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"是的，我是巴西人－地道的巴西人。在我的音乐里，我让伟大的巴西的江河海洋歌唱。我不掩饰我们的森林我们的天空的热带风情，我的直觉感觉我写的一切（音乐）！
The selection of pieces that follows seeks to provide a brief panorama of the Villa-Lobos musical esthetic.
"羠ia (Cantilena)"
from "Bachianas Brasileiras n� 5"
� Associated Music Publishers
(bach5.mid, 11k)
The most popular of Villa-Lobos’
melodies, clearly inspired by serenades, was composed in 1938, with lyrics
by Ruth Valadares Correa, and dedicated to Arminda Villa-Lobos. Ruth Valadares
Correa, who was also a singer, premiered the piece in 1939 in Rio de Janeiro,
with Villa-Lobos conducting. Great sopranos the world over, such as Victoria
de Los Angeles, Bidu Say羙 (both with Villa-Lobos conducting), Anna Moffo,
Kiri Te Kanawa, Kathleen Battle, Barbara Hendricks, Ren閑 Fleming, Eva
Marton, Arleen Auger, Maria Lucia Godoy, Galina Vischnevskaya and Jill
Gomez, among many others, have recorded the "Aria" from the "Bachianas
Brasileiras N� 5" (which contains a second movement, the "Dan鏰"
("Dance") or "Martelo" ("Hammer"), with lyrics by Manuel Bandeira).
"Tocata (O Trenzinho
do Caipira)"
from "Bachianas Brasileiras n� 2"
� Casa Ricordi - BMG Ricordi S.p.A.
(trem.mid, 26k)
If the "Aria" from the the "Bachianas
Brasileiras N� 5" is first in popularity, then the Tocata, more popularly
known as the "Trenzinho do Caipira" ("The Little Train of the Rube"),
from the "Bachianas Brasileiras N� 2" is certainly second. One of
Villa-Lobos’ most characteristic pieces, the "Trenzinho"
demonstrates a rich orchestral coloring, present in many of the composer’s
scores. Here, we also feel the strong impression that back-country music,
which he heard on his travels through the interior of Brazil, made on
him.
"Uirapuru"
� Associated Music Publishers
(uira.mid, 4k)
Although it contains a certain amount of influence from French music, "Uirapuru" is one of the first masterpieces of Villa-Lobos, and inaugurated a typically Villa-Lobos orchestral language. The score portrays the atmosphere of the Brazilian jungle and its natural inhabitants, the Indians, with an impressive richness of detail. Here, we hear the theme which served as the basis for this symphonic poem: the song of the uirapiru, a bird which sings only for 5 minutes at sunrise, and only while building its nest - a song so rare and melodious that, according to legend, all the other birds stop singing to listen. In Indian mythology, it represents the king of love.
"A Mar� Encheu"
� Irm羙s Vitale
(mare.mid, 6k)
Children’s folk ditties always were important to Villa-Lobos’ work. Proof of this are his numerous works directly or indirectly impregnated with songs that for generations have been passed down from adults to children. "A Mar� Encheu" ("The Tide Has Come In") is one example of the refinement with which the composer adorned these simple melodies.
"Kankikis"
from "Dan鏰s Caracter簊ticas Africanas"
� 蒬itions Max-Eschig
(kank.mid, 15k)
The three "Dan鏰s Caracter簊ticas Africanas" ("Characteristic
African Dances") - "Farrap髎", "Kankukus" e "Kankikis"
- sub-titled "Dances of the Mixed-Blood Indians of Brazil" were originally
written for piano solo between 1914 and 1915. He says he was inspired
by themes of the Caripuna Indians of Mato Grosso whose race was supposedly
a result of Indians cross-breeding with Blacks. The "Dan鏰s" mark
the beginning of the development of Villa-Lobos’ mood, which would
be consolidated in the 20s on his travels through Europe. During the Week
of Modern Art, they were presented for octet (flute, clarinet, piano and
string quartet), scored by Villa-Lobos himself. Here, we present N� 3,
"Kankikis".
The guitar and the piano were two of the most important instruments used to express the creativity of the Brazilian genius. Here, we present two very important historical registers: parts of recordings which feature Villa-Lobos as performer.
"Choros n� 1"
� 蒬itions Max-Eschig
(choros1.wav, 182k)
The most important cycle of the composer’s works (although less popular than the "Bachianas Brasileiras") is the "Choros", for many different types of ensembles (from guitar and piano to chamber to symphonies), inspired directly by the urban music of turn-of-the-century Rio de Janeiro. "Choros N� 1" for guitar, written in 1920 and dedicated to Ernesto Nazareth (one of Brazil’s most revered choro composers), is the most traditional of the cycle.
"Choros n� 5"
� 蒬itions Max-Eschig
(choros5.wav, 247k)
Dating from 1925, Villa-Lobos gave this piece the suggestive
sub-title "Alma Brasileira" ("Brazilian Soul"), and it is one of
Villa-Lobos’ most famous scores for piano.
"Villa-Lobos Speaks"
(vlfala.wav, 102k)
If Villa-Lobos is reasonably well known performing his
own compositions (thanks, especially, to a six-CD collection entitled
"Villa-Lobos par Lui M阭e" and also to the recording of the "Floresta
do Amazonas" ("Forest of the Amazon"), he is rarely captured as a
spokesman for his own work. Excerpted from an interview of July 12, 1959
in New York (his last concert), the part we have selected shows an irreverent
artist talking about "inspiration".
Recording and editing
of the music:
Sheila Zagury e Jos� Staneck.
Acknowledgements: Escola de M閟ica Musiarte
Special thanks to: Casa Ricordi - BMG Ricordi S.p.A.