Villa Lobos Biography: Youth and Exploration

Villa lobos
Biography
Youth and exploration

Heitor Villa-Lobos was born in Rio de Janeiro. His father, Raul, was a wealthy, educated man of Spanish
extraction, a librarian and an amateur astronomer and musician.
In Villa-Lobos's early childhood, Brazil underwent a period of social revolution and modernisation, finally
abolishing slavery in 1888 and overthrowing the Empire of Brazil in 1889. The changes in Brazil were
reflected in its musical life: previously European music had been the dominant influence, and the courses at
the Conservatório de Música were grounded in traditional counterpoint and harmony. Villa-Lobos underwent
very little of this formal training. After a few abortive harmony lessons, he learnt music by illicit observation
from the top of the stairs of the regular musical evenings at his house arranged by his father. He learned to
play the cello, the guitar and the clarinet. When his father died suddenly in 1899 he earned a living for his
family by playing in cinema and theatre orchestras in Rio.[1]
Around 1905 Villa-Lobos started explorations of Brazil's "dark interior", absorbing the native Brazilian musical
culture. Serious doubt has been cast on some of Villa-Lobos's tales of the decade or so he spent on these
expeditions, and about his capture and near escape from cannibals, with some believing them to be
fabrications or wildly embellished romanticism.[2] After this period he gave up any idea of conventional
training and instead absorbed the influence of Brazil's indigenous cultural diversity, itself based on
Portuguese, African, and American Indian elements. His earliest compositions were the result of
improvisations on the guitar from this period.
Villa-Lobos played with many local Brazilian street-music bands; he was also influenced by the cinema and
Ernesto Nazareth's improvised tangos and polkas.[3] For a time Villa-Lobos became a cellist in a Rio opera
company, and his early compositions include attempts at Grand Opera. Encouraged by Arthur Napoleão, a
pianist and music publisher (sheet music), he decided to compose seriously.[4]
Brazilian influence
In 1912, Villa-Lobos married the pianist Lucília Guimarães, ended his travels, and began his career as a
serious musician. His music began to be published in 1913. He introduced some of his compositions in a
series of occasional chamber concerts (later also orchestral concerts) from 1915-1921, mainly in Rio de
Janeiro's ''Salão Nobre do Jornal do Comércio.
The music presented at these concerts shows his coming to terms with the conflicting elements in his
experience, and overcoming a crisis of identity, as to whether European or Brazilian music would dominate
his style. This was decided by 1916, the year in which he composed the symphonic poems Amazonas and
Uirapurú (although Amazonas was not performed until 1929, and Uirapurú was first performed in 1935).
These works drew from native Brazilian legends and the use of "primitive", folk material. [5]
European influence did still inspire Villa-Lobos. In 1917 Sergei Diaghilev made an impact on tour in Brazil
with his Ballets Russes. That year Villa-Lobos also met the French composer Darius Milhaud, who was in
Rio as secretary to Paul Claudel at the French Legation. Milhaud brought the music of Debussy, Satie, and
possibly Stravinsky; in return Villa-Lobos introduced Milhaud to Brazilian street music. In 1918, he also met
the pianist Artur Rubinstein, who became a lifelong friend and champion; this meeting prompted Villa-Lobos
to write more piano music.[6]
In about 1918 Villa-Lobos abandoned the use of opus numbers for his compositions as a constraint to his
pioneering spirit. With the suite Carnaval das crianças ("Children's carnival") for two pianos of 1919-20, Villa-
Lobos liberated his style altogether from European Romanticism. [7] The piece depicts eight characters or
scenes from Rio's Lent Carnival.
In February 1922, a festival of modern art took place in São Paulo and Villa-Lobos contributed performances
of his own works. The press were unsympathetic and the audience were not appreciative; their mockery was
encouraged by Villa-Lobos's being forced by a foot infection to wear one carpet slipper. [8] The festival ended
with Villa-Lobos's Quarteto simbólico, composed as an impression of Brazilian urban life.
In July 1922, Rubinstein gave the first performance of A Prole do Bebê. There had recently been an
attempted military coup on Copacabana Beach, and places of entertainment had been closed for days; the
public possibly wanted something less intellectually demanding, and the piece was booed. Villa-Lobos was
philosophical about it, and Rubinstein later reminisced that the composer said, "I am still too good for them."
The piece has been called "the first enduring work of Brazilian modernism". [9]
Rubinstein suggested that Villa-Lobos tour abroad, and in 1923 he set out for Paris. His avowed aim was to
exhibit his exotic sound world rather than to study. Just before he left he completed his Nonet (for ten players
and chorus) which was first performed after his arrival in the French capital. He stayed in Paris in 1923-24
and 1927-30, and there he met such luminaries as Edgard Varèse, Pablo Picasso, Leopold Stokowski and
Aaron Copland. Parisian concerts of his music made a strong impression. [10]
In the 1920s, Villa-Lobos also met the Spanish guitarist Andrés Segovia, who commissioned a guitar study:
the composer responded with a set of 12 (Douze Études), each taking a tiny detail or figure from Brazilian
chorões (itinerant street musicians) and transforming it into a piece that is not merely didactic. The chorões
were also the initial inspiration behind his series of compositions, the Chôros, which were written between
1924-29. The first European performance of Chôros no. 10, in Paris, caused a storm: L. Chevallier wrote of it
in Le Monde musicale, "[…it is] an art […] to which we must now give a new name."[11]
The Vargas era

In 1930, Villa-Lobos, who was in Brazil to conduct, planned to return to Paris. One of the consequences of
the revolution of that year was that money could no longer be taken out of the country, and so he had no
means of paying any rents abroad. Thus forced to stay in Brazil, he arranged concerts instead around São
Paulo, and composed patriotic and educational music. In 1932, he became director of the Superindendência
de Educação Musical e Artistica (SEMA), and his duties included arranging concerts including the Brazilian
premieres of Ludwig van Beethoven's Missa Solemnis and Johann Sebastian Bach's B Minor Mass as well
as Brazilian compositions. His position at SEMA led him to compose mainly patriotic and propagandist
works. His series of Bachianas brasileiras were a notable exception.
Villa-Lobos's writings of the Vargas era include propaganda for Brazilian nationhood ("brasilidade"),[12] and
teaching and theoretical works. His Guia Prático ran to 11 volumes, Solfejos (two volumes, 1942 and 1946)
contained vocal exercises, and Canto Orfeônico (1940 and 1950) contained patriotic songs for schools and
for civic occasions. His music for the film O Descobrimento do Brasil'' ("The discovery of Brazil") of 1936,
which included versions of earlier compositions, was arranged into orchestral suites, and includes a depiction
of the first mass in Brazil in a setting for double choir.
In 1936, Villa-Lobos and his wife separated.
Villa-Lobos published A Música Nacionalista no Govêrno Getúlio Vargas ca. 1941, in which he characterised
the nation as a sacred entity whose symbols (including its flag, motto and national anthem) were inviolable.
Villa-Lobos was the chair of a committee whose task was to define a definitive version of the Brazilian
national anthem.[13]
After 1937, during the Estado Nôvo period when Vargas seized power by decree, Villa-Lobos continued
producing patriotic works directly accessible to mass audiences. Independence Day on September 7 1939
involved 30 000 children singing the national anthem and items arranged by Villa-Lobos. For the 1943
celebrations he also composed the ballet Dança da terra, which the authorities deemed unsuitable until it
was revised. The 1943 celebrations did include Villa-Lobos's hymn Invocação em defesa da pátria shortly
after Brazil's declaring war on Germany and its allies.[14]
Villa-Lobos's demagogue status damaged his reputation among certain schools of musicians, among them
disciples of new European trends such as serialism— which was effectively off limits in Brazil until the 1960s.
This crisis was, in part, due to some Brazilian composers finding it necessary to reconcile Villa-Lobos's own
liberation of Brazilian music from European models in the 1920s with a style of music they felt to be more
universal.[15]
Composer in demand
Vargas fell from power in 1945. Villa-Lobos was able, after the end of the war, to travel abroad again; he
returned to Paris, and also made regular visits to the United States as well as travelling to Great Britain, and
Israel. He received a huge number of commissions, and fulfilled many of them despite failing health. He
composed concertos for piano, cello (the second one in 1953), guitar (in 1951 for Segovia, who refused to
play it until the composer provided a cadenza in 1956[16]), harp (for Nicanor Zabaleta in 1953) and harmonica
(for John Sebastian, Sr. in 1955-6). Other commissions included his Symphony no. 11 (for the Boston
Symphony Orchestra in 1955), and the opera Yerma (1955-56) based on the play by Federico García Lorca.
His prolific output of this period prompted criticisms of note spinning and banality: critical reactions to his
Piano Concerto No. 5 included the comments "bankrupt" and "piano tuners' orgy". [17]
His music for the film Green Mansions starring Audrey Hepburn and Anthony Perkins, commissioned by
MGM in 1958, earned Villa-Lobos $25,000, and he conducted the soundtrack recording himself.[18] The film
was in production for many years. Originally to be directed by Vincente Minnelli, it was taken over by
Hepburn's husband Mel Ferrer.[19] MGM decided only to use part of Villa-Lobos' music in the actual film,
turning instead to Bronislaw Kaper for the rest of the music. [20] From the score, Villa-Lobos compiled a work
for soprano soloist, male chorus, and orchestra, which he titled Forest of the Amazons and recorded it in
stereo with Brazilian soprano Bidu Sayao, an unidentified male chorus, and the Symphony of the Air for
United Artists. The spectacular recording was issued both on LP and reel-to-reel tape. [21]
In June 1959, Villa-Lobos alienated many of his fellow musicians by expressing disillusionment, saying in an
interview that Brazil was "dominated by mediocrity". [22] In November he died in Rio; his state funeral was the
final major civic event in that city before the capital transferred to Brasília.[23] He is buried in the Cemitério
São João Batista in Rio de Janeiro.
Music
See also: and

His earliest pieces originated in guitar improvisations, for example Panqueca ("Pancake") of 1900.
The concert series of 1915-21 included first performances of pieces demonstrating originality and virtuosic
technique. Some of these pieces are early examples of elements of importance throughout his œuvre. His
attachment to the Iberian Peninsula is demonstrated in Canção Ibéria of 1914 and in orchestral transcriptions
of some of Enrique Granados' piano Goyescas (1918, now lost). Other themes that were to recur in his later
work include the anguish and despair of the piece Desesperança— Sonata Phantastica e Capricciosa no. 1
(1915), a violin sonata including "histrionic and violently contrasting emotions", [24] the birds of L'oiseau blessé
d'une flèche (1913), the mother-child relationship (not usually a happy one in Villa-Lobos's music) in Les
mères of 1914, and the flowers of Suíte floral for piano of 1916-18 which reappeared in Distribuição de flores
for flute and guitar of 1937.
Reconciling European tradition and Brazilian influences was also an element that bore fruit more formally
later. His earliest published work Pequena suíte for cello and piano of 1913 shows a love for the cello, but is
not notably Brazilian, although it contains elements that were to resurface later. [25] His three-movement String
Quartet no. 1 (Suíte graciosa) of 1915 (expanded to six movements ca. 1947[26]) is influenced by European
opera,[27] while Três danças características (africanas e indígenas) of 1914-16 for piano, later arranged for
octet and subsequently orchestrated, is radically influenced by the tribal music of the Caripunas Indians of
Mato Grosso.[28]
With his tone poems Amazonas (1916, first performed in Paris in 1929) and Uirapurú (1916, first performed
1935) he created works dominated by indigenous Brazilian influences. The works use Brazilian folk tales and
characters, imitations of the sounds of the jungle and its fauna, imitations of the sound of the nose-flute by
the violinophone, and not least imitations of the uirapurú itself.[29]
His meeting with Artur Rubinstein in 1918 prompted Villa-Lobos to compose piano music such as Simples
coletânea of 1919 — which was possibly influenced by Rubinstein's playing of Ravel and Scriabin on his
South American tours — and Bailado infernal of 1920.[30] The latter piece includes the tempi and expression
markings "vertiginoso e frenético", "infernal" and "mais vivo ainda" ("faster still").
Carnaval des crianças of 1919–20 saw Villa-Lobos's mature style emerge; unconstrained by the use of
traditional formulae or any requirement for dramatic tension, the piece at times imitates a mouth organ,
children's dances, a harlequinade, and ends with an impression of the carnival parade. This work was
orchestrated in 1929 with new linking passages and a new title, Momoprecoce. Naïveté and innocence is
also heard in the piano suites A Prole do Bebê ("The Baby's Family") of 1918-21.
Around this time he also fused urban Brazilian influences and impressions, for example in his Quarteto
simbólico of 1921. He included the urban street music of the chorões, who were groups containing flute,
clarinet and cavaquinho (a Brazilian guitar), and often also including ophicleide, trombones or percussion.
Villa-Lobos occasionally joined such bands. Early works showing this influence were incorporated into the
Suíte popular brasileiro of 1908-12 assembled by his publisher, and more mature works include the Sexteto
místico (ca. 1955, replacing a lost and probably unfinished one begun in 1917 [31]), and Canções típicas
brasileiras of 1919. His guitar studies are also influenced by the music of the chorões.[32]
All the elements mentioned so far are fused in Villa-Lobos's Nonet. Subtitled Impressão rápida do todo o
Brasil ("A brief impression of the whole of Brazil"), the title of the work denotes it as ostensibly chamber
music, but it is scored for flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, piano, a large
percussion battery requiring at least two players, and a mixed chorus.
In Paris, his musical vocabulary established, Villa-Lobos solved the problem of his works' form. It was
perceived as an incongruity that his Brazilian impressionism should be expressed in the form of quartets and
sonatas. He developed new forms to free his imagination from the constraints of conventional musical
development such as that required in sonata form.[33]
The multi-sectional poema form may be seen in the Suite for Voice and Violin, which is somewhat like a
triptych, and the Poema da criança e sua mama for voice, flute, clarinet, and cello (1923). The extended
Rudepoema for piano, written for Rubinstein, is a multi-layered work, often requiring notation on several
staves, and is both experimental and demanding. Wright calls it "the most impressive result" of this formal
development.[34]
The Ciranda, or Cirandinha is a stylised treatment of simple Brazilian folk melodies in a wide variety of
moods. A ciranda is a child's singing game, but Villa-Lobos's treatment in the works he gave this title are
sophisticated.
Another form was the Chôro. Villa-Lobos composed more than a dozen works with this title for various
instruments, mostly in the years 1924-1929. He described them as "a new form of musical composition", a
transformation of the Brazilian music and sounds "by the personality of the composer". [35]
After the revolution of 1930, Villa-Lobos became something of a demagogue. He composed more backward-
looking music such as the Missa São Sebastião of 1937, and published teaching pieces and ideological
writings. [36]
He also composed between 1930 and 1945 nine pieces he called Bachianas brasileiras ("Brazilian Bach
pieces"). These take the forms and nationalism of the Chôros, and add the composer's love of Bach. Villa-
Lobos's use of archaisms was not new (an early example is his Pequena suíte for cello and piano, of 1913).
The pieces evolved over the period rather than being conceived as a whole, some of them being revised or
added to. They contain some of his most popular music, such as No. 5 for soprano and 8 cellos (1938-1945),
and No. 2 for orchestra of 1930 (the Tocata movement of which is O trenzinho do caipira, "The little train of
the Caipira"). They also show the composer's love for the tonal qualities of the cello, both No. 1 and No. 8
being scored for no other instruments. In these works the often harsh dissonances of his earlier music are
less evident: or, as Simon Wright puts it, they are "sweetened". The transformation of Chôros into Bachianas
brasileiras is demonstrated clearly by the comparison of No. 6 for flute and bassoon with the earlier Chôros
No. 2 for flute and clarinet. The dissonances of the later piece are more controlled, the forward direction of
the music easier to discern. Bachianas brasileiras No. 9 takes the concept so far as to be an abstract
Prelude and Fugue, a complete distillation of the composer's national influences. [37] Villa-Lobos eventually
recorded all nine of these works for EMI in Paris, mostly with the musicians of the French National Orchestra;
these were originally issued on LPs and later reissued on CDs. [38] He also recorded the first section of
Bachianas brasileiras No. 5 with Bidu Sayão and a group of cellists for Columbia.[39]
During his period at SEMA, Villa-Lobos composed five string quartets, nos. 5 to 9, which explored avenues
opened by his public music that dominated his output. He also wrote more music for Segovia, the Cinq
préludes, which also demonstrate a further formalisation of his composition style.
After the fall of the Vargas government, Villa-Lobos returned full-time to composition, resuming a prolific rate
of completing works. His concertos— particularly those for guitar, harp and harmonica— are examples of his
earlier poema form. The harp concerto is a large work, and shows a new propensity to focus on a small
detail, then to fade it and bring another detail to the foreground. This technique also occurs in his final opera,
Yerma, which contains a series of scenes each of which establishes an atmosphere, similarly to the earlier
Momoprecoce.
Villa-Lobos's final major work was the music for the film Green Mansions (though in the end, most of his
score was replaced with music by Bronislaw Kaper[40]), and its arrangement as Floresta do Amazonas for
orchestra, and some short songs issued separately.
In 1957, he wrote a 17th String Quartet, whose austerity of technique and emotional intensity "provide a
eulogy to his craft".[41] His Benedita Sabedoria, a sequence of a capella chorales written in 1958, is a similarly
simple setting of Latin biblical texts. These works lack the pictorialism of his more public music.
Except for the lost works, the Nonetto, the two concerted works for violin and orchestra, Suite for Piano and
Orchestra, a number of the symphonic poems, most of his choral music and all of the operas, his music is
well represented on the world's recital and concert stages and on CD.
References and further reading
 Appleby, David P. 1988. Heitor Villa-Lobos: A Bio-Bibliography. New York: Greenwood Press. ISBN
0-313-25346-3
 Béhague, Gerard. 1994. Villa-Lobos: The Search for Brazil's Musical Soul. Austin: Institute of Latin
American Studies, University of Texas at Austin, 1994. ISBN 0-292-70823-8
 Griffiths, Paul. 1985. Olivier Messiaen and the Music of Time. London: Faber and Faber. ISBN
0801418135
 Peppercorn, Lisa. 1972. "Villa-Lobos's Brazilian Excursions." Musical Times 113, no. 1549 (March):
263–65.
 Peppercorn, Lisa. 1985. "H. Villa-Lobos in Paris." Latin American music review / Revista de musica
Latinoamericana 6, no. 2 (Autumn): 235-48
 Peppercorn, Lisa M. 1989. Villa-Lobos. Edited by Audrey Sampson. Illustrated Lives of the Great
Composers. London and New York: Omnibus. ISBN 0-7119-1689-6
 Peppercorn, Lisa M. 1991a. Villa-Lobos, the Music: An Analysis of His Style Translated by Stefan De
Haan. London: Kahn & Averill; White Plains, NY: Pro/AM Music Resources. ISBN 1-871082-15-3
 Peppercorn, Lisa M. 1991b. "Villa-Lobos 'ben trovato'." Tempo: A Quarterly Review of Modern
Music, no. 177 (June): 32–39.
 Peppercorn, Lisa M. 1996. The World of Villa-Lobos in Pictures and Documents. Aldershot, Hants,
England: Scolar Press; Brookfield, VT: Ashgate Publishers. ISBN 1-85928-261-X
 Tarasti, Eero. Heitor Villa-Lobos: The Life and Works Jefferson, North Carolina: McFarland. ISBN 0-
7864-0013-7
 Villa-Lobos, Heitor. [1941?]. A música nacionalista no govêrno Getulio Vargas. Rio de Janeiro: D.I.P.
 Villa-Lobos, Heitor. 1994. The Villa-Lobos Letters. Edited, translated, and annotated by Lisa M.
Peppercorn. Musicians in Letters, no. 1. Kingston-upon-Thames: Toccata. ISBN 0-907689-28-0
 Villa-Lobos, sua obra: Programa de Ação Cultural, 1972. 1974. Second edition. Rio de Janeiro:
MEC,DAC, Museu Villa-Lobos.
 Wright, Simon. 1992. Villa-Lobos. Oxford and New York: Oxford University Press. ISBN 0-19-
315475-7
 O acorde de Tristão em Villa-Lobos by Paulo de Tarso Salles
 Heitor Villa-Lobos E O Ambiente Artístico Parisiense: Convertendo-Se Em Um Músico Brasileiro
(MANA 9(1):81-108, 2003) by Paulo Renato Guérios (English: Heitor Villa-Lobos and the Parisian art
scene: how to become a Brazilian musician)
Notes
1. ^ Wright 1992, 2
2. ^ Peppercorn 1972.
3. ^ Wright 1992, 3
4. ^ Wright 1992, 4
5. ^ Wright 1992, 13-19
6. ^ Wright 1992, 24
7. ^ Wright, 1992, 28-30
8. ^ Wright 1992, 38
9. ^ Wright 1992, 31-32
10. ^ See, for example, the influence of the brilliance of his orchestral palette on the young Olivier Messiaen,
discussed in Griffiths 1985, [p.?].
11. ^ Le Monde musicale 12 (31 Dec. 1927) quoted in Wright 1992, 77
12. ^ For example, Villa-Lobos [?1941]
13. ^ Wright 1992, 108
14. ^ Wright 1992, 115
15. ^ Wright 1992, 117-8
16. ^ Wright, 1992, p. 123
17. ^ The critic of Musical Opinion in 1955, quoted in Wright 1992, 121-22
18. ^ Wright 1992, 136
19. ^ The MGM Story
20. ^ Heitor Villa-Lobos website
21. ^ United Artists reel-to-reel tape, released 1959
22. ^ Wright 1992, 139
23. ^ Wright 1992, 138
24. ^ Wright 1992, 6
25. ^ Wright 1992, 8-9)
26. ^ Peppercorn 1991, 32
27. ^ Villa-Lobos in Sua Obra (2), 229, quoted in Wright, 1992, 9
28. ^ Wright 1992, 9
29. ^ Wright 1992, 13-21
30. ^ Wright 1992, 24
31. ^ See Peppercorn 1991, 38–39
32. ^ Wright 1992, 59
33. ^ Wright, 1992, 41ff
34. ^ Wright 1992, 48
35. ^ Note in the score of Choros No. 3, quoted in Wright 1992, 62
36. ^ Such as Villa-Lobos [1941?].
37. ^ Wright, 1992, 81-99 discusses the Bachianas brasileiras in some detail
38. ^ EMI catalogue
39. ^ Sony Masterworks catalogue
40. ^ Green Mansions film credits
41. ^ Wright 1992, 139
External links
 Villa-Lobos Museum
 The Villa-Lobos Magazine
 Official Publisher: Bio, works list, discography, hire, protrait, news and events
Recordings
 Villa-Lobos par lui-même (EMI Classics) ASIN B000002SBL
 Villa-Lobos: Bachianas Brasileiras http://www.emiclassics.com/groc/releases1/villa.html (EMI
Classics) ASIN B00000GCAG
 Chôros no. 1, "Chôro típico" (track 3) Villa-Lobos performing his own composition on the guitar
(Violão com Fábio Zanon - Rádio Cultura de São Paulo)
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composer is a person who writes music. The term refers particularly to someone who writes music in some
type of musical notation, thus allowing others to perform the music. This distinguishes the composer from a
musician who improvises or plays a musical instrument.
orchestra is an instrumental ensemble, usually fairly large with string, brass, woodwind sections, and
possibly a percussion section as well. The term orchestra derives from the name for the area in front of an
ancient Greek stage reserved for the Greek chorus.
Chamber music is a form of classical music, written for a small group of instruments which traditionally
could be accommodated in a palace chamber. Most broadly, it includes any "art music" that is performed by
a small number of performers with one performer to a part.
An instrumental is, in contrast to a song, a musical composition or recording without lyrics or any other sort
of vocal music; all of the music is produced by musical instruments.
Folk music can have a number of different meanings, including:
 Traditional music: The original meaning of the term "folk music" was synonymous with the term
"Traditional music", also often including World Music and Roots music; the term "Traditional music"
was given

The Classical period in Western music occurred from about 1750 to 1820, despite considerable overlap at
both ends with preceding and following periods, as is true for all musical eras.
The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos,
written for various combinations of instruments and voices between 1930 and 1945.
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astrophysics attempted to explain these phenomena and the differences
social revolution may have different connotations depending on the speaker.
In the Trotskyist movement, the term "social revolution" refers to an upheaval in which existing property
relations are smashed.
Modernization (also Modernisation) is a concept in the sphere of social sciences that refers to process in
which society goes through industrialization, urbanization and other social changes that completely
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Slavery is a social-economic system under which certain persons — known as slaves — are deprived of
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The Empire of Brazil was a political entity that comprised present-day Brazil under the rule of Emperors
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In music, counterpoint is the relationship between two or more voices that are independent in contour and
rhythm, and interdependent in harmony. It has most commonly been identified in Western music, developing
strongly in the Renaissance, and also dominant in much of the common
harmony is the use and study of pitch simultaneity, and therefore chords, actual or implied, in music. The
study of harmony may often refer to the study of harmonic progressions, the movement from one pitch
simultaneity to another, and the structural principles that govern such
violoncello, usually abbreviated to cello, or 'cello (the c is pronounced [tʃ] as in the ch of "check"), is a
bowed stringed instrument, a member of the violin family.
The guitar is a musical instrument with ancient roots that is used in a wide variety of musical styles. It
typically has six strings, but four, seven, eight, ten, and twelve string guitars also exist.
clarinet is a musical instrument in the woodwind family. The name derives from adding the suffix -et
meaning little to the Italian word clarino meaning a particular type of trumpet, as the first clarinets had a
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Theatre (or theater, see spelling differences) (from French "théâtre", from Greek "theatron", θέατρον,
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or more
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1870s 1880s 1890s - 1900s - 1910s 1920s 1930s
1902 1903 1904 - 1905 - 1906 1907 1908
Year 1905 (MCMV

Anthem
"A Portuguesa"
Capital
(and largest city) Lisbon5
Official languages Portuguese1

This article is copied from an article on Wikipedia® - the free encyclopedia created and edited by online user community. The text was not
checked or edited by anyone on our staff. Although the vast majority of the Wikipedia® encyclopedia articles provide accurate and timely
information please do not assume the accuracy of any particular article. This article is distributed under the terms of GNU Free Documentation
License .
List of compositions by Heitor Villa-Lobos 0.04 sec.
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This is a list of selected compositions by the Brazilian composer Heitor Villa-Lobos.
Chôros
The Chôros are listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a,
Tarasti 1995, and Wright 1992.
 Introduction to the Chôros, for guitar & orchestra (1929)
 No. 1 for guitar (1920)
 No. 2 for flute and clarinet (1924)
 No. 3 for clarinet, bassoon, saxophone, 3 horns, trombone, or for male chorus, or for both together
(1925)
 No. 4 for 3 horns and trombone (1926)
 No. 5 for piano (1925) "Alma Brasileira" (Brazilian Soul)
 No. 6 for orchestra (1926)
 No. 7 "Settimino" for flute, oboe, clarinet, saxophone, bassoon, violin, and cello, with tam-tam ad lib.
(1924)
 No. 8 for orchestra with 2 pianos (1925)
 No. 10 for chorus and orchestra (1926) "Rasga o Coração" ("Heartbreak")
 No. 11 for piano and orchestra (1928)
 No. 13 for 2 orchestras and band (1929) now lost
 No. 14 for orchestra, band and chorus (1928) now lost
 Chôros Bis, for violin & cello (1928)
 Quinteto em forma de chôros for flute, oboe, cor anglais, clarinet and bassoon (1929); arr. flute,
oboe, clarinet, horn, bassoon (1951)
Bachianas brasileiras
The Bachianas brasileiras are listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn
1991a, Tarasti 1995, and Wright 1992.
 No. 1 for at least 8 cellos (1930-38)
 No. 3 for piano and orchestra (1938)
 No. 4 for piano (1930-41); orchestrated in 1941
 No. 5 for voice and at least 8 cellos (1938-45)
 No. 6 for flute and bassoon (1938)
 No. 9 for chorus or string orchestra (1945)
Concertos
The concertos are listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a,
 Suite for Piano and Orchestra (1913)
 Cello Concerto no. 1 (1915)
 Momoprecoce, fantasy for piano and orchestra (1921)
 Fantasia de movimentos mistos for violin & orchestra (1921)
 O Martírio dos Insetos for violin and orchestra (1925)
 Ciranda das sete notas for basson & string orchestra (1933)
 Piano Concerto no. 1 (1945)
 Fantasia for soprano saxophone, three horns & strings (1948)
 Concerto for Guitar (1951) for Segovia
 Piano Concerto no. 3 (1952-57)
 Harp Concerto (1953) for Zabaleta
 Cello Concerto no. 2 (1953)
 Fantasia for Cello and Orchestra
 Harmonica Concerto (1955) for John Sebastian Snr.
 Concerto Grosso for wind quartet & wind ensemble (1959)
 Choros No. 11 and Bachianas Brasileiras No. 3 are also concertante pieces for piano and orchestra
Symphonies
The symphonies are listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a,
 No. 1 O Imprevisto ("The Unforeseen") (1920)
 No. 2 Ascensão ("The Ascension") (1917)
 No. 3 A Guerra ("The War") (1919)
 No. 4 A Vitória ("The Victory") (1919)
 No. 5 A Paz ("The Peace") (1920) now lost
 No. 6 Montanhas do Brasil ("The Mountains of Brasil") (1944)
 No. 7 (1945)
 No. 8 (1950)
 No. 9 (1951)
 No. 10 "Amerindia" ("Sumé Pater Patrium") (1952)
 No. 11 (1955)
 No. 12 (1957)
Other Orchestral Works (including Ballet scores)

The other orchestral works are listed and described in Villa-Lobos, sua obra 1974, Appleby 1988,
Peppercorn 1991a, Tarasti 1995, and Wright 1992.
 Tédio de Alvorada, symphonic poem (1916)
 Naufrágio de Kleônicos, symphonic poem (1916)
 Dancas Africanas (1916)
 Sinfonietta no. 1 (1916)
 Iára (1917)
 Amazonas, ballet & symphonic poem (1917)
 Uirapurú, ballet (1917)
 Danca Frenetica (1918)
 Danca dos Mosquitos (1922)
 Francette et Piá (1928, orch. 1958)
 Rudepoema (1926, orch. 1932)
 O Papagaio do moleque, the Kite of the Guttersnipe, a symphonic episode (1932)
 Caixinha de Boas Festas, symphonic poem & ballet (1932)
 Evolução dos Aeroplanos (1932)
 Danca da terra, ballet (1939)
 Mandú-Cárárá, Profane Cantata / Children's Ballet for mixed choir, children's choir & orchestra
(1940)
 Suite Saudade da Juventude nr. 1 (1940)
 Madona, symphonic poem (1945)
 Sinfonietta no. 2 (1947)
 Erosão, Erosion, symphonic poem (1950)
 Rudá, symphonic poem & ballet (1951)
 'Ouverture de L'Homme Tel'' (1952)
 Alvorada na Floresta Tropical, ouverture (1953)
 Odisséia de uma raça, symphonic poem (1953)
 Gênesis, symphonic poem & ballet (1954)
 Emperor Jones, a ballet (1956)
 Fantasia em Três Movimentos (in body of choros)(1958)
 Suite no. 1 for chamber orchestra (1959)
 Suite no. 2 for chamber orchestra (1959)
Chamber Music
The chamber music is listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a,
Tarasti 1995, and Wright 1992. (Information on the two Sextetos místicos Peppercorn 1991, 38–39)
 Sonate-fantaisie no. 1 for violin and piano, Desesperança ("Despair") (1913)
 Sonate-fantaisie no. 2 for violin and piano (1914)
 Sonata for violin and piano no. 3 (1920)
 Sonata for violin and piano no.4 (1923)
 Trio for piano and strings no. 1 (1911)
 Sexteto místico, for flute, oboe, saxophone, harp, celesta and guitar (1917, unfinished or lost)
 Sexteto místico, for flute, oboe, saxophone, harp, celesta and guitar (ca. 1955, replacement)
 Quarteto simbólico (Impressões da vida mundana), for flute, alt saxophone, harp, celesta and female
voices (1921)
 Trio for oboe, clarinet & bassoon (1921)
 Nonetto, Impressão rápida de todo o Brasil ("A Brief Impression Of The Whole Brazil") (1923)
 Quinteto em forma de choros for flute, oboe, clarinet, English horn or horn and bassoon (1928)
 Quatuor, for flute, oboe, clarinet and bassoon (1928)
 Assobio a Jato ("The Jet Whistle") for flute and cello (1930)
 Distribuição de Flores for flute and guitar (1937)
 Trio for violin, viola and cello (1945)
 Divagacão for cello, piano and bass drum (adlib.) (1946)
 Duo for violin and viola (1946)
 Fantaisie concertante for piano, clarinet and bassoon (1953)
 Duo for oboe and bassoon (1957)
 Quinteto Instrumental for flute, violin, viola, cello and harp (1957)
 Fantasia Concertante for 16 or 32 cellos (1958)
 Chôros Nos. 2,3,4,7 and Bachianas Brasileiras Nos. 1 and 6 are also chamber works
String Quartets
The string quartets are listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a,
Tarasti 1995, and Wright 1992. Information on the two versions of Quartet No. 1 is in Peppercorn 1991, 32.
 Suíte graciosa (5 March 1915)
o Andante
o Allegretto
o Grega Cançonette
o String Quartet No. 1, revised from the Suíte graciosa (1946)
o Cantilena
o Brincadeira
o Canto lírico
o Cançoneta
o Melancolia
o Saltando como um Saci
o String Quartet No. 2 (1915)
o Villa Lobos left sketches for an 18th String Quartet.
Operas
The operas are listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a,
 Aglaia (1909) incorporated into Izaht
 Elisa (1910)
 Comédia lírica em 3 atos (1911)
 Izaht (1914)
 Jesus (1918)
 Malazarte (1921)
 Magdalena, light opera (1947)
 Yerma (1955)
 A Menina nas nuvens (Daughter of the Clouds), light opera (1957–58)
Ballets
 see: other orchestral works
Music for Films

The film music is listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a,
 Descobrimento do Brasil ("The discovery of Brazil") (1938)
 Green Mansions (1959) (adapted as the concert work Floresta do Amazonas ["Forest of the
Amazon"])
Works for Guitar solo

The guitar music is listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a,
Tarasti 1995, and Wright 1992. Information on the newly discovered 1928 Valsa-chôro from [1] accessed 04
December 2006
 Panqueca (1900)
 Mazurka em ré maior (1901)
 Valsa brilhante (1904) originally titled Valsa concerto no. 2
 Fantasia (1909)
 Canção brasileira (1910)
 Quadrilha (1910)
 Tarantela (1910)
 Simples, Mazurka (1910)
 Dobrados (1909–1912)
 Chôros no. 1, "Chôro típico" (1920)
 Suíte popular brasileiro (1928, rev. 1947–48)
 Valsa-chôro (ca. 1928) rejected original from the Suíte popular, replaced with a new "Valsa-chôro" in
the revision of 1947–48
 Twelve Etudes (1929)
 Valsa sentimental (1936)
 Five Preludes (1940)
External Links
 Heitor Villa-Lobos: A Survey Of His Guitar Music 1996, by Orlando Fraga
 Estrura de Frase e Progressão Linear nos Prelúdios 1 e 2 para Violão de Villa-Lobos by Orlando
Fraga
 Os 12 Estudos para Violão de H.Villa-Lobos Fed. Univ. of Rio de Janeiro - Brazil, 1993 pdf alt. by
Krishna Salinas
 Fontes Manuscritas e Impressa dos 12 Estudos para Violão de Heitor Villa-Lobos (1997) by Eduardo
Meirinhos
 Primary Sources And Editions Of Suite Popular Brasileira, Choros No. 1, And Five Preludes, By
Heitor Villa-Lobos: A Comparative Survey Of Differences
http://www.eduardomeirinhos.com.br/doutorado.php (2003) by Eduardo Meirinhos
 Choro Nr.1 De Heitor Villa-Lobos - Uma Análise Gilberto André Borges
 A Study of Three Works of Villa-Lobos by Richard Kevin DeVinck
Music for Piano solo

The piano music is listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a,
 Celestial, waltz (1904)
 Ibericarabe (1914)
 Ondulando (1914)
 Danças características Africanas (1915)
 Suite floral (1918)
 Histórias da carochinha (1919)
 A Lenda do Caboclo (1920)
 Carnaval das crianças (1920)
 Prole do Bebê, first series (1920)
o Branquinha (A Boneca de Louça) - Little White Doll (The Porcelain Doll)

o Moreninha (A Boneca de Massa) - Little Brunette Doll (The Paste Doll)
o Caboclinha (A Boneca de Barro) - Little Mestiza Doll (The Clay Doll)
o Mulatinha (A Boneca de Borracha) - Little Mulatta Doll (The Rubber Doll)
o Negrinha (A Boneca de Pau) - Little Black Doll (The Wooden Doll)
o A Pobrezinha (A Boneca de Trapo) - The Poor Little Doll (The Rag Doll)
o O Polichinelo - The Punch
o A Bruxa (A Boneca de Pano) - The Witch (The Cloth Doll)
o Prole do Bebê, second series (1921)
o A Baratinha de Papel (The Paper Little Cockroach)
o O Gatinho de Papelão (The Box-Paper Kitten)
o O Camundongo de Massa (The Paste Mouse)
o O Cachorrinho de Borracha (The Rubber Puppy)
o O Cavalinho de Pau (The Wooden Little Horse)
o O Boizinho de Chumbo (The Lead Little Bull)
o O Passarinho de Pano (The Cloth Little Bird)
o O Ursinho de Algodão (The Cotton Little Bear)
o O Lobinho de Vidro (The Glass Little Wolf)
o Prole do Bebê, third series (1926) now lost
o A Fiandeira (1921)
o Rudepoêma (1921-26)
o Sul America (1925)
o Cirandinhas (1925)
o Zangou-se o Cravo com a Rosa
o Adeus, Bela Morena
o Vamos, Maninha
o Olha Aquela Menina
o Senhora Pastora
o Cai, Cai, Balão
o Todo Mundo Passa
o Vamos Ver a Mulatinha
o Carneirinho, Carneirão
o A Canoa Virou
o Nesta Rua tem um Bosque
o Lindos Olhos Que Ela Tem
o Cirandas (1926)
o Terezinha de Jesus
o A Condessa - (The Countess)
o Senhora Dona Sancha
o O Cravo Brigou com a Rosa - (The Carnation Fought The Rose)
o Pobre Cega - (Poor Blind Woman)
o Passa, Passa Gavião - (Go Away, Go Away, Hawk)
o Xô, Xô, Passarinho - (Shoo, Shoo, Little Bird)
o Vamos Atrás de Serra, Calunga - Let's Go to the Mountain, Calunga
o Fui no Tororó - I went to Itororó
o O Pintor de Cannahy - The Painter of Canai
o Nesta Rua, Nesta Rua - In This Street
o Olha o Passarinho, Dominé - Look at the Little Bird, Dominé
o À Procura de uma Agulha - Looking for a Needle
o A Canoa Virou - The Canoe Capsized
o Que Lindos Olhos! - What Beautiful Eyes!
o Có, Có, Có - Chip, Chip, Chip
o Saudades das selvas brasileiras (1927)
o Bachianas brasileiras no. 4 (1930-40)
o Francette et Pià (1932)
o Valsa da dor (1932)
o Guia Prático (1932-49)
o Ciclo brasileiro (1936-37)
o Plantio do Caboclo - Peasant's Sowing
o Impressões Seresteiras - Impressions of a Serenade Musician
o Festa no Sertão - Feast in the Desert
o Dança do Índio Branco - Dance of the White Indian
o As Três Marias (1939)
o New York Sky-Line Melody (1939)
o Poema Singelo (1942)
o ''Homenagem a Chopin' (1949)
o Nocturne
o A la Ballada
References
 Appleby, David P. 1988. Heitor Villa-Lobos: A Bio-Bibliography New York: Greenwood Press. ISBN
0-313-25346-3
 Peppercorn, Lisa M. 1991a. Villa-Lobos, the Music: An Analysis of His Style Translated by Stefan De
Haan. London: Kahn & Averill; White Plains, NY: Pro/AM Music Resources. ISBN 1-871082-15-3
 Peppercorn, Lisa M. 1991b. "Villa-Lobos ‘ben trovato’." Tempo: A Quarterly Review of Modern
Music, no. 177 (June): 32–39.
 Tarasti, Eero. 1995. Heitor Villa-Lobos: The Life and Works. Jefferson, North Carolina: McFarland.
ISBN 0-7864-0013-7}}
 Villa-Lobos, sua obra: Programa de Ação Cultural, 1972. 1974. Second edition. Rio de Janeiro:
MEC,DAC, Museu Villa-Lobos.
 Wright, Simon. 1992. Villa-Lobos. Oxford and New York: Oxford University Press. ISBN 0-19-
315475-7
Motto
Ordem e Progresso (Portuguese)
"Order and Progress"
Anthem
Hino Nacional Brasileiro
composer is a person who writes music. The term refers particularly to someone who writes music in some
type of musical notation, thus allowing others to perform the music. This distinguishes the composer from a
musician who improvises or plays a musical instrument.
Heitor Villa-Lobos (March 5, 1887 - November 17, 1959) was a Brazilian composer, possibly the best-
known classical composer born in South America. He wrote numerous orchestral, chamber, instrumental and
vocal works.
The Bachianas Brasileiras constitute a series of nine suites by the Brazilian composer Heitor Villa-Lobos,
written for various combinations of instruments and voices between 1930 and 1945.
Magdalena: a musical adventure is a light opera with music and orchestrations by Heitor Villa-Lobos and
lyrics and adaptations by Robert Wright and George Forrest. It premiered in 1948 in Los Angeles.
Yerma is an opera in three acts by Heitor Villa-Lobos to a Spanish libretto by the composer. Villa-Lobos
based his libretto on the play by Federico García Lorca also called Yerma .
IMDb profile
Green Mansions is a 1959 American romantic adventure film directed by Mel Ferrer. Based upon the 1904
novel Green Mansions by William Henry Hudson, the film starred Audrey Hepburn (who at the time was
married to Ferrer) as Rima, a jungle
20th century - 21st century - 22nd century
1970s 1980s 1990s - 2000s - 2010s 2020s 2030s
2003 2004 2005 - 2006 - 2007 2008 2009
2006 by topic:
News by month
Jan - Feb - Mar - Apr - May - Jun
Rudepoêma, or Savage Poem, is a composition by Heitor Villa-Lobos. It was written from 1921 to 1926 and
is the largest and most challenging work Villa-Lobos wrote for the solo piano. It is in one continuous
movement and runs about 19-20 minutes.
This article is copied from an article on Wikipedia® - the free encyclopedia created and edited by online user community. The text was not
checked or edited by anyone on our staff. Although the vast majority of the Wikipedia® encyclopedia articles provide accurate and timely
information please do not assume the accuracy of any particular article. This article is distributed under the terms of GNU Free Documentation
License.

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Youth and exploration

The Vargas era

In 1936, Villa-Lobos and his wife separated.

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References and further reading

Year 1959 (MCMLIX

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Year 1905 (MCMV

Official languages Portuguese1

List of compositions by Heitor Villa-Lobos 0.04 sec.

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Other Orchestral Works (including Ballet scores)

Music for Films

Works for Guitar solo

Music for Piano solo

o Branquinha (A Boneca de Louça) - Little White Doll (The Porcelain Doll)

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