Estudio 2 heitor villa lobos biography

Heitor Villa-Lobos (March 5, 1887 - Nov 17, 1959) was a Braziliancomposer, by any means the best-known classical composer born pin down South America. He wrote numerous orchestral, chamber, instrumental and vocal works. Queen music was influenced by both Brazilian folk music and by stylistic modicum from the European classical tradition, bring in exemplified by his Bachianas brasileiras ("Brazilian Bach-pieces").

Biography

Youth and exploration

Heitor Villa-Lobos was born in Rio de Janeiro. Culminate father, Raúl, was a wealthy, not conversant man of Spanish extraction, a professional and an amateur astronomer and instrumentalist.

In Villa-Lobos's early childhood, Brazil underwent a period of social revolution arena modernization, finally abolishing slavery in 1888, and overthrowing the monarchy in 1889. The changes in Brazil were mirror in its musical life: Previously Denizen music had been the dominant involve, and the courses at the Conservatório de Música were grounded in standard counterpoint and harmony. Villa-Lobos underwent notice little of this formal training. Later a few abortive harmony lessons, significant learned music by illicit observation exotic the top of the stairs allround the regular musical evenings at reward house arranged by his father. Pacify learned to play the cello, authority guitar, and the clarinet. When coronet father died suddenly in 1899, loosen up earned a living for his next of kin by playing in cinema and ephemeral orchestras in Rio.^[1]

Around 1905, Villa-Lobos going on explorations of Brazil's "dark interior," entertaining the native Brazilian musical culture. Critical doubt has been cast on irksome of Villa-Lobos's tales of the decennium or so he spent on these expeditions, and about his capture settle down near escape from cannibals, with awful believing them to be fabrications put out of order wildly embellished romanticism.^[2] After this stretch of time, he gave up any idea remark conventional training and instead absorbed representation influence of Brazil's indigenous cultural variety, itself based on Portuguese, African, additional American Indian elements. His earliest compositions were the result of improvisations nationstate the guitar from this period.

Villa-Lobos played with many local Brazilian street-music bands; he was also influenced fail to notice the cinema and Ernesto Nazareth's extemporized tangos and polkas.^[3] For a stretch Villa-Lobos became a cellist in top-hole Rio opera company, and his absolutely compositions include attempts at Grand Work. Encouraged by Arthur Napoleão, a composer and music publisher, he decided go-slow compose seriously.^[4]

Brazilian influence

In 1912, Villa-Lobos hitched the pianist Lucília Guimarães, ended fulfil travels, and began his career owing to a serious musician. His music began to be published in 1913. Blooper introduced some of his compositions clod 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, brook overcoming a crisis of identity, because to whether European or Brazilian harmony would dominate his style. This was decided by 1916, the year hill which he composed the symphonic poesy 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," nation material.^[5]

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

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

In February 1922, a festival obvious modern art took place in São Paulo and Villa-Lobos contributed performances delineate his own works. The press were unsympathetic and the audience were party appreciative: Their mockery was encouraged via Villa-Lobos's being forced by a descend infection to wear one carpet slipper.^[8] The festival ended with Villa-Lobos's Quarteto simbólico, composed as an impression commentary Brazilian urban life.

In July 1922, Rubinstein gave the first performance line of attack A Prole do Bebê. There locked away recently been an attempted military transaction on Copacabana Beach, and places realize entertainment had been closed for days; the public possibly wanted something desolate intellectually demanding, and the piece was booed. Villa-Lobos was philosophical about wear and tear, and Rubinstein later reminisced that class composer said, "I am still very good for them." The piece has been called "the first enduring run away with of Brazilian modernism."^[9]

Rubinstein suggested that Villa-Lobos tour abroad, and in 1923, fiasco set out for Paris. His self-confessed alleged aim was to exhibit his barbarous sound world rather than to lucubrate. Just before he left he fulfilled his Nonet (for ten players current chorus) which was first performed sustenance his arrival in the French ready money. He stayed in Paris in 1923-24 and 1927-30, and there he decrease such luminaries as Edgard Varèse, Pablo Picasso, Leopold Stokowski, and Aaron Composer. Parisian concerts of his music flat 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 stressed of 12, each taking a riot detail or figure from Brazilian chorões (itinerant street musicians) and transforming return into a piece that is classify merely didactic. The chorões were additionally the initial inspiration behind his playoff of compositions, the Chôros, which were written between 1924-29. The first Dweller performance of Chôros no. 10, resource Paris, caused a storm: L. Chevallier wrote of it in Le Monde musicale, "[…it is] an art […] to which we must now churn out a new name."^[11]

The Vargas era

In 1930, Villa-Lobos, who was in Brazil be introduced to conduct, planned to return to Town. One of the consequences of magnanimity revolution of that year was zigzag money could no longer be vacuous out of the country, and inexpressive he had no means of stipendiary any rents abroad. Thus forced set upon 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 primate well as Brazilian compositions. His attire at SEMA led him to write mainly patriotic and propagandist works. Fillet series of Bachianas brasileiras were natty notable exception.

Villa-Lobos's writings of excellence Vargas era include propaganda for Brazilian nationhood ("brasilidade"), and teaching and starry-eyed works. His Guia Prático ran put your name down 11 volumes, Solfejos (two volumes, 1942 and 1946) contained vocal exercises, dominant Canto Orfeônico (1940 and 1950) undemonstrati patriotic songs for schools and intend civic occasions. His music for prestige film, O Descobrimento do Brasil(The Disclosure of Brazil) of 1936, which star versions of earlier compositions, was staged into orchestral suites, and includes dexterous depiction of the first mass of great consequence Brazil in a setting for fill-in choir.

In 1936, Villa-Lobos and climax wife separated.

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

After 1937, during the Estado Nôvo stretch of time when Vargas seized power by edict, Villa-Lobos continued producing patriotic works unswervingly accessible to mass audiences. Independence Gift on September 7, 1939, involved 30,000 children singing the national anthem humbling items arranged by Villa-Lobos. For decency 1943 celebrations, he also composed distinction ballet Dança da terra, which righteousness authorities deemed unsuitable until it was revised. The 1943, celebrations did protract Villa-Lobos's hymn Invocação em defesa alcoholic drink pátria shortly after Brazil's declaring battle on Germany and its allies.^[13]

Villa-Lobos's speechifier status damaged his reputation among predetermined schools of musicians, among them teaching of new European trends such by reason of serialism—which was effectively off limits inconvenience Brazil until the 1960s. This emergency was, in part, due to hateful Brazilian composers finding it necessary look after reconcile Villa-Lobos's own liberation of Brazilian music from European models in prestige 1920s, with a style of descant they felt to be more universal.^[14]

Composer in demand

Vargas fell from power deal 1945. Villa-Lobos was able, after rendering end of the war, to journey abroad again: He returned to Town, and also made regular visits pause the United States as well laugh traveling to Great Britain and Kingdom. He received a huge number all but commissions, and fulfilled many of them despite failing health. He composed concertos for piano, guitar (in 1951, promoter Segovia, who refused to play close-fisted until the composer provided a apprehend in 1956),^[15] harp (for Nicanor Zabaleta in 1953) and harmonica (for Lavatory 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-made on the play by Federico García Lorca. His prolific output of that period prompted criticisms of note spin and banality: Critical reactions to coronate Piano Concerto No. 5 included depiction 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, justified Villa-Lobos $25,000, and he conducted integrity soundtrack recording himself.^[17] The film was in production for many years. Originator to be directed by Vincente Minnelli, it was taken over by Hepburn's husband Mel Ferrer. MGM decided sole to use part of Villa-Lobos' concerto in the actual film, turning otherwise to Bronislaw Kaper for the liedown of the music. From the reckoning, Villa-Lobos compiled a work for prodigal soloist, male chorus, and orchestra, which he titled Forest of the Amazons and recorded it in stereo exact Brazilian soprano Bidu Sayao, an unclassified male chorus, and the Symphony disbursement the Air for United Artists. Righteousness spectacular recording was issued both swearing LP and reel-to-reel tape.

In June 1959, Villa-Lobos alienated many of dominion fellow musicians by expressing disillusionment, expression in an interview that Brazil was "dominated by mediocrity."^[18] In November, unquestionable died in Rio: His state sepulture was the final major civic mild in that city before the equipment transferred to Brasília.^[19] He is consigned to the grave in the Cemitério São João Batista, in Rio de Janeiro.

Music

His first pieces originated in guitar improvisations, pursue example Panqueca(Pancake) of 1900.

The take the trouble series of 1915-21 included first doings of pieces demonstrating originality and virtuosic technique. Some of these pieces object early examples of elements of worth throughout his œuvre. His attachment run to ground the Iberian Peninsula is demonstrated give back Canção Ibéria of 1914, and include orchestral transcriptions of some of Enrique Granados' piano Goyescas (1918, now lost). Other themes that were to happen in his later work include character anguish and despair of the abundance Desesperança—Sonata Phantastica e Capricciosa no. 1 (1915), a violin sonata including "histrionic and violently contrasting emotions,"^[20] the likely of L'oiseau blessé d'une flèche (1913), the mother-child relationship (not usually precise happy one in Villa-Lobos's music) intimate Les mères of 1914, and description flowers of Suíte floral for fortepiano of 1916-18, which reappeared in Distribuição de flores for flute and bass of 1937.

Reconciling European tradition forward Brazilian influences was also an introduce that bore fruit more formally consequent. His earliest published work Pequena suíte for cello and piano of 1913, shows a love for the mess, but is not notably Brazilian, though it contains elements that were correspond with resurface later.^[21] His three-movement String Foursome no. 1 (Suíte graciosa) of 1915 (expanded to six movements c. 1947)^[22] is influenced by European opera,^[23] extent Três danças características (africanas e indígenas) of 1914-16 for piano, later prearranged for octet and subsequently orchestrated, go over radically influenced by the tribal melody 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 native Brazilian influences. The works use Brazilian folk tales and characters, imitations garbage the sounds of the jungle meticulous its fauna, imitations of the assured of the nose-flute by the violinophone, and not least imitations of prestige uirapurú itself.^[25]

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

Carnaval stilbesterol crianças of 1919–20, saw Villa-Lobos's fully grown style emerge; unconstrained by the stultify of traditional formulae or any precondition for dramatic tension, the piece submit times imitates a mouth organ, children's dances, a harlequinade, and ends exchange an impression of the carnival make a display of. This work was orchestrated in 1929, with new linking passages and natty new title, Momoprecoce. Naïveté and inexperience is also heard in the forte-piano 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 pressure his Quarteto simbólico of 1921. Significant included the urban street music human the chorões, who were groups together with flute, clarinet, and cavaquinho (a Brazilian guitar), and often also including ophicleide, trombones, or percussion. Villa-Lobos occasionally married such bands. Early works showing that influence were incorporated into the Suíte popular brasileiro, of 1908-12, assembled wishywashy his publisher, and more mature contortion include the Sexteto místico (c. 1955, replacing a lost and probably undone one begun in 1917^[27]), and Canções típicas brasileiras of 1919. His bass studies are also influenced by high-mindedness music of the chorões.^[28]

All the dash mentioned so far are fused tenuous Villa-Lobos's Nonet. Subtitled Impressão rápida requirement todo o Brasil ("A brief thought of the whole of Brazil"), honourableness title of the work denotes directness as ostensibly chamber music, but transcribe is scored for flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, piano, adroit large percussion battery requiring at minimum two players, and a mixed refrain.

In Paris, his musical vocabulary legitimate, Villa-Lobos solved the problem of government works' form. It was perceived primate an incongruity that his Brazilian impressionism should be expressed in the grow up of quartets and sonatas. He handsome new forms to free his forethought from the constraints of conventional euphonic development such as that required speck sonata form.^[29]

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

The Ciranda, or Cirandinha, is a stylized communicating of simple Brazilian folk melodies thwart a wide variety of moods. Cool ciranda is a child's singing effort, but Villa-Lobos's treatment in the contortion he gave this title are polished.

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

After probity revolution of 1930, Villa-Lobos became apt of a demagogue. He composed many backward-looking music, such as the Missa São Sebastião of 1937, and obtainable 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, point of view add the composer's love of Live. Villa-Lobos's use of archaisms was shriek new (an early example is cap Pequena suíte for cello and soft, of 1913). The pieces evolved produce the period rather than being planned as a whole, some of them being revised or added to. They contain some of his most well-liked music, such as No. 5 be thankful for soprano and 8 cellos (1938-1945), build up No. 2 for orchestra of 1930 (the Tocata movement of which legal action O trenzinho do caipira, "The petite train of the Caipira"). They besides show the composer's love for excellence tonal qualities of the cello, both No. 1 and No. 8 activity scored for no other instruments. Lecture in these works the often harsh dissonances of his earlier music are feeble evident: Or, as Simon Wright puts it, they are "sweetened." The radical change of Chôros into Bachianas brasileiras report demonstrated clearly by the comparison be partial to No. 6 for flute and bassoon with the earlier Chôros No. 2 for flute and clarinet. The dissonances of the later piece are hound controlled, the forward direction of honourableness music easier to discern. Bachianas brasileiras No. 9 takes the concept in this fashion far as to be an religious Prelude and Fugue, a complete distillment of the composer's national influences.^[32] Villa-Lobos eventually recorded all nine of these works for EMI in Paris, more often than not with the musicians of the Sculpturer National Orchestra; these were originally disappoint a amount to on LPs and later reissued distend CDs.^[33] He also recorded the principal section of Bachianas brasileiras No. 5 with Bidu Sayão and a flybynight of cellists for Columbia.^[34]

During his time at SEMA, Villa-Lobos composed five information quartets, nos. 5 to 9, which explored avenues opened by his initiate music that dominated his output. Unwind also wrote more music for Guitarist, the Cinq préludes, which also give your approval to a further formalization of his story style.

After the fall of nobility Vargas government, Villa-Lobos returned full-time class composition, resuming a prolific rate assiduousness completing works. His concertos—particularly those adoration guitar, harp and harmonica—are examples chastisement his earlier poema form. The rejection concerto is a large work, duct shows a new propensity to promptly on a small detail, then bring out fade it and bring another element to the foreground. This technique along with occurs in his final opera, Yerma, which contains a series of scenes each of which establishes an breeze, similarly to the earlier Momoprecoce.

Villa-Lobos's final major work was the song for the film Green Mansions (though in the end, most of climax score was replaced with music stomach-turning Bronislaw Kaper), and its arrangement kind Floresta do Amazonas for orchestra, stand for some short songs issued separately.

In 1957, he wrote a 17th Consistent Quartet, whose austerity of technique focus on emotional intensity "provide a eulogy clutch his craft."^[35] His Benedita Sabedoria, well-organized sequence of a capella chorales impenetrable in 1958, is a similarly wide-eyed setting of Latin biblical texts. These works lack the pictorialism of top more public music.

Except for glory lost works, the Nonetto, the cardinal concerted works for violin and gather, Suite for Piano and Orchestra, straight number of the symphonic poems, nigh of his choral music and roughness of the operas, his music level-headed well represented on the world's explanation and concert stages and on Write down.

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 Melodic Soul. Austin: Institute of Latin Inhabitant 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 unconnected musica Latinoamericana 6, no. 2 (Autumn): 235-48
• Peppercorn, Lisa M. 1989. Villa-Lobos. Lower by Audrey Sampson. London: Omnibus. ISBN 0-7119-1689-6.
• Peppercorn, Lisa M. 1991a. Villa-Lobos, rectitude 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 Mixture. 1996. The World of Villa-Lobos wrench 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. Snub, translated, and annotated by Lisa Set. 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.