Works
of Villa-LobosChoros
Works
of Villa-Lobos
#1 |
No. 1 for guitar (1920) - Max Eschig |
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No. 2 for flute & clarinet (1924) - Max EschigEero Tarasti brings up the possibility of the influence
of Edgard Varese,
a close friend of Villa-Lobos' during his stay in Paris. Other European
influences that come up in Tarasti's analysis (p. 91-95 of his Heitor
Villa-Lobos, 1995) are Debussy and Stravinsky.
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#2 |
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#3 |
No. 3 for male chorus & wind instruments (1925) - Max Eschig Subtitled
"Pica-Pau" [woodpecker].
"Dedicated to the sonorous atmospher of the primitive music of the aborigines of the states of Matto Grosso and Goias." - HVL
One of the themes is borrowed from an Indian song melody, a drinking song of the Parecis Indians. As Villa-Lobos scholar Gerard Behague points out, this is a rare case of Villa-Lobos using an actual Indian song in one of his pieces. Instrumentation:
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No. 4 for 3 horns & trombone (1926) - Max EschigA work that definitely enriches the world's literature
for 3 horns and trombone...
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#4 |
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#5 |
No. 5 for piano (1925) "Alma Brasileira" - Max EschigDedicated to Villa-Lobos' benefactor Arnaldo Guinle. |
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No. 6 for orchestra (1926) - Max EschigOrchestration:
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#6 |
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#7 |
No. 7 for winds, violin & cello (1924) - Max EschigOrchestration:
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No. 8 for large orchestra & 2 pianos (1925)Orchestration:
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#8 |
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#9 |
No. 9 for orchestra (1929) - Max EschigPiccolo, 2 flutes, 2 oboes, eng horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns,4 trumpets, 4 trombones, tuba, timpani, tam-tam, bombo, tambor, tambor surdo, camisao (large and small), pio, triangle, reco, tartaruga, cax, cho (metal and wood), xylophone, vibraphone, celesta, 2 harps and strings Dedicated to Arminda Noves d'Almeida in 1936 Premiere:
Rio de Janeiro, Orchestra of the Teatro Municipal; Villa- Lobos, cond;
7/15/1942
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No. 10 for chorus & orchestra (1925) "Rasga o Coraçao" - Max EschigVilla-Lobos' greatest work?
The subtitle, which means "Rend my heart," comes from
a modinha by Catulo da Paixao Cearense (1866-1946). Villa-Lobos
quotes a schottische by Anacleto de Medeiros (1866-1907). The quotation
caused quite a stir: a plagiarism suite was brought against Villa-Lobos,
though it was ultimately dropped. There is another Parecis Indian
song used in this Choros (see #3 above) - a "hammock" lullabye.
Orchestration:
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#10 |
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#11 |
No. 11 for piano & orchestra (1928) - Max EschigOrchestration:
A new recording of the Choros no. 11 has just been released by Ondine - ODE 916-2. Pianist Ralf Gothoni (piano) and the Finnish RSO conducted by Sakari Oramo have received rave reviews (here's one from the rec.music.classical.recordings newsgroup by Harold Lewis.) Until now the standard recording came from the famous May 1958 sessions in Paris, with the composer conducting the Orchestre National de la Radiodiffusion Française. |
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No. 12 for orchestra (1929) - Max EschigOrchestration:
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#12 |
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#13 |
No. 13 for 2 orchestras & band (1929)- Score Lost |
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No. 14 for orchestra, band & chorus (1928) - Score Lost |
#14 |
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[bis] |
Choros bis, for violin & cello (1928) |
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Introduction aux Choros for orchestra & guitar (1929) - Max EschigInstrumentation:
A potpourri of themes from the series, written after the
series was complete.
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Intro |
1 The bird-song is from the marvellous site Songs of Brazilian Birds, on the Ministério do Meio Ambiente, dos Recursos Hídricos e da Amazônia Legal website. There are two bird-song pages on the site - the English one linked above, and one in Portuguese. The Portuguese version might actually be of more interest to English-speaking Villa-Lobos lovers, since the Portuguese names of the birds were used so often by Villa-Lobos: besides the Araponga-de-barbelas, there are the Pica-pau, the Papagaio, the Surucua, and the Uirapuru - all the subjects of music by Villa-Lobos. Look for a feature coming soon to the Heitor Villa-Lobos Website: Birdsong in the Music of Villa-Lobos. [return to the text]
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