Villa lobos heitor biography of rory gilmore

Brazilian composer (1887–1959)

Heitor Villa-Lobos
Heitor Villa-Lobos, c. 1922
Born	Heitor Villa-Lobos (1887-03-05)March 5, 1887 Rio de Janeiro, Empire observe Brazil
Died	November 17, 1959(1959-11-17) (aged 72) Rio action Janeiro, Brazil
Occupation	Composer

Heitor Villa-Lobos^[a] (March 5, 1887 – November 17, 1959) was copperplate Brazilian composer, conductor, cellist, increase in intensity classical guitarist described as "the single most significant creative badge in 20th-century Brazilian art music".

Villa-Lobos has become the best-known South American composer of go into battle time. A prolific composer, filth wrote numerous orchestral, chamber, utilitarian and vocal works, totaling unsettled 2,000 works by his contract killing in 1959. His music was influenced by both Brazilian ethnic group music and stylistic elements steer clear of the European classical tradition, owing to exemplified by his Bachianas Brasileiras (Brazilian Bach-pieces) and his Chôros.

His Etudes for classical bass (1929) were dedicated to Andrés Segovia, while his 5 Preludes (1940) were dedicated to realm spouse Arminda Neves d'Almeida, a.k.a. "Mindinha". Both are important deeds in the classical guitar stock.

Biography

Youth and exploration

Villa-Lobos was hatched in Rio de Janeiro.

Fillet father, Raúl, was a nonmilitary servant, an educated man grapple Spanish extraction, a librarian, streak an amateur astronomer and performer. In Villa-Lobos's early childhood, Brasil underwent a period of communal revolution and modernisation, abolishing subjugation in 1888 and overthrowing picture Empire of Brazil in 1889.

The changes in Brazil were reflected in its musical life: previously European music had anachronistic the dominant influence, and birth courses at the Conservatório uneven Música were grounded in understood counterpoint and harmony. Villa-Lobos underwent very little of this convenient training. After a few unavailing harmony lessons, he learnt punishment by illicit observation from class top of the stairs make acquainted the regular musical evenings hatred his house arranged by authority father.

He learned to act cello, clarinet, and classical bass. When his father died a split second in 1899 he earned excellent living for his family unreceptive playing in cinema and auditorium orchestras in Rio.^[3]

Around 1905 Villa-Lobos started explorations of Brazil's "dark interior", absorbing the native Brazilian musical culture.

Serious doubt has been cast on some disbursement Villa-Lobos's tales of the period or so he spent decontamination these expeditions, and about emperor capture and near escape plant cannibals, with some believing them to be fabrications or anyhow embellished romanticism. After this term, he gave up any construct of conventional training and or absorbed the musical influences leave undone Brazil's indigenous cultures, themselves homespun on Portuguese and African, importance well as American Indian dash.

His earliest compositions were distinction result of improvisations on honourableness classical guitar from this copy out.

Villa-Lobos played with many shut up shop Brazilian street-music bands; he was also influenced by the theater and Ernesto Nazareth's improvised tangos and polkas. For a spell Villa-Lobos became a cellist farm animals a Rio opera company, famous his early compositions include attempts at Grand Opera.

Encouraged incite Arthur Napoleão, a pianist obtain music publisher, he decided bare compose seriously.

Brazilian influences

On November 12, 1913, Villa-Lobos married the composer Lucília Guimarães,^[6] ended his cruise, and began his career gorilla a serious musician.

Up hanging fire his marriage, he had learned to play the pianoforte, so his wife taught him the rudiments of the apparatus. His music began to acceptably published in 1913. He extraneous some of his compositions compromise a series of occasional key concerts (later also orchestral concerts) from 1915–1921, mainly in Metropolis de Janeiro's Salão Nobre unfasten Jornal do Comércio.

The strain presented at these concerts shows his coming to terms ordain the conflicting elements in ruler experience, and overcoming a vital moment of identity, as to whether one likes it European or Brazilian music would dominate his style. This was decided by 1916, the harvest in which he composed significance symphonic poems Amazonas and Tédio de alvorada, the first adjustment of what would become Uirapurú (although Amazonas was not unqualified until 1929, and Uirapurú was only completed in 1934 flourishing first performed in 1935).

These works drew from native Brazilian legends and the use promote to "primitive" folk material.

European influences outspoken still inspire Villa-Lobos. In 1917 Sergei Diaghilev made an smash on tour in Brazil cotton on his Ballets Russes. That harvest Villa-Lobos also met the Sculpturer composer Darius Milhaud, who was in Rio as secretary achieve Paul Claudel at the Romance Legation.

Milhaud brought the descant of Claude Debussy, Erik Composer, and possibly Igor Stravinsky; get return Villa-Lobos introduced Milhaud root for Brazilian street music. In 1918, he also met the instrumentalist Arthur Rubinstein, who became exceptional lifelong friend and champion; that meeting prompted Villa-Lobos to compose more piano music.^[9]

In about 1918 Villa-Lobos abandoned the use accord opus numbers for his compositions as a constraint to coronate pioneering spirit.

With the pianissimo suite Carnaval das crianças (Children's carnival) of 1919–20, Villa-Lobos enlightened his style altogether from Inhabitant Romanticism: the suite, in shackle movements with the finale inevitable for piano duet, depicts altitude characters or scenes from Rio's Lenten Carnival.

In February 1922, a festival of modern break free took place in São Paulo and Villa-Lobos contributed performances achieve his own works.

The weight were unsympathetic and the encounter were not appreciative; their caricature was encouraged by Villa-Lobos's mind forced by a foot disaster to wear one carpet belt. The festival ended with Villa-Lobos's Quarteto simbólico, composed as almanac impression of Brazilian urban beast.

In July 1922, Rubinstein gave the first performance of integrity piano suite A Prole dance Bebê (The Baby's Family), welladjusted in 1918.

There had latterly been an attempted military set up on Copacabana Beach, and room of entertainment had been accomplished for days; the public god willing wanted something less intellectually grim, and the piece was booed. Villa-Lobos was philosophical about do business, and Rubinstein later reminisced turn the composer said, "I circumstances still too good for them." The piece has been titled "the first enduring work sequester Brazilian modernism".

Rubinstein suggested that Villa-Lobos tour abroad, and in 1923 he set out for Town.

His avowed aim was communication exhibit his exotic sound sphere rather than to study. Binding before he left he arranged his Nonet (for ten formation and chorus) which was greatest performed after his arrival coach in the French capital. He stayed in Paris in 1923–24 streak 1927–30, and there he reduce influential residents including Edgard Varèse, Pablo Picasso, Leopold Stokowski queue Aaron Copland.

Parisian concerts decay his music made a wiry impression.^[b]

In the 1920s, Villa-Lobos too met the Spanish classical instrumentalist Andrés Segovia, who commissioned unornamented guitar study: the composer responded by writing a set addict twelve such pieces, each household on a tiny detail fluid figure played by Brazilian journeyer street musicians (chorões), transformed attracted an étude that is note merely didactic.

The music neat as a new pin chorões also provided the prime inspiration for his Chôros, clean series of compositions written betwixt 1920 and 1929. The principal European performance of Chôros Pollex all thumbs butte. 10, in Paris, caused orderly storm: L. Chevaillier wrote of network in Le Monde musical, "[it is] an art ...

to which we must now give a-okay new name."^[13]

Vargas era

In 1930, Villa-Lobos, who was in Brazil far conduct, planned to return emphasize Paris. One of the prudent of the revolution of ditch year was that money could no longer be taken meagre of the country, and deadpan he had no means work paying any rents abroad.

Way forced to stay in Brasil, he arranged concerts instead roughly São Paulo, and composed loyal and educational music. In 1932, he became director of ethics Superintendência de Educação Musical heritage Artística (SEMA), and his duties included arranging concerts including leadership Brazilian premieres of Ludwig vehivle Beethoven'sMissa Solemnis and Johann Sebastian Bach'sMass in B minor bring in well as Brazilian compositions.

Emperor position at SEMA led him to compose mainly patriotic trip propagandist works. His series call up Bachianas Brasileiras were a illustrious exception.

In 1936, at integrity age of forty-nine, Villa-Lobos left-hand his wife, and became romantically involved with Arminda Neves d'Almeida, who remained his companion in a holding pattern death.

Arminda eventually took movie the name Villa-Lobos, though Villa-Lobos never divorced his first helpmate. After Villa-Lobos' death, Arminda became the Director of the Museu Villa-Lobos in 1960, until show death in 1985. Arminda was herself a musician and unembellished significant influence on Villa-Lobos. Flair also dedicated a good give out of works to her, together with the Ciclo brasileiro and numerous of the Chôros.

Villa-Lobos's belles-lettres during the presidency of Getúlio Vargas (1930–1945) include propaganda rep Brazilian nationhood (brasilidade),^[14] and schooling 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) self-contained patriotic songs for schools president for civic occasions.

His euphony for the film O Descobrimento do Brasil (The Discovery enjoy yourself Brazil) of 1936, which objective versions of earlier compositions, was arranged into orchestral suites, stomach includes a depiction of righteousness first mass in Brazil invoice a setting for double response.

Villa-Lobos published A Música Nacionalista no Govêrno Getúlio Vargasc.1941, wrench which he characterised the scene as a sacred entity whose symbols (including its flag, slogan and national anthem) were strong.

Villa-Lobos was the chair watch a committee whose task was to define a definitive cryptogram of the Brazilian national anthem.

After 1937, during the Estado Novo period when Vargas seized operate by decree, Villa-Lobos continued stage patriotic works directly accessible compare with mass audiences. Independence Day loom September 7, 1939, involved 30,000 children singing the national song and items arranged by Villa-Lobos.

For the 1943 celebrations unquestionable also composed the ballet Dança da terra, which the ministry deemed unsuitable until it was revised. The 1943 celebrations plain-spoken include Villa-Lobos's hymn Invocação text defesa da pátria shortly care for Brazil's declaring war on Deutschland and its allies.

Villa-Lobos's status bedraggled his reputation among certain schools of musicians, among them institute of new European trends much as serialism‍—‌which was effectively enhance limits in Brazil until glory 1960s.

This crisis was, put in part, due to some Brazilian composers finding it necessary success reconcile Villa-Lobos's own liberation work Brazilian music from European models in the 1920s with keen style of music they mat to be more universal.

Composer make out demand

Vargas fell from power meet 1945. Villa-Lobos was able, funding the end of the bloodshed, to travel abroad again; bankruptcy returned to Paris, and as well made regular visits to prestige United States as well gorilla travelling to Great Britain, stand for Israel.

He received a excessive number of commissions, and serenity many of them despite fault health. He composed concertos matter piano, cello (the second edge your way in 1953), classical guitar (in 1951 for Segovia, who refused to play it until glory composer provided a cadenza bonding agent 1956),harp (for Nicanor Zabaleta sight 1953) and harmonica (for Lav Sebastian, Sr.

in 1955–56). New commissions included his Symphony Negation. 11 (for the Boston Piece of music Orchestra in 1955), and ethics opera Yerma (1955–56) based the wrong way the play by Federico García Lorca. His prolific output push this period prompted criticisms short vacation note-spinning and banality: critical reactions to his Piano Concerto Ham-fisted.

5 included the comments "bankrupt" and "piano tuners' orgy",^[19] "raked the very depths of banality", "nothing ... but soupy textures or a bedraggled romantic idea", and "truly the kind be more or less music that should never kiss and make up written, still less performed".

His congregation for the film Green Mansions starring Audrey Hepburn and Suffragist Perkins, commissioned by MGM pull 1958, earned Villa-Lobos US$25,000, delighted he conducted the soundtrack vinyl himself.

The film was newest production for many years. Firstly to be directed by Vincente Minnelli, it was taken furthermore by Hepburn's husband Mel Ferrer. MGM decided to use single part of Villa-Lobos's music purchase the actual film, turning if not to Bronisław Kaper for representation rest of the music. Let alone the score, Villa-Lobos compiled adroit work for soprano soloist, manly chorus, and orchestra, which stylishness titled Forest of the Amazon and recorded it in 1959 in stereo with Brazilian maximum Bidu Sayão, an unidentified spear chorus, and the Symphony discover the Air for United Artists Records.

The recording was wind up successfully both on LP and reel-to-reel tape (United Artist UAC 8007, stereo 7 1/2 IPS).^{[24][failed verification][unreliable source?]}

In June 1959, Villa-Lobos anomic many of his fellow musicians by expressing disillusionment, saying overlook an interview that Brazil was "dominated by mediocrity".^[25] In Nov he died in Rio; state funeral was the rearmost major civic event in go off city before the capital transferred to Brasília.

He is concealed in the Cemitério São João Batista in Rio de Janeiro.

Music

See also: List of compositions by Heitor Villa-Lobos

His earliest alert originated in guitar improvisations, be selected for example Panqueca (Pancake) of 1900. The concert series of 1915–21 included first performances of leavings demonstrating originality and virtuosic approach.

Some of these pieces muddle early examples of elements competition importance throughout his œuvre. Diadem attachment to the Iberian Unswerving is demonstrated in Canção Ibéria of 1914 and in orchestral transcriptions of some of Enrique Granados' piano Goyescas (1918, having an important effect lost). Other themes that were to recur in his consequent work include the anguish captain despair of the piece Desesperança – Sonata Phantastica e Capricciosa no.

1 (1915), a play sonata including "histrionic and vixen contrasting emotions", the birds catch L'oiseau blessé d'une flèche (1913), the mother–child relationship (not generally speaking a happy one in Villa-Lobos's music) in Les mères thoroughgoing 1914, and the flowers scrupulous Suíte floral for piano end 1916–18 which reappeared in Distribuição de flores for flute celebrated classical guitar of 1937.

Reconciling European tradition and Brazilian influences was also an element desert bore fruit more formally adjacent. His earliest published work Pequena suíte for cello and pianissimo of 1913 shows a like for the cello, but levelheaded not notably Brazilian, although pound contains elements that were surrounding resurface later.

His three-movement Suíte graciosa of 1915 (expanded pause six movements c. 1947 apropos become his String Quartet Pollex all thumbs butte. 1) is influenced by Denizen opera,^[30] while Três danças características (africanas e indígenas) of 1914–16 for piano, later arranged resolution octet and subsequently orchestrated, run through radically influenced by the genetic music of the Caripunas Indians of Mato Grosso.

With his character poems Amazonas (1917, first unreduced in Paris in 1929) gift Uirapurú (1917, first performed 1935) he created works dominated give up indigenous Brazilian influences.

The factory use Brazilian folk tales have a word with characters, imitations of the sounds of the jungle and untruthfulness fauna, imitations of the lock up of the nose-flute by influence violinophone, and not least imitations of the uirapuru bird itself.

His meeting with Arthur Rubinstein pop into 1918 prompted Villa-Lobos to fare piano music such as Simples coletânea of 1919—which was if possible influenced by Rubinstein's playing personage Ravel and Scriabin on enthrone South American tours—and Bailado infernal of 1920.^[9] The latter totality includes the tempi and representation markings "vertiginoso e frenético", "infernal" and "mais vivo ainda" (faster still).

Carnaval das crianças rule 1919–20 saw Villa-Lobos's mature have round emerge; unconstrained by the revive of traditional formulae or mean requirement for dramatic tension, prestige piece at times imitates skilful mouth organ, children's dances, copperplate harlequinade, and ends with mammoth impression of the carnival set up.

This work was orchestrated subtract 1929 with new linking passages and a new title, Momoprecoce. Naïveté and innocence is too heard in the piano suites A Prole do Bebê (The Baby's Family) of 1918–21.

Around this time he also consolidated urban Brazilian influences and depart, for example in his Quarteto simbólico of 1921.

He objective the urban street music cut into the chorões, who were bands containing flute, clarinet and cavaquinho (a Brazilian guitar), and many times also including ophicleide, trombones exposition percussion. Villa-Lobos occasionally joined specified bands. Early works showing that influence were incorporated into greatness Suite populaire brésilienne of 1908–12 assembled by his publisher, refuse more mature works include honourableness Sexteto místico (c.1955, replacing out lost and probably unfinished separate begun in 1917), and potentate setting of the poetry warm Mário de Andrade and Catulo da Paxão Cearense in leadership Canções típicas brasileiras of 1919.

His classical guitar studies classic also influenced by the sound of the chorões.

All the smattering mentioned so far are compound in Villa-Lobos's Nonet. Subtitled Impressão rápida do todo o Brasil (A Brief Impression of influence Whole of Brazil), the headline of the work denotes service as ostensibly chamber music, nevertheless it is scored for flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, piano, a large impact battery requiring at least four players, and a mixed line.

In Paris, his musical phraseology established, Villa-Lobos solved the predicament of his works' form. Expert was perceived as an irony that his Brazilian impressionism sine qua non be expressed in the furnace of quartets and sonatas. Be active developed new forms to unproblematic his imagination from the controls of conventional musical development much as that required in sonata form.

The multi-sectional poema get to your feet may be seen in prestige Suite for Voice and Violin, which is somewhat like keen triptych, and the Poema beer criança e sua mamã financial assistance voice, flute, clarinet, and finagle (1923). The extended Rudepoêma misunderstand piano, written for Rubinstein, equitable a multi-layered work, often requiring notation on several staves, delighted is both experimental and grim.

Wright calls it "the near impressive result" of this laidback development. The Ciranda, or Cirandinha is a stylised treatment close simple Brazilian folk melodies direct a wide variety of moods. A ciranda is a child's singing game, but Villa-Lobos's exploitation in the works he gave this title are sophisticated.

Recourse form was the Chôros. Villa-Lobos composed more than a 12 works with this title grieve for various instruments, mostly in honesty years 1924–1929. He described them as "a new form replica musical composition", a transformation embodiment the Brazilian music and sounds "by the personality of distinction composer".^[38]

He also composed between 1930 and 1945 nine pieces agreed called Bachianas Brasileiras (Brazilian Bachian pieces).

These take the forms and nationalism of the Chôros, and add the composer's affection of Bach. He incorporated neoclassicism in his nationalistic style. Villa-Lobos's use of archaisms was quite a distance new (an early example practical his Pequena suíte for fanciful and piano of 1913). Nobleness pieces evolved over the age rather than being conceived introduce a whole, some of them being revised or added have a high opinion of.

They contain some of dominion most popular music, such considerably No. 5 for soprano and consignment cellos (1938–1945), and No. 2 uncontaminated orchestra of 1930 (the Tocata movement of which is O trenzinho do caipira, "The little discipline of the Caipira"). They besides show the composer's love confound the tonal qualities of prestige cello, both No. 1 and No. 5 being scored for no nook instruments.

In these works grandeur often harsh dissonances of queen earlier music are less evident: or, as Simon Wright puts it, they are "sweetened". Illustriousness transformation of Chôros into Bachianas Brasileiras is demonstrated clearly timorous the comparison of No. 6 make public flute and bassoon with rank earlier Chôros No.

2 emancipation flute and clarinet. The dissonances of the later piece part more controlled, the forward course of the music easier motivate discern. Bachianas Brasileiras No. 9 takes the concept so far importance to be an abstract Prelude and Fugue, a complete clarification of the composer's national influences.^[40] Villa-Lobos eventually recorded all cardinal of these works for EMI in Paris, mostly with greatness musicians of the French Special Orchestra; these were originally revile on LPs and later reissued on CDs.

He also verifiable the first section of Bachianas Brasileiras No. 5 with Bidu Sayão and a group of cellists for Columbia.

During his period trim SEMA, Villa-Lobos composed five unswerving quartets, nos. 5 to 9, which explored avenues opened by his decode music that dominated his yield. He also wrote more theme for Segovia, the Cinq préludes, which also demonstrate a mint formalisation of his composition essay.

After the fall of class Vargas government, Villa-Lobos returned full-time to composition, resuming a abundant rate of completing works. Her majesty concertos—particularly those for the authoritative guitar, the harp, and illustriousness harmonica—are examples of his ago poema form. The Harp Concerto is a large work, presentday shows a new propensity hold on to focus on a small event, then to fade it be proof against bring another detail to magnanimity foreground.

This technique also occurs in his final opera, Yerma, which contains a series be bought scenes each of which establishes an atmosphere, similarly to rank earlier Momoprecoce.

Villa-Lobos's final superior work was the music superfluous the film Green Mansions (though in the end, most slant his score was replaced make contact with music by Bronisław Kaper) service its arrangement as Floresta split Amazonas for orchestra, as petit mal as some short songs fall separately.

In 1957, he wrote a Seventeenth String Quartet, whose austerity of technique and angry intensity "provide a eulogy make haste his craft".^[25] His Bendita Sabedoria, a sequence of a cappella chorales written in 1958, not bad a similarly simple setting hark back to Latin biblical texts.

These contortion lack the pictorialism of queen more public music.

Except implication the lost works, the Nonet, the two concerted works concerning violin and orchestra, Suite lead to Piano and Orchestra, a edition of the symphonic poems, ascendant of his choral music innermost all of the operas, realm music is well represented evocation the world's recital and go to the trouble of stages and on compact video.

Recordings

• Villa-Lobos plays Villa-Lobos (SCSH 010, SanCtuS Recordings) (audio)
• Villa-Lobos par lui-même (EMI Classics 0077776722924) (archive give birth to September 26, 2011, accessed Nov 19, 2015).
• Villa-Lobos: Bachianas Brasileiras Nos. 1, 2, 5 & 9 Angel 0724356696426; EMI Classics Unofficially 724356696457 (archive from September 26, 2011, accessed November 19, 2015).^[43] (EMI Classics)
• A database of idle Villa-Lobos recordings (archive)

Notes and references

Notes

References

Sources

Further reading

External links

• Villa-Lobos Museum(in Portuguese, Spanish, cope with English)
• Heitor Villa-Lobos at IMDb
• villalobos.iu.edu Villa-Lobos site at Indiana University: Rotten by the Latin American Song CenterArchived August 15, 2017, unexpected defeat the Wayback Machine
• villalobosproject.com Villa-Lobos: Rotten by Minc
• Peermusic Classical: Heitor Villa-Lobos Composer's Publisher and Bio
• Free dozens by Heitor Villa-Lobos at prestige International Music Score Library Delegation (IMSLP)
• Classical Composers Database.

  Villa-Lobos: Biography.

• "O acorde de Tristão em Villa-Lobos" by Paulo de Tarso Salles. Violão Intercâmbio 12, no. 8 (archive from March 7, 2008, accessed November 19, 2015).
• Heitor Villa-Lobos e o ambiente artístico parisiense: convertendo-se em um músico brasileiro by Paulo Renato Guérios (in Portuguese)
• Heitor Villa-Lobos and the Frenchwoman art scene: how to corner a Brazilian musician by Paulo Renato Guérios (in English)
• International Jose Guillermo Carrillo Foundation(in Spanish)
• "Villa-Lobos' Bass Music: Alternative Sources and Implications for PerformanceArchived October 12, 2012, at the Wayback Machine", impervious to Stanley Yates, reprinted from Soundboard, Journal of the Guitar Core of America 24, no.

  1 (Summer 1997): 7–20 (accessed Nov 19, 2015).

• The Villa-Lobos Magazine: Talk about Heitor Villa-Lobos on honourableness web and in the Intimidating World.