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Villa-Lobos Festival, Paris, 1930

 Paris was the scene of the Festival Villa-Lobos, held in March 1930.  The following review is from Le Ménestrel, April 11, 1930 (p. 170).  The concert included some of Villa's strongest chamber works:

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2009: Villa-Lobos on CD

Though the Ano Villa-Lobos was marked by many adventurous Villa-Lobos concert programs around the world, there weren't that many new recordings released with unfamiliar repertoire in 2009.  Rather, the keynote for Villa-Lobos on disc in 2009 was consolidation.  This has resulted in an embarrassment of bargain discs, and it's now much easier to build something approaching a complete Villa-Lobos collection.  It's now also easier to judge Villa-Lobos's greatness as a composer of orchestral and chamber music.

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2009: the Ano Villa-Lobos

The year of the 50th Anniversary of the death of Villa-Lobos - dubbed the Ano Villa-Lobos in Brazil - marks the high-water mark (so far) for the reputation of the composer.  Here are some of the highlights of the Villa-Lobos Year, as seen from the Villa-Lobos Eyrie, high atop the city of Red Deer, Alberta.

January: with 47 concerts in the Villa-Lobos Website database, including one with Choros #06 in Warsaw.  The big news in Brazil was the firing of conductor John Neschling from the Orquestra Sinfônica do Estado de São Paulo (Osesp).  I was sad to learn about the death of Villa-Lobos scholar and pianist Ana Stella Schic .

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Brazil in France, 1922: An Anthropological Study of the Congenital International Nexus of Popular Music

"Brazil in France, 1922: An Anthropological Study of the Congenital International Nexus of Popular Music," Rafael José De Menezes Bastos, Latin American Music Review, Volume 29, Number 1, Spring/Summer 2008, pp. 1-28

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Brazilian Music (Eunice Joiner Gates)

"Brazilian Music", Eunice Joiner Gates
Source: Hispania, Vol. 22, No. 2 (May, 1939), pp. 129-134

hispania 

p. 134:

"Thus we see that the work that Villa-Lobos is now doing is that of creating a future audience for Brazil that will not be satisfied to listen passively to a concert, but will be composed of individuals who have been trained to feel the music as the artist feels, and from whose ranks other creative artists may rise."

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In Havana and Paris: the musical activities of Alejo Carpentier

"In Havana and Paris: the musical activities of Alejo Carpentier", by Caroline Rae, Music & Letters, vol. 89 no. 3, 2008, p. 373-395.

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The 'One-World Style' of Villa-Lobos, by Alfred Heller

In 1957 Heitor Villa-Lobos was at the peak of his success. On the occasion of his seventieth birthday he was cited by Mayor Robert Wagner of New York City "for distinguished and exceptional service." Wagner called Villa-Lobos a "talented interpreter of music: inspired teacher who led the movement to make the folk music of Brazil an important social force in the lives of her youth... original composed of first rank who has contributed to diverse branches of his universal art." On March 4th, 1957, The New York Times honoured him with an editorial stating that he was "one of the truly distinguished men of music of our time ... a remarkable figure in any age."

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Archival Collections

Here are references to major collections of archives with some connection to Villa-Lobos:

John Sebastian, Papers, 1940-1974.  Haverford College, Haverford PA.

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O pianismo de Nazareth em tempo rubato

Antonio Guerreiro de Faria, "O pianismo de Nazareth em tempo rubato," Per Musi, Belo Horizonte, n.10, jul-dec 2004, p. 89-95

Pianistic features of Ernesto Nazareth in tempo rubato

Abstract: Discussion about the interpretations of musicologist Mario de Andrade’s writings which considered the
music of Brazilian composer Ernesto Nazareth as directly influenced by Chopin, departing from the historical
recordings featuring Nazareth playing his own music. It also includes some considerations about the use of
tempo rubato by piano players in order to characterize this influence.

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A Prole do Bebê n.1 e n.2 de Villa-Lobos: estratégias da textura como recurso composicional

Maria Lúcia Pascoal, "A Prole do Bebê n.1 e n.2 de Villa-Lobos: estratégias da textura como recurso composicional," Per Musi – Revista Acadêmica de Música – n.11, 136 p., jan-june 2005

Villa-Lobos’s A Prole do Bebê N.1 and N.2: aspects of texture and composition techniques

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