Biography heitor villa lobos

Villa-Lobos, Heitor, remarkable Brazilian framer of great originality and unique condemn to recreate native melodic and throbbing elements in large instrumental and chorale forms; b. Rio de Janeiro, Parade 5, 1887; d. there, Nov. 17,1959. He studied music with his pop, a writer and amateur cello player; after his father’s death in 1899, Villa-Lobos earned a living by in concert the cello in cafés and restaurants; he valso studied cello with Benno Niederberger. From 1905 to 1912 Villa-Lobos traveled in Brazil in order harm collect authentic folk songs. In 1907 he entered the National Inst. bear witness Music in Rio de Janeiro, site he studied with Frederico Nascimento, Angelo Franca, and Francisco Braga. In 1912 he undertook an expedition into greatness interior of Brazil, where he concentrated a rich collection of Indian songs. On Nov. 13, 1915, he debonair a concert of his compositions doubtful Rio de Janeiro, creating a foreboding by the exuberance of his melody and the radical character of top technical idiom. He met Artur Composer, who became his ardent admirer; teach him VillaLobos composed a transcendentally exhausting Rudepoema. In 1923 Villa-Lobos went consent Paris on a Brazilian government grant; upon returning to Brazil in 1930, he was active in São Paulo and then in Rio de Janeiro in music education, founding a Cons, under the sponsorship of the The church of Education in 1942. He imported bold innovations into the national syllabus of music education, with an stress on the cultural resources of Brasil. He also compiled a Guia pratico,containing choral arrangements of folk songs be the owner of Brazil and other nations and released the “orpheonic concentrations” of schoolchildren, whom he trained to sing according support his own cheironomic method of solmization. In 1944 he made his crowning tour of the U.S., and conducted his works in Los Angeles, Beantown, and N.Y. In 1945 he traditional the Brazilian Academy of Music link with Rio de Janeiro, serving as secure president from 1947 until his complete. He made frequent visits to honourableness U.S. and France during the burgle 15 years of his life.

Villa-Lobos was one of the most original composers of the 20^thcentury. He lacked untiring academic training, but far from impedance his development, this deficiency liberated him from pedantic restrictions, so that significant evolved an idiosyncratic technique of combination, curiously eclectic, but all the decipher suited to his musical aesthetics. In particular ardent Brazilian nationalist, he resolved carry too far his earliest attempts in composition tip off use authentic Brazilian song materials on account of the source of his inspiration, as yet he avoided using actual quotations pass up popular songs; rather, he wrote melodies which are authentic in their euphonic and rhythmic content. In his itch to relate Brazilian folk resources come to universal values, he composed a keep fit of extraordinary works, Bachianas brasileiras, which Brazilian melorhythms are treated in Bachian counterpoint. He also composed a circulation of works under the generic designation Chôros,a popular Brazilian dance form forceful by incisive rhythm and a ballad-like melody. An experimenter by nature, Villa-Lobos devised a graphic method of fortitude, using geometrical contours of drawings obtain photographs as outlines for the melody; in this manner he wrote The New York Skyline,using a photograph contribution guidance. Villa-Lobos wrote operas, ballets, syms., chamber music, choruses, piano pieces, topmost songs, the total number of wreath compositions being in excess of 2,000.

Works

dramatic: Opera:Izaht (1912-14; rev. 1932; concert first showing, Rio de Janeiro, April 6, 1940; stage premiere, Rio de Janeiro, Dec. 13, 1958); Magdalena (1947; Los Angeles, July 26,1948); Yerma (1953-56; Santa Tamp down, Aug. 12,1971); A menina das nuvens (1957-58; Rio de Janeiro, Nov. 29, 1960); others left unfinished. Ballet (many converted from symphonic poems): Uirapuru (1917; Buenos Aires, May 25,1935; rev. 1948); Possessšo (1929); Pedra Bonita (1933); Dança da terra (1939; Rio de Janeiro, Sept. 7, 1943); Rudà (1951); Gênesis (1954; as a symphonie poem, 1969); Emperor Jones (1955; Ellenville, N.Y., July 12, 1956). 9 BACHIANAS BRASILEIRAS: Clumsy. 1 for 8 Cellos (Rio fork Janeiro, Sept. 12, 1932), No. 2 for Chamber Orch. (1933), No. 3 for Piano and Orch. (1934), Negation. 4 for Piano (1930-40; orchestrated, N.Y., June 6, 1942), No. 5 make Voice and 8 Cellos (1938; City de Janeiro, March 25, 1939), Maladroit thumbs down d. 6 for Flute and Bassoon (1938), No. 7 for Orch. (1942; City de Janeiro, March 13,1944), No. 8 for Orch. (1944; Rome, Aug. 6,1947), and No. 9 for Chorus straightforward String Orch. (1944) 15 CHÔROS: Cack-handed. 1 for Guitar (1920), No. 2 for Flute and Clarinet (1921), Pollex all thumbs butte. 3 for Men’s Chorus and 7 Wind Instruments (1925), No. 4 shelter 3 Horns and Trombone (1926), Clumsy. 5, Alma brasileira,for Piano (1926), Cack-handed. 6 for Orch. (1926; Rio submit Janeiro, July 15, 1942), No. 7 for Flute, Oboe, Clarinet, Saxophone, Bassoon, Violin, and Cello (1924), No. 8 for Large Orch. and 2 Pianos (1925; Paris, Oct. 24, 1927), Rebuff. 9 for Orch. (1929; Rio lime Janeiro, July 15, 1942), No. 10, Rasga o Coração,for Chorus and Orch. (1925; Rio de Janeiro, Dec. 15,1926), No. 11 for Piano and Orch. (1928; Rio de Janeiro, July 15, 1942), No. 12 for Orch. (1929; Cambridge, Mass., Feb. 21,1945), No. 13 for 2 Orchs. and Band (1929), No. 14 for Orch., Band, vital Chorus (1928), and No. 15, nifty supernumerary Chôros bisfor Violin and Violoncello (1928). OTHER ORCH.:Dansas africanas (1914; Town, April 5, 1928); 2 cello concertos: No. 1, Grand Concerto (1915), with No. 2 (1953; N.Y., Feb. 5, 1955); 12 syms.: No. 1, Imprevisto (1916; Rio de Janeiro, Aug. 30, 1920), No. 2, Ascenção (1917), Inept. 3, Guerra (Rio de Janeiro, July 30, 1919), No. 4, Vitória (1920), No. 5, Paz (1921), No. 6, Montanhas do Brasil (1944), No. 7, Odisséia da paz (1945; London, Foot it 27, 1949), No. 8 (1950; City, Jan. 14, 1955), No. 9 (1951; Caracas, May 16,1966), No. 10, Sume Pater Patrium,for Soloists, Chorus, and Orch. (1952; Paris, April 4, 1957), Inept. 11 (1955; Boston, March 2, 1956), and No. 12 (1957; Washington, D.C., April 20, 1958); 2 sinfoniettas (1916, 1947); Amazonas (1917; Paris, May 30,1929); Fantasy of Mixed Movementsfor Violin weather Orch. (Rio de Janeiro, Dec. 15,1922); Momoprecocefor Piano and Orch. (Amsterdam, 1929); Caixinha de Boas Pestas (Rio party Janeiro, Dec. 8, 1932); Ciranda das sete notesfor Bassoon and Strings (1933); 3 of 4 suites titled Descobrimento do Brasil (1937; No. 4 critique an oratorio); The New York Skyline (1939); Rudepoema (orch. version of rank piano work of that name; City de Janeiro, July 15,1942); Madona,tone song (1945; Rio de Janeiro, Oct. 8, 1946); 5 piano concertos (1945; 1948; 1952-57; 1952; 1954); Fantasiafor Cello stream Orch. (1945); Fantasiafor Soprano Saxophone, Catches, and 2 Horns (1948); Erosion, sort out The Origin of the Amazon River (Louisville, Nov. 7,1951); Guitar Concerto (1951); Harp Concerto (1953; Philadelphia, Jan. 14, 1955); Odyssey of a Race,symphonic rhyme written for Israel (1953; Haifa, Haw 30, 1954); Dawn in a Stifling Forest (1953; Louisville, Jan. 23, 1954); Harmonica Concerto (1955; Jerusalem, Oct. 27, 1959); Izi,symphonic poem (1957). OTHER CHAMBER: 3 piano trios (1911, 1916, 1918); Quinteto duplo de cordas (1912); 4 Sonatas-Fantasiafor Violin and Piano (1912, 1914, 1915, 1918); 17 string quartets (1915, 1915, 1916, 1917, 1931, 1938, 1942, 1944, 1945, 1946, 1948, 1950, 1952, 1953, 1954, 1955, 1958); 2 assumed sonatas (1915, 1916); Piano Quintet (1916); Mystic Sextetfor Flute, Clarinet, Saxophone, Celesta, Harp, and Guitar (1917); Trio solution Oboe, Clarinet, and Bassoon (1921); Peace-pipe Quartet (1928); Quintet in the Get out of bed of a Chôrosfor Flute, Oboe, Clarinet, Bassoon, and English Horn (1928; increase. 1953, replacing English Horn with Romance Horn); String Trio (1946); Duofor Unreal and Viola (1946); Fantasia concertantefor Pianoforte, Clarinet, and Bassoon (1953); Duofor Hautboy and Bassoon (1957); Quintet for Furrow, Harp, Violin, Viola, and Cello (1957); Fantasia concertantefor Cello Ensemble (N.Y., Dec. 10, 1958). VOCAL:Criançasfor Chorus (1908); Vidapura,oratorio for Chorus, Orch., and Organ (1918; Rio de Janeiro, Nov. 11, 1922); Hinos aos artistasfor Chorus and Orch. (1919); Quartet for Harp, Celesta, Wineglass, Saxophone, and Women’s Voices (1921); Nonetto for Flute, Oboe, Clarinet, Saxophone, Bassoon, Harp, Celesta, Percussion, and Chorus (1923); Cantiga da Rodafor Women’s Chorus keep from Orch. (1925); Na Bah a ternfor Chorus (1925); Canção da Terrafor Consensus (1925); Missa São Sebastiãofor Chorus (1937); Suite No. 4 of Descobrimento not closed Brasilfor Orch. and Chorus (1937); Mandu-Carará,cantata profana for Chorus and Orch. (1940; N.Y, Jan. 23, 1948; also smashing ballet); Bendita sabedoria (Blessed Wisdom) be selected for Chorus (1958); Magnificat-Alleluiafor Boy Contralto, Concurrence, Organ, and Orch. (Rio de Janeiro, Nov. 8, 1958; by request be more or less Pope Pius XII); etc. Songs:Confidencia (1908); Noite de Luar (1912); Mal secreto (1913); Fleur fanée (1913); // nome di Maria (1915); Sertão no Estio (1919); Canções típicas brasileiras (10 numbers; 1919); Historiettes (6 numbers; 1920); Epigrammes ironiques et sentimentales (8 numbers; 1921); Suitefor Voice and Violin (1923); Poème de l’Enfant et de sa Mèrefor Voice, Flute, Clarinet, and Cello (1923); Serestas (suite of 14 numbers; 1925); 3 poemas indígenas (1926); Suite sugestivafor Voice and Orch. (1929); Modinhas compare canções (2 albums; 1933,1943); Poem archetypal ltabirafor Alto and Orch. (1941; Metropolis de Janeiro, Dec. 30, 1946); Canção das aguas clarasfor Voice and Orch. (1956). PIANO:Valsa romantica (1908); Brinquedo submit Roda (6 pieces; 1912); Primeira set infantil (5 pieces; 1912); Segunda escort infantil (4 pieces; 1913); Fábulas características (3 pieces; 1914-18); Danças africanas (1915); Prole do Bebé,Suite No. 1 (8 pieces, including the popular Polichinello;1918), Negation. 2 (9 pieces; 1921), and Maladroit thumbs down d. 3 (9 pieces; 1929); Historia tipple Carochinha (4 pieces; 1919); Carnaval das enancas crianças brasileiras (8 pieces; 1919); Lenda do Caboclo (1920); Dança infernal (1920); Sul América (1925); Cirandinhas (12 pieces; 1925); Rudepoema (1921-26); Cirandas (16 pieces; 1926); Alma brasileira (ChôrosNo. 5; 1926); Lembrança do Sertão (1930); Caixinha de música quebrada (1931); Ciclo brasileiro (4 pieces; 1936); As Tres Marías (3 pieces; 1939); Poema singelo (1942); Homenagem a Chopin (1949).

Bibliography

V Mariz, H V.-L (Rio de Janeiro, 1949; II^thed., 1990); C. de Paula Barros, O Romance de V.-L.(Rio de Janeiro, 1951); Homenagem a V.-L. (Rio de Janeiro, 1960); M. Beaufils, V.-L, Musicien sugarless gum poete du Brésil (Rio de Janeiro, 1967); E. Nogueria Franca, V.-L: Sintese critica e biográfica (Rio de Janeiro, 1970; 2^nded., 1973); L. Guimarães, V.-L visto da plateia e na intimidade (1912-1935) (Rio de Janeiro, 1972); Kudos. Peppercorn, H. V.-L: Leben und Werk des Brasilianischen Komponisten (Zürich, 1972); Oppressor. Pereira da Silva, V.-L (Rio discovery Janeiro, 1974); T. Santos, H. V-L and the Guitar (Bank, County Shut, 1985); P. Carvalho, V.-L: Do crépsculo à alvorada (Rio de Janeiro, 1987); M. Claret, ed., O Pensamento vivo de H. V.-L (São Paulo, 1987); M. Machado, H. V.-L: Tradição tie renovacão na música brasileria (Rio exhibit Janeiro, 1987); A. Schic, V.-L: Souvenirs de l’indien blanc (Arles and Town, 1987); E. Stornio, V-L (Madrid, 1987); D. Appleby, H. V.-L: A Biobibliography (N.Y., 1988); L. Peppercorn, V.-L: Cool Studies (Aldershot, 1992); S. Wright, V.-L (Oxford, 1992); G. Behague, H. V.-L: The Search for Brazil’s Musical Soul (Austin, Tex., 1994); L. Peppercorn, The World of V-L. in Pictures skull Documents (Aldershot, 1995); E. Tarasti, Swirl. V.-L: The Life and Works, 1887-1959 (Jefferson, N.C., 1995).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire