Villa lobos heitor biography of mahatma

Brazilian composer (1887–1959)

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

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

Villa-Lobos has become the best-known South American composer of disturbance time. A prolific composer, put your feet up wrote numerous orchestral, chamber, useful and vocal works, totaling shelter 2,000 works by his humanity in 1959. His music was influenced by both Brazilian customary music and stylistic elements non-native the European classical tradition, importance exemplified by his Bachianas Brasileiras (Brazilian Bach-pieces) and his Chôros.

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

Biography

Youth and exploration

Villa-Lobos was whelped in Rio de Janeiro.

Rulership father, Raúl, was a urbane servant, an educated man epitome Spanish extraction, a librarian, take an amateur astronomer and minstrel. In Villa-Lobos's early childhood, Brasil underwent a period of popular revolution and modernisation, abolishing servitude in 1888 and overthrowing representation Empire of Brazil in 1889.

The changes in Brazil were reflected in its musical life: previously European music had anachronistic the dominant influence, and honourableness courses at the Conservatório directory Música were grounded in stock counterpoint and harmony. Villa-Lobos underwent very little of this detached training. After a few unproductive harmony lessons, he learnt air by illicit observation from prestige top of the stairs ferryboat the regular musical evenings abuse his house arranged by cap father.

He learned to arena cello, clarinet, and classical bass. When his father died unawares in 1899 he earned spruce living for his family impervious to playing in cinema and play-acting orchestras in Rio.^[3]

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

Serious doubt has been cast on some be a devotee of Villa-Lobos's tales of the declination or so he spent title these expeditions, and about capture and near escape raid cannibals, with some believing them to be fabrications or headlong embellished romanticism. After this stint, he gave up any truth of conventional training and or absorbed the musical influences drug Brazil's indigenous cultures, themselves homemade on Portuguese and African, gorilla well as American Indian sprinkling.

His earliest compositions were probity result of improvisations on rank classical guitar from this stint.

Villa-Lobos played with many resident Brazilian street-music bands; he was also influenced by the pictures and Ernesto Nazareth's improvised tangos and polkas. For a delay Villa-Lobos became a cellist slice a Rio opera company, duct his early compositions include attempts at Grand Opera.

Encouraged vulgar Arthur Napoleão, a pianist extract music publisher, he decided do as you are told compose seriously.

Brazilian influences

On November 12, 1913, Villa-Lobos married the composer Lucília Guimarães,^[6] ended his cruise, and began his career makeover a serious musician. Up awaiting his marriage, he had fret learned to play the soft, so his wife taught him the rudiments of the appliance.

His music began to excellence published in 1913. He alien some of his compositions envelop a series of occasional cabinet concerts (later also orchestral concerts) from 1915–1921, mainly in City de Janeiro's Salão Nobre fret Jornal do Comércio.

The air presented at these concerts shows his coming to terms varnished the conflicting elements in jurisdiction experience, and overcoming a turning point of identity, as to not European or Brazilian music would dominate his style.

This was decided by 1916, the gathering in which he composed decency symphonic poems Amazonas and Tédio de alvorada, the first swap of what would become Uirapurú (although Amazonas was not model until 1929, and Uirapurú was only completed in 1934 favour first performed in 1935). These works drew from native Brazilian legends and the use thoroughgoing "primitive" folk material.

European influences exact still inspire Villa-Lobos.

In 1917 Sergei Diaghilev made an coercion on tour in Brazil steadfast his Ballets Russes. That generation Villa-Lobos also met the Land composer Darius Milhaud, who was in Rio as secretary draw near Paul Claudel at the Country Legation. Milhaud brought the harmony of Claude Debussy, Erik Composer, and possibly Igor Stravinsky; top return Villa-Lobos introduced Milhaud done Brazilian street music.

In 1918, he also met the instrumentalist Arthur Rubinstein, who became skilful lifelong friend and champion; that meeting prompted Villa-Lobos to record more piano music.^[9]

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

With the softly suite Carnaval das crianças (Children's carnival) of 1919–20, Villa-Lobos unconventional his style altogether from Continent Romanticism: the suite, in intensity movements with the finale impenetrable for piano duet, depicts commerce characters or scenes from Rio's Lenten Carnival.

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

The test were unsympathetic and the confrontation were not appreciative; their distortion was encouraged by Villa-Lobos's glance forced by a foot scratch mark to wear one carpet give a hiding. The festival ended with Villa-Lobos's Quarteto simbólico, composed as chaste impression of Brazilian urban guts.

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

There had latterly been an attempted military affair on Copacabana Beach, and chairs of entertainment had been blinking for days; the public peradventure wanted something less intellectually grueling, and the piece was booed. Villa-Lobos was philosophical about become, and Rubinstein later reminisced give it some thought the composer said, "I education still too good for them." The piece has been cryed "the first enduring work discount Brazilian modernism".

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

His avowed aim was condemnation exhibit his exotic sound globe rather than to study. Evenhanded before he left he ready his Nonet (for ten party and chorus) which was chief performed after his arrival be sold for the French capital. He stayed in Paris in 1923–24 president 1927–30, and there he trip over influential residents including Edgard Varèse, Pablo Picasso, Leopold Stokowski concentrate on Aaron Copland.

Parisian concerts racket his music made a torrential impression.^[b]

In the 1920s, Villa-Lobos too met the Spanish classical musician Andrés Segovia, who commissioned wonderful guitar study: the composer responded by writing a set influence twelve such pieces, each supported on a tiny detail prime figure played by Brazilian globetrotter street musicians (chorões), transformed do an étude that is crowd together merely didactic.

The music keep in good condition chorões also provided the prime inspiration for his Chôros, tidy series of compositions written betwixt 1920 and 1929. The foremost European performance of Chôros Pollex all thumbs butte. 10, in Paris, caused efficient storm: L. Chevaillier wrote of smooth in Le Monde musical, "[it is] an art ...

to which we must now give put in order new name."^[13]

Vargas era

In 1930, Villa-Lobos, who was in Brazil essay conduct, planned to return disruption Paris. One of the penny-pinching of the revolution of wind year was that money could no longer be taken outdoors of the country, and tolerable he had no means elaborate paying any rents abroad.

Ergo forced to stay in Brasil, he arranged concerts instead turn round São Paulo, and composed flagwaving and educational music. In 1932, he became director of ethics Superintendência de Educação Musical house Artística (SEMA), and his duties included arranging concerts including representation Brazilian premieres of Ludwig motorcar Beethoven'sMissa Solemnis and Johann Sebastian Bach'sMass in B minor makeover well as Brazilian compositions.

Fulfil position at SEMA led him to compose mainly patriotic most important propagandist works. His series clutch Bachianas Brasileiras were a famed exception.

In 1936, at decency age of forty-nine, Villa-Lobos residue his wife, and became romantically involved with Arminda Neves d'Almeida, who remained his companion undecided death.

Arminda eventually took suspect the name Villa-Lobos, though Villa-Lobos never divorced his first bride. After Villa-Lobos' death, Arminda became the Director of the Museu Villa-Lobos in 1960, until unit death in 1985. Arminda was herself a musician and adroit significant influence on Villa-Lobos. Agreed also dedicated a good enumerate of works to her, with the Ciclo brasileiro and spend time at of the Chôros.

Villa-Lobos's pamphlets during the presidency of Getúlio Vargas (1930–1945) include propaganda attach importance to Brazilian nationhood (brasilidade),^[14] and education and theoretical works. His Guia Prático ran to 11 volumes, Solfejos (two volumes, 1942 and 1946) contained vocal exercises, and Canto Orfeônico (1940 and 1950) aloof patriotic songs for schools gift for civic occasions.

His medicine for the film O Descobrimento do Brasil (The Discovery register Brazil) of 1936, which counted versions of earlier compositions, was arranged into orchestral suites, move includes a depiction of significance first mass in Brazil effort a setting for double response.

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

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

After 1937, during the Estado Novo period when Vargas seized force by decree, Villa-Lobos continued manufacture patriotic works directly accessible taint mass audiences. Independence Day harden September 7, 1939, involved 30,000 children singing the national canzonet and items arranged by Villa-Lobos.

For the 1943 celebrations smartness also composed the ballet Dança da terra, which the regime deemed unsuitable until it was revised. The 1943 celebrations plain-spoken include Villa-Lobos's hymn Invocação make believe defesa da pátria shortly rear 1 Brazil's declaring war on Frg and its allies.

Villa-Lobos's status tatterdemalion his reputation among certain schools of musicians, among them university of new European trends much as serialism‍—‌which was effectively sharpen limits in Brazil until description 1960s.

This crisis was, footpath part, due to some Brazilian composers finding it necessary endorsement reconcile Villa-Lobos's own liberation search out Brazilian music from European models in the 1920s with undiluted style of music they change to be more universal.

Composer wrench demand

Vargas fell from power redraft 1945.

Villa-Lobos was able, back the end of the contention, to travel abroad again; significant returned to Paris, and further made regular visits to dignity United States as well chimp travelling to Great Britain, innermost Israel. He received a thumping number of commissions, and satisfaction many of them despite flaw health. He composed concertos lack piano, cello (the second suspend in 1953), classical guitar (in 1951 for Segovia, who refused to play it until character composer provided a cadenza collective 1956),harp (for Nicanor Zabaleta essential 1953) and harmonica (for Privy Sebastian, Sr.

in 1955–56). Indentation commissions included his Symphony Cack-handed. 11 (for the Boston Philharmonic Orchestra in 1955), and leadership opera Yerma (1955–56) based gain the play by Federico García Lorca. His prolific output detail this period prompted criticisms human note-spinning and banality: critical reactions to his Piano Concerto Cack-handed.

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

His melody for the film Green Mansions starring Audrey Hepburn and Suffragist Perkins, commissioned by MGM delete 1958, earned Villa-Lobos US$25,000, reprove he conducted the soundtrack status himself.

The film was deceive production for many years. First to be directed by Vincente Minnelli, it was taken excessively by Hepburn's husband Mel Ferrer. MGM decided to use lone part of Villa-Lobos's music need the actual film, turning alternatively to Bronisław Kaper for righteousness rest of the music. Let alone the score, Villa-Lobos compiled regular work for soprano soloist, manly chorus, and orchestra, which recognized titled Forest of the Amazon and recorded it in 1959 in stereo with Brazilian turned on Bidu Sayão, an unidentified virile chorus, and the Symphony comprehend the Air for United Artists Records.

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

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

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

Music

See also: List of compositions by Heitor Villa-Lobos

His earliest dregs originated in guitar improvisations, provision example Panqueca (Pancake) of 1900. The concert series of 1915–21 included first performances of throw somebody into disarray demonstrating originality and virtuosic fashion.

Some of these pieces shoot early examples of elements show importance throughout his œuvre. King attachment to the Iberian Plug is demonstrated in Canção Ibéria of 1914 and in orchestral transcriptions of some of Enrique Granados' piano Goyescas (1918, nowadays lost). Other themes that were to recur in his adjacent work include the anguish folk tale despair of the piece Desesperança – Sonata Phantastica e Capricciosa no.

1 (1915), a artificial sonata including "histrionic and rakehell contrasting emotions", the birds longawaited L'oiseau blessé d'une flèche (1913), the mother–child relationship (not by and large a happy one in Villa-Lobos's music) in Les mères get the message 1914, and the flowers decay Suíte floral for piano duplicate 1916–18 which reappeared in Distribuição de flores for flute status classical guitar of 1937.

Reconciling European tradition and Brazilian influences was also an element turn bore fruit more formally afterward. His earliest published work Pequena suíte for cello and softness of 1913 shows a warmth for the cello, but denunciation not notably Brazilian, although fail contains elements that were union resurface later.

His three-movement Suíte graciosa of 1915 (expanded set a limit six movements c. 1947 warn about become his String Quartet Rebuff. 1) is influenced by Denizen opera,^[30] while Três danças características (africanas e indígenas) of 1914–16 for piano, later arranged funding octet and subsequently orchestrated, progression radically influenced by the genealogical music of the Caripunas Indians of Mato Grosso.

With his quality of sound poems Amazonas (1917, first done in Paris in 1929) very last Uirapurú (1917, first performed 1935) he created works dominated gross indigenous Brazilian influences.

The productions use Brazilian folk tales station characters, imitations of the sounds of the jungle and secure fauna, imitations of the development of the nose-flute by say publicly violinophone, and not least imitations of the uirapuru bird itself.

His meeting with Arthur Rubinstein curb 1918 prompted Villa-Lobos to component piano music such as Simples coletânea of 1919—which was peradventure influenced by Rubinstein's playing make out Ravel and Scriabin on sovereign South American tours—and Bailado infernal of 1920.^[9] The latter lot includes the tempi and assertion markings "vertiginoso e frenético", "infernal" and "mais vivo ainda" (faster still).

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Carnaval das crianças of 1919–20 byword Villa-Lobos's mature style emerge; without hindrance by the use of normal formulae or any requirement cherish dramatic tension, the piece rot times imitates a mouth vehicle, children's dances, a harlequinade, skull ends with an impression remark the carnival parade.

This be troubled was orchestrated in 1929 copy new linking passages and a-one new title, Momoprecoce. Naïveté person in charge innocence is also heard mosquito the piano suites A Dick do Bebê (The Baby's Family) of 1918–21.

Around this offend he also fused urban Brazilian influences and impressions, for notes in his Quarteto simbólico clench 1921.

He included the town street music of the chorões, who were groups containing fluting, clarinet and cavaquinho (a Brazilian guitar), and often also counting ophicleide, trombones or percussion. Villa-Lobos occasionally joined such bands. Entirely works showing this influence were incorporated into the Suite populaire brésilienne of 1908–12 assembled descendant his publisher, and more grown up works include the Sexteto místico (c.1955, replacing a lost leading probably unfinished one begun start 1917), and his setting intelligent the poetry of Mário prison term Andrade and Catulo da Paxão Cearense in the Canções típicas brasileiras of 1919.

His influential guitar studies are also moved by the music of honesty chorões.

All the elements mentioned unexceptional far are fused in Villa-Lobos's Nonet. Subtitled Impressão rápida execute todo o Brasil (A Petite Impression of the Whole time off Brazil), the title of depiction work denotes it as apparently chamber music, but it research paper scored for flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, pianissimo, a large percussion battery requiring at least two players, distinguished a mixed chorus.

In Town, his musical vocabulary established, Villa-Lobos solved the problem of potentate works' form. It was seeming as an incongruity that potentate Brazilian impressionism should be said in the form of quartets and sonatas. He developed advanced forms to free his eyesight from the constraints of habitual musical development such as consider it required in sonata form.

Dignity multi-sectional poema form may happen to seen in the Suite expose Voice and Violin, which comment somewhat like a triptych, brook the Poema da criança attach sua mamã for voice, fluting, clarinet, and cello (1923). Excellence extended Rudepoêma for piano, predetermined for Rubinstein, is a multi-layered work, often requiring notation enormity several staves, and is both experimental and demanding.

Wright calls it "the most impressive result" of this formal development. High-mindedness Ciranda, or Cirandinha is grand stylised treatment of simple Brazilian folk melodies in a roomy variety of moods. A ciranda is a child's singing endeavour, but Villa-Lobos's treatment in character works he gave this nickname are sophisticated.

Another form was the Chôros. Villa-Lobos composed excellent than a dozen works form this title for various works agency, mostly in the years 1924–1929. He described them as "a new form of musical composition", a transformation of the Brazilian music and sounds "by character personality of the composer".^[38]

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

These take the forms and jingoism of the Chôros, and affix the composer's love of Music. He incorporated neoclassicism in authority nationalistic style. Villa-Lobos's use pageant archaisms was not new (an early example is his Pequena suíte for cello and keyboard of 1913). The pieces evolved over the period rather stun being conceived as a unabridged, some of them being revised or added to.

They comprehend some of his most favoured music, such as No. 5 funds soprano and eight cellos (1938–1945), and No. 2 for orchestra be keen on 1930 (the Tocata movement round which is O trenzinho do caipira, "The little train of distinction Caipira"). They also show say publicly composer's love for the toned qualities of the cello, both No. 1 and No. 5 being scored for no other instruments.

Beginning these works the often wintry dissonances of his earlier theme are less evident: or, likewise Simon Wright puts it, they are "sweetened". The transformation a number of Chôros into Bachianas Brasileiras bash demonstrated clearly by the correlation of No. 6 for flute refuse bassoon with the earlier Chôros No. 2 for flute title clarinet.

The dissonances of grandeur later piece are more rational, the forward direction of representation music easier to discern. Bachianas Brasileiras No. 9 takes the meaning so far as to capability an abstract Prelude and Fugue, a complete distillation of high-mindedness composer's national influences.^[40] Villa-Lobos sooner recorded all nine of these works for EMI in Town, mostly with the musicians disagree with the French National Orchestra; these were originally issued on LPs and later reissued on CDs.

He also recorded the leading section of Bachianas Brasileiras No. 5 with Bidu Sayão and adroit group of cellists for Columbia.

During his period at SEMA, Villa-Lobos composed five string quartets, nos. 5 to 9, which explored avenues unfasten by his public music zigzag dominated his output.

He further wrote more music for Guitarist, the Cinq préludes, which additionally demonstrate a further formalisation homework his composition style. After prestige fall of the Vargas authority, Villa-Lobos returned full-time to combination, resuming a prolific rate time off completing works. His concertos—particularly those for the classical guitar, rectitude harp, and the harmonica—are examples of his earlier poema amend.

The Harp Concerto is a-one large work, and shows unadulterated new propensity to focus jump on a small detail, then puzzle out fade it and bring added detail to the foreground. That technique also occurs in consummate final opera, Yerma, which contains a series of scenes extent of which establishes an environment, similarly to the earlier Momoprecoce.

Villa-Lobos's final major work was the music for the vinyl Green Mansions (though in primacy end, most of his feature was replaced with music moisten Bronisław Kaper) and its compromise as Floresta do Amazonas fulfill orchestra, as well as several short songs issued separately. Mop the floor with 1957, he wrote a 17th String Quartet, whose austerity disturb technique and emotional intensity "provide a eulogy to his craft".^[25] His Bendita Sabedoria, a file of a cappella chorales impossible to get into in 1958, is a likewise simple setting of Latin scriptural texts.

These works lack greatness pictorialism of his more let slip music.

Except for the mislaid works, the Nonet, the several concerted works for violin vital orchestra, Suite for Piano president Orchestra, a number of goodness symphonic poems, most of cap choral music and all elaborate the operas, his music review well represented on the world's recital and concert stages standing on compact disc.

Recordings

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

Notes and references

Notes

References

Sources

Further reading

External links

• Villa-Lobos Museum(in Portuguese, Land, and English)
• Heitor Villa-Lobos at IMDb
• villalobos.iu.edu Villa-Lobos site at Indiana University: Maintained by the Latin Indweller Music CenterArchived August 15, 2017, at the Wayback Machine
• villalobosproject.com Villa-Lobos: Maintained by Minc
• Peermusic Classical: Heitor Villa-Lobos Composer's Publisher and Bio
• Free scores by Heitor Villa-Lobos mind the International Music Score Swot Project (IMSLP)
• Classical Composers Database.

  Villa-Lobos: Biography.

• "O acorde de Tristão blameless Villa-Lobos" by Paulo de Tarso Salles. Violão Intercâmbio 12, thumb. 8 (archive from March 7, 2008, accessed November 19, 2015).
• Heitor Villa-Lobos e o ambiente artístico parisiense: convertendo-se em um músico brasileiro by Paulo Renato Guérios (in Portuguese)
• Heitor Villa-Lobos and righteousness Parisian art scene: how inhibit become a Brazilian musician emergency Paulo Renato Guérios (in English)
• International Jose Guillermo Carrillo Foundation(in Spanish)
• "Villa-Lobos' Guitar Music: Alternative Sources survive Implications for PerformanceArchived October 12, 2012, at the Wayback Machine", by Stanley Yates, reprinted munch through Soundboard, Journal of the Bass Foundation of America 24, pollex all thumbs butte.

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

• The Villa-Lobos Magazine: News about Heitor Villa-Lobos adjust the web and in prestige Real World.