 1947 at Wellesley College in Wellesley, Massachusetts.</p> </div> <div class="mtp-special-block"> <h2 id="structure">Structure<a class="anchor" href="#structure">#</a></h2> <p>The piece is in E minor and is marked Allegro non troppo. A strong presence of J. S. Bach&rsquo;s Well-Tempered Clavier suggests a miniature Bachiana Brasileira.</p> </div> <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>Étude No. 1 is an arpeggio study that is predominantly focused on a cross-string right-hand technique with the exception of one scalar passage from measure 23 to 24 and a series of cadential harmonics in measures 31 to 32.</p> https://musictheoryprint.com/works/heitor-villa-lobos/fantasia-for-saxophone-three-horns-and-strings/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/fantasia-for-saxophone-three-horns-and-strings/ <div class="mtp-special-block"> <h2 id="background">Background<a class="anchor" href="#background">#</a></h2> <p>The saxophone features prominently throughout Villa-Lobos&rsquo;s compositional output. He discovered the saxophone in his youth, while playing in the street orchestras called &ldquo;chorões&rdquo;. Amongst his friends in these circles was the saxophonist and, as a clarinetist himself, Villa-Lobos occasionally performed on the saxophone also. As a composer, he frequently scored for the saxophone. In chamber music, the most important examples include the Sexteto místico for flute, oboe, alto saxophone, harp, guitar, and celesta (1917), Quarteto simbólico for flute, alto saxophone, harp, celesta and women&rsquo;s voices (1921), the Nonet (1923), Chôros No. 3 and No. 7 (1925 and 1924, respectively). Orchestral compositions with prominent parts for the saxophone include Uirapuru, Bachianas Brasileiras No. 2, Chôros No. 6, No. 8, No. 10, No. 11, and No. 12, and the orchestral version of Rudepoêma. In his Fourth Symphony, Villa-Lobos calls for a quartet of saxophones. Villa-Lobos first got to know the saxophonist Marcel Mule in Paris in the 1920s, when Mule played the saxophone part in one of Villa-Lobos&rsquo;s orchestral works. They got on well and performed together again on several later occasions. Villa-Lobos began composing the Fantasia in New York City in 1948 and completed it in Rio de Janeiro in November of the same year, as indicated on the first and last pages of the manuscript. It was while Villa-Lobos was in the midst of composing this work that, in September 1948, he was diagnosed with bladder cancer and underwent surgery at the Sloan-Kettering Memorial Hospital in New York. The Fantasia is Villa-Lobos&rsquo;s only composition featuring the saxophone as soloist, and amounts to a small concerto in three movements. Although it was written for and dedicated to Mule, and originally specified the soprano saxophone, the instrument with which Mule was primarily associated, the Fantasia was not a commissioned work and there is no indication that the composer corresponded with the saxophonist about the piece prior to sending him the completed score in December 1948.</p> https://musictheoryprint.com/works/heitor-villa-lobos/green-mansions-film/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/green-mansions-film/ <div class="mtp-special-block"> <h2 id="plot">Plot<a class="anchor" href="#plot">#</a></h2> <p>A young man named Abel narrowly escapes Caracas, Venezuela, after it is overtaken by rebels. He decides to seek revenge, as his father, the former minister of war, was killed. After getting supplies, he takes a canoe to the far shore, where he is nearly killed by a jaguar, but he is saved by the native people. He decides to prove his bravery by not moving once he sees the chief, Runi, and telling his story. Runi’s son Kua-ko, who has lived with the missionaries of Caracas and speaks English, tells Abel that Runi has agreed that so long as he does not harm them, they will not harm him. Abel agrees and befriends Kua-ko, who tells him of the &ldquo;Bird Woman&rdquo;, who killed his older brother, and that their tribe is not allowed in the nearby forest. Abel ignores the warning and ventures into the forest, where he sees a young woman who quickly disappears. He returns to the natives, and Kua-ko tells him that Runi wishes Abel to use his gun and kill the girl. Abel returns to the forest but decides to warn the girl. He sees her again, but he is bitten in the leg by a coral snake. The girl takes Abel to her home and tends his wound. Upon waking, he meets the girl&rsquo;s grandfather, Nuflo, who tells him her name is Rima. The next day, Abel meets Rima again, and they talk. Rima takes a liking to Abel, but Nuflo warns her that he will leave once his leg heals. Abel soon is able to walk without a cane, and Rima begins showing him the forest. Abel tells her that he has come to like her as well, and Rima is confused. She goes to speak with her dead mother&rsquo;s spirit and decides to return to where she came from to ask a village elder about her strange new feelings for Abel. Later, Abel and Rima travel to the edge of the forest, where he shows her Riolama, which she remembers as her village. Despite Nuflo&rsquo;s reluctance to take her, Rima forces him to show her the way by threatening his soul if he does not. Abel decides to return to the natives. He tells Runi of how Rima saved him, but neither he nor Kua-ko believe him. He quickly realizes that Kua-ko killed his brother and placed the blame on Rima. After a bravery test, Kua-ko and the other natives make ready to enter the forest and kill Rima. Abel escapes and warns Nuflo and Rima, and they escape to Riolama, where Nuflo tells Abel that he cannot return to the village because he caused a massacre. He helped Rima and her mother, and he promised to take care of Rima, but he was ashamed at his part in the massacre. Rima overhears and curses Nuflo. She then rushes to Riolama, where she faints in the heat. Abel follows and takes her to safety. When she awakens, Abel tells her how he has come to love her, and Rima does also, having recently come to decipher her strange feelings as love for him. Rima steals away while Abel is asleep to go back to Nuflo and apologize, but when she finds him, the natives have burnt their home and he is nearly dead. She asks his forgiveness, and with his last words, Nuflo tries to warn her of the natives. She races through the forest to escape. Kua-ko burns the great tree where she has hidden. Meanwhile, Abel awakens and realizes what Rima has done. He quickly follows and finds Kua-ko, who teases that he killed her. The two fight in a stream, where Abel drowns Kua-ko. Abel remembers a flower Rima told him of, which, if it disappears in one place, blossoms in another. He finds the flower, and not far off, he sees Rima, who extends her hand.</p> https://musictheoryprint.com/works/heitor-villa-lobos/guitar-concerto-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/guitar-concerto-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>The concerto was written for the Spanish guitarist Andrés Segovia, to whom the score is dedicated. Initially in three movements and titled Fantasia concertante, Villa-Lobos later added a cadenza at Segovia&rsquo;s request, and changed the title to Concerto for Guitar and Small Orchestra. According to another version of the story, the situation was quite the reverse: Segovia commissioned the work with the stipulation that there should be no cadenza and the work be titled Fantasia concertante. Villa-Lobos, however, ignored these demands, supplying an extended cadenza and insisting the work be called a concerto. The concerto was first performed on 6 February 1956 in Houston, Texas, by Andrés Segovia and the Houston Symphony Orchestra, conducted by the composer. A reduction for guitar and piano was published in Paris by Max Eschig in 1955, who also published the full score in 1971.</p> https://musictheoryprint.com/works/heitor-villa-lobos/introducao-aos-choros/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/introducao-aos-choros/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>According to Villa-Lobos, a complete presentation of his series of Chôros should be preceded by the Introdução aos Choros and concluded by the duet for violin and cello called Chôros bis, as a sort of encore. According to the official account, the Introdução aos Chôros was composed in Rio de Janeiro and Paris in 1929.</p> </div> <div class="mtp-special-block"> <h2 id="instrumentation">Instrumentation<a class="anchor" href="#instrumentation">#</a></h2> <p>The work is scored for solo guitar (amplified) and an orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, cymbals, xylophone, celesta, 2 harps, piano, and strings.</p> https://musictheoryprint.com/works/heitor-villa-lobos/macunaima-film/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/macunaima-film/ <div class="mtp-special-block"> <h2 id="plot">Plot<a class="anchor" href="#plot">#</a></h2> <p>Based on the 1928 book by Mário de Andrade, the modern-day parable follows the misadventures of a black man (Grande Otelo) who is miraculously born to an old woman (Paulo José), who is supposed to be of the indigenous peoples of Brasil, in the jungles of the Amazon. Though born fully-grown, he has the heart of a playful child. After the death of his mother, he comes face to face with a spring that turns him white (Paulo José). With that change, he and his two brothers move to Rio de Janeiro, but are interrogated by street terrorists upon their arrival. Then, thanks to an affair with a white lady, guerrilla killer Ci (Dina Sfat), the film&rsquo;s hero fathers a black boy (Grande Otelo) with her. When both mother and child die, he embarks on a quest to recover a magical stone from a rich city dweller. In this film, the essentialist myth of the 3 Brazilian races, white, black, and the original natives of Brazil, is supposed to be represented through the protagonist, his brothers, and his mother. Throughout his adventures, Macunaíma learns some tough lessons about Brazilian life and society. Macunaima functions as an allegorical representation of the turmoil of the Brazilian military coup that had ensued.</p> https://musictheoryprint.com/works/heitor-villa-lobos/magdalena-a-musical-adventure/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/magdalena-a-musical-adventure/ <div class="mtp-special-block"> <h2 id="performance-history">Performance history<a class="anchor" href="#performance-history">#</a></h2> <p>Magdalena premiered at the Los Angeles Civic Light Opera on 26 July 1948, pursuant to a commission from Edwin Lester, president of that organization. Arthur Kay conducted Irra Petina, Dorothy Sarnoff, John Raitt, Hugo Haas, Gerhard Pechner, A. Garcia, Melva Niles, Henry Reese, Ferdinand Hilt, J. Arthur, Betty Huff, Christine Matsios, Leonard Morganthaler, John Schickling, Lorraine Miller, Gene Curtsinger, Patrick Kirk, Betty Brusher, and Jack Cole (soloists). Jules Dassin directed, Jack Cole was the choreographer, assisted by Gwen Verdon, and the chorus was prepared by Robert Zeller. Broadway veterans Howard Bay (settings and lighting) and Irene Sharaff (costumes) were also part of the creative team. It was also presented in San Francisco at the Curran Theatre (San Francisco Light Opera) for several performances beginning August 16, 1948. The same production opened in New York City at the Ziegfeld Theatre on September 20, 1948 with Raitt, Sarnoff, and Haas reprising their roles. The pit orchestra of 38 included 16 percussionists. It closed on December 4 after 88 performances; no recording was made due to an American Federation of Musicians strike. Magdalena was revived in concert form under conductor Evans Haile on November 24, 1987, at Alice Tully Hall in New York&rsquo;s Lincoln Center; a recording with a slightly different cast was made in RCA&rsquo;s studios in 1988 and issued by CBS (later Sony) in 1989 (ASIN: B0000026QF). In 1992, Ohio Light Opera, a summer festival in Wooster, Ohio, presented a fully-staged revival, the first since 1948. The work was performed in Australia in the 1990s as part of the Opera Festival in Ballarat, Victoria, again under Haile. More recently the Théâtre du Châtelet in Paris announced a production to open in May 2010, with Kate Whoriskey directing and Warren Adams supplying choreography.</p> https://musictheoryprint.com/works/heitor-villa-lobos/miniaturas-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/miniaturas-villa-lobos/ <div class="mtp-special-block"> <h2 id="background">Background<a class="anchor" href="#background">#</a></h2> <p>The exact dates of composition for Miniaturas is uncertain, but the songs were written sometime between 1907 and 1917. The set was composed before Villa-Lobos&rsquo;s first trip to Europe, and was part of a series of art compositions that the composer was writing at the time, which marked a departure from his early &ldquo;folk&rdquo;, &ldquo;pop&rdquo; style. The best available evidence suggests that the fifth song was composed in March, 1912, in Bahia (or 1907), songs 1, 2, and 6 in 1916, and songs 3 and 4 in 1917. The sixth miniature was originally assigned the opus number 87, whereas the third one was assigned Op. 70. The fifth song, in turn, which was composed much earlier than the rest, was initially entitled Gueixas. Some of the pieces were written in Rio de Janeiro. The set is dedicated to Henrique Oswald. All texts are in Portuguese, with each song using a different poet: Bernardino Lopes (No. 1), Sílvio Romero (No. 2), Abílio Barreto (No. 3), Alphonsus de Guimaraens (No. 4), Luís Guimarães Filho (No. 5), and António Correia de Oliveira (No. 6). Miniaturas was first published in 1926 by Arthur Napoleão, although the work is now rarely circulated. The set did not premiere as a set, but rather as individual pieces. Miniatures 1, 4, 5, and 6 premiered on November 17, 1917, in the Salão Nobre of Rio de Janeiro, with singer Alberto Guimarães and Lucilia Villa-Lobos at the piano. Nos. 2 and 3 were premiered on November 12, 1919, in the Theatro Municipal of Rio de Janeiro, with singer Frederico Nascimento Filho and Lucilia Villa-Lobos at the piano.</p> https://musictheoryprint.com/works/heitor-villa-lobos/modinhas-e-cancoes/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/modinhas-e-cancoes/ <div class="mtp-special-block"> <h2 id="album-no-1-1935-43">Album No. 1 (1935-43)<a class="anchor" href="#album-no-1-1935-43">#</a></h2> <p>The first set of Modinhas e canções was composed of songs written in different years, although all the pieces were composed in Rio de Janeiro. Evocação, the last piece in the set, was the first to be written, in 1933. The piece, to a text by Sylvio Salema, was described by Villa-Lobos as a &ldquo;study for a popular song&rdquo;. The next-to-last piece, Nhapôpé, was originally written next, in 1935. It is an &ldquo;old modinha on a popular theme&rdquo;, to a text by Alberto Deodato. Then, it was the first piece in the set, Canção do Marinheiro, which was written after verses by Gil Vicente. It is described in the score as a piece written &ldquo;in the melodic style of the Iberian genre of 1500, using original verses from the period.&rdquo; A Gatinha Parda, the fourth piece from the set, was written in 1937. It was written &ldquo;after a popular nursery theme of the 19th century&rdquo;, although Villa-Lobos never mentioned the librettist to this piece. Cantinela, the third piece, was composed later, in 1938. It employs aspects from Afro-Brazilian music. The composer mentions the &ldquo;Recôncavo Baiano&rdquo; as the place of origin to the materials, which were collected by Sodré Vianna. Then, Lundu da Marquesa de Santos was composed in 1940, to a text by Viriato Correia. This piece was originally written for voice and orchestra, and was destined to be performed as a larger theatrical act entitled Marquesa de Santos. It was described as a piece that &ldquo;evokes the year 1822&rdquo;. Finally, the fifth piece, Remeiro de São Francisco, was the last to be composed, in 1941. It draws on musical material collected by Sodré Vianna among the mixed-race communities of the São Francisco River region. Because it was not initially conceived as a set, the pieces some pieces were first performed individually. The Cantinela was first performed at the Sala del Teatro Cervantes, in Buenos Aires, on May 28, 1935, years before it was considered a completed piece. Singer Stefana de Macedo and Villa-Lobos at the piano premiered the piece. Cancão do Marinheiro, Lundu da Marquesa de Santos and Remeiro de São Francisco were all premiered at the Salão Leopoldo Miguez of the Escola Nacional de Música, in Rio de Janeiro, in a performance by Maria Figueiró Bezerra, with Geraldo Rocha Bezerra at the piano, on July 25, 1942. The first complete performance on record was given at the Espaço BNDES, in Rio de Janeiro, on November 10, 2016, on the occasion of the 54th Festival Villa-Lobos, with Carol McDavit and Flávio Augusto at the piano.</p> https://musictheoryprint.com/works/heitor-villa-lobos/momoprecoce/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/momoprecoce/ <div class="mtp-special-block"> <h2 id="background">Background<a class="anchor" href="#background">#</a></h2> <p>The origins of Momoprecoce can be traced back to the Carnaval das crianças, a children&rsquo;s suite scored for piano written in 1920. Momoprecoce is an elaborate concertante arrangement finished in 1929 in Rio de Janeiro. Although the original suite consisted of eight pieces, Momoprecoce was condensed into one continuous movement with no separation. The piece is claimed to have been premiered in 1929, in the Concergebouw, Amsterdam, by dedicatee Magda Tagliaferro and conductor Pierre Monteux. However, even though Tagliaferro was in fact in Amsterdam at the time, later research by Frank de Munnik of Dutch State Radio found no evidence supporting this claim and stated that, even though Tagliaferro did give a concert, it was a solo recital, not in the Concertgebouw, and with no mention of Villa-Lobos in the program. The first performance in public of Momoprecoce on record is the one Tagliaferro gave in Paris, on February 23, 1930, with conductor Enrique Fernández Arbós. Villa-Lobos himself conducted it with Tagliaferro at Paris&rsquo;s Salle Gaveau two months later, on April 4. The composer conducted the work many times with different orchestras and performers in many cities around America and Europe, including Rio de Janeiro, Barcelona, Los Angeles, and Miami. It was published in Paris in 1934 by Max Eschig, and, later, by the Academia Brasileira de Música. Villa-Lobos also wrote an additional arrangement of Momoprecoce for piano and band, with catalogue number W259, The first performance took place on 21 October 1931 at the Theatro Municipal in São Paulo, with the Banda da Força Pública. Souza Lima performed as the soloist, and the composer conducted. The score is nowadays considered to be lost. A reduction for two pianos was published by Max Eschig in 1934. During the 50s, Villa-Lobos travelled to Paris to record some pieces of himself, among which was Momoprecoce. It was the only time Villa-Lobos was ever recorded conducting this piece. The piece was recorded at the Théâtre des Champs-Élysées, with Magda Tagliaferro and the Orchestre National de la Radiodiffusion Française, on June 10, 1954. The recording, made under EMI, was released as a collection of discs entitled Villa-Lobos par lui-même.</p> https://musictheoryprint.com/works/heitor-villa-lobos/nonet-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/nonet-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Villa-Lobos began work on the Nonet in Rio de Janeiro in 1923, shortly before his first visit to Europe, and completed the score in Paris in September of the same year. It was premiered on 30 May 1924 at the Salle des Agriculteurs in Paris by an ensemble conducted by the composer. The score is dedicated to Olívia Guedes Penteado. The work marks a fundamental turning point in Villa-Lobos&rsquo;s style to the strongly Brazilian-nationalistic character that dominated his compositions throughout the rest of the 1920s, and in particular those to which he gave the title Chôros.</p> https://musictheoryprint.com/works/heitor-villa-lobos/quinteto-em-forma-de-choros/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/quinteto-em-forma-de-choros/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Villa-Lobos composed the work in Paris in 1928, during the same period in which he was working on the series of fourteen Chôros. The first manuscript fair-copy score is titled simply &ldquo;Quintetto para flauta, oboé, corn&rsquo;inglez, clarinete e fagote&rdquo;. The subtitle was added only after the premiere in 1930. Although it was not originally intended as part of the Chôros series, some writers (e.g. Neves, Wright, and Appleby have treated it as related. It was first performed on 14 March 1930 at the Salle Chopin in Paris, on the same concert (part of the Festival de Musique Moderne) with the premieres of Chôros bis (for violin and cello), the Cirandas (for piano), and the Chansons typiques brésiliennes. The performers in the Quintet were Gaston Crunelle, flute; Louis Mercier, oboe; Paul-Gustave Brun, cor anglais; Louis Cahuzac, clarinet; and Auguste Lenom, bassoon. The score was only first published in 1953, by Max Eschig, in an edition that includes alternative passages to facilitate the substitution of the (French) horn for the cor anglais.) This alternative scoring for conventional wind quintet undoubtedly improved chances for performances.</p> https://musictheoryprint.com/works/heitor-villa-lobos/rudepoema/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/rudepoema/ https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-1-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-1-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet consists of six movements: The six short movements of this quartet take the form of a suite, alternating cantabile and dance movements. The lively and humorous second movement, titled &ldquo;Brincadeira&rdquo; (Joke), features effects of pizzicato, battendo coll&rsquo;arco (striking the strings with the back of the bow), and harmonics, both natural and artificial. Throughout the third movement the melodic material is confined entirely to the viola and first violin. The composer describes this movement as &ldquo;a deliberate and elevated caricature of romantic arias, transcending the delicious idea of a romanza sung by a baritone accompanied by a small provincial orchestra&rdquo;. The fourth and fifth movements suggest passages in the Bachianas Brasileiras, particularly the violin melody in &ldquo;Melancolia&rdquo; resembles the &ldquo;Canto do capadócio&rdquo; from Bachianas No. 2.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-10-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-10-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet consists of four movements: The formal structure of the first movement is derived from the classical sonata-allegro form and has three subjects. Cyclic procedures are used to promote unity across the four movements. A violin arpeggio flourish from the end of the fourth bar of the first movement, for example, is developed extensively in the Adagio, and the prominent repeated chords of the first movement return in the scherzo and, in slower rhythmic values, in portions of the finale.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-11-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-11-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet consists of the traditional four movements: Although it follows the Tenth Quartet by only a year, the Eleventh represents a distinct stylistic leap over its immediate predecessor. It is decidedly less nationalistic than the earlier quartets and is seen as the emergence of a more international style characteristic of the composer&rsquo;s later quartets, which finds its fullest expression in the String Quartet No. 17. The first movement is dominated by a variety of triplet rhythms.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-12-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-12-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>As in all of Villa-Lobos&rsquo;s string quartets except the first, there are the traditional four movements: Departing from the traditional sonata-allegro form, Villa-Lobos casts the opening movement of this quartet in a simple ABA ternary form. Each section is 32 bars in length, subdivided into sixteen-, eight-, and four-bars segments, and this main body of the movement is followed by a 16-bar coda. An interesting detail of the manuscript score is that Villa-Lobos uses the Portuguese tempo marking Alegro, instead of the Italian spelling which is his normal habit. The middle, B section is marked meno, and is in the rhythm of a modinha. The composer&rsquo;s biographer, Eero Tarasti, regards this as a regression to Villa-Lobos&rsquo;s earlier, clumsier style of quartet writing, and finds the texture &ldquo;considerably more complicated than in previous quartets and the sound lacks transparency&rdquo;. Juan José Gutiérrez, on the contrary, views the quartet as relatively simple and concise, marking the beginnings of a neoclassical concern with balance and symmetry of structure in the composer&rsquo;s late period. Like the opening movement&rsquo;s central section, the second, slow movement has the character of a modinha. Like the first movement, it is also in an ABA ternary form, in this case preceded by a 32-bar introduction. The third movement is a scherzo (explicitly marked as such in the manuscript, but not in the printed score). At rehearsal number 5, the cello introduces a quotation from Villa-Lobos&rsquo;s 1940 cantata Mandú-Çárárá, played in parallel fifths. The finale is once again a ternary ABA form, with a 21-bar coda. The composer described one theme from this movement as being &ldquo;à la Spanish&rdquo;.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-13-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-13-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>Like most of Villa-Lobos&rsquo;s works in the medium, the quartet consists of four movements: All four movements of this quartet are in ternary form (ABA). In the first movement, the return of the A section is restricted to its first half, the remainder being replaced with a ten-bar coda. The second movement is a scherzo, concluding with a coda made from material taken from the central, B section. The third, slow movement exhibits subtle features of modinha rhythms in time. The main theme of this movement has been criticised as &ldquo;exceptionally shapeless&rdquo; . The finale is very similar to the opening movement, and uses as its main theme a subject connected by its intervallic structure to that of the fugato that opens the first movement. Eero Tarasti finds this theme &ldquo;surprisingly feeble&rdquo; .</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-14-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-14-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>As with most of Villa-Lobos&rsquo;s quartets, there are four movements: All four movements of this quartet are in ternary, ABA form. The second movement is nostalgic in manner, opening with a sixteen-bar, desolate, chromatic, and atonal fugato. The central section is strongly contrasted, using a theme in a tonal, popular-music style.</p> </div> <div class="mtp-special-block"> <h2 id="discography">Discography<a class="anchor" href="#discography">#</a></h2> <p>Chronological, by date of recording. * Heitor Villa-Lobos: String Quartets Nos. 4, 6 and 14. Danubius Quartet (Judit Tóth and Adél Miklós, violins; Cecilia Bodolai, viola; Ilona Wibli, cello). Recorded at the Hungaroton Studios in Budapest, 18–19, 22–25 April, and 20–23 May 1991. CD recording, 1 disc: digital, 12 cm, stereo. Marco Polo 8.223391. A co-production with Records International. Germany: HH International, Ltd., 1992. * Villa-Lobos: Quatuors a Cordes Nos. 12–13–14. Quatuor Bessler-Reis (Bernardo Bessler, Michel Bessler, violins; Marie-Christine Springuel, viola; Alceu Reis, cello). Recorded at Multi Studio in Rio de Janeiro, June–July 1991, and at Studio Master in Rio de Janeiro, July 1989. CD recording, 1 disc: digital, 12 cm, stereo. Le Chant du Monde LDC 278 1066. France: S.n. , 1991. ** Also issued as part of Villa-Lobos: Os 17 quartetos de cordas / The 17 String Quartets. Quarteto Bessler-Reis and Quarteto Amazônia. CD recording, 6 sound discs: digital, 12 cm, stereo. Kuarup Discos KCX-1001 (KCD 045, M-KCD-034, KCD 080/1, KCD-051, KCD 042). Rio de Janeiro: Kuarup Discos, 1996. * Villa-Lobos: String Quartets, Volume 2. Quartets Nos. 3, 8, 14. Cuarteto Latinoamericano (Saúl Bitrán, Arón Bitrán, violins; Javier Montiel, viola; Alvaro Bitrán, cello). Recorded at the Troy Savings Bank Music Hall in Troy, NY, March 1995. Music of Latin American Masters. CD recording, 1 disc: digital, 12 cm, stereo. Dorian DOR-90220. Troy, NY: Dorian Recordings, 1996. ** Reissued as part of Heitor Villa-Lobos: The Complete String Quartets. 6 CDs + 1 DVD with a performance of Quartet No. 1 and interview with the Cuarteto Latinoamericano. Dorian Sono Luminus. DSL-90904. Winchester, VA: Sono Luminus, 2009. ** Also reissued (without the DVD) on Brilliant Classics 6634.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-15-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-15-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>Like most of Villa-Lobos&rsquo;s works in this medium, the quartet consists of the traditional four movements: The final, Allegro movement opens with a fugato section, with the voices entering at the unusual intervals of a seventh, a third, and a fourth above the first statement in the cello.</p> </div> <div class="mtp-special-block"> <h2 id="discography">Discography<a class="anchor" href="#discography">#</a></h2> <p>Chronological, in order of recording dates. * Villa-Lobos: Quatuors a Cordes Nos. 15/16/17. Quatuor Bessler-Reis (Bernardo Bessler, Michel Bessler, violins; Marie-Christine Springuel, viola; Alceu Reis, cello). Recorded at Studios Master in Rio de Janeiro, August–November 1988. CD recording, 1 disc: digital, 12 cm, stereo. Le Chant du Monde LDC 278 948. S.l. : S.n. , 1989. ** Also issued as part of Villa-Lobos: Os 17 quartetos de cordas / The 17 String Quartets. Quarteto Bessler-Reis and Quarteto Amazônia. CD recording, 6 sound discs: digital, 12 cm, stereo. Kuarup Discos KCX-1001 (KCD 045, M-KCD-034, KCD 080/1, KCD-051, KCD 042). Rio de Janeiro: Kuarup Discos, 1996. * Heitor Villa-Lobos: String Quartets Nos. 3, 10 and 15. Danubius Quartet (Gyöngyvér Oláh Quartets 3 and 10 , Judit Tóth Quartet 15 and Adél Miklós, violins; Cecilia Bodolai, viola; Ilona Ribli, cello). Recorded at the Rottenbiller Street Studio in Budapest, 15–19 June and 1–2 July 1992. CD recording, 1 disc: digital, 12 cm, stereo. Marco Polo 8.223393. A co-production with Records International. Germany: HH International, Ltd., 1993. * Villa-Lobos: String Quartets, Volume 3. Quartets Nos. 7 and 15. Cuarteto Latinoamericano (Saúl Bitrán, Arón Bitrán, violins; Javier Montiel, viola; Alvaro Bitrán, cello). Recorded at the Sala Nezahualcóyotl in Mexico City, September 1996. Music of Latin American Masters. CD recording, 1 disc: digital, 12 cm, stereo. Dorian DOR-90246. Troy, NY: Dorian Recordings, 1997. ** Reissued as part of Heitor Villa-Lobos: The Complete String Quartets. 6 CDs + 1 DVD with a performance of Quartet No. 1 and interview with the Cuarteto Latinoamericano. Dorian Sono Luminus. DSL-90904. Winchester, VA: Sono Luminus, 2009. ** Also reissued (without the DVD) on Brilliant Classics 6634.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-16-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-16-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet consists of the traditional four movements: For its voice leading and tonal balance, the Sixteenth Quartet is regarded as one of the composer&rsquo;s best, particularly the first movement.</p> </div> <div class="mtp-special-block"> <h2 id="discography">Discography<a class="anchor" href="#discography">#</a></h2> <p>Chronological, by date of recording. * Villa-Lobos: String Quartet No. 16; Radamés Gnattali: Four Nocturnes, for piano and string quartet; José Vieira Brandão, Miniatura; César Guerra-Peixe: String Quartet No. 2. Quarteto Brasileiro (Santino Parpinelli and Jacques Nirenberg, violins; Henrique Nirenberg, viola; Eugen Ranevsky, cello). LP recording. CBS 60041. Brazil: CBS, 1966. Reissued on CD as Brazilian String Quartet. 1 disc: digital, 12 cm, stereo. Albany TROY420. Albany, NY: Albany Records, 2000. * Villa-Lobos Concurso Internacional de Quarteto de Cordas, 1966. Quartet No. 11 (Quarteto Mario Andrade), Quartet No. 16 (Quarteto Rio de Janeiro). Recorded live at Sala Cecília Meireles, Rio de Janeiro. LP recording, 1 disc: 12 in., 33⅓ rpm, stereo. Museu Villa-Lobos MEC/DAC/MVL-013. Disco é cultura. Rio de Janeiro: Tapecar Gravações, 1975. * Heitor. Villa-Lobos: String Quart No. 16; Henrique Oswald: Quarteto Brasileiro in E Minor, Op. 39. Quarteto Brasileiro da UFRJ. LP recording, 1 disc: analog, 33⅓ rpm, 12 in., stereo. CBS 160174. S.l. : CBS, 1971. * Concurso Internacional de Quarteto de Cordas (1977: Rio de Janeiro). Heitor Villa-Lobos: String Quartets Nos. 16 and 17. Quarteto de Cuerdas de la Universidad Nacional de La Plata; Audubon Quartet. Recorded live at the Sala Cecília Meireles, Rio de Janeiro. LP recording, 1 sound disc: analog, 33⅓ rpm, 12 in. Tapecar MEC/DAC/CFC/MVL 020. Rio de Janeiro: Tapecar Gravações, 1977. * Villa-Lobos: Quatuors a Cordes Nos. 15/16/17. Quatuor Bessler-Reis (Bernardo Bessler, Michel Bessler, violins; Marie-Christine Springuel, viola; Alceu Reis, cello). Recorded at Studios Master in Rio de Janeiro, August–November 1988. CD recording, 1 disc: digital, 12 cm, stereo. Le Chant du Monde LDC 278 948. S.l. : S.n. , 1989. ** Also issued as part of Villa-Lobos: Os 17 quartetos de cordas / The 17 String Quartets. Quarteto Bessler-Reis and Quarteto Amazônia. CD recording, 6 sound discs: digital, 12 cm, stereo. Kuarup Discos KCX-1001 (KCD 045, M-KCD-034, KCD 080/1, KCD-051, KCD 042). Rio de Janeiro: Kuarup Discos, 1996. * Heitor Villa-Lobos: String Quartets Nos. 11, 16 and 17. Danubius Quartet (Judit Tóth and Adél Miklós, violins; Cecilia Bodolai, viola; Ilona Wibli, cello). Recorded at the Hungaroton Studios in Budapest, 15–16 October 1990, 28–30 January, and 11–15 February 1991. CD recording, 1 disc: digital, 12 cm, stereo. Marco Polo 8.223390. A co-production with Records International. Germany: HH International, Ltd., 1992. * Villa-Lobos: String Quartets, Volume 4. Quartets Nos. 2, 12, 16. Cuarteto Latinoamericano (Saúl Bitrán, Arón Bitrán, violins; Javier Montiel, viola; Alvaro Bitrán, cello). Recorded at the Sala Blas Galindo of the Centro Nacional de las Artes in Mexico City, November and December 1998. Music of Latin American Masters. CD recording, 1 disc: digital, 12 cm, stereo. Dorian DOR-93179. Troy, NY: Dorian Recordings, 1998. ** Reissued as part of Heitor Villa-Lobos: The Complete String Quartets. 6 CDs + 1 DVD with a performance of Quartet No. 1 and interview with the Cuarteto Latinoamericano. Dorian Sono Luminus. DSL-90904. Winchester, VA: Sono Luminus, 2009. ** Also reissued (without the DVD) on Brilliant Classics 6634.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-17-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-17-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet consists of the traditional four movements: The first movement is in ternary form, rather than the expected sonata-allegro form, and has a long concluding 37-measure coda. The second movement is also in ternary form and has the character of the improvised instrumental serenade called a choro. The third movement is a traditional scherzo with trio, followed by a concluding coda. The finale breaks with traditional forms, offering instead a succession of three unrelated sections, a transition, and a recapitulation of the first half of section one, and an extended coda.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-2-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-2-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>As in all of Villa-Lobos&rsquo;s quartets except the first, there are four movements: One writer, however, regards the Prestissimo final as a separate, fifth movement. This early quartet in Villa-Lobos&rsquo;s catalogue is composed according to the cyclic principles developed by César Franck and Vincent d&rsquo;Indy. Franck and Debussy were two of the most important influences on Villa-Lobos&rsquo;s early style, and he had studied d&rsquo;Indy&rsquo;s 1912 textbook, Cours de Composition Musicale. The composer describes the scherzo as a novelty, played in harmonics, &ldquo;whose harmonies involve a syncopated melody in a context that suggests small bamboo rustic flutes (a sort of Panpipe played using the nose by the Pareci Indians of Mato Grosso)&rdquo;.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-3-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-3-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet, like all but the first of Villa-Lobos&rsquo;s works in the medium, consists of four movements: The opening of the first movement establishes a motive that recurs throughout the quartet in various transformations. At first, it recalls Prokofiev or Shostakovich, but later is given a context more suggestive of Ravel. The generally pentatonic melodic contours and long ostinatos initially tend toward monotony and inexpressiveness, but the ostinatos give way to a more plastic and lively treatment later in the movement. The second movement, Molto vivo, was listed in the programme for the premiere performance as &ldquo;Scherzo satirico&rdquo;. Like the first movement, it is largely dependent on ostinatos, but in place of pentatonic melodies its thematic material utilizes the whole-tone scale. The third, slow movement, transforms the leitmotif into something resembling the theme of the piano piece Lenda do caboclo. The finale restates motives from all of the preceding parts, especially the main subject of the first movement, to produce a cyclic formal closure. However, despite this motivic cross-referencing, Villa-Lobos does not take advantage of the possibilities this offers for the kind of rich thematic development found in the Viennese classical masters. Lisa Peppercorn agrees with Tarasti&rsquo;s assessment, stating that Villa-Lobos rarely develops his musical ideas, but instead uses them as stereotyped, repeated formulas, in contrast to composers who relate their different themes, or have evolved them all from a common germ cell. With specific reference to the Third Quartet, she finds the thematic material is &ldquo;clearly stated and is obviously suitable for development&rdquo;, but that Villa-Lobos fails to provide this development, which is essential to sonata form, instead letting the themes &ldquo;take their course through the instruments exactly as they were originally conceived&rdquo;. Paulo Salles, however, contests this view. According to his analysis, both of the main themes of the first movement are taken from the same germ motive, which permeates not only the exposition but the entire first movement of the quartet, &ldquo;in a process of continuous variation&rdquo;, and compares this high thematic density to the music of Joseph Haydn. Villa-Lobos emphasizes the beginning of the recapitulation in the first movement with a sudden change of register of the accompanying triplets. At bar 153 (rehearsal-number 12), over an augmentation of the first cyclic theme, he introduces for the first time a figuration evoking the call of a Brazilian bird called sabiá da mata (English name: cocoa thrush). This call occurs in several of Villa-Lobos&rsquo;s later works, including the Fourth and Eighth String Quartets, but most notably in the second movement (Dança: Martelo) of the Bachianas Brasileiras No. 5, where text by Manuel Bandeira names the bird. This is the only moment in this quartet where there is any hint of nationalism.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-4-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-4-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet consists of four movements: The Fourth Quartet marks the end of Villa-Lobos&rsquo;s early period of exploration of the form. It is somewhat simpler than its three predecessors, and the parts move more independently and expressively. The main theme of the first movement strongly recalls the opening measures of the First and Second Quartets, but the second movement introduces a Brazilian character with a cello melody that avoids the second scale degree, like the Afro-Brazilian Xangô tunes.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-5-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-5-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>This quartet, like all of Villa-Lobos&rsquo;s quartets except the first, consists of four movements: The Fifth Quartet is unusual in Villa-Lobos&rsquo;s works in this genre for using genuine folk material, albeit in modified form. Over the course of the first movement, the tempo changes many times, ranging from Lento to Presto. The long Lento section in b. 90 to 136 is characterised by lyrical melodic writing in the first violin accompanied by a complex rhythmic pattern in the other instruments. The second movement&rsquo;s predominantly fast tempo is also interrupted after 11 bars by a Lento section featuring double stops in all four instruments and sul ponticello tremolo effects in the two violins. After eight bars, the opening tempo is resumed for the remainder of the movement, save for a concluding Molto lento coda of five bars. The third movement inverts the relationship found in the first two movements by interrupting a predominantly slow tempo after only two bars with a fast and light-hearted section (Tempo giusto e ben ritmato) of sufficient length to make the opening material sound merely like a slow introduction. After 23 bars, however, a slow tempo (Adagio) is resumed, eventually giving way to the original Andantino. The short opening Andantino motive, played in unison, is one that Villa-Lobos often uses to suggest Indian music. The finale, in contrast to the earlier movements, maintains a steady Allegro tempo throughout. After a brief introduction in parallel fourths, the main theme from the first movement returns, at double its original tempo but in the same key. A series of children&rsquo;s themes taken from Villa-Lobos&rsquo;s collection, Guia prático, provides the substance for the rest of the movement. The central section is based on the song &ldquo;O Bastão ou mia gato&rdquo; (&ldquo;The Stick or a Cat&rsquo;s Meow&rdquo;), played in harmonics in all four instruments, after which the opening section, minus the introduction, is repeated to create an ABA ternary form.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-6-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-6-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Villa-Lobos composed his Sixth Quartet in 1938 in Rio de Janeiro, and it was first performed in the same city by the Quarteto Haydn on 30 November 1943, on the same programme as the premiere of the Seventh Quartet. The published score bears no dedication, but the manuscript is dedicated to the violist Orlando Frederico, who many years earlier had participated in the premieres of both the Second and Third Quartets. The composition of this quartet came relatively soon after time spent living in Paris (1923–1930). It is with this quartet that the references to the quartets of Haydn, which continue throughout the composer&rsquo;s later quartets, become clear for the first time. While in Paris, Villa-Lobos was immersed in the Parisian and broader European musical traditions of the day. However, while there are Haydnesque and also Beethovenian influences that appear in this quartet, Indeed, the Sixth Quartet is regarded as the most nationalistic of all Villa-Lobos&rsquo;s string quartets. This work, along with the Fifth Quartet, is marked by a deliberate move toward a more &ldquo;popular&rdquo; style, incorporating elements of Brazilian popular music. Villa-Lobos originally planned to designate this work as the second &ldquo;popular quartet&rdquo; (the Fifth Quartet is subtitled &ldquo;Quarteto popular no. 1&rdquo;), but in the end abandoned the idea of such a series.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-7-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-7-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet consists of four movements: Because of the exceptional virtuosity called for in all four movements, the composer suggested the Seventh Quartet might be called the &ldquo;Concertante Quartet&rdquo;. The first movement is a conscious updating of sonata form in accordance with a broad conception of post-tonal organization. It may be described, therefore, as a neoclassical work.</p> </div> <div class="mtp-special-block"> <h2 id="discography">Discography<a class="anchor" href="#discography">#</a></h2> <p>Chronological by date of recording. * Heitor Villa-Lobos: String Quartets Nos. 2 and 7. Danubius Quartet (Mária Zs. Szabó and Adél Miklós, violins; Ágnes Apró, viola; Ilona Ribli, cello). Recorded at the Rottenbiller Street Studio in Budapest, 12–16 November 1992. CD recording, 1 disc: digital, 12 cm, stereo. Marco Polo 8.223394. A co-production with Records International. Germany: HH International, Ltd., 1994. * Heitor Villa-Lobos: Quartetos de cordas 7, 8, 9, 10, 11. Quarteto Amazônia. CD recording, 2 discs: digital, 12 cm, stereo. Barcelona: Discmedi D.L., 2000. ** Also issued as part of Villa-Lobos: Os 17 quartetos de cordas / The 17 String Quartets. Quarteto Bessler-Reis and Quarteto Amazônia. CD recording, 6 sound discs: digital, 12 cm, stereo. Kuarup Discos KCX-1001 (KCD 045, M-KCD-034, KCD 080/1, KCD-051, KCD 042). Rio de Janeiro: Kuarup Discos, 1996. * Villa-Lobos: String Quartets, Volume 3. Quartets Nos. 7 and 15. Cuarteto Latinoamericano (Saúl Bitrán, Arón Bitrán, violins; Javier Montiel, viola; Alvaro Bitrán, cello). Recorded at the Sala Nezahualcóyotl in Mexico City, September 1996. Music of Latin American Masters. CD recording, 1 disc: digital, 12 cm, stereo. Dorian DOR-90246. Troy, NY: Dorian Recordings, 1997. ** Reissued as part of Heitor Villa-Lobos: The Complete String Quartets. 6 CDs + 1 DVD with a performance of Quartet No. 1 and interview with the Cuarteto Latinoamericano. Dorian Sono Luminus. DSL-90904. Winchester, VA: Sono Luminus, 2009. ** Also reissued (without the DVD) on Brilliant Classics 6634.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-8-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-8-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet consists of four movements: According to the composer, the Eighth Quartet is systematically atonal throughout. The first movement lacks the expected development section, while the slow, second movement displays the qualities of the Brazilian improvisational instrumental serenade called a choro. The finale is marked by a rhythmic pattern that is especially difficult from the performers&rsquo; point of view.</p> </div> <div class="mtp-special-block"> <h2 id="discography">Discography<a class="anchor" href="#discography">#</a></h2> <p>Chronological, by date of recording. * Heitor Villa-Lobos: String Quartets Nos. 1, 8 and 13. Danubius Quartet (Judit Tóth and Adél Miklós, violins; Cecilia Bodolai, viola; Ilona Wibli, cello). Recorded at the Hungaroton Studios in Budapest, 10–19 October 1990. CD recording, 1 disc: digital, 12 cm, stereo. Marco Polo 8.223389. A co-production with Records International. Germany: HH International, Ltd., 1992. * Villa-Lobos: String Quartets, Volume 2. Quartets Nos. 3, 8, 14. Cuarteto Latinoamericano (Saúl Bitrán, Arón Bitrán, violins; Javier Montiel, viola; Alvaro Bitrán, cello). Recorded at the Troy Savings Bank Music Hall in Troy, NY, March 1995. Music of Latin American Masters. CD recording, 1 disc: digital, 12 cm, stereo. Dorian DOR-90220. Troy, NY: Dorian Recordings, 1996. ** Reissued as part of Heitor Villa-Lobos: The Complete String Quartets. 6 CDs + 1 DVD with a performance of Quartet No. 1 and interview with the Cuarteto Latinoamericano. Dorian Sono Luminus. DSL-90904. Winchester, VA: Sono Luminus, 2009. ** Also reissued (without the DVD) on Brilliant Classics 6634. * Heitor Villa-Lobos: Quartetos de cordas 7, 8, 9, 10, 11. Quarteto Amazônia. CD recording, 2 discs: digital, 12 cm, stereo. Barcelona: Discmedi D.L., 2000. ** Also issued as part of Villa-Lobos: Os 17 quartetos de cordas / The 17 String Quartets. Quarteto Bessler-Reis and Quarteto Amazônia. CD recording, 6 sound discs: digital, 12 cm, stereo. Kuarup Discos KCX-1001 (KCD 045, M-KCD-034, KCD 080/1, KCD-051, KCD 042). Rio de Janeiro: Kuarup Discos, 1996.</p> https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-9-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/string-quartet-no-9-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The quartet consists of four movements: The first movement is cast in the traditional sonata-allegro form, with a particularly strong influence from Joseph Haydn. This is seen especially in the use of mirroring that recalls the al rovescio counterpoint of the fugue in Haydn&rsquo;s Op. 20, No. 2. The second theme group contains four subjects, the second of which uses the octatonic scale, suggesting the possible influence of Stravinsky. The second movement, on the other hand, shows remarkable similarities to Alban Berg&rsquo;s Lyric Suite and to Béla Bartók&rsquo;s Sixth Quartet.</p> https://musictheoryprint.com/works/heitor-villa-lobos/suite-populaire-bresilienne/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/suite-populaire-bresilienne/ <div class="mtp-special-block"> <h2 id="background">Background<a class="anchor" href="#background">#</a></h2> <p>Despite being primarily taught to play the cello as a young child by his father, who was an amateur musician, Villa-Lobos later mainly taught himself how to play the guitar at home. Even though he didn&rsquo;t pursue an academic musical career, his remarkable skills opened the doors to various chorões in Rio de Janeiro. In his early days, he would perform and improvise with other chorões in cafés, nightclubs, and cinemas in order to make his living. This later enabled him to compose many pieces inspired by the musical style and folk material of chorões, entitled chôros.</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-1-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-1-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Villa-Lobos composed his First Symphony in 1916, to a philosophical argument written by himself under the pseudonym &ldquo;Epaminondas Villalba Filho&rdquo;. It is the first in a cycle of five symphonies written in the style of Vincent d&rsquo;Indy. It was given a partial performance (the second and third movements, according to some sources; the first and fourth movements according to another) on 20 September 1919 in the Theatro Municipal in Rio de Janeiro by the Grande Companhia Italiana, conducted by Gino Marinuzzi. The complete symphony was first performed on 30 August 1920, again in the Theatro Municipal, by the Orquestra da Sociedade de Concertos Sinfônicos do Rio de Janeiro, conducted by the composer. At some later date, Villa-Lobos revised the score, adding tam-tam, glockenspiel, and side drum to the percussion section Villa-Lobos had written the romantic-symbolic program text for this symphony already in 1907. It concerns the mystic relationship of the artist&rsquo;s soul with fate and the universe, but these philosophically effusive ideas are both difficult to understand and virtually imperceptible in the music. According to the text, the soul of the artist</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-10-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-10-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Villa-Lobos composed his Tenth Symphony for the 400th anniversary of the founding of the city of São Paulo. He began work in Rio de Janeiro in 1952, completing the score on 15 February 1953 in New York. It was first performed at the Théâtre des Champs-Élysées in Paris on 4 April 1957. The soloists were Jean Giraudeau (tenor), Camille Maurane (baritone), and Jacques Chalude (bass). The Orchestre National et Choeur de la Radiodiffusion Française was conducted by the composer. The score is dedicated to Mindinha (Arminda Neves d&rsquo;Almeida), the composer&rsquo;s companion for the last 23 years of his life.</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-11-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-11-villa-lobos/ <div class="mtp-special-block"> <h2 id="music">Music<a class="anchor" href="#music">#</a></h2> <p>The symphony is scored for an orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, percussion (timpani, tam-tam, cymbals, triangle, matraca a wooden rattle , bass drum, marimba, xylophone, celesta, and vibraphone), 2 harps, piano, and strings. The symphony is in four movements:</p> </div> <div class="mtp-special-block"> <h2 id="further-reading">Further reading<a class="anchor" href="#further-reading">#</a></h2> <ul> <li>Durgin, Cyrus. 1956. &ldquo;Boston Symphony Orchestra: Villa-Lobos&rsquo; Symphony No. 11&rdquo;. Daily Boston Globe (3 March): 20.</li> <li>Enyart, John William. 1984. &ldquo;The Symphonies of Heitor Villa-Lobos&rdquo;. PhD diss. Cincinnati: University of Cincinnati.</li> <li>Peppercorn, Lisa M. 1991. Villa-Lobos: The Music: An Analysis of His Style, translated by Stefan de Haan. London: Kahn &amp; Averill; White Plains, NY: Pro/Am Music Resources Inc. (Kahn &amp; Averill); .</li> <li>Salles, Paulo de Tarso. 2009. Villa-Lobos: processos composicionais. Campinas, SP: Editora da Unicamp.</li> </ul> </div> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-12-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-12-villa-lobos/ <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The symphony consists of four movements: The form of the first movement resembles a five-part rondo (ABACA) with a coda in which the main theme returns in augmentation. The second movement is in a ternary form (ABA) and leads without break into the third movement. Like the first movement, the scherzo is a five-part rondo, except that the returns of the main A section are in different keys, and the second occurrence is immediately after the first: A A&rsquo; B C A . The finale is also in a modified five-part rondo form. As in the scherzo, the refrain returns in keys different from its initial appearance.</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-2-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-2-villa-lobos/ <div class="mtp-special-block"> <h2 id="instrumentation">Instrumentation<a class="anchor" href="#instrumentation">#</a></h2> <p>The symphony is scored for an orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, percussion (timpani, tam-tam, bass drum, cymbals, side drum, and tambour de basque), celesta, 2 harps, and strings.</p> </div> <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The symphony is in four movements: The principal, first theme of the opening movement returns in all of the subsequent movements as a cyclic theme. It appears twice in the development section of the second movement (b. 93 and 168, both times in the low strings), at the beginning of the development in the third movement (b. 32) in the low woodwinds, and in the fourth movement in the development or episodic section, first in the bass clarinet, then with the addition of the bassoons and contrabassoon. The third, slow movement is a monothematic sonata-allegro form, with a shift from B minor to D major marking both the exposition and the course of the work as a whole. The finale is cast in sonata-allegro form, though with unconventional tonal relationships. The two main themes have tonics separated by a tritone, E and B in the exposition, transposed upward by a minor third in the recapitulation to G and D. The tonal plan therefore projects a diminished seventh chord, with an upward progression of a semitone at the end to conclude the Allegro on D. Thematically, the movement contains not only its own themes and the main cyclic theme of the symphony, but also recalls motivic material from themes in all the preceding movements.</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-3-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-3-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>In 1919, Villa-Lobos was commissioned to write a symphony to celebrate the Treaty of Versailles. In response, he composed his Third Symphony in Rio de Janeiro, beginning work in early May and finishing the score less than six weeks later, on 12 June 1919. The work is subtitled A Guerra (War) and the manuscript also designates it the &ldquo;1a Sinfonia Simbólica&rdquo; (First Symbolic Symphony). It is the first of a trilogy of programmatic symphonies based on arguments by , the others being subtitled A Vitória (Victory) and A Paz (Peace), as well as being the third in a cycle of five symphonies written in the style of Vincent d&rsquo;Indy. The first two movements were presented on 31 July 1919 in the Theatro Municipal, Rio de Janeiro, by the Orchestra do Theatro Municipal conducted by the composer, as part of a concert dedicated to the President of Brazil, Epitácio Pessoa. The complete symphony was first performed (together with the Fourth Symphony) in the same venue and by the same forces in September 1920, in a concert given in honour of Albert I and Elisabeth of Bavaria, the King and Queen of Belgium. However, it appears that at this time the symphony had only three movements. The slow movement, Lento e marcial, &ldquo;certainly did not exist before 1946&rdquo;, and was probably added shortly before the work was published in 1955.</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-4-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-4-villa-lobos/ <div class="mtp-special-block"> <h2 id="recordings">Recordings<a class="anchor" href="#recordings">#</a></h2> <ul> <li>From 10 to 13 June 1955 Villa-Lobos made a recording of this symphony at the Salle de la Mutualité in Paris with the Orchestre National de la Radiodiffusion Française.</li> <li>1996, Diemecke, Dorian (dist. Naxos)</li> <li>1997, St. Clair, CPO</li> <li>2012, Karabtchevsky, Naxos</li> </ul> </div> <div class="mtp-special-block"> <h2 id="instrumentation">Instrumentation<a class="anchor" href="#instrumentation">#</a></h2> <p>The symphony is scored for a large orchestra and brass band. * The orchestra consists of 2 piccolos, 3 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, percussion (timpani, cymbals, bass drum, drum, side drum, tam-tam, bells, sistrum, small frame drum, chocalho, sleigh bells, triangle, and xylophone), celesta, 2 harps, piano, and strings. * The wind band consists of E clarinet, soprano saxophone, alto saxophone, euphonium, cornets, bugles, horn, 1 or more saxhorns, bass trombone, contrabass trombone in E, contrabass trombone in B, and bass drum. * There is also a concertino ensemble made up of E clarinet, soprano, alto, and tenor saxophones, euphonium, small frame drum, triangle, cymbals, and bass drum.</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-5-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-5-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>According to the official account, Villa-Lobos composed his Fifth Symphony in 1920. It is the third of a trilogy of programmatic symphonies written to commemorate World War I, based on arguments by . It is also the last of a cycle of five symphonies in the style of Vincent d&rsquo;Indy. It was never performed, and the score has been lost. A programme documenting a performance on 5 March 1961 at Carnegie Hall in New York, by the New York Philharmonic conducted by Eleazar de Carvalho appears to have been a hoax. When asked by the Museu Villa-Lobos for confirmation, the conductor informed them that he had never had a copy of the score, and that concert never took place. Although a memorial concert in Carnegie Hall by members of the New York Philharmonic conducted by Carvalho was announced for that date, the all-Villa-Lobos programme was to include the Madonna Fantasia, the Cello Concerto in A minor, Bachianas Brasileiras No. 5, and Uirapuri . No mention was made of any symphony. In any case, Lisa Peppercorn doubts that the work was actually completed in 1920 but only progressed beyond the conception of the idea in 1946. According to her, the Ricordi catalogue of Villa-Lobos&rsquo;s works published on 30 June 1965 lists the symphony under the title Odisséa da Paz, and states it was composed in 1921. David Appleby, on the other hand, gives this as the subtitle of the Seventh Symphony.</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-6-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-6-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Villa-Lobos composed his Sixth Symphony in Rio de Janeiro in 1944. It was first performed in Rio de Janeiro on 29 April 1950 by the Orquestra do Theatro Municipal, conducted by the composer. An early report, based on conversations with Villa-Lobos in Paris in 1928–29, said that a Sixth Symphony (subtitled Symphonie indienne and based on Brazilian indigenous themes) had been written shortly after the Fifth Symphony, at about the same time as Villa-Lobos&rsquo;s opera Malazarte (1921), but had never been performed. No reference to such a work is found in the official catalogue of the composer&rsquo;s works, however.</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-7-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-7-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Villa-Lobos composed his Seventh Symphony in Rio de Janeiro in 1945 for a competition in Detroit. As required by the rules of the competition, it was submitted anonymously, using the pseudonym A. Caramurú. It was not awarded a prize in the competition. It was first performed in London on 27 March 1949 by the London Symphony Orchestra, conducted by the composer. The symphony, written shortly after the surrender of Germany on 7 May 1945, is subtitled &ldquo;Odisséia da paz&rdquo; (Odyssey of the Peace). The second edition of the official Villa-Lobos catalogue, however, at one place gives &ldquo;Odisséia de uma raça&rdquo; (the title of an unrelated symphonic poem from 1953), together with a short programmatic description:</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-8-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-8-villa-lobos/ <div class="mtp-special-block"> <h2 id="instrumentation">Instrumentation<a class="anchor" href="#instrumentation">#</a></h2> <p>The symphony is scored for an orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, percussion (timpani, tam-tam, cymbals, and xylophone), celesta, 2 harps, piano, and strings.</p> </div> <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The symphony has four movements: This is according to Villa-Lobos, sua obra and Latin American Music Center. The liner card and electronic track listing for the CPO CD of the work (CPO 999 517-2) gives: With the exception of the expanded listing of the first movement, however, the booklet accompanying the CD agrees with the two Villa-Lobos catalogues. Enyart gives a slightly different version, with the Portuguese spelling, justo, in place of the Italian giusto in the last movement:</p> https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-9-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/symphony-no-9-villa-lobos/ <div class="mtp-special-block"> <h2 id="instrumentation">Instrumentation<a class="anchor" href="#instrumentation">#</a></h2> <p>The symphony is scored for an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, percussion (timpani, tam-tam, cymbals, coconut hulls, bass drum, xylophone, and vibraphone), celesta, harp, and strings.</p> </div> <div class="mtp-special-block"> <h2 id="analysis">Analysis<a class="anchor" href="#analysis">#</a></h2> <p>The symphony has four movements:</p> </div> <div class="mtp-special-block"> <h2 id="further-reading">Further reading<a class="anchor" href="#further-reading">#</a></h2> <ul> <li>Béhague, Gerard. 1994. Villa-Lobos: The Search for Brazil&rsquo;s Musical Soul. Austin: Institute of Latin American Studies, University of Texas at Austin, 1994. .</li> <li>Enyart, John William. 1984. &ldquo;The Symphonies of Heitor Villa-Lobos&rdquo;. PhD diss. Cincinnati: University of Cincinnati.</li> <li>Peppercorn, Lisa M. 1991. Villa-Lobos: The Music: An Analysis of His Style, translated by Stefan de Haan. London: Kahn &amp; Averill; White Plains, New York: Pro/Am Music Resources Inc. (Kahn &amp; Averill); .</li> <li>Salles, Paulo de Tarso. 2009. Villa-Lobos: processos composicionais. Campinas, SP: Editora da Unicamp. .</li> </ul> </div> https://musictheoryprint.com/works/heitor-villa-lobos/the-little-train-of-the-caipira/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/the-little-train-of-the-caipira/ <div class="mtp-special-block"> <h2 id="composition">Composition<a class="anchor" href="#composition">#</a></h2> <p>In the year of composition, 1930, Villa-Lobos transcribed this movement for cello and piano, titled simply O trenzinho do caipira. This arrangement, which lasts about two minutes in performance, was premiered in São Paulo–Pirajuí in 1930, with Villa-Lobos himself playing the cello and João de Souza Lima the piano. The original, orchestral version was only first performed (in the context of the complete Bachianas No. 2) on 3 September 1934, at the Venice International Festival, with an orchestra conducted by Dimitri Mitropoulos . An opposed point of view holds that the orchestral Bachianas No. 2 was put together from preexistent and unrelated pieces, three originally for cello and piano (O canto do capadócio, O canto da nossa terra, and O trenzinho do caipira), the other (Lembrança do sertão) for solo piano (; ). An unrelated a cappella chorus composition by Villa-Lobos, Trenzinho, setting a text by Catarina Santoro, was written in 1933, and premiered on 10 October 1939 by the choir of the Escola Argentina (Rio de Janeiro), conducted by the composer. Originally for three-part chorus, it was also adapted for four-part female chorus, in which form it was published in 1951 as number 31 in volume 2 of the composer&rsquo;s collection, Canto orfeônico .</p> https://musictheoryprint.com/works/heitor-villa-lobos/uirapuru-villa-lobos/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/uirapuru-villa-lobos/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Uirapuru originated as a fifteen-minute symphonic poem titled Tédio de alvorada (Boredom at Dawn), composed in Rio de Janeiro in 1916 and first performed there on a concert sponsored by the for the benefit of retired journalists, at the Theatro Municipal on 15 May 1918 by an orchestra made up of 85 music teachers, conducted by Soriano Robert. Villa-Lobos extensively reworked and expanded this composition into the score retitled Uirapuru, beginning in 1917. However, it was not until Serge Lifar and his ensemble danced the ballets Jurupari (to the music of Chôros No. 10) and Amazonas in 1934 that Villa-Lobos completed Uirapuru and dedicated the score to Lifar. In the end, however, Lifar was not involved in the ballet&rsquo;s premiere. The newly finished score was performed for the first time on Argentina&rsquo;s Día de la Revolución de Mayo, 25 May 1935, as a ballet choreographed by Ricardo Nemanoff and with stage design by , at the Teatro Colón in Buenos Aires. The occasion was a gala in honour of the Brazilian President Getúlio Vargas during a visit to Argentina for the Fifth Pan-American Commercial Conference which started the next day. The ballet was danced on this occasion by Michel Borovsky and Dora del Grande, with the orchestra and corps de ballet of the Teatro Colón, conducted by the composer. The first concert performance as a symphonic poem took place a few months later, on 6 November 1935 in the Theatro Municipal in Rio de Janeiro, by the Orquestra Sinfônica do Theatro Municipal conducted by the composer. Uirapuru was also included on the programme of the last concert conducted by Villa-Lobos, on 12 July 1959, at the Empire State Music Festival in New York.</p> https://musictheoryprint.com/works/heitor-villa-lobos/yerma-opera/ Mon, 01 Jan 0001 00:00:00 +0000 https://musictheoryprint.com/works/heitor-villa-lobos/yerma-opera/ <div class="mtp-special-block"> <h2 id="history">History<a class="anchor" href="#history">#</a></h2> <p>Yerma was commissioned in 1955 by an old friend of Villa-Lobos, Hugh Ross, the conductor of the New York Schola Cantorum, and by John Blankenship, at that time head of the drama department at Sarah Lawrence College. The original plan was that García Lorca&rsquo;s play would be translated into English by the Scottish poet Alastair Reid, but Villa-Lobos immediately began setting the original Spanish text. It was composed partly in New York, partly in Paris, and was finished in 1956. Yerma was first performed by the Santa Fe Opera in Santa Fe, New Mexico, on August 12, 1971 In 1983 the opera was staged for the first time in Brazil, at the Teatro Municipal in Rio de Janeiro, with Aurea Gomez and Benito Maresca, conducted by , and in 1987 this Spanish-language opera was performed for the first time in a Spanish-speaking country, at the Teatro Solís in Montevideo. The title role was sung by the Mexican soprano María Luisa Tamez, supported by Brazilian tenor Benito Maresca and Uruguayan baritone Fernando Barabino. Staging was by Jorge Curi, and David Machado conducted. A concert version was presented from July 12–21, 1989 by Opera on the Move in the Queen Elizabeth Hall at the Southbank&rsquo;s Latin American Festival, &ldquo;Viva!&rdquo;, with Anna Steiger in the title role and Odaline de la Martinez conducting, while the European staged premiere was given by the Bielefeld Opera in 1991. The opera was given its second staging in Brazil at the Teatro Amazonas in Manaus in April 2010. The lead roles were taken by Eliane Coelho, Marcelo Puente, Homero Velho, and Keila de Moraes. Marcelo de Jesus conducted.</p>