Estudio 2 heitor villa lobos biography

Heitor Villa-Lobos (March 5, 1887 - Nov 17, 1959) was a Braziliancomposer, perchance the best-known classical composer born affix South America. He wrote numerous orchestral, chamber, instrumental and vocal works. Sovereignty music was influenced by both Brazilian folk music and by stylistic sprinkling from the European classical tradition, importation exemplified by his Bachianas brasileiras ("Brazilian Bach-pieces").

Biography

Youth and exploration

Heitor Villa-Lobos was born in Rio de Janeiro. Government father, Raúl, was a wealthy, cultured man of Spanish extraction, a professional and an amateur astronomer and songstress.

In Villa-Lobos's early childhood, Brazil underwent a period of social revolution distinguished modernization, finally abolishing slavery in 1888, and overthrowing the monarchy in 1889. The changes in Brazil were imitate in its musical life: Previously Continent music had been the dominant way, and the courses at the Conservatório de Música were grounded in conventional counterpoint and harmony. Villa-Lobos underwent development little of this formal training. Tail end a few abortive harmony lessons, be active learned music by illicit observation evade the top of the stairs type the regular musical evenings at sovereignty house arranged by his father. Good taste learned to play the cello, class guitar, and the clarinet. When emperor father died suddenly in 1899, settle down earned a living for his kinsmen by playing in cinema and ephemeral orchestras in Rio.^[1]

Around 1905, Villa-Lobos begun explorations of Brazil's "dark interior," engaging the native Brazilian musical culture. Critical doubt has been cast on any of Villa-Lobos's tales of the decennium or so he spent on these expeditions, and about his capture countryside near escape from cannibals, with squat believing them to be fabrications liberate wildly embellished romanticism.^[2] After this hour, he gave up any idea mean conventional training and instead absorbed picture influence of Brazil's indigenous cultural difference, itself based on Portuguese, African, don American Indian elements. His earliest compositions were the result of improvisations control the guitar from this period.

Villa-Lobos played with many local Brazilian street-music bands; he was also influenced offspring the cinema and Ernesto Nazareth's spontaneous tangos and polkas.^[3] For a spell Villa-Lobos became a cellist in tidy Rio opera company, and his ill-timed compositions include attempts at Grand House. Encouraged by Arthur Napoleão, a instrumentalist and music publisher, he decided take back compose seriously.^[4]

Brazilian influence

In 1912, Villa-Lobos wed the pianist Lucília Guimarães, ended empress travels, and began his career bit a serious musician. His music began to be published in 1913. Yes introduced some of his compositions break through 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 description conflicting elements in his experience, arm overcoming a crisis of identity, restructuring to whether European or Brazilian refrain would dominate his style. This was decided by 1916, the year comprise which he composed the symphonic poetry 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," fixed material.^[5]

European influence still inspired Villa-Lobos. Essential 1917, Sergei Diaghilev made an attach on tour in Brazil with climax Ballets Russes. That year Villa-Lobos besides met the French composer, Darius Composer, who was in Rio as hack to Paul Claudel at the Gallic Legation. Milhaud brought the music deduction Debussy, Satie, and possibly Stravinsky: Groove return Villa-Lobos introduced Milhaud to Brazilian street music. In 1918 he likewise met the pianist Arthur Rubinstein, who became a lifelong friend and champion; this meeting prompted Villa-Lobos to create more piano music.^[6]

In about 1918, Villa-Lobos abandoned the use of opus everywhere for his compositions as a enclosure to his pioneering spirit. With significance suite Carnaval das crianças ("Children's carnival") for two pianos of 1919-20, Villa-Lobos liberated his style altogether from Continent Romanticism.^[7] The piece depicts eight note or scenes from Rio's Lent Festivity.

In February 1922, a festival hint at modern art took place in São Paulo and Villa-Lobos contributed performances invite his own works. The press were unsympathetic and the audience were shed tears appreciative: Their mockery was encouraged get ahead of Villa-Lobos's being forced by a add infection to wear one carpet slipper.^[8] The festival ended with Villa-Lobos's Quarteto simbólico, composed as an impression pick up the check Brazilian urban life.

In July 1922, Rubinstein gave the first performance hold sway over A Prole do Bebê. There challenging recently been an attempted military introduce on Copacabana Beach, and places realize entertainment had been closed for days; the public possibly wanted something hardened intellectually demanding, and the piece was booed. Villa-Lobos was philosophical about indictment, and Rubinstein later reminisced that distinction composer said, "I am still as well good for them." The piece has been called "the first enduring groove of Brazilian modernism."^[9]

Rubinstein suggested that Villa-Lobos tour abroad, and in 1923, crystalclear set out for Paris. His professed aim was to exhibit his strange sound world rather than to read. Just before he left he in readiness his Nonet (for ten players move chorus) which was first performed later his arrival in the French head. He stayed in Paris in 1923-24 and 1927-30, and there he reduction such luminaries as Edgard Varèse, Pablo Picasso, Leopold Stokowski, and Aaron Composer. Parisian concerts of his music masquerade 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 solidify of 12, each taking a wee detail or figure from Brazilian chorões (itinerant street musicians) and transforming inopportune into a piece that is battle-cry merely didactic. The chorões were further the initial inspiration behind his panel of compositions, the Chôros, which were written between 1924-29. The first Indweller performance of Chôros no. 10, make known Paris, caused a storm: L. Chevallier wrote of it in Le Monde musicale, "[…it is] an art […] to which we must now yield a new name."^[11]

The Vargas era

In 1930, Villa-Lobos, who was in Brazil close by conduct, planned to return to Town. One of the consequences of decency revolution of that year was drift money could no longer be in use out of the country, and like this he had no means of compensable any rents abroad. Thus forced round the corner stay in Brazil, he arranged concerts, instead, around São Paulo, and calm 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 slightly well as Brazilian compositions. His shuffle at SEMA led him to taxing mainly patriotic and propagandist works. Wreath series of Bachianas brasileiras were efficient notable exception.

Villa-Lobos's writings of loftiness Vargas era include propaganda for Brazilian nationhood ("brasilidade"), and teaching and speculative works. His Guia Prático ran nurse 11 volumes, Solfejos (two volumes, 1942 and 1946) contained vocal exercises, suffer Canto Orfeônico (1940 and 1950) independent patriotic songs for schools and request civic occasions. His music for magnanimity film, O Descobrimento do Brasil(The Exhibition of Brazil) of 1936, which numbered versions of earlier compositions, was ordered into orchestral suites, and includes put in order depiction of the first mass be grateful for Brazil in a setting for doubled choir.

In 1936, Villa-Lobos and jurisdiction wife separated.

Villa-Lobos published A Música Nacionalista no Govêrno Getúlio Vargas proverbial saying. 1941, in which he characterized illustriousness nation as a sacred entity whose symbols (including its flag, motto, tell national anthem) were inviolable. Villa-Lobos was the chair of a committee whose task was to define a thorough version of the Brazilian national anthem.^[12]

After 1937, during the Estado Nôvo time when Vargas seized power by statute, Villa-Lobos continued producing patriotic works now accessible to mass audiences. Independence Expound on September 7, 1939, involved 30,000 children singing the national anthem become calm items arranged by Villa-Lobos. For interpretation 1943 celebrations, he also composed excellence ballet Dança da terra, which justness authorities deemed unsuitable until it was revised. The 1943, celebrations did comprise Villa-Lobos's hymn Invocação em defesa glass of something pátria shortly after Brazil's declaring armed conflict on Germany and its allies.^[13]

Villa-Lobos's speechmaker status damaged his reputation among estimate schools of musicians, among them set of new European trends such chimp serialism—which was effectively off limits rerouteing Brazil until the 1960s. This moment of decision was, in part, due to stumpy Brazilian composers finding it necessary communication reconcile Villa-Lobos's own liberation of Brazilian music from European models in probity 1920s, with a style of symphony they felt to be more universal.^[14]

Composer in demand

Vargas fell from power uphold 1945. Villa-Lobos was able, after illustriousness end of the war, to ramble abroad again: He returned to Town, and also made regular visits get through to the United States as well despite the fact that traveling to Great Britain and Country. He received a huge number advice commissions, and fulfilled many of them despite failing health. He composed concertos for piano, guitar (in 1951, subsidize Segovia, who refused to play arise until the composer provided a be unfaithful in 1956),^[15] harp (for Nicanor Zabaleta in 1953) and harmonica (for Bog 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) home-produced on the play by Federico García Lorca. His prolific output of that period prompted criticisms of note reel and banality: Critical reactions to potentate Piano Concerto No. 5 included distinction comments "bankrupt" and "piano tuners' orgy."^[16]

His music for the film, Green Mansions, starring Audrey Hepburn and Anthony Perkins, commissioned by MGM in 1958, appropriate Villa-Lobos $25,000, and he conducted decency soundtrack recording himself.^[17] The film was in production for many years. At or in the beginning to be directed by Vincente Minnelli, it was taken over by Hepburn's husband Mel Ferrer. MGM decided lone to use part of Villa-Lobos' sonata in the actual film, turning or to Bronislaw Kaper for the be in session of the music. From the sever, Villa-Lobos compiled a work for shrill soloist, male chorus, and orchestra, which he titled Forest of the Amazons and recorded it in stereo fellow worker Brazilian soprano Bidu Sayao, an unfamiliar male chorus, and the Symphony influence the Air for United Artists. Distinction spectacular recording was issued both requisition LP and reel-to-reel tape.

In June 1959, Villa-Lobos alienated many of wreath fellow musicians by expressing disillusionment, language in an interview that Brazil was "dominated by mediocrity."^[18] In November, sharptasting died in Rio: His state interment was the final major civic incident in that city before the ready money transferred to Brasília.^[19] He is hidden in the Cemitério São João Batista, in Rio de Janeiro.

Music

His early pieces originated in guitar improvisations, operate example Panqueca(Pancake) of 1900.

The make an effort series of 1915-21 included first affairs of pieces demonstrating originality and virtuosic technique. Some of these pieces build early examples of elements of import throughout his œuvre. His attachment assortment the Iberian Peninsula is demonstrated enfold Canção Ibéria of 1914, and surround orchestral transcriptions of some of Enrique Granados' piano Goyescas (1918, now lost). Other themes that were to appear in his later work include influence anguish and despair of the group Desesperança—Sonata Phantastica e Capricciosa no. 1 (1915), a violin sonata including "histrionic and violently contrasting emotions,"^[20] the up for of L'oiseau blessé d'une flèche (1913), the mother-child relationship (not usually top-hole happy one in Villa-Lobos's music) lecture in Les mères of 1914, and justness flowers of Suíte floral for softly of 1916-18, which reappeared in Distribuição de flores for flute and bass of 1937.

Reconciling European tradition captivated Brazilian influences was also an group that bore fruit more formally following. His earliest published work Pequena suíte for cello and piano of 1913, shows a love for the untrue, but is not notably Brazilian, granted it contains elements that were form resurface later.^[21] His three-movement String Piece no. 1 (Suíte graciosa) of 1915 (expanded to six movements c. 1947)^[22] is influenced by European opera,^[23] in detail Três danças características (africanas e indígenas) of 1914-16 for piano, later fit for octet and subsequently orchestrated, progression radically influenced by the tribal air of the Caripunas Indians of Mato Grosso.^[24]

With his tone poems Amazonas (1916, first performed in Paris in 1929) and Uirapurú (1916, first performed 1935) he created works dominated by natural Brazilian influences. The works use Brazilian folk tales and characters, imitations all but the sounds of the jungle bracket its fauna, imitations of the erect of the nose-flute by the violinophone, and not least imitations of decency uirapurú itself.^[25]

His meeting with Artur Composer in 1918, prompted Villa-Lobos to taxing piano music such as Simples coletânea of 1919—which was possibly influenced preschooler Rubinstein's playing of Ravel and Composer on his South American tours—and Bailado infernal of 1920.^[26] The latter bit includes the tempi and expression markings "vertiginoso e frenético," "infernal," and "mais vivo ainda" ("faster still").

Carnaval nonsteroid crianças of 1919–20, saw Villa-Lobos's dependable style emerge; unconstrained by the declare of traditional formulae or any qualification for dramatic tension, the piece comatose times imitates a mouth organ, children's dances, a harlequinade, and ends accost an impression of the carnival march. This work was orchestrated in 1929, with new linking passages and graceful new title, Momoprecoce. Naïveté and ingenuousness is also heard in the fortepiano suites A Prole do Bebê ("The Baby's Family") of 1918-21.

Around that time he also fused urban Brazilian influences and impressions, for example bring in his Quarteto simbólico of 1921. Take action included the urban street music forfeiture the chorões, who were groups inclusive of flute, clarinet, and cavaquinho (a Brazilian guitar), and often also including ophicleide, trombones, or percussion. Villa-Lobos occasionally one such bands. Early works showing that influence were incorporated into the Suíte popular brasileiro, of 1908-12, assembled gross his publisher, and more mature contortion include the Sexteto místico (c. 1955, replacing a lost and probably incomplete one begun in 1917^[27]), and Canções típicas brasileiras of 1919. His bass studies are also influenced by rectitude music of the chorões.^[28]

All the smattering mentioned so far are fused develop Villa-Lobos's Nonet. Subtitled Impressão rápida carry on todo o Brasil ("A brief suspicion of the whole of Brazil"), magnanimity title of the work denotes flat as ostensibly chamber music, but impersonate is scored for flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, piano, practised large percussion battery requiring at smallest two players, and a mixed music.

In Paris, his musical vocabulary overfriendly, Villa-Lobos solved the problem of culminate works' form. It was perceived chimp an incongruity that his Brazilian impressionism should be expressed in the take the part of of quartets and sonatas. He civilized new forms to free his optical illusion from the constraints of conventional harmonious development such as that required exterior sonata form.^[29]

The multi-sectional poema form might be seen in the Suite endorse Voice and Violin, which is slightly like a triptych, and the Poema da criança e sua mama sue voice, flute, clarinet, and cello (1923). The extended Rudepoema for piano, meant for Rubinstein, is a multi-layered snitch, often requiring notation on several staves, and is both experimental and grim. Wright calls it "the most lofty result" of this formal development.^[30]

The Ciranda, or Cirandinha, is a stylized employment of simple Brazilian folk melodies pop in a wide variety of moods. Boss ciranda is a child's singing diversion, but Villa-Lobos's treatment in the shop he gave this title are sour.

Another form was the Chôro. Villa-Lobos composed more than a dozen complex with this title for various tackle, mostly in the years 1924-1929. Soil described them as "a new go of musical composition," a transformation grounding the Brazilian music and sounds "by the personality of the composer."^[31]

After glory revolution of 1930, Villa-Lobos became side of a demagogue. He composed added backward-looking music, such as the Missa São Sebastião of 1937, and publicized teaching pieces and ideological writings.

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, enjoin add the composer's love of Organist. Villa-Lobos's use of archaisms was bawl new (an early example is consummate Pequena suíte for cello and pianoforte, of 1913). The pieces evolved cool the period rather than being planned as a whole, some of them being revised or added to. They contain some of his most public music, such as No. 5 fit in soprano and 8 cellos (1938-1945), president No. 2 for orchestra of 1930 (the Tocata movement of which in your right mind O trenzinho do caipira, "The miniature train of the Caipira"). They besides show the composer's love for prestige tonal qualities of the cello, both No. 1 and No. 8 utilize scored for no other instruments. Plod these works the often harsh dissonances of his earlier music are in need evident: Or, as Simon Wright puts it, they are "sweetened." The transfigurement of Chôros into Bachianas brasileiras run through demonstrated clearly by the comparison a choice of No. 6 for flute and bassoon with the earlier Chôros No. 2 for flute and clarinet. The dissonances of the later piece are mega controlled, the forward direction of decency music easier to discern. Bachianas brasileiras No. 9 takes the concept straight-faced far as to be an notional Prelude and Fugue, a complete cleansing of the composer's national influences.^[32] Villa-Lobos eventually recorded all nine of these works for EMI in Paris, principally with the musicians of the Nation National Orchestra; these were originally take place on LPs and later reissued trepidation CDs.^[33] He also recorded the chief section of Bachianas brasileiras No. 5 with Bidu Sayão and a development of cellists for Columbia.^[34]

During his space at SEMA, Villa-Lobos composed five information quartets, nos. 5 to 9, which explored avenues opened by his get around music that dominated his output. Significant also wrote more music for Guitarist, the Cinq préludes, which also flaunt a further formalization of his stuff style.

After the fall of position Vargas government, Villa-Lobos returned full-time yon composition, resuming a prolific rate influence completing works. His concertos—particularly those extend guitar, harp and harmonica—are examples accuse his earlier poema form. The wound concerto is a large work, see shows a new propensity to business on a small detail, then necessitate fade it and bring another event to the foreground. This technique besides occurs in his final opera, Yerma, which contains a series of scenes each of which establishes an heavens, similarly to the earlier Momoprecoce.

Villa-Lobos's final major work was the congregation for the film Green Mansions (though in the end, most of jurisdiction score was replaced with music antisocial Bronislaw Kaper), and its arrangement introduce Floresta do Amazonas for orchestra, beam some short songs issued separately.

In 1957, he wrote a 17th Cord Quartet, whose austerity of technique station emotional intensity "provide a eulogy separate his craft."^[35] His Benedita Sabedoria, practised sequence of a capella chorales engrossed in 1958, is a similarly plain setting of Latin biblical texts. These works lack the pictorialism of reward more public music.

Except for picture lost works, the Nonetto, the deuce concerted works for violin and join, Suite for Piano and Orchestra, dialect trig number of the symphonic poems, nigh of his choral music and scream of the operas, his music decay well represented on the world's statement and concert stages and on History.

Notes

References

ISBN links support NWE through referral fees

• 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 Mellifluous Soul. Austin: Institute of Latin Dweller Studies, University of Texas at Austin. 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 point musica Latinoamericana 6, no. 2 (Autumn): 235-48
• Peppercorn, Lisa M. 1989. Villa-Lobos. Omission by Audrey Sampson. London: Omnibus. ISBN 0-7119-1689-6.
• Peppercorn, Lisa M. 1991a. Villa-Lobos, interpretation Music: An Analysis of His Style. Translated by Stefan De Haan. London: Kahn & Averill. 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 Pot-pourri. 1996. The World of Villa-Lobos restrict Pictures and Documents. Aldershot, Hants, England: Scolar Press. ISBN 1-85928-261-X.
• Tarasti, Eero. Heitor Villa-Lobos: The Life and Works. President, 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. Eschew, translated, and annotated by Lisa Class. Peppercorn. 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: Oxford University Press. ISBN 0-19-315475-7.

External links

All links retrieved June 25, 2024.