BI1v6 vo ‘osauels ues yong WEWEID TIT SNOLLYOITENd O10S YVLIND woRNqUAsiG S1ese04M ash IMO nm aTo Augusto Rodrigues and | Herminio Bello de Carvalho Turibio Santos : Hertor Vicca-Copos And The GUITAR eee Translated by Victoria Forde ) and Graham Wade Wise Owl Music es loHeitor Villa-Lobos and the Guitar Originally published by the Museu Villa-Lobos, 1975. © 1985 English translation, Graham Wade First published in English by Wise Owl Music, Gurtnacloona, Bantry, Co. Cork, Ireland. Layout and Typography © Wise Owl Music 1985, Ail rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photo-copying, recording or other wise without the prior written permission of the copyright holders. ACKNOWLEDGEMENTS: The publishers wish to thank the following for their valuable assistance and co-operation in the production of this book. Victoria Forde, Blackrock, Co. Cork, Ireland; Graham Wade, Senior Lecturer, City of Leeds College of Music; Lionel Lethbridge; Oscar Carrasco; Mr. Gérald Hugon of Messrs, Max Eschig, Paris, for permission to reproduce copyright musical examples; Arminda Villa-Lobos; the Museu Villa-Lobos, Rio de Janeiro; Herm{nio Bello de Carvalho; Helen Jennings. ne eerauan 10 u 12 13 CONTENTS Introduction Glossary ‘One Musician? Or Many Musicians? ‘The Music ‘Tomés Terin, Andrés Segovia, Heitor Villa-Lobos The Twelve Studies 1940 — The Prefudes The Five Preludes which were Six ‘A Concerto was Needed Problems of Interpreting Villa-Lobos ‘The Personality of Villa-Lobos More about the Personality and Beliefs of Villa-Lobos ‘The Beliefs of Villa-Lobos ‘The Song of Villa-Lobos The Influence of his Work Conclusion APPENDICES S<28s List of Compositions for Guitar by Heitor Villa-Lobos Discography 1 Bibliography Suggested Further Reading Concerto — Music Examples Facsimile of Vills-Lobos’ Manuscript of Mazurka (1911) 59 nm n 15 9INTRODUCTION This is the first presentation in English of the book by Turibio Santos originally published by the Museu Villa-Lobos with the support of MEC ~ Departamento de Assuntos Culturais of Rio de Janeiro in 1975. Turibio Santos was born in 1943 in Sao Luis, Maranhao, in North Brazil. He began playing the guitar at the age of ten and studied with Antonio Rebello and later with Oscar Caceres. In 1962 he made his debut as a recitalist in Rio de Janeiro and followed this with an extensive tour of Brazil. In 1963, at the invitation of the Museu Villa-Lobos, he gave the first complete performance of the Twelve Studies Two years later Turibio Santos won first prize in the prestigious ORTF Intemational Guitar Competition in Paris. In 1968 he made the first ever recording of the entire set of the Twelve Studies. Since these eatly years of his career Turibio Santos has established his reputation as one of the most. distinguished guitarists of Brazil. He has appeared with major orchestras throughout the world and achieved international acclaim for his many recordings on the Erato fabel. Thus he is uniquely qualified as one of the foremost authorities on the guitar music of Heitor Villa-Lobos; in the 1950's Turibio Santos attended seminars with the composer and became closely associated with many of the ‘musicians of Rio de Janeiro with whom Vill Lobos had worked, ‘As one might expect, this book is intensely Brazilian. It felied to some extent on the reader's knowledge of Brazil's historical and cultural background and on some awareness of the focal music, customs and personalities of Rio de Janeiro. A short slossary has therefore been provided to fill in at least some of the essential background. Villa-Lobos’ own life a @ comiposer reflects a constant struggle to make the Brazilian people, at all social levels, more conscious of their national identity, especially as it could be expressed through the rich and varied musical traditions of Brazil.He was scomful of the many influen undermine a sense of uniquely Brazilian identity, and as a young man fought against the reverence for a more academic style of music and the adverse effect of foreign cultural influences, Paradoxically, it was only after he spent several years in Europe that the music of Villa-Lobos achieved true popularity in Brazil land was given the recognition it deserved. From about 1930 ‘Onwards Villa-Lobos was a vigorous campaigner for Brazilias culture, achieving many of his objectives not only by the power of his compositions, but by immensely energetic participation in his country's programme for music education in schools. Turibio Santos was one of the many thousands of primary school children ‘whose cultural upbringing was entiched by the educational policies tnd methods of Heitor Villa-Lobos. The composer's deeply held convictions about Brazilian culture form a vit of this book. Despite the great tasks undertaken by Villa-}.obos, ¢both in the field of large-scale choral and orchestral works and in a number of ambitious projects intended to further the progress of Brazilian music) as Turibio Santos constantly reminds us, the composer never forgot the importance of the guitar as a permanent feature of the national art. Since the Portuguese first wettled in Brazil in the sixteenth century many kinds of plucked instruments have been popular, The guitar music of Villa-Lobos brings together the artistic demands of the classical guitar with the meledic vitality, rhythms and harmonies of the folk tradition. In Tooking at each of the well-known Preludes and Studies Turibio Santos indicates many aspects of this fusion which can only be understood within the context of Brazilian culture; we are also warned against abusing the spirit of this art, against exaggeration Tad mannerisi often induced by the depths of feeling which the music of Villa-Lobos and the guitat itself cart bring about. For the first time this perennial part of the twentieth-century guitar repertoire is presented in entirely Brazilian perspectives and for European players such a viewpoint is utterly essential if an appropriate interpretation is to be achieved. in the preparation of this text in English 1 would like to thank all those who have helped towards the translation. In particular, acknowledgement is due to Victoria Forde for the first 4 complete draft of the text from the Por . rtuguese. Thanks are’ d ais to Lionel Lethbridge, whose rendering of lage part of the Book undertaken during a vist o Braz was of immense help nd te Onear Carasco, who offered expert avice on many matters in connection with the orginal text, And as always, to my wife Easel, for her indpensible work ithe prepaation of the ‘GRAHAM WADE November 1985GLOSSARY Bilhar, Sétiro: popular chordo and composer, whose improvis- ‘ational style, along with that of Ernesto Nazareth, was an carly influence on Villa-Lobos. carioca: native or inhabitant of Rio de Janeiro. Cavaquinho: the small guitar of Portugal and Brazil, related to the Tour-string caveco of Portugal. The four course cavaquinho is said to have teached various parts of the world, including Hawaii, in the fifteenth century, and is thus an ancestor of the ukelele. In Venezuela the cuatro is intimately relates to the cavaquinho, In Brazil, the cavaquinho has four metal strings and has been a popular strument since the middle of the nineteenth century. It is sometimes known as ‘the machete, Cearense, Catulo da Paixto : a popular poetguitarist, who aroused hostility in the early days among musicians at the ‘Instituto Nacional de Masica who felt that classical and popular concerts should not be held under the same auspices. choréo (pl choroes): performer of choros (literally, chorinho: diminutive of choro, therefore meaning & choro: from chorar to weep. The word is used to si ‘of popular music, the occasions when the music is ‘and the music itself, In the nineteenth century the word was used to designate various instrumental ensembles. These Consisted of instruments such as flute, clarinet, ophicleide, ‘or trombone, cavaguinko and percussi red dances, usually of European desc Festive occasions. An instrumental improvisation was called a choro, and this term was applied to the group and to the performance. Heitor Villa-Lobos wrote sixteen pieces under this title, ranging from a work for solo guitar to large instrumental ensembles, In the pseface to Choros No. 3, Ville-Lobos 6 fives anew and broader definition ofthe choros as new form of musical composit synthesis of the different forms of the music of the Indian and popular music. and commented how the ‘typical rhythmic and melodic types of expression’ which appear are ‘ac ntally, always transformed by the composer's personality , tery means ‘doubled’; military marching muse opular musician , Erne yuim Maris 889-1974). His Peolo Telefono (1917) y eae the first composition to use the ingredients of the urban vat a popular rhythm developed mainly after World rl. melopéias: musical accompaniments to narrat sometimes found in Amerindian mu Mindinha: Arminda ‘modinha: a sentimental type of song, related to t ‘moda, an old Portuguese word meaning sony The modinka may be the only genuine Bra origin in folk music verse forms, la-Lobos, the second wife of the composer. older form of frequently by Villa-Lobos and Brazilian musici muni of pepohr or ok mature Nazareth, Emesto Jalio de: Emesto de Nazareth (1863 — 1934) was one of the early nationalist composers; he wrote two hundred and twenty compositions fo piano in many styles ‘nchding Bran ana ys, walle, scottices qui ete, ; i adit 1c. Choros No, 1 by VillerLob ofteleide: the Italian spelling for ophicleide, an obsole ae: , an obsolete brass wind instrument of the keyed Buse family, used to provide Ovalle, Jayme: A Brazilian composer (b. 1894) , Say . 1894) who mad ipecial study of AtroBraziian music, He is particularly own for his exquisite melody, Azuido (TI which reflects the folk element. eh aratepanqueca: literally, pancake, and the title of one of Villa-Lobos’ early compasitions Pernambuco, Jofo: Jolo Teixeira Guimaries (1883 - 1947) is best known for his choro, Sons de Carrithoes (Sound of Bells) which for some time guitarists erroneously believed was written by Villa-Lobos. He was a Bi ii mestizo origin, who wrote many comp made recordings. quadritha: quadsille, osiginally popular in France in the court of Napoleon 1, It was brought to England by Lady Jersey in 1816, and became exceptionally popular, As the name suggests, it was at first 2 square dance, and its music could often be based on another popular melody of the Perhaps taken from opera. It reached Brazil in the eatly nineteenth century and various local Brazilian types of guadritha were evolved. rodas de choro: the circles of choro, referring to the groups of people wits contributed to the playing of the choros, and achieved a reputation. saudade: literally, longing, yearning, nostalgia, or ardent desire. an almost untransfatable term applied to the particularly sad and deeply emotional natuse of some Brazilian music, and often used as an evocative title. seresta: though it generally has the meaning of serenade, it also refers to music played by the chordes when a singer is accompanied by instruments, Terin, Tomés: a Spanish pianist who in 1927 performed at the ‘Salle Gaveau in Patis, in a concert of Villa-Lobos’ music. ‘He went to Brazil with Villa-Lobos in 1929 and settled in Rio de Janeiro. Tuhd the family nickname for Heitor Villa-Lobos. nolo (pl. violbes): the six-stting guitar. (The word viola is used to indicate an earlier type of guitar, popular in the seven teenth century and also used in folk music) ‘Xango: whee spelt with 2 capital, the god of thunder and lightning. in Afro-Brazilian cults. Without a capital letter, it refers to ‘ceremonies in honour of the god. Zaina: the aunt of Heitor Vil lla-Lobos. Don: composer's mother, withed her son to fellow sede: {areer following his father’s death in 1899, and objected vis ambition for a musical career. Eventually ia 7 eine re fone Zizinha, a pi st, who played tt of Bach to and dic i time with thechorBeg ™s SM Rot ind that he spent1 ONE MUSICIAN? OR MANY MUSICIANS? Quincas Laranjeiras, Anacleto de Medeiros, Zé do Cave- quinho, Catulo da Paixio Cearense, Joo Pernambuco, Emesto Nazareth, Sétiro Bilhar, and Donga were among those observed the close connection between the guitar and Bra folk music in the life of Heitor Villa-Lobos. Fos the guitar was his great archive of music; if the instrument was there, that was all that was necessary. It was on the guitar that he tried out his first impressions of Bach (after hearing the Well-Tempered Clavier, played on the piano by his aunt Zi 1a), the dances of the choro of Rio de Janeiro, melodies from throughout Brazil, and his own classical ‘ing for virtuosity which enabled him to make a commercial recording of Choros No. 1. His twofold apprenticeship on the instrument favoured broad horizons. He knew the existing repertoire of the previous two centuries, the work of Carll, Carcassi, Aguado, Sor, Giuliani and Coste, but was also familiar with the music of Zé do Cava- quinho and the folk chordes of Rio de Janeiro. This remarkable + duality would go even further. For the first time in the gu history a composer from a more elevated sphere would ded himself to the instrument in order to create an extensive { repertoire, i Some of this repertoire has been lost, including the following:- Eight Dobrados (Faraquaio, Brasil, Chorio, Saudade, Paranagud, Cabecudo, Rio de Janeiro, Padre Pedro), written between 1909 and 1912; Cangdo Brasileira, Dobrado Pitoresco, Quadritha and Tarantela (1910): the latter, composed as a study for his guitar pupil, Eduardo Luiz Gomes, has recently been found; Valsa Brithante (1904) provided the incentive for the first of many meetings some years later, between Heitor Villa-Lobos i and Andrés Seg W @UITAR SOLO 411 Clement SP. : ‘Sen Francisco, CA. 94118,‘The simple beginnings were Mazurka in D major (1899) and Panqueca (1900). These pieces, begun around the age of twelve, fepresent the first steps of young Tuht's progress from » quiet ‘ePritcelass home in Rio de Janeiro to the great adventure of Teing a composer of genius. In that same period of his life he composed Os Sedutores for voice and piano, Valsa for piano, and Dime Perché (1901) also for voice and piano. ime onwards, the guitar would be his central point of reference. The guitar’ was present both in the formal Pompositions of Heitor Villa-Lobos and in the Rodas de Chora {ine personalities who made up the Unique musical atmosphere of Rio de Janeiro and who played the melodies, harmonies and rhythms of popular instrumental music). TAL the beginning of the century, all the chorBes of the city "Although small groups got together in various ‘of musicians reached beyond would eventually meet. ‘The poet Herminio Bello de Carvalho says of this period: “The choro has a kind of social structure. The chores themselves fad great respect for one another, a respect which was also felt by those who heard them play. Here in the city everyone knew that in another district, Madureira for example, there was = performer of the oficieide, and that in Botafogo it was fe to hear a fead player on the cavaquinko, Thus they were enown legendary figures, admired from afar, even before any actual contact was made with them. So this is how it came about with Villa-Lobos: first he listened to what was being said about these musicians; then, while vale boy, he went to find out for himself about the life of the SNordes, Tt was relatively easy to take part in the choro. To fecame a permanent player was difficult. Those without talent were not accepted. You could not be a poor pl good in both solo and accompaniment. If not, the accomp cronies knew how to cut the interlopers down to size, driving them away from the band, Villa-Lobos became a constant member of the choro. His talent was immediately recognised and from there it was a small step for him to be accepted as a choro. 12 The choro took place in fami : , ily homes and eventual other settings. But the chords alvays had toncwhere fo meal Intrano used to lock up atten. Then it was the Choro, C . who had a school in Botafogo Street, in Eneantado, di thes e tthe Cavaquinho de Ouro (The Golden Guitar) in Carioca Si or at the home ofthe Nauti ‘the father of Pixinguinhe), was not yet playing the flute but i eae avaquttho ‘Or at Donga’s house = pee aee nal applied himself to the guitar, and would play t Sete ieee, roda, Among the chordes Villa-Lobos ae feabe ‘cassia gu ist’, the one who used to encourage the others to I would like to attempt a brief’ profile, based or by Dongs, of some of Vill Lobos fellow chorbes ‘This wil help i to understand how important the companionship of those a people was to the development of Villa-Lobos’ personality = Villa-Lobos, who always looked at his musical discoveries as a wideeyed child, forever marveling at ie i ‘ilhar, for example, was a very importa a int fis Until recently, unknown to students ofthe chore, Why washeso important? Why the remembered when alo nothing remains ositions? Mozart de Araujo put these tic Villa-Lobos who replied as Donga had to me — it ‘was not what he played but how he played. . Donga, himself a great popular guitars : guitarist, remarked Sitio ws the ‘most original player I have known’, Taogh he wrote only three or four pieces, with these, (she sid) “he would have 2 good time’, According to the atmosphere of where it was ve would play these pieces in different ways, designating them as ar or popular. Thus, a choro would become a prelude, or a mata, or a study. And.what ingenuity in his improvisation! He wats genuine coro, the mod punctual of employes Slt cnr at te telephone exchange), who never missed a he aid ot anya guitar of any quality; and another peculiarity: Ser jot hand over his hat, but to think about leaving, he would never bid farewell. The title of 13one of his works is delightful. Tira-Poeira (Drawing in the Dust). Villa-Lobos wrote the ge ‘onversa) of the Bachianas Brasiteiras No. 1 in the style of Sétiro Bilhar. ‘Joo Pernambuco joined the chorées Sater il he was another prodigy. He played with a lucid sonority, perfect right hand position ~ and he played by ear. Villa-Lobos Used to say that Bach would not have been ashamed to have the Studies of Pernambuco. ; written Tacleto de Medeiros was another personality admired by Villa-Lobos. He was a true genius of folk music, and later, Villa-Lobos paid hor Choros 10 where he immortalised Anacleto’s Rasga Coragdo, based on a poem of Catulc nen we come to Dongs, who was already collaborating with Villa-Lobos (to compose Mazurka, now forgotten); we must also mention Macdrio, Keld, and of course the gifted Ernesto Nazareth (the dedicatee of Choros No. 1); and Zé do Cavaquinho, Irineu de Almeida, Casemiro Roacha, and the legendary Jayme ‘valle, who always lost hi nds to Villa-Lobos. Dut at the same ime as fe was involved with the chordo, jous musician and classical guitarist. ‘Lobos developed as a se al ular, began to make transcriptions. Though t! jcult task, it ceabled him to acquire a thorough understanding of the guitar. in 1910 he transcribed two Waltzes by Chopin ( A minor and C sharp minor), and in the same year he arranged the Prelude F sharp minor by the same composer. In this connection, he ays asserted with satisfaction that he was the first to transcribe .e Chaconne by Bach for the guitar. ; ine crate fact that Villa-Lobos was familiar with playing both the cello and the guitar would bring a new colouring to the fatter. The melody on the bass strings, and the accompaniment in the treble, are reminiscent of the cavaquinho oF the mal Prelude No. 1 Dobrados, Fantasia, Dobrado Pitoresco, ete. and 1920 (when Choros No. 1 was composed), » flute, harp and celesta. Choros No. } is a double homage — to the popular music of Brazil the piece is dedicated to Emesto Nazareth), and to the guitar 1f. Villa-Lobos would not allow anyone else to stress the significance of this work — he did it himself, both by placing the composition as the first of an important series of pieces, and 1929, by including it in Introdugio aos Choros (Introd- cution to the Choros) for orchestra, Here, the guitar, though not in a solo role, is given a prominent part to play. Chores No. 1 corresponds perfectly to the traditional popular form. It is divided into A-B-A-C-A struct ion, which conforms with an effect which composers achieve by modulation or changes in shytht Choros No, 1 the melody and harmony are interwoven, allowing at any time, an unexpected witty pause, whilst the bass strings of the instrument are always ready to interrupt with a chord — as 2 chanio would say, a good ‘batxaria’ (@ retumn to the lower notes). Villa-Lobos’ respect for popular forms goes back to the origins of the Suite Popular Brasileira of 1908. Villa-Lobos disliked the title of that work, a title intended more for editorial Purposes rather than for any deliberate form. Chorinho, for example, which ends the Suite, was composed much later on, in Paris in 1923. However, this collection of compositions certainly represents a musical portrait of Rio de Janeiro at the beginning of the century. Its titles are evocative — Mazurka~Choro, Schottisch =Choro, Valsa—Choro, Gavotta—Choro, and Chorinko, The Studies and Preludes are contained within the Suite in embryonic form, but it is interesting to observe that none of the movements of the Suite (with the exception of Chorinho) exploits the lower register of the instrument; that development would be feft to the Twelve Studies composed in 1929. 152 ‘THE MUSICIANS Tomés Terdn, Andrés Segovia, Heitor Villa-Lobos “1 first met Segovia in 1923 or 1924, ( I can’t remember exactly which year) at the home of Olga Moraes Sarmento Nobre, in Paris. There were several distinguished people there. I saw a young man, with long hair, surrounded by women. I thought he was rather crass and arrogant, but at the same time, likeable. Costa, the Portuguese asked Segovia if he knew Villa- Lobos, but without telling him that I was there. Segovia replied that Miguel Llobet, the Spanish guitarist, had told him about me and had shown him some of my works. I had written a Valsa- Concerto for Llobet (unfortunately the score is lost). Segovia remarked that he found my compositions unsuitable for the guitar and that I had used some elements which were alien to the instrument. Costa ret So I went straight up to him and said, “Why do you find my ns unsuitable for the guitar?” Segovia, rather surprised it hand, for example, is that so? Then we Segovia came to ask me aft T told him that I was not a guitarist but that I knew ques of Carulli, Sor, Aguado, Carcassi and the others. Segovia put on his coat, placed the guitar in its case and rushed out. The next day he came to my house with Tomés Terén. told him that I was not able to see him just then as I was going out to dinner and would be back late. He went away, but returned later and we took tums playing the guitar until 4 am, He asked me to write a Study for the gui that was born between us was so great that instead of there being one study, there were twelve.’ These words by Heitor Villa-Lobos were written down by Herminio Bello de Carvalho. As we have since had the opportunity ”to hear about the same event directly from Villa-Lobos himself, it is interesting to observe that the discrepancies between the two counts are very small and only due to the fact that they recall a distant event. For example, at the end of the story, Segovia was said to have come to the home very early the next day. Although Ville- Lobos was pleased with Segovia's visit, he had decided to keep 8 retain distance by pretending that he had to go out and so be kept Segovia waiting for a while. But from that day their song 's would compromise sufficiently to form a fasting friendship. ‘Ar account of the same event written by Andrés Segovia was published in the Guitar Review No. 22 in 1958:- “OF all the guests of that night, Villa-Lobos was the one who on artival caused the greatest impression. In spite of his short he he was well built and had a manly gait. His strong head, ses ned by a mass of unmanageable hair, was arrogant and his frowhead, endowed by Providence with a profusion of musical ors ijestined to produce an excellent harvest later, was broad and SOble. The expression in his eyes had a tropical spark Tocame a flame, when he joined in the conversation about him... ‘At that time ‘knew any of his compositions although his name was far to me. Paris had welcomed him and his fame was already spreading to other countries. When I finished my introdu "Lobos came towards me and said in 2 confident tone: “I also play the guitar” — TManlicus *” 1 replied, “then you can compose directly for the daeerent.” Stretching out his hands he asked me for the guitar. id it across his knees, holding it firmly against it might escape. He looked very severely towards the fingers of the left hand, as if imposing secaience on children, then to the fingers of the right hand, coer tieatening them with punishment for striking a string as onely. Then when least expected, he struck a chord with were force that J gave a scream, thinking that the guitar had broken. He laughed and with a childish ‘waited, restraining with difficulty my initial impulse strument from such an impetuous and threatening 18 enthusiasm. After several atiempts 12 star mg, ne imalry of his fingers had become chimsy. In spite of his it continue the fen chords he played were ufisent to revea that such a bad interpreter was a great musician, because the chords he managed to produce contained fascinating dissonances, the melodious fragments possessed origi the rhythms were new and sharp and also the fingering was \ious; second, that he was a true lover of the guitar. In the warmth of that f a solid friendship was born between us. Today the world of mt recognises ¢ Contributions of that genius to the repert of the guitar is a blessing both for the instrument and for m¢ I had the opportunity to hear Andrés Segovia speaking of the same event in 1965 in Santiago de Compostela. On that occasion he stressed the impetuosity with which Villa-Lobos snatched the guitar from him, but showed also the absolute affection that he had for the composer. The Spanish pianist, Tom4s Terin, brought about that ae When Segovia arrived in Paris, he requested the loa of Boisrouvray to take the pianist under her wing at the outset a his Parisian career. With her help, Olga de Moraes Sarmento jobre organised a musical soirée for the purpose of introducing Segovia to contemporary musicians and personalities. The outcome of the meeting between Segovia and VilleLobos was also inadvertently aided by Tomés Terén, 1925, through the suitar belonging to Maria Teresa, his wife. While the two friends were on holiday in Lasaoles-Chiteauy the compoterdicovered iment among his friend’ the instrument among hs fen gsge and spe many hous The set of Twelve Studies, dedicated to Ser di 1929; they were published in 195: ie Segovin wrote the following preface to that e¢ ieee an oa Here are Twelve Studies written with affection fc Lead by the Brazilian composer of geni Heitor Vi lobe 4 = consist of formulas of surprising efficiency for the technical development of each hand, and at the same time, have a ‘disinterested’ musical beauty, without an educational aim, but 19with a permanent aesthetic value as There are few Masters, i ind Chopin immediately spring to ved their didactic aims without a trace of aridness ff the diligent pianist observes with gratitude the h and independence which these compositions the artist who deciphers or listens to them ,, the ingenuity, the charm and the poetic them. Villa-Lobos has presented the 'y to guitar history, as strong and delightful as those of Scarlatti and Chopin, 1 did not wish to change any of the fingering which Lobos has indicated for the execution of his pieces. He knows the guitar perfectly and if he has chosen a particular string or fingering to emphasise certain phrases, we must obey his instructions strictly, even if it means paying the price of making reater technical effort. 1 do not wish to end this brief note without publicly thanking the illustrious Maestro for the honour he has conferred ‘on me by dedicating these Studies to me. ‘Andrés S-zovia, New'York, January 1953 In addition to the preface to the Twelve Studies we should mention the remarks of Philipe Marietti, one of the directors of Max Eschig Editions. He told us how the selfsame argument always took place: ‘Heitor, you cannot do this on the instrument!” ‘Of course you can, Andrés!” And discussion became too prolonged, used his conclusive argument — he played. ‘The story of that marvellous friendship would end with the death of one of the partners, yet the results of that friendship are immortal. On the one hend, Villa-Lobos opened up new horizons for the instrument by creating a new technical and aesthetic criterion, Segovia being the immediate beneficiary of this; on the other hand, the great Spanish virtuoso would endeavour to make he Brazilian genius of Villa-Lobos known throughout the entire world. 3 ‘THE TWELVE STUDIES Although this group of pieces was composed between 1924 and 1929 many of the concepts and structures contained in them had been latent for some + Some of the structural out landscape. ‘Studies, We can see in some of them, musical ideas which will be used very much later in the Preludes (1940), for example. Copy of s penciled manuscipt hy VilleLobos, of Study No, Uetpate Prelude No. 1, (Vills-Lobos Museum) aStudy No. 1 in E minor (Allegro non troppo) ‘An atpeggio study, requiring a constant use of the capabilities of the right hand. We have here a small Bachianas Brasileiras, an i iature. Whilst the use of open strings and chromatic ies in a single pattern allows the guitar its maximum lant arpeggio practised in different ways, for example:- Study No. 3 in D major (Allegro moderato) An arpeggio study incorporating slurred notes and barrés. Like Studies Nos. 2 and 9, this one is very influenced by the didactic work of earlier composers. The slurs of the scafe passage in Study No. 1 reappear here. {t may be valuable to vary the rhythm in order to exercise the fingers. Se te >= F # original oe po — a + es ' ~ SS = a ed rein, ae Papert er Study No. 2 in A major (Allegro) A study in slurred notes and arpeggios. Taking a basic musical idea from Dionisio Aguado, Villa-Lobos develops it over the full extent of the fingerboard. A\ taneous use of harmonics and normal notes imposes a parti technical difficulty. The fingering is not always obvious and the student needs to have a certain amount of experience to make sure that his right it In the right hand it © Ations Mas Exch Used by parmision 2 Study No. 4 in G major (Un peu modéré) Here the folk guitar has'some influence. This is a chord study, but the composer does not develop here all the harmonic and polyphonic resources of the guitar. On the contrary, present-day popular musicians with true harmonic sensitivity, ‘such as the ‘bossa-nova’ generation, are astonished at the way piece looks forward to subsequent developments in popular music. peu modéré nag) tee o is : 2 a © Esivans Mex Esch. Seed by parmision. BStudy No. $ in C major (Andantino) in contrapuntal playing where the class (played on the treble strings) into sharp contrast. f Andantino P (© Eations Mex Exeha. Used by periason Study No. 6 in E minor (Poco allegro) remarkable and the accents produced by the repetition of the opening chord inor, evoke the atmosphere of the Argentinian tango. Poo Allegro Se cations Mos Exch, Used by permission mu Study No 7 in E major (Trés anime) This is a Study in virtuosity par excellence. The opening scale passages, of great technical difficulty, create tension which continues into the middie arpeggio ; here, broken chords iding the use of open strings) support a melody played ly on the first string. In sharp contrast to this extremely Syrical section, Villa-Lobos then returns to scale passages, bringing the Study to a peak of great rhythmic intensity. ‘Near the end of the Study, the way the m may cause the player to misunderstand what is that we received directly from the composer hims rasgueados played simul mistake in the writing an: solution ut forward by Andrés Segovia, playing the section in arpeggios and chords. 6 > 6 76 > a a {© catsane Mex kaon. Used by parmiaion ‘Study No. 8 in C sharp minor (Modéré) ‘A study in arpeggios and slurs. Villa-Lobos is attracted here by the ‘spirit of the cello, In the introduction the melody is on the bast strings of the guitar, before being played on the treble strings. Using the arpeggio as the constant unifying element, the melody ‘passes unexpectedly from treble to bass strings and back again. Modéré wo: J) Ss i Ss P 7c rr > > @ kaitions Mex Exchia, ed by guciaion BStudy No. 9 in F sharp minor (Trés peu animé) A study in arpeggios and slurs, developed from patterns once dear to Carcassi and Carulli, but tow in Brazilian mood, evoking the countryside and the nostalgic atmosphere of the cavaquinho or folk guitar. As in Study No, 5 there is considerable use of thirds. Tres peu animé gteyletyah gt pty © Cawane Max Each. Und by paemeson, Study No. 10 in B minor (Trés animé — un peu animé — vif) As with Studies Nos. 7, 11 and 12, Study No, 10 provides a great challenge to the player's technical ss and offers a chance to seek new solutions to technical problems. The opening chords, interspersed with rapid omamented ‘base figures, move forward in bars of 4/8, 3/8, and 5/8 time. In the un peu animé section, the bass strings a ile in the treble there pattem of the opening section, sugges ‘On the etum to the music of the oper transforms the materi a great crescendo, cells originating from the samba or from African mu: passages ‘of this Study, the little finger of the right hand can be sed. 6 Study No, 11 in E minor (Lent, Animé, Poco meno, Animé, Lent) ‘A study in arpeggios and chords, involving stretches for the left hand and much use of the sight hand thumb. There is a contrast between the Brazilian melody, is 1g the cello, and the light impressionistic embellishments, imitating the harp. In this, the most Brazilian of all the Studies, ‘there is a trace of French influence. Et pourquoi pas? In the middle section, with its bel like effects, the Study uses at some points five E’s on different strings of the guitar, contrasting them with the open D of the fourth string — a true landmark in the history of the guitar. {© Edons Max feeble, Used by pa Study No. 12 in A minor (Animé) ‘A study in the art of glissando, We may recall Villa-Lobos’ own thoughis on those unpleasant sounds produced when a finger slides over the strings of the guitar. He thought that this sound could perhaps be brought into the music since it was indeed part of the instrument. If used skilfully, the effect could be remarkable in itself. He tried out this idea in Study No. 12. The results were both astonishingly bold and without precedent. Glissandos are used even beyond the twelfth fret of the guitar. In the middle ection, a vivid impression of drums is suggested by the use of sixth and fifth strings played together. a “Sgeee3 1 Eéloks Max Esehp. Used by permison 27interesting to note that eack of the three Studies has three a of the first. In all three middle sections are very different from the outer s the sketches for Study No. 11 there are already indications of some of the elements of Prelude No. 1. So Studies ‘Nos. 10, 11 and 12 look forward to the Preludes of 1940. th Fi y, some advice to guitar students. You must approach ese Studies with great care, Although th ie and most effec parecer carne of great difficulty and require constant and unremi 7 If they are not practised slowly and patiently, they may produce an opposite effect from that desired, and progress in technique will be reduced to a series of harsh, unmusical sounds. sections, the third being a recapitul Studies, 4 1940 ~ THE PRELUDES ‘When he completed the set of Studies, Villa-Lobos did not write for the guitar for a long time. In 1937 he composed Distribuigio. das Flores for women’s choir, flute and guitar. But during that period, the influence of the guitar cout be fe er as something he intended to write for, or in the transcriptions. As the guitar has always had such a signifi Brazilian music, it would have been very surprisin had neglected the sepertoire for voice and fortunately did not happen. As well as Distribuigdo das Flores, he transcribed for guitar the Aria from Bechianas Brasitetras No. 5 (composed in 1938) at the request of Olga Praguer Coelho. Other works with guitar and piano, 1943: arranged for voice and orchestra in 1958; tran- cribed for guitar in 1953), Cangao do Amor (for voice and guitar) and Veletro (for voice and two guitars, 1958) both written for the de Carvalho, the music for the film was later recorded under the title Floresta do Amazonas. Villa-Lobos arranged Canto Indlgena_for voice and guitar, and Veleiro for voice and two guitars. Finally, there is Modinka, the fifth of a set of fourteen Serestas (1925), transcribed at the request of Olga Praguer Coelho. Surely the guitar was present at the moment these works were begun, As Villa-Lobos was such a superb player, he would surely have the sound of the instrument in his imagination from the very beginning. How could we otherwise explain the use of various Iberian themes in Descobrimento do Brasil (1937), and in particular, the theme of the Candrios (the name of the dance »form probably originates from the Canary Islands, preserved the medium of early guitars and voice and by the classical n ‘As. Vasco Mariz remarked, Villa-Lobos also wrote less complex pieces at the same time as he was undertaking the massive task of composing enormously complicated works. And while warrior rested from his labour it would surely be to the 1's advantage. Look at what was actually composed: 1920 — Symphony No, 5 and Choros No. 1 1929 — Choros No. 13 and Twelve Studies 1937 — Descobrimento do Brasil and Distribulgao das Flores 1940 ~ Mandu—Carard and Stx Preludes This explains his constant affection for the guitar, his continual reference to it throughout his compositions, and the Preludes — those passionate declarations of love for the instrument. ‘THE FIVE PRELUDES WHICH WERE SIX Just as the Three Musketeers were really four, so the Five Preludes were originally six. According to the composer, the one that was lost was the finest. Since we only have his word for this, ‘we may regret the loss, but perhaps we need not be too downcast as the remaining Five Preludes are absolute gems of Brazilian music. 1 did some research into the disappearance of that Prelude, ‘and several possibilities emerged, which we will now examine, The first possibility is that the sixth Prelude was lost from Segovia's house when it was destroyed during the Spanish Civil War. Another possibility is that it was mislaid in a publisher's office while going through the various processes of being printed. Or it could have been stolen by some misguided admirer and we even got in touch with a certain English gentleman who claimed to possess some Villa-Lobos manuscripts ( but this turned out to be a total fantasy). The most extraordinary explanation of all is that since Villa-Lobos had combosed only five Preludes he had failed to preserve the musical tradition of having six pieces in a set, and so the sixth actually existed only in his imaginal this suggestion was true, we would be presented with an example of collective hallucination, because various people, including Andrés Segovia and Arminda Villa-Lobos, have affirmed that the sixth Prelude did exist. ‘The composer told us that he had a very special affection for the Preludes — after all, we must not forget that the pieces were dedicated to Mindinha, Prelude No 1 in E minor (Lyrical Melody; Homage to the Brazilian Country Dweller) Prelude No. 1, together most admired by audiences of al ros No, I are the two la-Lobos’ guitar compositions.is a contrasting portrait of Brazil and poignant and rather sad, yet being melanche th a certain oj of playful constant movement. The middle section has its roots in loric, reminding us of the Bra; hinterland, of the guitar's lyricism. Prelude No. | is perfectly written for the instrument. ‘The rs resources are thoroughly exploited — its polyphonic its subtleties, of timbre, its expressive qualities. The ‘bass strings require a continual vibrato, but donot permit an exaggerated rubato or any ridiculous or ostentatious excess. > © Edtions Mas Esl. Used by ouieian Prelude No. 2 in E major (Melodia Capadécia; Melodia Capoeira; Homage to the Rascal of Rio, the Malandro Carioca) As in Choros No, jegrated with the harmony, and is_punctua ;, impish interruptions. The harmonic progressions, typical of the Choro, are present here, whilst the humorous pauses and the atmosphere of the fiesta make f the gre and instrumental integrity character- istic of the Chondes even today. _ In the middle section of the Prelude, the change of mood is very apparent, representing the dramatic aspect of the ‘malandro’. The arpeggios which accompany the melody played on the bass strings suggest subtle rhythmic nuances to be explored by the player. And rit: a tempo po vm OOO Prelude No. 3 in A minor (Homage to Bach) Prelude No. 3 is divided into two parts. In the first section, the composer unites intervals of a semitone or tane over successive ike phrase of the second half, except that here we have Villa-Lobos, not Bach. Here the instructions are expressive — molto adagio e dolorido, expressivo. The music does not permit exaggeration but the composer makes generous use of rallentando indications. A balanced rendering of the piece can be achieved by following these. are marked, although sometimes they may p for the too casual player, as more often than not, they mean a slur and not a glissando, The player has to decide how to perform these in order to avoid ridiculous mewing sounds, Molto adagio e (dolorido) etietee@eSe expressivo S exp ® {© Eaions Me Esehig. Used by permission. Prelude No, 4 in E minor (Homage to the Brazilian Indians) A television producer in Paris, completely unfa i guitar and Brazilian music, once asked me for a that would evoke the Brazilian forest. I lent him various recordings, confident that he would choose one of Villa-Lobos’ symphonic works, Instead he and his assistants decided simply to use the first four bars of Prelude No. 4, thus fulfilling the composer's intentions. Prelude No. 4, despite its total economy and clarity of structure (a melodic line alternating with chordal passages) has the strength of orchestral writing, owing to the perfect d ment of the guitar’s sympathetic resonances. These appear in Villa-Lobos’ compositions but here they are reinforced even further by having the melody articulated, at one point, in natural harmonics.does this matter if the guitar was so much part of ly the melody of Prelude does not give the impression of a composer searching desperately across the strings. Such a music The middle sect reminiscent of Prelude No. 2 and Study No. 11, where a melody ‘on the bass strings is accompanied by arpeggios in the treble, based on left hand patterns moved up and down the fingerboard. Lento © _OQ@—~—.__ pp = eg SSE =e = S cantabile + POPP (© Editions Mex Exchig. Used vp permission. PP Prelude No. $ in D major (Homage to Social Life; to the fresh young boys and girls who go to concerts and the Theatre in Rio) We should point out that Villa-Lobos’ use of the word ‘fresh’ was not derogatory, but referred to the smart appearance of the young musiclovers of Rio de Janeiro, Pretude No, 5 comes as something of a surprise. It completes the cycle of guitar compositions and returns to the Sulte Popular Brasileira with its well ordered, serene, urbane melody. If it were not for the second section, where the melody is a pure evocation this Prelude would not have been out of place in the bos made it part of his Brazilian ted from the Preludes. It provides an example of the exteaordinary capacity of the composer to keep i a theme or an idea for several years, ready to use it at an opportune moment. 34 Lobos had explored the guitar's many ies and all that was now needed was a Concerto for guitar and orchestra, Poco animato adidd ¥ fr ia (© Ednons Max fxohig, Used by permitson The Preludes are fundamentally musical portraits. They portray a people and a country; they do not illustrate one person, as Villa-Lobos used to in his extraordinarily brilliant piano . improvisations. An infinite variety of profoundly Bratilian feeling is displayed within these five pieces, yet without the use of super ficial local colour or the inevitable folk dances. Instead there is purely and simply, the essential atmosphere, the temperament and spirit of Brazil. 35ACONCERTO WAS NEEDED In 1956, Andrés Segovia, with the Symphony Orchestra of Houston conducted by Heitor Villa-Lobos, gave the first performance of the composer's Concerto for Guitar and Orchestra, But it had not been a simple route to this premitre. Arminda Villa-Lobos, the composer's second wife, was the god- mother for this Concerto, a work which Andrés Segovia hiad asked for many times. But the composer had been reluctant, either through lack of time or perhaps due to lack of enthusiasm about combining guitar and orchestra. But at last Segovia received the longed for work, only to be disappointed — it turned out to be a Fantasia Concertante, without a cadenza. However, the champion of the guitar would not accept defeat without a struggle. He was on the ppint of taking a plane to fly across the United States to attend a rehearsal of the Concerto for Harp and Orchestra, dedicated to Nicanor Zabaleta. Surely, if the harp decerved a cadenze, so did the guitar! Andrés Segovia argued his case with ’a, who pleaded on his behal Villa-Lobos. After ‘various onslaughts (with flowers and champagne at the hotel), the cadenza was ready. At the premidre it was Arminda herself who increased the number of plano markings on the orchestral parts — turning p into pp, and pp into ppp. After a while Villa-Lobos was no longer sure whether the work was really for guitar and orchestra or just for, It is interesting to observe here what Villa-Lobos thought of the use of am tion in works for guitar and orchestra. He had no objections ion at all, and in fact preferred that the guitar was amplified in order to give the orchestra more 36 freedom. Villa-Lobos has written the following comments about the Concerto:- “The work was written in 1951, for guitar and orchestra; it was intended to give a balance of sonorities s0 that the soloist’s playing would be audible. The Concerto has three movements — Allegro preciso, Andantino e Andante, and Allegro non troppo. first movement, Allegro preciso, begins with an theme introduced by the orchestra, a theme stated several times by both and orchestra. In the second part, Poco meno, a new episode appears with an entirely original theme evoking the melodic qualities of various popular songs from the north-east region of Brazil. Later, the rhythmic phrases of the opening are recapitulated a third higher, bringing guitar and orchestra together in an exciting coda. In the Andantino © Andante there is a short orchestral roduction (featuring scale passages in contrary motion), followed by the movement’s main theme, which leads on to Andante section. In the Andante, a new episode is brought ‘an introduction in 6/8 time is followed by an expressi on the guitar. The subsequent Andantino is a recapi of the original exposition, fifth higher. A piu mosso, with yet another melody, brings the movement to a close. The Allegro non troppo has a short orchestral introduction of # melody with syncopated rhythms — a theme later given to the guitar with orchestral accompaniment. Various episodes occur . until the final section in 6/4 time, with difficult virtuoso passages for the guitar.’ (These notes were written before the cadenza was added). The Concerto for Guitar and Orchestra presented the player with many new technical problems. Ville-Lobos explored the limits in this connection and thus many new technical sspects emerged. 37The cadenza whit examples of these techni SS a oe oUF TSS Some of the Concerto’s form is an obvious result of the ‘experience the composer acquired in writing chamber music for the guitar, such as Sexteto Mistico, Distribuigdo das Flores and his transcriptions for voice and guitar. But the Concerto represents a synthesis of musical effects discernible in the guitar works ranging ftom the Suite Popular Brasileira, through the Studies to the Preludes. Prelude No, 4 ee (© Eaitlons Max Exch. Used by permision, 3rd Movement of the Concerto FH © Eations Mee Eschig. Used by permission. (The musical examples to the notes by Heitor Villa-Lobos on the Concerto for Guitar and Orchestra are to be found in Appendix V) , 39PROBLEMS OF INTERPRETING VILLA-LOBOS * some of his works the ‘physiological’ element in the music becomes of primary significance. The melodies of Prelude No. 1, ‘but the absolute opposite. The guitarist who plays these pieces becomes physically possessed by them, by the close contact with the by the remarkable q sonorous vibrations trans In Choros No. 1, for example, the sensuous mood of the music in such perfect natural accord with the dancing movements of the fingers, frequently causes some players to twist the music ‘out of shape through exaggerations and mannerisms. The reasons for this are obvious. It is because the necessary movements of the fingers are totally in keeping with the nature of the instrament according to what is needed in each composition. Moreover, not only the fingers, but the player’s entire body Lobos’ music, the exuberance of Villa-Lobos’ interpretation, with prolonged rubatos, to an exaggerated force- fulness and an over temperamental abuse of the style. Villa-Lobos’ guitar music is so perfectly matched to the instrument that his compositions really need the same care as a inist would use to interpret a work by Chopin. The Ballades of Chopin are to the piano what Villa-Lobos’ Preludes are to the uitar. ‘The principle interpretative problem is to discipline that intense emotion which the compositions and the guitar provoke. But the guitarist has other problems too. One of these, a very significant problem, concerns the inadvertent noises 40 produced by the strings as the fingers move along them. The strange and disagreeable sounds that occur on the bass strings during any glissando effects, represent a very delicate predica- ment for any player. Some guitarists solve the problem by deliberately omitting glissandos and portamentos. But this spoils both the music and the aesthetic intentions of the composer. Other players, somehow totally indifferent to these ugly sounds, make the string noises louder than the actual music. Pethaps the best solution is somewhere between the two extremes. The portamento effects that the composer ‘intended should be included and the accidental squeaks along the imised by technical means. The technical devices to eliminate extraneous string noises are partly to do with the use of the fingers; when the portamento is being played, the finger should be lightly lifted from the string during the movement self, and brought down harder on the string just before arriving at the end of the slide. It is also possible to use either silver strings or old strings that have been gently smoothed with sandpaper. The subject of string whistle is an everyday problem with the guitar. The bass strings, E, A, and D, are normally constructed from very fine nylon encased in a metallic outer wrapping. The metallic layer, like the nylon filament itself, is also circul wrapped round the nylon along the length of the string. For tt reason the surface of the string is very rough and when the finger is in contact with the string, quite a loud extraneous sound is produced, causing a great disturbance to one's peace of mind in.» recording. studios and concerts when it is necessary fo use new strings, i ‘Villa-Lobos, with his infinite brilliance, was not put off by imagination lent a new dimension to the has to face many times is in the concert programme. Planning the structure of recitals is difficult for all musicians, but for the guitarist it is even more of a nightmare, eeneeereesoes al‘The presence of the guitar in European music was very int. We were surprised on a visit to the Palace of Versailies by the number of bas-relief images of the instrument, which demonstrates its populasity at court. This was only to be expected: Robert de Visée was the court guitarist for Louis XIV, (after Francisco Corbetta) and a protégé of Lully. In 1551 Adrien Le Roy's Premier Livre de Tablature de Guiterne appeared and Gaspar Sanz (1640—c1710) followed his example, publishing an e for didactic purposes of both his own music and arrangements of Spanish and other European popular songs and dances, There was also an enormous collection of music for vihuela by such composers as Luys de Narvéez, Alonso Mudarra, Luis Milén, Enriquez de Valderrdbano and others, as well as the lute works of composers such as John Dowland and Silvius Leopold Weiss. The guitar would ultimately benefit greatly from all this. In the eighteenth and nineteenth centuries the instrument ‘became fashionable in Europe. There is an extensive literature from that period, though much of this is inferior music. Sor, Aguado, Carcassi, Carulli, Giuliani and Coste were either recitalists or famous teachers, and their work constitutes the beginning of iF repertoire. Paganini was also fascinated by the instrument and produced a number of compositions, as did his contemporary, Berlioz. Then there is a fallow period in which the great virtuosos concert halls where ‘the small sound of the guitar's six strings was not heard. This time it was the guitar makers who led the way forward. ‘The structure of the guitar was altered and the sound improved so that it could be heard in the back rows of the concert hall, The appearance of Francisco Térrega, Llobet and Andrés Segovia was a progression that culmin: the fantasti of the latter. Quite apart from Sego nce, he too profited from the improvements in guitar design which 42 ted more efficient technical projection of the music, the Jesuits played an important part. The arrival of the vihuela heralded the birth of the folk guitar ané the classical guitar, both beloved by the Portuguese and thus brought into the mainstream of our musical life. Thanks to sailors and colonists, the new traditions through out South America are also very important; Agustin Barrios was the great representative of these, But unfortunately his somewhat to come to terms with for the first time on the de Janeiro ( a concert reviewed at the time by Coelho Neto), and also made several recital tours of Europe, well documented by The Times and Le Figaro, Although he was Paraguayan by nationality, Af cultural traditions continues through his students and friends. Around the time of the birth of Villa-Lobos, the classi guitar as we know it today became established with its definite shape and history. The guitar is both an ancient instrument and, paradoxicelly, one of the most modern, because of the quirks and whims of its evolution. confirm the validity of his own assessment. The guitar both modern and ancient. It is modern because it is united to popular influences, to new experiments and to new fashions. Yet the guitar is ancient as is proved by the mass of literature the twentieth century to an evolutionary process that has gone on for several centuries. ‘The player, confronted by this complex panorama, containing fine but miniature works, usually arranges his recital programmes in a chronological order. (We must not forget that the guitar's range is small, and that its melodic and polyphonic jes are less advanced than those of the harpsichord or 4apianoforte, and its themes cannot be developed with the same also organised into self-contained suites, such as the ive Frehudes the Twelve Studies, and the Suite Popular Brasileira. Another important problem for both players and teachers is how to approach his work. Unwary and misguided students make a start on the Twelve Studies before being in possession of basic technical proficiency. The mistake is understandable. As the student tends to hurry towards better es offer a great temptation. The problem is best resolved by allowing some students to tackle easier pieces by Vill Lobos auch as the Sulte Popular Brasileira. Alternat icult passages can be extracted and practised as essential studies before approaching the piece in its entirety. 8 ‘THE PERSONALITY OF VILLA-LOBOS There is insufficient space here for a comprehensive biographical account of the life of Heitor Vill those who wish to study his compositions for considerable value to be aware of his temperam and his activities. I shall make reference here to various documents written by some of his close friends and to comments written by Villa- Lobos himself, But first 1 would like to offer some personal impressions, directly and indirectly connected with him. school in Rio de Janeiro where Dona Maria Eliza Freitas Lima wi headmistress. In that school we became aware of what was called sotmization, an ingenious system developed by Villa- Lobos for the oral communication of written music. It involved singing works which included part-writing (adolescents with broken voices could sing lower parts) and a repertoire of Brazilian songs. In 1956, when I began to study the guitar, we were able to attend two seminars by Villa-Lobos, based on his guitar works, These sessions were held at the Instituto Benjamin Constant, (where the Conservatério Nacional de Canto Orfednico was situated) now called the Instituto Ville-Lobos. Jodacil Damaceno and Herminio Bello de Carvatho, two guitar aficionados eager to acquire some of the Maestro’s knowledge, were also present. (Thanks to them it became possible to write various parts of this book.) ‘The Maestro was seated behind a fong table. A record player was close at hand to illustrate the music. The guitarists 4swere invited to sit at the same table in order to be able to see the scores. It was all rather awe-inspiring — after all, we were only thirteen years old! It was strange to discover that Heitor Villa-Lobos really did look like a genius. His bright eyes, and lofty expression, the colour of his hair, and his eloquent gestures, corresponded exactly with the images a child has of a composer, having seen busts of Beethoven or Bach. The Preludes and Studies were illustrated with recordings by Andrés Segovia and Julian Bream. As these pieces were played, the Maestro made comments about them. (Some of these comments appear elsewhere in the book and others are as follows) Villa-Lobos did not claim to be a guitarist. The guitar was used by him as the means to an end. He used to practise on an ordinary instrument, usually from midnight to dawn, somewhere away from the family. Though he considered the instrument to be very Brazilian and always had a great affection for it, he was not sure whether he would ever write anything else for the six strings of the guitar. On that occasion he offered a remarkable definition of music. He believed music could be defined as follows:- "Melody is the head of music, harmony is the body, and the thythm is represented by the arms and iegs. Music can stand up and walk when it is complete — but without all its parts it cannot walk.’ We shall always remember the image and the example of that great Brazilian. Even when he was famous and celebrated outside his own country, he shared with his compatriots the fruits of his experience and his genius. 46 I 9 MORE ABOUT THE PERSONALITY AND BELIEFS OF VILLA-LOBOS The following account by Donga was taken down at his home by Herminio Bello de Carvatho in 1962, when I was also there. “1 first met Villa-Lobos at the time when the late Catulo Cearense had a school in Botafogo Street, in Encantado (a street which now has a different name). It was a high school and Catulo taught languages there. One of his pupils was China ( a brother of Pixinguinha) who lived in Gomes Serpa Street, where their father was a flautist. The best musicians used to meet there and in other places as well, (including my house), where people would sive parties and play choros. ‘On the comer of Gomes Serpa Street there was a shop owned by someone called Cintrio. The shop closed at about eight or nine, and people used to meet there after ten. All the hordes used to go there, including Anacleto, Kali, Macério, ‘aninha, and Luiz de Souza (who wrote Clélia). At the time, Pixinguinha, who was only a boy then, was learning to play the cavaquinho, the first instrument he studied. So before learning the flute he played the cavaquinho and had lessons with the great Mario Alves. It was at that time that I first met Villa-Lobos, who was older than me. In those days the choro was very fashionable. I played the cavaguinho and he played the guitar, always performing very well. He used to play accompaniments as well as solos and of course if you did not accompany competently they wouldn't let you in the place. There was a sense of respect at that time. Those people who just wanted to hang around casually were never allowed in, The choro was very very diffi Villa-Lobos was someone who could always improvise as well as being a very very fine solo. guitarist. He played difficult 47classical pieces that needed a good technique, which he always had and tried constantly to improve his playing. Ido not know whether you have heard people say that the education system in the old days was very different from now. There was a formidable social organization then, but without all the bad feeling of today. We all loved the serenades and choros and we got together in various parts of the city. If you liked the look of somebody, then he would be immediately accepted. If someone came from Botafogo and played the guitar there, we interview!) “So when I met Villa-Lobos for the first time i already knew his reputation even though {’d not met him before. So what happens here sed to happen then. If you knew that some- would meet theirs. As you can see, it was ce a happy family of musicians." altogether 8 10 ‘THE BELIEFS OF VILLA-LOBOS Toelieve: = In a desire to keep the national consciousness informed as to the direction our native Brazilian music should follow, (whether it is music deriving from the ordinary people or from the élite of the professionals, experts and connoisseurs of art) and that these manifestations of Brazilian music have striven to demonstrate the patriotism of a nation which is totally involved in all fields of human endeavour during this creative period in which we live. —That in the present panorama of Bra in popular or classical art, we can observe a powerful seductive influence from foreign music, making our good and innocent Brazilian people forget the richness of our own music. —That in this bright and fertile country, nature has its own music, respected, admired and envied by cultured, civilised eentres throughout the world. This music has spoken truly and powerfully for Brazil =That at this time of rapid universal changes and power struggles, Brazil is building and consolidating a penetrating and lucid understanding of its own greatness and is providing a respectable and fraternal liberty for its people. — That, just as in the cultural evolution of our civilisation there came about a need to study theoretical subjects which were of no practical use in everyday life, s0 no Brazilian would consider it although profoundly national, is the only univer through which all races ss far as music is concerned, many Brai sm for foreign works based on popular ther times for music based on a folk element entirely their own) and thus despise the popular Brazilian music which is based on our own folk culture. 0—That Brazil needs the formation of a new artistic musical culture, based on the authentic elements of our Brazilian life, so that our art can evolve in step with the moral, intellectual and artistic integration of national unity; even if in doing so, it makes use of the original foreign techniques which could help us to find new directions. We ask the following questions:~ 1, If foreign music, based on their popular culture is appreciated and celebrated and much enjoyed because of its basic characteristics, how is it that our people cannot discover the characteristic aspects of our music? 2. Will Brazilian music never be elevated to the category of an authentic national treasure? 3. Does Brazil, with its original and excellent stock of folk culture, really need the present influence of foreign popular music? 4. If each one of the characteristic foreign compositions demonstrates clearly the features of the music of its country, and is both used by our composers and admired by a section of the public, is it necessary for us to give in to such a situation? 5, In the present situation, when Brazil is developing resources both spiritual and material, in order to achieve its own way of life, should everything that works against national unity be repudiated? 6. Just as Brazil problems, with the help of specialized profe on vital musical questions relating to artist elements be left to the layman? 7. Should we consider the original uncultivated popular forms of art as the legitimate representatives of our present civilisation? 8, Has patriotic music for civic occasions been more effective than any other in the development of a sense of national or local unity in our youth? 9. Should the Brazilian who cannot reply to these questions be considered as a person who hes no sense of commitment to the national movement? 10. Should the foreigner living in Brazil, who is not interested in the points outlined in these questions, be considered as super attempting to resolve various technical ionals, can opinions folkloric and civic 50 i i } fluous to the intellectual life of the country? 11. Should we consider the creations of genuinely Brazilian artists, such as Padre José Mauricio, Ernesto Nazareth, Catulo Cearense and others, whose works offer true images of the Brazilian soul, as worthwhile examples and a source of national inspiration? Heitor Villa-Lobos 31nN THE SONG OF VILLA~LOBOS (From an interview in Diario de Noticias, 23 February, 1932 and published in an article Musical Education in the Latin- American Musical Bulletin in 1946) n people must sing.” ne of the world’s most privileged countries. Its people possess a profound musical intuition. Here, everything by instinct, whether it is the sea, the river, the wind or intensity of their music, young celebrate what it means to be young. What I have Just stid is obvious and commonplace — everybody kno\ it, just like the old story about Columbus’ egg... Yet 1 what I have just said, and [ will keep on saying i people must sing. That statement is the basis of everything I have ever done. With this phrase as a starting point, I have been hucky enough to see many of my wildest dreams come true, Now, following a proposal by Dr. Anisio Teixeira, the authorities have given me a free hand to teach singing in schools. I have a definite overatt plan for the scheme, and have shaped my schedule of events. Nothing can divert me from this. In order to raise the level of public consciousness, we are s0ing to attempt to create an educational system which will help People’s appreciation and understanding of both art and artists. In about five months we shall have 2 public performance given by five thousand schoolchildren from the city’s schools, ___ Pethaps that phrase, ‘Every Brazilian must sing’ appears ridiculous. Nevertheless, the whole of Brazil sings during the | that fiesta rich in rhythm and the hallucinatory, that ‘mad fiesta which is surely only a pretext for revealing our own subconscious coltective madness. So why not sing at other moments of national life, during demonstrations, or at times of 82 rejoicing and enthusiasm? . The average music lover often divides music into such categories as ‘classical, romantic, popular and folk’, but if you enquire about the precise meaning of these terms, the answer is invariably confused. So the first step is to explain what the usual ms about music really mean, so that what such terms signify is free from the present confusion. Thus we can make it absolutely clear that popular music is that kind of music which the public appreciates so much, irrespective of its artistic worth, its origin or its type. Folk musi on the other hand, is something entirely different . Fotk music is the unfolding and development of the people expressed in its own appropriate manner. Folk music is, as it were, part of people's biological development. That kind of music which is both folkloric and popular, and is neither one nor the other, represents the highest creative expression of the people. Great_ music, its most elevated level, comes originally from one of these three sources of inspiration, and thus becomes part of a universal human utterance. wThe student should first become familiar with sounds before becoming confused by rules, He must be taught to be aware of sounds, to listen to sounds, to appreciate the colours and individuality of sounds, The student must be taught to hear the modulations from one key to another, to anticipate that certain sounds follow other sounds, and to combine sounds together. The student must study the art of melody and feel the underlying harmony, not by just learning the basic rules of composition, but by eager awareness of how things sound inside one’s own head, Sometime later, when it is necessary, then the mules can be taught... ~-The third element in our musical life is the performer, who may still hold the traditional attitude of considering the art of playing and the role of the artist as being outside the main- stream of human existence. That is a false concept entirely. Art exists to express and please humanity. The true ideals of an artist should be to serve the bulk of the population, to give them something that, through the exercise of natural abilities, only that artist can offer them... 3... With the aim of offering better information and in onder to advance our national education as far as folk music. is concemed, we carried out research and gathered a quantity of material together. This included selections of music, melodies ted and written down from the whole of the Brazilian interior, such as the melopoeiac music of the American Indians, the songs of the Negro and Mestizo, and children’s songs. some considerable difficulty, we even managed in 1940 reconstruct the complete form of the cordéo carnavalesco, a kind of association for popular and recreational p: flourished right up to the end of the nineteenth century. nin ful bring to tife again the finest, most characteristic choreographic aspects of the earliest known inhabitants, with theit spontaneous unexpected chanting and dancing, their picturesque ceremonial costumes, and their dramatic native performances with no trace whatsoever of foreign influence. To bring this about we had to make contact with people who had already withdrawn from active life, some of them over minety years old, wha had been well-known in their time. With the help of these old people, we succeeded in planning, setting up and performing an authentic carnival in the cordao style which we called Sodade do Cordéo! To complete the portrait of bos, I include the following interview between him and Magdala da Gama Oliveira, in August 1957. “I began my musical life at a very early age, when, under my father’s tuition, | played a tiny cello. My father was not only @ man of great culture and exceptional highly skilled and active musician. in order to miake me familiar with all kinds of instrumental playing, he used to take me to rehearsals, concerts and operas. had to identify the of compositions. I was required to Tecognize as quickly as poss names of notes, and the nature of any sounds (pleasant or unpleasat the chirping of a bird, or the 54 ver in truth, and to I recall that I was this dsy 1 have the same att I never quarrelled wi in making neither accident Iways sincere, a b ide. ‘anyone in rage or rancaut. I believe enemies nor fortuitous foes. If that kind of thing happen consider it a great misfortune, rathet like a sudden illness which I did not know how to avoid jeed, could not avoid. But at least, if I have enemies there is one advantage — they prevent me from becoming careless about the creation of my music! ; My friends and admirers, being kind and devoid of feeling, generally forgive my errors and imperfections. My musical creativity is due to predestination. If prolific, it may be seen as the fruits of a huge country, itself warm and generous. | : ‘Those bom in Brazil, whose consciousness was shaped in the heart of this country, are not capable (even if they wished to do 50) of imitating the’ nature and destiny of other countries in spite of the fact that much basic foreign culture has been imported. ; T love liberty in all senses, I love studying and researching, Jove working and composing systematicall T try to see other people's finer qualities and never their faults, Tam Catholic on principle. 1 believe art is a second religion, i I have a great affection for the young and a profound respect for the civilised and cultured 5812 ‘THE INFLUENCE OF HIS WORK At the time when H Lobos was composing his works, the guitar, thanks to the meteoric career of Andrés Segovia, ‘was securing its place in the musical world. The Spanish virtuoso was presenting the instrument in concert halls throughout the world and before long the effect of that triumph was felt. Many young people were interested in the guitar and soon some of them would become lists or devote themselves to teaching. In both instances the music of jobos provided material. Other composers wrote for Segovia’s marvellous 8 Mario Castelnuovo-Tedesco, Federico Moreno indre Tansman, Manuel Ponce, Joaquin Turina, Torroba, Al But even so the offering of Villa-Lobos to the guitar was idioms gave him the ability to discover new horizons for: the instrument. While most of the other repertoire, though very worthwhile, followed traditional lines of development in terms of technique, ‘the Preludes and Studies bring in many technical i ists to develop to the full their 1 work of Villa-Lobos, together with Homenaje, Le Tombeau de Claude Debussy by Manuel de Falla, began reaction among composers; points of reference for all those interested in writing for the guitar and also encouraged others to do research and to discover ‘new concepts. At the moment, the guitar's repertoire is enriched by the music of Benjamin Britten, Hans Wemer Henze, Frank Me Goffredo Petrassi, Carlos Chavez, Hans Haug, Lennox Berkeley, Leo Brouwer (himself a guitarist), André Jolivet, Henry Sauguet, to name but a few from an almost endless 56 } ‘Among the Brazilian composers, Cléudio Santoro, Lorenzo Fernandez, Camargo Guarnieri, Francisco Mignone (who has secently made a valuable contribution to the instrument), Guerra Peixe, Radamés Gnattali, Edino Krieger, Marlos Nobre and Almeida Prado, together with many others, have followed the example of their illustrious compatriot. 3713 CONCLUSION id by the extent to which he inspires other artists to create, and in the manner in which he ‘helps them or leads them in one direction or la-Lobos. In both aspects he opens up new territory, in a manner both durable and unprecedented. The book can have no conclusion except to point towards the music of Villa-Lobos — listen to that music, play it, devote yourself to it. If we have succeeded in creating such feelings among amateur musicians, or if we can enable students and professional guitarists to become better acquainted with his music, our purpose in writing the book will have'been fu 58 APPENDIX 1 LIST OF COMPOSITIONS FOR GUITAR BY HEITOR VILLA-LOBOS Compiled by Herm{nio Bello de Carvalho Mazurka in D major (1899) Like some distinguished composers, he himself has not helped it his very first itar or anything else ) was Panqueca. Later on he corrected this information. However, neither of the two scores has been discovered, though both Villa-Lobos and Mindinha searched for the manuscripts. Panqueca (1900) Valsa Concerto No. 2 (1904) : This Waltz, also known as Valsa Brilhante, was played by Miguel Llobet, the Spanish recitalist and pupil of Térrega, whose reputation and renown were established when Segovia was a young man. Manuel de Falla dedicated to Llobet the only composition he wrote for the guitar, Homenaje, Le Tombeau de Claude Debussy written in 1920. ; Suite Popular Brasileira (1908/1912) Mazurka-Choro Schottish-Choro Valsa-Choro Gavota-Choro Chorinho Villa-Lobos told me that these five pieces were designated asa Suite against his will and that he was very much he said. Yet I found out who gave them that name. These are the kind of contra- 59dictions which ultimately make history, and which are enough to bring grey hairs to music scholars as they get enmeshed in the complex goings-on, characteristic of the of composers. Fantasia (1909) Oito Dobrados (written between 1909 and 1912) Paraguaio Brasil Chorar Saudade Paranagué Cabegudo Rio de Janeiro Padre Pedro All these scores are lost. The first two were probably a short version of those written for a band in 1940. The would have been Paraguay and not Paraguaio. Cangio Brasileira (1910) Dobrado Pitoresco (1910) Quadritha (1910) Taranteta (1910) itas serious music at a The student was Eduardo Luiz Gomes, whose daughter dénated this manuscript to the Villa-Lobos Museum. (This work appears as Mazurka-Chora in the Suite Popular Brasileira.) 60 12, 13. 14, 18, Sexteto Mistico (1917) This work was written for guitar, flute, clarinet, saxophone, harp and celesta, Choros No. 1 (1920) Modinha ‘The Modinha (Popular Song) is the fifth of the fourteen Serestas (Serenades) written in 1925. Later it was arranged for voice and guitar from the original setting for voice and piano, at the request of Olga Praguer Coelh« Lobos prepared several accompaniments for Olga, which, although not written down, were put forward by the Maestro himself and are in the singer's repertoire, slightly modified from the original. These include Um canto que saia das senzalas, Xango (Srom Cangbes Tipicas Brasileiras) and Cangdo do Garreiro (the eighth of the Serestas). The words of the Modinha (also used in another version for voice and piano) were written by Manduca Pig, the pseudonym of Manuel Bandeira. : ‘Twelve Studies (1929) Introdugio aos Choros (1929) In the last_movement, a pastage using the oboe, is reminiscent of Choros No. 1. Distribuigio de Flores (1937) ‘This work, for women’s choir, flute and guitar, had its first performance in December 1937. Laurindo Almeida has recorded this piece on the Capitol label. Aria de Bachianas Brasileiras No. 5 (1938) The Aria of the Bachianas Brasileiras No, 5 was arranged for ir and voice and also at the request of Olga Praguer inal version for cellos, there is more than it of the guitar. The original setting shows the influence of the guitar in the shaping of the composition. 619. Six Preludes (1940) ‘There are, actually, five Preludes, not six, as the sixth was lost. A short time ago, I was utterly astonished when Vieira Brand3o told me that he thought he had a copy of it. Maestro Villa-Lobos described the sixth Prelude as the finest of them all. 20. Cangio do Poeta do Século XVIII (1953) The’ original version was written for voice and piano in 1943, and adapted in 1958 for voice and orchestra. It was dedicated to Christina Maristany. 21, Concerto (1951) Previously called Fantasia Concertante. (If space permitted, 1 would relate how envious Segovia was of the cadenza in the Concerto for Harp and Orchestra, dedicated to Nicanor Zabaleta.) The Guitar Concerto was first performed by Segovia in Houston, Texas, on 6th February, 1956, conducted by Villa-Lobos. 22. In 1958, M.G.M. commissioned Villa-Lobos to write the Im score for Green Mansions. A guitar part was included. 23. The music for the film was later recorded under the title Floresta do Amazonas. At the same time VillaLobos composed Canto do Amor for voice and guitar, and Veleiro for voice and two guitars. Just for interest, and to show how popular Villa-Lobos’ work for guitar had become, we offer here a passage from the novel Le Jugement du Feu by Robert Roleine, published in Paris indier in 1971. ‘Anyway, Villa-Lobos is famous. He was a great admirer of Bach. I appreciate his music very much. He is one of the great contemporary composers, who knows how to give America original classical music. His work has an epic quality, with a touch of the supernatural and a kind of magic.’ She had never heard anything quite so beautiful for the guitar, 02 “How did you find out about all that?” she asked. “Just listening to records?” “No, my dear. I found out by studying the music and the scores published throughout Europe. And as you know, he is very well known, much appreciated and performed here. The Maestro fived in Paris for many years. He delighted everyone with his handsome appearance and his large hat. My parents first heard his music and were introduced to him here in France more than forty years ago”. ‘She ithout moving, the tears trickling down her face, their hearts beating as one.’ (The composition mentioned in the novel was Prelude No. 1 for guitar). 68‘APPENDIX St i PRELUDES (Complete) i BREAM WEBB DISCOGRAPHY Compiled by Graham Wade SANTOS RAGOSSNIG SUPRAPHON vyeeres; 62830 1 LUST OF RECORDING ARTISTS BREAM RCA $B 6852 WILLIAMS 8873350 ABREU, Eduardo Sooraney. LAGOYA PRUNNBAUER SAIRANAN MILs 812 PRELUDE NO. 1 IN E MINOR SEGOVIA ‘BRUNSWICK AXTL 1060 REGMER ison Gomez DECCA ACE OF DIAMONDS Sbt 158 REG rea ‘ABREU, Eduardo DECCA ACE OF DIAMONDS SDD 219 is eer PARKENING ANGEL §~ 36021 Ri Pepe | DECCA SPA 179) E ino. AMBERLEE ACL 50] eae ee rane patios! cee ttt SAO MARCOS, Maria Livia BELLAPHON BD 27306 ead feet oo eases : roy th rant, Co pena i i CACERES: PAVANE ADW 7097 WITOSZYNSKYJ, Leo PRELUDE NO. 2 INE ALMEIDA CaprTot 6321 (€1958) WILLIAMS (CBS 72526 «1367 ba 6 ee Oe (ne ct a I PE TEPARKENING EMI HOS 1218 KING ODYSSEY ODY 104 WALKER, Timothy POISEAU-LYRE SOL 349 PIERRI METROPOLE 2599 019 BONELL DECCA SXL 6950 BYZANTINE EMICEP 40362 PRELUDE NO. 3 IN A MINOR [BRUNSWICK AXTL 1069 1: DIAMONDS SDD 158 DECCA FCS 2108 KING ‘ODYSSEY OPY 104 DENNING PELICAN LP 2001 CACERES PAVANE ADW 7097 IZNAOLA BELTER 70 912 SANTOS ERATO ERA 9265 PRELUDE NO, 4 IN E MINOR ALMEIDA, ‘CAPITOL P8321 RCA mono RB 6593, 7 MILLS DISCOURSES ABK 10 MELODIA 33CM 03111-1200) XING ODYSSEY ODY 104 DENNING DUMOND ANDRESIER BEDIVERE BVR 306 CACERES PAVANE ADW7097 SANTOS ERATO FRA 9265 PRELUDE NO. SIND ‘ALMEIDA, JONS OAS: aL OPUS 3-801 CONSENTINO IRCO 45 STUDIES (Complete) SANTOS wc st 1007 SANTOS ERATO STU 70496 6 } DG 2830 140 Fisk EMI 1C 067 14 6153 STUDY No. SEGOVIA PARKENING INE MINOR ‘ACE OF DIAMONDS SDD 219. ANGEL S- 36066 MCA 410 034 ANTON 8111 0174 SOLIST 1177 STUDY NO. 4 ING PIERRI METROPOLE 2599 019 GLOEDEN INTER-AMERICAN EDITIONSOAS - 012 STUDY NO. 8ING ‘ALMEIDA (CAPrTOL P8321 BREAM RCA mono RB 6723 BACON ARCH S-1771 CACERES PAVANE ADW 7097 JOHNS MAYFIELD $0 17290 STUDY NO. 6 IN EMINOR BITETTI (WESTMINSTER WGS 8149 PIERRE BLUE ANGEL BA 29002 STUDYNO.7INE | BREAM RCA mono RB6723 \WITOSZYNSKYS EMICEP 122 BACON ARCH S-1771 TI HARLEKIN HMLP 4301, ‘TEUCHERT SOLIST 1177 STUDY NO. 8 INC SHARP MINOR SEGOVIA COLUMBIA LX 1248 (78pm) WILLIAMS, cas 72348, or 1949) (41965)"AMERICAN EDITIONS OAS-012 BLUE ANGEL BA 29002 opus 3-8015 STUDY NO. 10 IN B MINOR CACERES, CACERES, BRATO STU 70614 PAVANE ADW 7097 STUDY NO. 11 IN EMINOR, ALMEIDA REAM PARKENING erTeTTt GHIGLIA DIAZ WALKER, Louise DIAZ BACON VAN BONELL. SAKELLARIOU JOHNS CAPITOL P8321 RCA mono RB 6393, ANGEL §-36282 \ WESTMINSTER WGS 8149 "ANGEL §-36282 ‘VANGUARD VSD 71135 JPRAPHON 1 11 1230 CAVATA CY soit * DECCA SX1 6950 AMAT AGS 181 MAYFIELD 50 17290 STUDY NO. 121N A MINOR WrroszYNSkY) EMI CEP 122 VAN CAVATA CV 501 MYSLIVECEK PANTON: PIERRI BLUE ANGI TEUCHERT SOLIST 1177 SUITE POPULAIRE BRESILIENNE (Complete) SANTOS BRATO STU 70913 1-4 L SAGA S453, 4 BREAM RCARL 12499 wy PRUNNBAUER DA CAMERA MAGNA SM 93608 1-3 CACERES PAVANE ADW7097 my BLANCO (CONIFER) LP 233 s re 68 983) 1984) MAZUBKA—CHORO (No. 1 Suite Populaire Brésilienne) MARCOS "TRANSATLANTIC SDBR 3248 SCHOTTISH—CHORO (No. 2 Suite Populaire Brésilienne) BREAM RCA SB 6852 BACON ARCH S-1771 ALMEIDA ANGEL $-37322 ‘VALSA~CHORO (No. 8 Suite Populaire Brésilienne) CACERES 'ERATO STU 70988, as BACON ARCH S-1771 as7ay SANTOS ERATO ERA 9265 1984) CHOROS NO. 1 RCA mono RB 6593 HISPAVOX HHS 10-375 MOVIEPLAY-BARCLAY S-14.229 DECCA SPA 179 [DISCOURSES ABK 10 ‘WILLIAMS ‘cS 73205, GONZALEZ, CHS 61684 RAGOSSNIG SAGA S412 DENNING PELICAN LP 2001 REIS PHONODISC 033 404004 SANTOS ERATO STU 70913 CACERES ERATO STU 70988 BACON 18-1771 arrern ISPAVOX SC 064 62932 ALMEIDA INGEL $~37322 DUMOND (CEZAME CEZ 1048 BYZANTINE, EMI CFP 40362 POSTLEWATE PRISM ST 8101 CACERES PAVANE ADW 7097 MOREL rAR MASTERS RECORDS GMR 1005 BLANCO ' BIS (CONIFER) LP 233 CONCERTO FOR GUITAR AND SMALL ORCHESTRA SANTOS BREAM WILLIAMS YePES. NAVASCUES FURODISC 201012 69BACHIANAS BRASILEIRAS NO. 5 ALMEIDA/SALLI TERRI (cont WARKER/DOREEN VANIVERN SUTTON: DAVIS/MARILYNN CAPITOL P 8406 (41958) DECCA ECS 2108 CAVATACY 5012 TITANIC MNEMOSYNE MN-S DANICA DLP 8029 SEXTUOR MYSTIQUE SANTOS ERATO STU 70566 970) ‘THEREZINHA DE JESUS (CIRANDA NO. 1) (Duo) SAGA S412 975) NIKOLAUS, DE CAMERA MAGNA SM 93602. (1977) DISTRIBUICAO DE FLORES ‘CHANDOS ABRD 1083 OPUS 9111 1294 MODINHA (No. 5 of 14 SERESTAS) * ‘SAKELLARION ‘AMAT AGS 181 ELMUT SCHAARSCHMIDT —_CHRISTOPHORUS (oboe) SOGLX 73795DM 23, ‘CANgAO DO POETA DE SECULO XVI ABREU, Seg MARIA LUCIA GODOY (coprano) PHILIPS 6598 309 asm CANTILENA ‘ABREU, Sergo/MARIA LUCIA GODOY (soprano) PHILIPS 6598 309 asm) REMEIRO DE 8. FRANCISCO ‘ABREU, Serigo/MARIA LUCIA GODOY onee} asm SUITE: A MENINA E A CANGKO Queno sen ALEGRE SERTANEJA [ABREU, Seg MARIA LUCIA GODOY ‘copa PILI 6598 309 am 70 APPENDIX Itt BIBLIOGRAPHY BARROS C. de Paula: “O Romance de Villa-Lobos” Editora A Noite — Rio de Janeiro. Villa-Lobos, Musicien et Potte du Brésit” joria — Rio de Janeiro-1967. CARVALHO, Herminio Bello de: “Villa-Lobos, uma conferéncia” Museu Villa-Lobos ~ 1963. GIACOMO, Amaklo Magathies de: “Villa-Lobos, Alma Sonora do Brasil” Edig&es Melhoramentos em convénio com’ Instiuto Nacional do Livro— — 1972. MARIZ, Vasco: “Hector Villa-Lobos” “L'homme et son oeuvre” “Musiciens de tous les temps” — ns Seghers, Paris, 1967. MURICY, Andrade: “Villa-Lobos, uma interpretarao” Servico de ~ 196! MUSEU VILLA-LOBOS: “Presenga de Villa-Lobos”, eight volumes NOBREGA, Adhemar: “As Bachianas Brasileiras de Villa-Lobos" Museu Villa-Lobos — MEC ~ 1971. SILVA, Francisco Pereira da: “Villa-Lobos” — A Vida dos grandes brasileiros” — Editora Trés — 1974. “Villa-Lobos, Sintese Critica é = MEC/DAC — Museu Ville FRANGA, Eurico Nogueira: Biogrifica” Lobos 1970. ESTRELLA, Arnaldo: “Os Quartetos de Cordes de Villa-Lobos"— Musca Villa-Lobos — 1970 ~ MEC / DAC nAPPENDIX IV SUGGESTED FURTHER READING INTERPRETATION AND BACKGROUND MAYER-SERRA, Otto: Misica y miisices de Latinoamerica, 2 vols. Editorial Atlante, S.A., Mexico City, 1947, ert: America’s Music, McGraw-Hill Book Co., New York, 1955. LIST, George ed: Music in ‘the Americas, Indiana University, 1967. AZEVEDO, Femando do: Brazilian Culture, Hafner Publishing Co., New York, 1971. PEPPERCORN, Lisa M.: Heitor’ Villa-Lobos, ein Komponist aus Brasilien, Atlantis Verlag, Zurich and Freiburg, 1972. 5 SLONIMSKY, Nicholas: Music in Latin America, Da Capo Press, New York, 1972. VINTON, John, ed.: Dictionary of Contemporary Music, E.P. Dutton & Co, New York, 1974, ARETZM, Isabel: America Latina en su mitsica, Paris: UNESCO, 1977. KIEFER, Bruno: Historia da mésica brasileira, Editora Movimento, Porto Alegre, 1977. BEHAGUE, Gerard: Music in Latin America, an Introduction, Englewood Cliffs, N.J., Prentice-Hall, 1979. Misica brasileira contemporanea, Ricordi brasileira, Sao Paulo, 1980. WADE, Graham: Traditions of the Classical Guitar, Calder, London, 1980. APPLEBY, David P.: The Music of Brazil, University of Texas, Austin, 1983, CHASE, G NEVES, José Mar 2 BIOGRAPHICAL MURICY, Andrade: Villa-Lobos — Uma Interpretacao, Ministry of Education and Culture, Rio de Janeiro 1960. MARIZ, Vasco: Heitor Villa-Lobos: Compositor brasileiro, Sth ed. Riode Janeiro, Museu Villa-Lobos, 197. CATALOGUES VILLA-LOBOS, Arminda, ed.: Ville-Lobos: sua obra. Museu Villa-Lobos, Rio de Janeiro, 1971. MAGAZINE ARTICLES AND OTHER REFERENCES PEPPERCORN, Lisa M.: Some aspects of Villa-Lobos’ Principles of Composition, Music Review, vi, 1943. MURICY, Andrade: Villa-Lobos, Bulletin of the Panamerican Union, Jan 1945, GLADSTONE, Ralph J.: An Interview with Vitia-Lobos, Guitar Review No. 21. 1957. SEGOVIA, Andrés: J meet Villa-Lobos, Guitar Review No. 22, 1958, Heitor Villa-Lobos, \nter-American Bulletin No. 15, 1960. SMITH, C-Sprague: H. Villa Lobos (1889-1959), Inter-American Bulletin No. 15, 1960. JAFFEE, Michael: Harmony in the solo guitar music of Heitor Villa-Lobos, Guitar Review No. 29, 1966. WADE, Graham: Villa-Lobos, his magical art, Guitar News No. 96, 1967. STEWART, Jules: The guitarist as a complete musician: Heltor Villa-Lobos, Guitar Player No. 8, 1974. LORIMER, Michael: Damping and Ville-Lobos' Prelude No. 4, Guitar Player No, 13 1979. ZVENGROWSKI, Steven: Structural pattems found in Prelude No. 4 by Heitor Villa-Lobos, Soundboard No. 6, 1979. AZEVEDO, Luis Heitor Correa de: Heitor VillaLobos, New Grove Dictionary of Music and Mu Macmillan, London, 1980. B ROMERO, M.Heitor Villa-Lobos, Soundboard No. 7 1980, FFER, John W.: Voice-leading, towards a better understanding of select passages in Villa- Lobos’ Preludes for Guitar, Soundboard No. 7, 1980. KELLY, Christine K.: Villa-Lobos, Guitar Player No. 15, 1981. , Michael: Lobos, Prelude No. 1, an analysis, f Player No. 15, 1981 BONELL, Carlos: The Music of Heitor Villa-Lobos (Masterworks Series) Guitar Vol. II No. 9, 1983. HODEL, Brian: lan ir Music and the Classical Guitar, Classical Guitar Vol. 1, No. 5, 1983. DUARTE, John W.: The Preludes of Villa-Lobos: Some Notes, Guitar International Vol. 13, No. 11, 1985. 4 APPENDIX V Concerto Music Examples First Movement ‘A~ Entrance of the guitar 41 t att += = dae te re 7 B-Effects imi (© Edtlons Mx Exeng. Used by permission TS. © ttivions Mex Exchio, Used by permition,2nd Movement Andantino = 3 ==: ra fa (© Eealons Mx Esehig, Used by pemisin. Andante = errs s COT “x 1 Cations Mx Eechg, Used by permis, 6 3rd Movement Theme (Entrance of the Guitar) ae os ae (© Editions Mex Exchip. Used by permission Vivo ge eet = = of {© Eaons Mar Exch. Uned vy earmine Note:- As in the Preiudes and Studies the melody on the lower strings. nTHE GUITARIST’S GUIDE T0 BACH This is the first book to examine in detail the essential background to performing the music of J.S. Bach on the classical guitar, Changing attitudes to Bach, the importance of the lute, approaches to omamentation, and the development of varying styles of interpretation, are all discussed along with many other aspects, There is a comprehensive discography and bibliography as well as a list of Bach editions and useful notes on the Lute Suites and other works often performed by guitarists. This book provides an indispensable guide for all pl who wish to deepen their understanding of Bach's music and its relationship to the guitar in the twentieth century. THE AUTHOR Graham Wade is currently Senior Lecturer in Classical Guitar at the City of Leeds College of Music. His previous books include Traditions of the Classical Guitar, The Shape of Music, Your Book of the Guttar, and Segovia — A Celebration of the Man and his Music, as well as a very successful Guitar Method in two volumes, He has given recitals in various countries including Spain, researches into music have taken him to China, Mongolia, the USA and USSR, India and North Africa, as well as to many European cities.