Villa-Lobos 'Ben Trovato'

Author(s): Lisa M. Peppercorn

Source: Tempo , Jun., 1991, New Series, No. 177 (Jun., 1991), pp. 32-35+38-39
Published by: Cambridge University Press

Stable URL: http://www.jstor.com/stable/945930

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Lisa M. Peppercorn
Villa-Lobos 'ben trovato'

Heitor Villa-Lobos's musical output is very Canconetinha Grega and Brinquedo (Toy). A
comprehensive. Nevertheless, he thoughtmanuscript it copy of the work had the following
useful or necessary, at some later stage, title: to Suite de Quartetos de Corda: Sui'te Graciosa
(Andante, Allegretto and Grega Cantonette).
incorporate certain pieces - in their original form
or in transcription - into other compositions, When the official First String Quartet, with the
apparently for lack of time to write a completelydate of composition also as 5 March 1915, was
new work, or sheer laziness. Or, he found delight
performed by the lacovino Quartet on 7 August
in teasing his listeners, friends and admirers,
1946 in Rio de Janeiro, this writer concluded that,
unless they discovered his hoax. The Brazilianwhile based on the Sui'te Graciosa, this work was
composer-conductor Walter Burle-Marx (b. most probably written just before the perform-
ance given by the lacovino Quartet. The
1902), in a letter to me of 31 May 1981 from
Caracas, Venezuela (and reproduced here by respective
his movements bear the headings:
Cantilena, Brincadeira (Joke), Canto lirico,
kind permission), commented on this character-
istic of Villa-Lobos: Canconeta, Melancolia and Saltando como urn Saci
(skipping like a Saci - a Brazilian legendary
A typical example of Villa-Lobos's temperament and
figure). The composer wrote on the manuscript:
way of thinking concerns the Bachianas Brasileiras #'First
5. I performance in the home of the family of
did the U.S premiere in New York at the World's Fair
Homero Barreto in the town of Friburgo (1915),
on May 4th, 1939 with the New York Philharmonic
copied 1946'l.
and Bidu Sayio, using the manuscript of Villa-Lobos.
Many of Villa-Lobos's works, particularly
Later on, when I saw the manuscript again, there was a
those written between 1940 and 1946, prove that
repeat sign on the first introductory measure in 5/4. I
asked him why he did that and he replied that he he was always able to imitate the style of any of
felt
that the introduction was too short. I asked why he stages of his development and that he was, so
the
didn't compose two different measures - he who to speak, an ingenious plagiarist of his own
had
so much imagination - and he smiled and said: 'Tocompositions.
tell In fact, a whole series of the works
which
the truth, I felt lazy'. This was one of his faults; once a date from a much earlier period but were
work was finished, he very rarely went back to polish it
supposed to have been mysteriously lost, were
much less to change it. written during those years. The truth is therefore,
probably, that they were composed years later in
The opposite is the case with the First String
the style of the time in which they allegedly
Quartet. The Villa-Lobos catalogue, 2nd Edition,
originated, but had progressed no further than
1972, published by the Museu Villa-Lobos the title and the occasional sketch. In every
(MVL) in Rio de Janeiro, states (p.84) that catalogue
the of his work, and in whatever else may
work was written in Friburgo, Brazil in 1915 and
have appeared about him in print, these composi-
first performed on 3 February 1915 in 'the
tions are shown as completed during the early
residence of the Brazilian composer Homero
period, with the corresponding date of origin.
Barreto'. (Homero de Sa Barreto, 1884-1924,
This kind of self-delusion was also a characteristic
was a composer, pianist and teacher.) The third
feature of Villa-Lobos's desire to appear original
edition of the MVL catalogue, 1989, mentions- though he seems to have overlooked this time
(p.108) 3 December 1915 as premiere. Aboutthat50 the public could not share in this because
years ago, in Rio de Janeiro, the present writer
even the Brazilian press believed in the sudden
had an opportunity to consult the manuscript in
resurrection of these works.2
question. She found a string quartet of small
The music critic of Rio de Janeiro's Jornal do
dimensions. The title of this work, which dates
from 5 March 1915, was Suite Graciosa and it lwas
Lisa M. Peppercorn, Heitor Villa-Lobos, Leben und Werk des

dedicated to the Quarteto de Friburgo, which brasilianischen

is Komponisten (Zurich: Atlantis, 1972) p.37.

not mentioned in the two MVL catalogues. It

2 Villa-Lobos, The Illustrated Lives of the Great Composers by Lisa
consisted of three movements: Cantilena, Peppercorn (London: Omnibus Press, 1989), p.95.

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 Villa-Lobos 'ben trovato' 33

Comercio, on 14 August 1946, however, had his reporting Brazil's discovery. Did Villa-Lobos
doubts when he commented on the premiere of really think listeners would not notice his musical
the First String Quartet and wrote: wile and take this textual explanation serious?
...the third part [of the concert] was the novelty on this
Did nobody ever question him about it?
programme, a first performance in Rio de Janeiro, a A striking example of Villa-Lobos's re-use of
first performance - even for the composer: the First solo pieces in orchestral transcription, to form a
String Quartet, composed by Villa-Lobos 1915 in wholly different composition, and attaching
Friburgo, thirty-one years earlier! Its young composer some textual explanation to fit this transform-
(I am referring to the Villa-Lobos of today) must have ation, is Bachianas Brasileiras No.2 for chamber
heard this youthful work with mixed feelings....
orchestra which was premiered on 5 September
When I questioned Villa-Lobos about the 1938 during the Sixth International Festival for
manuscript in the early 1940s in Rio de Janeiro,Contemporary Music in Venice, held from 5-13
he repeatedly told me that it had been lost. September 19385. Guido M. Gatti called this
Editions Max Eschig published the Second andwork, 'quelques curieux melanges folklore-
Third Quartets but the First was never mentioned,bachien de Villa-Lobos' in his review in La Revue
nor had it even been performed publicly. TheMusicale, Paris, September 1938, No.186, p.173.
composer, who saw to it that all his works In fact, Bachianas Brasileiras No. 2 is an orchestration
received public performances, would certainlyof three pieces for violoncello and piano and one
have had this work performed earlier if it hadpiece for piano solo, all composed in Sio Paulo in
existed.3 The First String Quartet was eventually 1930. The cello pieces are: 0 Canto do Capadocio
published by Peer-Southern in New York, whom(The song of the pompous ass)6, 0 Canto da Nossa
the composer came to know after his first visit toTerra (The song of our land), 0 Trenzinho do
the United States in 1944. Caipira (The little train of the smallholder) with
Alegria na Horta (Gaiety in the vegetable the subtitle Uma Suggestao de uma viagem num
garden) for piano solo, the last of three piecestrenzinho de interior (An impression of a journey in
from the Suite Floral (Floral Suite) op.97, wasa little train of the hinterland), and for piano solo
composed in 1919 and premiered by ArthurLembranca do Sertao (Memory of the Brazilian
Rubinstein as an encore during his Rio de Janeirobackwoods). 0 Canto do Capadocio was originally
recital of 5 July 1922. The original manuscript ofsubtitled No.3 of the Suite Tipica while 0 Canto da
Alegria na Horta contains the note 'Impressions ofNossa Terra already bore the title Bachianas
Brasileiras.
various racial characters during an outburst of
happiness'. On publication, this note was Villa-Lobos's decision to transcribe these four
replaced by 'Impressions of a garden party'4 pieces for chamber orchestra, presumably for
Almost 20 years after the completion of thislack of time to write a new orchestral work, made
piece, in 1937, the composer orchestrated andhim seek an adequate title for the orchestrated
incorporated it in the First Suite of the film music version. Influenced by the neo-classical trend
Descobrimento do Brasil (Discovery of Brazil - this
First Suite was also included on 12 July 1959 in5 Peppercorn op. cit., p. 106. The MVL catalogue, 2nd Edition
Villa-Lobos's last concert of his life, at the p.28 mentions 3 September 1938 and the Second Festival.
Empire State Music Festival in the United States). Appleby op. cit, p.64 item W247 states 3 September 1934,
The original Alegria na Horta composition iswhich is also mentioned in the MVL catalogue, third edition.
p.41. Adhemar N6brega's As Bachianas Brasileiras de Villa-
hardly related to Descobrimento do Brasil, and lacks
Lobos, Rio de Janeiro, 1971, p.37 gives the date 1934 and says it
any context in Villa-Lobos's elaborate text
was the second Festival. My most recent research reveals that
supplied for this latter work which, he says, isVenice's Second International Biennale Art Exhibition was
based on a historical document: the letter whichheld in 1932 (not 1934), in tandem with a Festival of the ISCM
Pero Vaz de Caminha, secretary of the fleet of which presented, in a concert of South American music, four
of Villa-Lobos's Chansons Typiques Bresiliennes (not the
Pedro Alvares Cabral, the discoverer of Brazil,
Bachianas Brasileiras No.2). The Third International Biennale
had sent to King Manoel on 1 May 1500 fromwas held in Venice in 1934, and the musical part of the Festival
Porto Seguro on the Island of Vera Cruz, t performed no Villa-Lobos work at all. (Source: La Revue
Musicale, September 1932 and September 1934).
3 Peppercorn, op. cit. p.99, footnote 8. 6 The MVL catalogue 2nd Ed. p. 178 erroneously states that 0
Canto do Capaddcio, written in 1930, was premiered fifteen
4 A review of Rubinstein's recital appeared in Rio de Janeiro's years before (!) on 29January 1915 at the Teatro D. Eugenia in
Jornal do Comercio on 9 July 1922. The date 21 October 1922 is Friburgo, Brazil; which Appleby copied, op. cit., p.64 item
quoted as premiere in the Villa-Lobos catalogue, issued by W251. He also writes that the four pieces 'were transcribed
the Museu Villa-Lobos (MVL) in Rio de Janeiro under the from Bachianas Brasileiras No.2' while just the opposite is
title: Villa-Lobos - Sua Obra, 2nd Ed. p.165 and 3rd Ed. p.144. correct, namely the solo pieces existed first and were later
This date is copied in the Bio-Bibliography by David P. orchestrated. The MVL catalogue, 3rd Ed. p.123, gives the
Appleby, p.34, item Wl17. This information is incorrect. first performance date as 23 January 1931.

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34 Villa-Lobos 'ben trovato'

during his recent stay in Paris (1927-1930), he and the like. The words Bachianas Brasileiras, in
attempted to lean on this new European tendency this writer's opinion, are artificially invented
(as he so often in his life adjusted himself to titles given to a versatile set of compositions, in
current drifts anywhere). Obviously he endeav- order to demonstrate a contribution to Europe's
oured at the same time to attach to it his own neo-classical trend by a Brazilian composer
original label. He thus hit on the idea of callingseeking to appear original. But despite the
this, as well as a number of subsequent works, Brazilianized-baroqueian name, this music
written after his return to Brazil in the summer of mostly lacks baroque substance, except what has
1930, Bachianas Brasileiras. And he thought it been artificially added.
convenient, therefore, to adapt some recently One of the most grotesque reshuffles is Villa-
composed solo pieces for this particular purpose Lobos's composition A Mariposa na Luz (The
although there is no connexion amongst nor butterfly in the light), composed in July 19177,
within the four pieces, nor were they in any waythe last movement of a three-part work for violin
'bachian' in spirit or style when originally and piano entitled 0 Marti'rio dos Insectos (The
composed. Yet, all Villa-Lobos did was merely to martyrdom of the Insects), which - without the
add pre-classical names to the orchestrated first two parts - was premiered on 17 November
version of the solo pieces, and to call this as well 1917 in Rio de Janeiro. A few years later, Villa-
as subsequent works Bachianas Brasileiras. Eventu-Lobos had in mind to write a piece for violin and
ally there were nine altogether. They were orchestra, which he called Fantasia de Movimentos
written during his years in Brazil from 1930-1945 Mixtos (Phantasy of Mixed Movements). The
before he accommodated himself to North second movement, Serenidade (Serenity), was
American requirements after his debut in Loswritten in 1920, the first Alma Convulsa (Tortured
Angeles on 26 November 1944 and turned away 7 Peppercorn, op. cit. p.42. The MVL catalogue, 2nd Ed, states
from this type of music, towards international
the composition dates from 1925, Appleby op. cit. p.55, item
standard forms like symphonies, concertosW214 mentions 1916, and so do others.

The programme of the concert in which Villa-Lobos's 'Fantasia de

Movimentos Mixtos' was premiered; and, r., the announcement of this
concert with altered dates.
t . -

H. VII.A-LOBOS 11. V1I I.i L A-I .()1O()S

THEATRO MUNICIPAL

-A PROGFAMMA - Qtatrs Con,ertos Simpbonitc (. -"..L'

DO 4. CONCERTO SYMPHONICO
KM HM)SNAQ4Ol:M

Ao Snr. Dr. Arnaldq Guinle 1.' - -I lie N v'etllo-, ti. c It. l.i,tr :, : .S i.
i.* PARTE Sn .r. Dr. Epitacio Pes*6a -- Pie.dete da. Ite
pohl;em.
I-(1922)-Pbantasia de movimentos mixtos -violio
$ orehetra*n 2.'-4 4e .,a|lr.. 0rtn l..i..i.t:t ..l t S s
A) - A?dante - (Serenidade) l." M Sotrl. lb). Estacio Coimbra - \Vi l's,,i
(191 S)-B ) -Allegro-(A maripos na lux) deile da Replllics e **.<l.i Mmxili.. le I.:klTd.
Senhoridha Paulina d'Ambrosio
* - 9 ,-e .til, inm h,l?etitxnertet n. Smt
2-(1920)--Dois Bpigrammas ironicos sentimentaes
canto e otchestra - poesia de Ronald de Carvdaho Rentald L.ge.
Senilorita Maria Emma
4--',"e Dentrn et Ithie(tt len. aem tDr A, -
A) - Epigrammas lde C(ninile.
B)- Noite de Jnnho
3- (i9i9)-A Gueirra - .' Syomphonia do Tricyclico Sym-
bolico - (orchestra e bauda)
A)-Allegro qtasi justo-(A vida e o labSr)
B)-Movimoento vivo-Cuaoo u'm stberzo-Z(Intri-
gas e cochichom
C)--Allegro -- A batalha TI II 'ATRO MUNitICV .L\t.
2.- PA RTE

4-(l919)- A Victoria - 2.' Symphonia do Tricyclico Sya-

holico. RIO DE JANEIRR).
A)-Allegro impettioso 1022
B) -Atidantno
C)-- Leato corn Allegro

FIM

^^<?__ ^V. ^ -- "J 5-V

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 Villa-Lobos 'ben trovato' 35

Soul), the following year, in 1921. But when this This is not the only composition that used
work was premiered on 15 December 19228 pieces written earlier in orchestral form under a
Serenidade was performed as first movement, and new title. Momopreco'ce (Precocious Carnival
as second movement Villa-Lobos presented A King) for piano and orchestra is but the
Mariposa na Luz with the piano part orchestrated. orchestration of the eight piano pieces called
This set of arrangements was played until a Carnaval das Criancas Brasileiras (Carnival of
concert in Paris on 7 May 1930, when A Mariposa Brazilian Children), written in 1919/20 and
na Luz was substituted with Alma Convulsa. premiered on 22 September 192510. In 1929 the
(Further reshuffles of the Fantasia de MovimentosBrazilian pianist Magdalena Tagliaferro (1893?-
Mixtos are described in my biography of Villa- 1986) who mostly lived in Paris, commissioned
Lobos, op.cit. p.183). Villa-Lobos to write a piano concerto for her.
A Mariposa na Luz was yet to enter into another Lacking time, or being too lazy, Villa-Lobos,
Villa-Lobos composition, which however waswhile vacationing in Brazil during his Paris
never performed, and only planned in 1932 sojourn, orchestrated the Carnaval das Criancas
according to the MVL catalogues. PerhapsBrasileiras and retitled it Momoprecoce, which
stimulated by Diaghilev's Russian Ballets in ParisTagliaferro premiered in Paris on 23 February
when he himself lived there, Villa-Lobos - who 193011 under the conductor Enrique Fernandez
always desired to participate in whatever trendArbos (1863-1939).
was current at the time, wherever he lived, to Only three years before his death in 1956
show that he, too, could do as well as others -Villa-Lobos - so it seems - resorted again to
decided to write a ballet. But, as before and using pieces he had written before when he was
afterwards, when he lacked time or was too lazycommissioned by Basil Langton (b.1912) to write
to compose a new work, he planned to use piecesthe music for a ballet based on Eugene O'Neill's
from previously completed compositions, groupeddrama The Emperor Jones. Langton, the British-
them together and gave the new work a newborn actor, dancer, theatre and opera director,
name. With Lindbergh's solo flight across thewho lives in the United States, communicated his
Atlantic in 1927, airflights became a topic. Thussuspicions and ideas regarding this matter to me
Villa-Lobos decided to entitle some projected in a letter, dated 22 July 1988, reproduced here
ballet music: Evolucao dos Aeroplanos (Evolution of by his kind permission:
Airplanes). And what did he do? He intended toAs co-founder with John Brownlee [1901-1969] of
use pieces from earlier compositions. For the first The Empire State Music Festival for which I was
part of the ballet he planned to use Musica Inquietaexecutive director and stage director... we were now
(Disquiet Music), the third piece from the Suiteplanning our second [season] and I was in search of
Caracteristica for strings, composed 1912/1913 andideas. One evening I was invited to a dinner party and
premiered on 31 July 1915 in Rio de Janeiro. For some young man said to me: 'I always thought The
the second movement should serve the orch- Emperor Jones would make a wonderful ballet'. I don't
know who that fellow was, but he lit a spark of an idea.
estrated version of Valsa Mistica (Mystic Waltz),
That night I saw the possibility of commissioning a
the first of the three-piece piano work Simples
dance work for Jose Lim6n [Mexican-born dancer and
Coletanea (Simples Anthology), begun on 18
choreographer, 1908-1972] to music by Villa-Lobos.
November 1917, finished in 1919 and first
The following day, I made inquiries & found Villa-
performed on 12 November 1919. And to round Lobos was in New York. I went to see him at his hotel
off the ballet A Mariposa na Luz had to fill in here and he said 'yes'. I went to see my friend Lim6n & he
again.9 said 'yes'. A few weeks later Villa-Lobos sent word the
work was finished. With Lim6n I went over to his hotel
to hear it. To my amusement, the very thing I assumed
8 Peppercorn, op. cit. p. 183. The MVL catalogue, 2nd and 3rd
the composer would latch on to is the dramatic device
editions, list the premiere in orchestrated form as 9 December
in the play of the jungle drum beats beginning &
1922, copied by Appleby op. cit, p.46 item W174. Luiz
Guimaries in Villa-Lobos, Visto da Platdia e na Intimidade 1912/
1935, (Rio de Janeiro, n.d.), p.89 states the date 12 December 9 Peppercorn op. cit. p.216 and the MVL catalogue, second ed.
1922. Upon my request to verify the correct date, Thereza p.110. The third edition of the MVL catalogue, p.90, states
'adaption of Martirio dos Insectos'.
Aguiar Cunha, Deputy Chief of the Music Division of the
National Library in Rio de Janeiro, provided me on 11 ,0 Peppercorn op. cit. p.117. The MVL catalogues, 2nd Ed.
February 1988 with a copy of the programme and the rectified
(p.152), and third ed. (p.129) date the premiere to 17
date of the concert announcement, herewith reproduced by
September, as does Appleby op. cit. p.42, item 157; but 0
courtesy of the National Library. In Cunha's handwriting is Imperial, the Brazilian publication, on 24 September 1925,
added at the bottom: 'Programme belonged to Ronald de refers to the concert in a review as 'the day before yesterday',
Carvalho [Brazilian poet 1893-1935] Collection Ronald de
(quoted in Luis Guimaries, op. cit. p.114-116).
Carvalho. The same change of date - 9-15 - December
appears in another programme in the collection of Ibere l The MVL catalogues, 2nd and 3rd editions, state as
Lemos'. [Arthur de Ibere Lemos, (1901-1967), Brazilian premiere: 1929 Amsterdam with Magdalena Tagliaferro as
composer, pianist and critic]. soloist and Pierre Montreux as conductor.

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38 Villa-Lobos 'ben trovato'

accelerating to the end, which is what drives the sketch of this Sextet which did not go further than
Emperor Jones to madness. The composer had totally six bars. With the publication date only a couple
ignored this. I found myself wondering if he had read of years before Villa-Lobos's death, and a
the Spanish script of the play I had given him. I looked
premiere only three years after he had died, it
at Lim6n who seemed equally surprised, and I then
may not be too far off to assume that the work
asked Villa-Lobos why he had ignored this very
dramatic & musical device. He looked at us both and was written, not in 1917, but only shortly before

then said to Lim6n in Spanish: 'Does he think he's its publication. But even so, the composer
Diaghilev?' He made no change and we produced the seemed to have forgotten that in 1921, and not in
work as he wrote it. Lim6n made it a success, but my 1917, had he begun to write this work and
own feeling is that the composer really strung together intended to dedicate it to [Jose Pereira da] Graqa
music he already had in his head or on his desk, and that Aranha (1868-1931), the Brazilian poet, an
it had very little to do with the O'Neill theme of The admirer and supporter of Villa-Lobos in the early
Emperor Jones. 1920s. The sketch here reproduced, which
Such remarks are characteristic of Villa-Lobos appeared in the Sao Paulo publication of Klaxon,
when he felt trapped and tried to cover up some has no affinity with the published work, nor is the
weakness of his. The New York Times, on 13 July composition date indentical. Thus, the true
1956, one day after the premiere of Villa-Lobos's composition date of the Sexteto Mistico may well
ballet The Emperor Jones at Ellenville, observed remain 'mystical'. It all goes to show that Villa-
the same: 'one rather wondered why O'Neill's Lobos's composition dates on published works or
specification of gradually accelerating drum on manuscripts .should be taken with a grain of
beats, which he asked to be heard throughout the salt, and that the titles and explanations he so
play, were ignored'. fancied adding to compositions, have often little
Perhaps the most bizarre example of Villa- or no bearing on the work - indeed, some of
Lobos presenting to the public a composition them may well be written off as occasional
with a date of years gone by, though having ballyhoo.
written it most likely very many years later and This is also true of the often publicized tales
then having forgotten about what he did in the and the many published stories that Villa-Lobos
past, is the Sexteto Mtstico. This work, published roamed through Brazil's interior and its jungles to
collect folklore material. If he really ever did so,
by Editions Max Eschig in 1957, was premiered,
according to the MVL catalogues, on 16 where is this material, published or unpublished?
Nor has his music any such folktunes as he was
November 1962 in Rio de Janeiro, and written, as
is also indicated on the published score, in 1917. supposed to have collected himself. But this
In 1939, while living in Rio de Janeiro, I saw a supposed folktune collecting always gave good

Villa-Lobos's original sketch of the 'Sexteto Mistico', composed in

1921, reproduced from the Sao Paulo publication 'Klaxon' No. 8-9,
1922, p. 16. Opposite page: the opening of the published 'Sexteto
Mistico', reproduced by kind permission of Editions Max Eschig,
Paris.

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 Villa-Lobos 'ben trovato' 39

II. VILLA-I,)BOS
' Ro, 1917)

Allegro non troppo

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publicity copy for the composer, who most likelyWhy then is this legend retold
country?
invented and spread these stories himself.
printed so often and believed in all seriousne
And does anybody really believe his glorious
Does really nobody think of this, as well as of
tale that he was shipwrecked on the island
other of
folklore stories:
Barbados and there had nothing more urgent to
do than busy himself with the folklore of this Se non e vero
e ben trovato?

Not all musical

tragedies happen
nn staae. w
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families
As I Pagliacci unfolds, the real tragedy can for 70 years. A / !
be happening elsewhere. In the orchestradonation
pit, a or legacy from
musician who has given his life to music you could help to change
realises
that a passage he once knew backwards is their
now lives.
beyond him. Please send a donation, large or small, to:
He faces old age and with it loss of income.
But your donation to the Musicians Benevolent MUSICIANS BENEVOLENT FUND
PATRON: H M THE QUEEN
Fund could lessen the tragedy. 16 OGLE STREET. LONDON WIP 7LG.
We've been helping needy musicians and their (REGISTERED CHARITY 228089)

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