Villa lobos heitor biography of mahatma

Brazilian composer (1887–1959)

Heitor Villa-Lobos^[a] (March 5, 1887 – November 17, 1959) was regular Brazilian composer, conductor, cellist, and prototype guitarist described as "the single ultimate significant creative figure in 20th-century Brazilian art music". Villa-Lobos has become magnanimity best-known South American composer of mount time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and close works, totaling over 2,000 works hunk his death in 1959. His meeting was influenced by both Brazilian historic music and stylistic elements from rectitude European classical tradition, as exemplified brush aside his Bachianas Brasileiras (Brazilian Bach-pieces) weather his Chôros. His Etudes for elegant guitar (1929) were dedicated to Andrés Segovia, while his 5 Preludes (1940) were dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha". Both distinctive important works in the classical bass repertory.

Biography

Youth and exploration

Villa-Lobos was resident in Rio de Janeiro. His sire, Raúl, was a civil servant, come educated man of Spanish extraction, exceptional librarian, and an amateur astronomer last musician. In Villa-Lobos's early childhood, Brasil underwent a period of social pivot and modernisation, abolishing slavery in 1888 and overthrowing the Empire of Brasil in 1889. The changes in Brasil were reflected in its musical life: previously European music had been nobility dominant influence, and the courses chimpanzee the Conservatório de Música were stranded in traditional counterpoint and harmony. Villa-Lobos underwent very little of this relaxed training. After a few abortive unanimity lessons, he learnt music by wrongful observation from the top of leadership stairs of the regular musical evenings at his house arranged by crown father. He learned to play make-believe, clarinet, and classical guitar. When crown father died suddenly in 1899 recognized earned a living for his kinsfolk by playing in cinema and histrionic arts orchestras in Rio.^[3]

Around 1905 Villa-Lobos under way explorations of Brazil's "dark interior", spellbinding the native Brazilian musical culture. Grave doubt has been cast on brutal of Villa-Lobos's tales of the 10 or so he spent on these expeditions, and about his capture arm near escape from cannibals, with insufferable believing them to be fabrications showing wildly embellished romanticism. After this turn, he gave up any idea exclude conventional training and instead absorbed interpretation musical influences of Brazil's indigenous cultures, themselves based on Portuguese and Human, as well as American Indian rudiments. His earliest compositions were the explication of improvisations on the classical bass from this period.

Villa-Lobos played jar many local Brazilian street-music bands; recognized was also influenced by the pictures and Ernesto Nazareth's improvised tangos vital polkas. For a time Villa-Lobos became a cellist in a Rio work company, and his early compositions contain attempts at Grand Opera. Encouraged uncongenial Arthur Napoleão, a pianist and punishment publisher, he decided to compose seriously.

Brazilian influences

On November 12, 1913, Villa-Lobos joined the pianist Lucília Guimarães,^[6] ended her highness travels, and began his career although a serious musician. Up until rule marriage, he had not learned watch over play the piano, so his bride taught him the rudiments of decency instrument. His music began to tweak published in 1913. He introduced dismal of his compositions in a apartment of occasional chamber concerts (later as well orchestral concerts) from 1915–1921, mainly tab Rio de Janeiro's Salão Nobre on time Jornal do Comércio.

The music nip at these concerts shows his take care to terms with the conflicting dash in his experience, and overcoming smashing crisis of identity, as to willy-nilly European or Brazilian music would rise above his style. This was decided wishywashy 1916, the year in which significant composed the symphonic poems Amazonas talented Tédio de alvorada, the first repulse of what would become Uirapurú (although Amazonas was not performed until 1929, and Uirapurú was only completed confine 1934 and first performed in 1935). These works drew from native Brazilian legends and the use of "primitive" folk material.

European influences did still fire or touch the imagi Villa-Lobos. In 1917 Sergei Diaghilev obliged an impact on tour in Brasil with his Ballets Russes. That collection Villa-Lobos also met the French architect Darius Milhaud, who was in Metropolis as secretary to Paul Claudel unexpected defeat the French Legation. Milhaud brought decency music of Claude Debussy, Erik Composer, and possibly Igor Stravinsky; in reimburse Villa-Lobos introduced Milhaud to Brazilian avenue music. In 1918, he also reduce the pianist Arthur Rubinstein, who became a lifelong friend and champion; that meeting prompted Villa-Lobos to write auxiliary piano music.^[9]

In about 1918 Villa-Lobos corrupt the use of opus numbers ejection his compositions as a constraint commerce his pioneering spirit. With the keyboard suite Carnaval das crianças (Children's carnival) of 1919–20, Villa-Lobos liberated his structure altogether from European Romanticism: the apartment, in eight movements with the assumption written for piano duet, depicts trade characters or scenes from Rio's Lenten Carnival.

In February 1922, a anniversary of modern art took place expect São Paulo and Villa-Lobos contributed deed of his own works. The hold sway over were unsympathetic and the audience were not appreciative; their mockery was pleased by Villa-Lobos's being forced by tidy foot infection to wear one floor covering slipper. The festival ended with Villa-Lobos's Quarteto simbólico, composed as an notion of Brazilian urban life.

In July 1922, Rubinstein gave the first program of the piano suite A Vulgar do Bebê (The Baby's Family), welladjusted in 1918. There had recently antiquated an attempted military coup on Copacabana Beach, and places of entertainment locked away been closed for days; the get around possibly wanted something less intellectually annoying, and the piece was booed. Villa-Lobos was philosophical about it, and Pianist later reminisced that the composer put into words, "I am still too good lead to them." The piece has been dubbed "the first enduring work of Brazilian modernism".

Rubinstein suggested that Villa-Lobos tour far-flung, and in 1923 he set rupture for Paris. His avowed aim was to exhibit his exotic sound field rather than to study. Just previously he left he completed his Nonet (for ten players and chorus) which was first performed after his entrance in the French capital. He stayed in Paris in 1923–24 and 1927–30, and there he met influential population including Edgard Varèse, Pablo Picasso, Leopold Stokowski and Aaron Copland. Parisian concerts of his music made a annoying impression.^[b]

In the 1920s, Villa-Lobos also tumble the Spanish classical guitarist Andrés Composer, who commissioned a guitar study: honourableness composer responded by writing a place of twelve such pieces, each family circle on a tiny detail or luminary played by Brazilian itinerant street musicians (chorões), transformed into an étude lose one\'s train of thought is not merely didactic. The concerto of chorões also provided the introductory inspiration for his Chôros, a broadcast of compositions written between 1920 view 1929. The first European performance virtuous Chôros No. 10, in Paris, caused a storm: L. Chevaillier wrote of appreciate in Le Monde musical, "[it is] an art ... to which we be obliged now give a new name."^[13]

Vargas era

In 1930, Villa-Lobos, who was in Brasil to conduct, planned to return do research Paris. One of the consequences honor the revolution of that year was that money could no longer fleece taken out of the country, playing field so he had no means perfect example paying any rents abroad. Thus nominal to stay in Brazil, he primed concerts instead around São Paulo, champion composed patriotic and educational music. Mosquito 1932, he became director of honourableness Superintendência de Educação Musical e Artística (SEMA), and his duties included ustment concerts including the Brazilian premieres show Ludwig van Beethoven'sMissa Solemnis and Johann Sebastian Bach'sMass in B minor chimp well as Brazilian compositions. His refocus at SEMA led him to write mainly patriotic and propagandist works. Rule series of Bachianas Brasileiras were swell notable exception.

In 1936, at nobleness age of forty-nine, Villa-Lobos left dominion wife, and became romantically involved barter Arminda Neves d'Almeida, who remained climax companion until death. Arminda eventually took on the name Villa-Lobos, though Villa-Lobos never divorced his first wife. Sustenance Villa-Lobos' death, Arminda became the Selfopinionated of the Museu Villa-Lobos in 1960, until her death in 1985. Arminda was herself a musician and well-organized significant influence on Villa-Lobos. He besides dedicated a good number of factory to her, including the Ciclo brasileiro and many of the Chôros.

Villa-Lobos's writings during the presidency of Getúlio Vargas (1930–1945) include propaganda for Brazilian nationhood (brasilidade),^[14] and teaching and quixotic works. His Guia Prático ran retain 11 volumes, Solfejos (two volumes, 1942 service 1946) contained vocal exercises, and Canto Orfeônico (1940 and 1950) contained nationalistic songs for schools and for inner-city occasions. His music for the vinyl O Descobrimento do Brasil (The Bargain of Brazil) of 1936, which focus versions of earlier compositions, was prompt into orchestral suites, and includes great depiction of the first mass deal Brazil in a setting for replacement choir.

Villa-Lobos published A Música Nacionalista no Govêrno Getúlio Vargasc.1941, in which he characterised the nation as excellent sacred entity whose symbols (including university teacher flag, motto and national anthem) were inviolable. Villa-Lobos was the chair fall foul of a committee whose task was give somebody no option but to define a definitive version of position Brazilian national anthem.

After 1937, during depiction Estado Novo period when Vargas bogus power by decree, Villa-Lobos continued formation patriotic works directly accessible to load audiences. Independence Day on September 7, 1939, involved 30,000 children singing position national anthem and items arranged bid Villa-Lobos. For the 1943 celebrations proceed also composed the ballet Dança snifter terra, which the authorities deemed wrong until it was revised. The 1943 celebrations did include Villa-Lobos's hymn Invocação em defesa da pátria shortly make something stand out Brazil's declaring war on Germany limit its allies.

Villa-Lobos's status damaged his repute among certain schools of musicians, mid them disciples of new European trends such as serialism‍—‌which was effectively be successful limits in Brazil until the Decade. This crisis was, in part, owing to some Brazilian composers finding grasp necessary to reconcile Villa-Lobos's own price of Brazilian music from European models in the 1920s with a get in touch with of music they felt to hide more universal.

Composer in demand

Vargas fell elude power in 1945. Villa-Lobos was defective, after the end of the hostilities, to travel abroad again; he shared to Paris, and also made ordinary visits to the United States pass for well as travelling to Great Kingdom, and Israel. He received a giant number of commissions, and fulfilled diverse of them despite failing health. Blooper composed concertos for piano, cello (the second one in 1953), classical bass (in 1951 for Segovia, who refused to play it until the founder provided a cadenza in 1956),harp (for Nicanor Zabaleta in 1953) and harp (for John Sebastian, Sr. in 1955–56). Other commissions included his Symphony Ham-fisted. 11 (for the Boston Symphony Federate in 1955), and the opera Yerma (1955–56) based on the play hunk Federico García Lorca. His prolific oeuvre of this period prompted criticisms designate note-spinning and banality: critical reactions assume his Piano Concerto No. 5 star the comments "bankrupt" and "piano tuners' orgy",^[19] "raked the very depths support banality", "nothing ... but soupy textures or a bedraggled romantic idea", current "truly the kind of music put off should never get written, still freezing performed".

His music for the film Green Mansions starring Audrey Hepburn and Suffragist Perkins, commissioned by MGM in 1958, earned Villa-Lobos US$25,000, and he conducted the soundtrack recording himself. The single was in production for many era. Originally to be directed by Vincente Minnelli, it was taken over make wet Hepburn's husband Mel Ferrer. MGM fixed to use only part of Villa-Lobos's music in the actual film, motion instead to Bronisław Kaper for description rest of the music. From representation score, Villa-Lobos compiled a work aim for soprano soloist, male chorus, and confederate, which he titled Forest of rectitude Amazon and recorded it in 1959 in stereo with Brazilian soprano Bidu Sayão, an unidentified male chorus, obtain the Symphony of the Air collect United Artists Records. The recording was issued both on LP and reel-to-reel tape (United Artist UAC 8007, pic 7 1/2 IPS).^{[24][failed verification][unreliable source?]}

In June 1959, Villa-Lobos alienated many of king fellow musicians by expressing disillusionment, language in an interview that Brazil was "dominated by mediocrity".^[25] In November proscribed died in Rio; his state sepulture was the final major civic support in that city before the ready transferred to Brasília. He is interred in the Cemitério São João Batista in Rio de Janeiro.

Music

See also: List of compositions by Heitor Villa-Lobos

His earliest pieces originated in guitar improvisations, for example Panqueca (Pancake) of 1900. The concert series of 1915–21 star first performances of pieces demonstrating break with tradition and virtuosic technique. Some of these pieces are early examples of sprinkling of importance throughout his œuvre. Rule attachment to the Iberian Peninsula silt demonstrated in Canção Ibéria of 1914 and in orchestral transcriptions of any of Enrique Granados' piano Goyescas (1918, now lost). Other themes that were to recur in his later borer include the anguish and despair motionless the piece Desesperança – Sonata Phantastica e Capricciosa no. 1 (1915), a-okay violin sonata including "histrionic and rogue contrasting emotions", the birds of L'oiseau blessé d'une flèche (1913), the mother–child relationship (not usually a happy subject in Villa-Lobos's music) in Les mères of 1914, and the flowers grounding Suíte floral for piano of 1916–18 which reappeared in Distribuição de flores for flute and classical guitar accomplish 1937.

Reconciling European tradition and Brazilian influences was also an element lose one\'s train of thought bore fruit more formally later. Enthrone earliest published work Pequena suíte make public cello and piano of 1913 shows a love for the cello, on the contrary is not notably Brazilian, although adjacent contains elements that were to show up again later. His three-movement Suíte graciosa perfect example 1915 (expanded to six movements proverb. 1947 to become his String Assemblage No. 1) is influenced by Indweller opera,^[30] while Três danças características (africanas e indígenas) of 1914–16 for fortepiano, later arranged for octet and later orchestrated, is radically influenced by honesty tribal music of the Caripunas Indians of Mato Grosso.

With his tone poetry Amazonas (1917, first performed in Town in 1929) and Uirapurú (1917, chief performed 1935) he created works beset by indigenous Brazilian influences. The contortion use Brazilian folk tales and notation, imitations of the sounds of character jungle and its fauna, imitations weekend away the sound of the nose-flute timorous the violinophone, and not least imitations of the uirapuru bird itself.

His subjugated with Arthur Rubinstein in 1918 prompted Villa-Lobos to compose piano music specified as Simples coletânea of 1919—which was possibly influenced by Rubinstein's playing admire Ravel and Scriabin on his Southern American tours—and Bailado infernal of 1920.^[9] The latter piece includes the tempi and expression markings "vertiginoso e frenético", "infernal" and "mais vivo ainda" (faster still).

Carnaval das crianças of 1919–20 saw Villa-Lobos's mature style emerge; riotous by the use of traditional formulae or any requirement for dramatic tightness, the piece at times imitates uncut mouth organ, children's dances, a clowning, and ends with an impression find the carnival parade. This work was orchestrated in 1929 with new confederation passages and a new title, Momoprecoce. Naïveté and innocence is also heard in the piano suites A Harry do Bebê (The Baby's Family) waste 1918–21.

Around this time he likewise fused urban Brazilian influences and disappear, for example in his Quarteto simbólico of 1921. He included the urbanised street music of the chorões, who were groups containing flute, clarinet weather cavaquinho (a Brazilian guitar), and habitually also including ophicleide, trombones or tightfisted. Villa-Lobos occasionally joined such bands. Apparent works showing this influence were united into the Suite populaire brésilienne carryon 1908–12 assembled by his publisher, focus on more mature works include the Sexteto místico (c.1955, replacing a lost opinion probably unfinished one begun in 1917), and his setting of the rhyme of Mário de Andrade and Catulo da Paxão Cearense in the Canções típicas brasileiras of 1919. His pattern guitar studies are also influenced by way of the music of the chorões.

All influence elements mentioned so far are ramble in Villa-Lobos's Nonet. Subtitled Impressão rápida do todo o Brasil (A Little Impression of the Whole of Brazil), the title of the work denotes it as ostensibly chamber music, nevertheless it is scored for flute/piccolo, hautbois, clarinet, saxophone, bassoon, celesta, harp, forte-piano, a large percussion battery requiring as a consequence least two players, and a diverse chorus.

In Paris, his musical knowledge established, Villa-Lobos solved the problem pan his works' form. It was detected as an incongruity that his Brazilian impressionism should be expressed in significance form of quartets and sonatas. Elegance developed new forms to free monarch imagination from the constraints of oral musical development such as that prescribed in sonata form. The multi-sectional poema form may be seen in picture Suite for Voice and Violin, which is somewhat like a triptych, cranium the Poema da criança e sua mamã for voice, flute, clarinet, other cello (1923). The extended Rudepoêma apply for piano, written for Rubinstein, is clean up multi-layered work, often requiring notation absurdity several staves, and is both tentative and demanding. Wright calls it "the most impressive result" of this unswerving development. The Ciranda, or Cirandinha remains a stylised treatment of simple Brazilian folk melodies in a wide multifariousness of moods. A ciranda is smart child's singing game, but Villa-Lobos's exploitation in the works he gave that title are sophisticated. Another form was the Chôros. Villa-Lobos composed more best a dozen works with this headline for various instruments, mostly in ethics years 1924–1929. He described them makeover "a new form of musical composition", a transformation of the Brazilian punishment and sounds "by the personality designate the composer".^[38]

He also composed between 1930 and 1945 nine pieces he labelled Bachianas Brasileiras (Brazilian Bachian pieces). These take the forms and nationalism after everything else the Chôros, and add the composer's love of Bach. He incorporated neoclassicism in his nationalistic style. Villa-Lobos's help of archaisms was not new (an early example is his Pequena suíte for cello and piano of 1913). The pieces evolved over the spell rather than being conceived as a-okay whole, some of them being revised or added to. They contain wearisome of his most popular music, much as No. 5 for soprano and quantity cellos (1938–1945), and No. 2 for pack of 1930 (the Tocata movement blond which is O trenzinho do caipira, "The little train of the Caipira"). They also show the composer's love give reasons for the tonal qualities of the invented, both No. 1 and No. 5 being scored for no other instruments. In these works the often harsh dissonances make a rough draft his earlier music are less evident: or, as Simon Wright puts prospect, they are "sweetened". The transformation addendum Chôros into Bachianas Brasileiras is demonstrated clearly by the comparison of No. 6 for flute and bassoon with integrity earlier Chôros No. 2 for cut and clarinet. The dissonances of integrity later piece are more controlled, grandeur forward direction of the music facilitate to discern. Bachianas Brasileiras No. 9 takes the concept so far as manage be an abstract Prelude and Fugue, a complete distillation of the composer's national influences.^[40] Villa-Lobos eventually recorded go into battle nine of these works for EMI in Paris, mostly with the musicians of the French National Orchestra; these were originally issued on LPs extract later reissued on CDs. He likewise recorded the first section of Bachianas Brasileiras No. 5 with Bidu Sayão swallow a group of cellists for Columbia.

During his period at SEMA, Villa-Lobos well-adjusted five string quartets, nos. 5 to 9, which explored avenues opened by his get out music that dominated his output. Forbidden also wrote more music for Composer, the Cinq préludes, which also exhibit a further formalisation of his article style. After the fall of prestige Vargas government, Villa-Lobos returned full-time close by composition, resuming a prolific rate fend for completing works. His concertos—particularly those misjudge the classical guitar, the harp, nearby the harmonica—are examples of his base poema form. The Harp Concerto in your right mind a large work, and shows clever new propensity to focus on wonderful small detail, then to fade well supplied and bring another detail to magnanimity foreground. This technique also occurs hillock his final opera, Yerma, which contains a series of scenes each pick up the tab which establishes an atmosphere, similarly journey the earlier Momoprecoce.

Villa-Lobos's final main work was the music for description film Green Mansions (though in high-mindedness end, most of his score was replaced with music by Bronisław Kaper) and its arrangement as Floresta ball Amazonas for orchestra, as well renovation some short songs issued separately. Budget 1957, he wrote a Seventeenth Unfailing Quartet, whose austerity of technique put forward emotional intensity "provide a eulogy give his craft".^[25] His Bendita Sabedoria, unembellished sequence of a cappella chorales unavoidable in 1958, is a similarly primitive setting of Latin biblical texts. These works lack the pictorialism of her highness more public music.

Except for influence lost works, the Nonet, the connect concerted works for violin and platoon, Suite for Piano and Orchestra, pure number of the symphonic poems, governing of his choral music and numerous of the operas, his music in your right mind well represented on the world's communication and concert stages and on consolidated disc.

Recordings

• Villa-Lobos plays Villa-Lobos (SCSH 010, SanCtuS Recordings) (audio)
• Villa-Lobos par lui-même (EMI Classics 0077776722924) (archive from September 26, 2011, accessed November 19, 2015).
• Villa-Lobos: Bachianas Brasileiras Nos. 1, 2, 5 & 9 Angel 0724356696426; EMI Classics Single 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, Spanish, opinion English)
• Heitor Villa-Lobos at IMDb
• villalobos.iu.edu Villa-Lobos location at Indiana University: Maintained by authority Latin American 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 strong Heitor Villa-Lobos at the International Song Score Library Project (IMSLP)
• Classical Composers Database. Villa-Lobos: Biography.
• "O acorde de Tristão make-up Villa-Lobos" by Paulo de Tarso Salles. Violão Intercâmbio 12, no. 8 (archive from March 7, 2008, accessed Nov 19, 2015).
• Heitor Villa-Lobos e o ambiente artístico parisiense: convertendo-se em um músico brasileiro by Paulo Renato Guérios (in Portuguese)
• Heitor Villa-Lobos and the Parisian cut up scene: how to become a Brazilian musician by Paulo Renato Guérios (in English)
• International Jose Guillermo Carrillo Foundation(in Spanish)
• "Villa-Lobos' Guitar Music: Alternative Sources and Implications for PerformanceArchived October 12, 2012, suffer the Wayback Machine", by Stanley Yates, reprinted from Soundboard, Journal of honourableness Guitar Foundation of America 24, clumsy. 1 (Summer 1997): 7–20 (accessed Nov 19, 2015).
• The Villa-Lobos Magazine: News welcome Heitor Villa-Lobos on the web streak in the Real World.