Sunday, January 1, 2017

Uirapuru danced in Madrid

The Argentine choreographer Dani Pannullo and his dance company present Uirapuru, based on Villa-Lobos' great early orchestral masterpiece. The music is played by JORCAM, conducted by Jordi Frances-Sanjuan. This is from 2011.

Thursday, December 8, 2016

Merry Christmas from The Villa-Lobos Magazine

Here's a Christmas staple for the Villa-Lobos lover: the beautiful Praesepe, a choral work written in 1952 for alto soloist and mixed chorus, #21 in the collection Musica Sacra, vol. 1.

Villa-Lobos set the words of Padre Jose de Anchieta, a Portuguese missionary to Brazil, written in 1563.

Text and translation are from the liner notes to the Corydon Singers/Matthew Best Villa Lobos sacred music CD on the Hyperion label (CDA6638, 1992/93.) Used with permission of Hyperion Records.

Sunday, November 20, 2016

Tuesday, November 15, 2016

The great beasts of Villa-Lobos

In his liner essay for the third volume of The Guitar Manuscripts on Naxos, guitarist Andrea Bissoli quotes from the memoirs of the Spanish pianist Tomás Terán:
That year [1928] we spent the summer together in Lussac-les-Châteaux. We found a place to stay above a kind of pâtisserie that only opened on high days and holidays. Our rooms looked out over the garden at the back and were divided by a wooden panel that was so insubstantial we could chat to one another through the wall till the early hours. Villa planned to amuse himself by constructing a fleet of kites, so we’d arrived laden down with enormous lengths of bamboo, rope and sheets of paper: the lady who owned the shop below thought we must have been members of a circus ... The day he flew the first kite (designed in the shape of a huge fish), it was caught by a sudden gust of wind just as he was launching it, and went up like a rocket; it dragged Villa along for several metres before I managed to cut its ropes. The kite came down three or four kilometres away: after that experience his “great beasts” frightened me. I suggested to him that in future he should tie them to a tree, for safety’s sake, and he agreed. Those kites were great fun for the people of Lussac. Some days, Villa would play the guitar late into the night (I should point out we were the only people staying at the pâtisserie); that was when he had the idea of composing his studies for the instrument.
This is how Villa-Lobos came to write one of his most important creations: the 12 Etudes for guitar.

Naxos has just released a box set of the three volumes of The Guitar Manuscripts. I'll be writing a review Real Soon Now. In the meantime, here's a picture (from the Museu Villa-Lobos) of Villa-Lobos and Terán with one of Villa's Great Beasts; and via Spotify, the  “symphonic episode” O papagaio do moleque (The little boy’s kite), from the same disc. It's played by the Minas Gerais Philharmonic Orchestra, conducted by Fabio Mechetti.

I think that's Villa on the left, Terán in the middle, and I assume Lucilla on the right.

Tuesday, November 1, 2016

Festival Música Nova 'Gilberto Mendes'

The 50th annual Festival Música Nova 'Gilberto Mendes' takes place in Ribeirão Preto during November 2016. This year's festival is in memory of Mendes, who died January 1, 2016, and Pierre Boulez, who died four days later.

There's more information on the Festival concerts here. And here's the superb OSESP Choir conducted by Naomi Munakata, singing one of Mendes' great avant garde works, Beba Coca-Cola. This clip is from the documentary film A Odisseia Musical de Gilberto Mendes, directed by Carlos de Moura Ribeiro Mendes.

Monday, October 31, 2016

RIP Roland Dyens

It was a sad day last Saturday when I heard of the death at the age of 61 of the great Tunisien/French guitarist and composer Roland Dyens. The main Villa-Lobos/Dyens connection is one of the best known of his compositionsHommage à Villa-Lobos. Here it is, played by Elena Papandreou (tracks 6-9).

There are a few Villa-Lobos pieces included amongst Dyens' large discography. I haven't heard this 1987 Valois CD; unfortunately it seems to be quite rare and expensive. Besides the Villa-Lobos Concerto it includes Dyens' own Hommage recording as well as the Choros no. 1 and the Suite populaire bresilienne. And I've never seen even a cover picture of the 1990 Arc en Ciel CD that includes the 5 Preludes.

Thursday, October 27, 2016

Old favourites at Christmas

[This is embarrassing: I posted this review here at the Villa-Lobos Magazine instead of at my review site, Music for Several Instruments. Rather than breaking links on Twitter, I'll leave this here though. By the way, you should definitely buy this disc!]

If there's one classical CD I've listened to more than any other in the past decade, it's this one with Les Violons du Roy under their founder, Bernard Labadie. Or rather, it's the original of this new reissue by ATMA Classique, first released by Dorian Sono Luminus in 1993. The reissue is due out on November 4, 2016. In some ways it's easier to review a brand new disc I've never heard before than a cherished one that has its MP3 files worn down by constant listening. It's hard to be objective about something I know so well. Perhaps a new version, even by the same group, might be more stylish. After all, the art and science of Historically Information Performance moves ahead every year. But surely there's something to be said, especially at Christmas time, for dearly loved tradition. This is simply the best selection of Baroque pastoral music, which goes best with snow falling on Christmas Eve.

This tweet is six years old!

Wednesday, October 26, 2016

Hommage à Heitor Villa-Lobos

Here is a concert, from August 30, 1954, with the Orchestre National de la Radio-Television Francaise conducted by Villa-Lobos. The first work is Dawn in a Tropical Rain Forest (Alvorada Na Floresta Tropical). You can listen to the first bit for free, but it will cost 4 Euros to download the whole concert. That includes a second half, featuring Magda Tagliaferro playing the piano, I believe in Bachianas Brasileiras no. 3, though it might be Momoprecoce. Enjoy!

Uirapuru in Buenos Aires

Villa-Lobos wrote his great orchestral work Uirapuru in 1917*, and it was adapted by Serge Lifar as a ballet in 1935. The premiere of the ballet was at the Teatro Colón in Buenos Aires on May 25, 1935, on the occasion of a state visit by President Vargas. The picture above, from the Museu Villa-Lobos, is from the new 1940 version of the ballet, choreographed by Vaslav Veltchek.

* Or did he? Villa often revised his early works, and in the case of the Sexteto mistico, lost the score and re-composed it from memory many years later. If the Uirapuru score indeed comes from 1917, it's Villa's earliest orchestral masterpiece, but Mario de Andrade believed it was substantially re-written for the 1935 performance.

Here is an excellent version of Uirapuru: the Orquesta Sinfonica de RTVE is conducted by Carlos Kalmar.

Tuesday, October 25, 2016


There are many stories of Villa-Lobos's multi-tasking, and his phenomenal ability to focus on his music in spite of many distractions. Here's a typical one, from the Presenca Villa-Lobos no. 10, in the Museu Villa-Lobos. The translation is by Harold Lewis.
In the text of a radio talk given in August 1975, Walter Burle Marx recalled that Villa-Lobos had offered to produce a piece for one of the young persons' concerts he (Burle Marx) was organising.  Two days before the concert, in November 1932, he visited Villa-Lobos in his little apartment in the centre of Rio.  The composer had just finished dinner and was clearing the table.
"I'll work on it tonight, and should finish it at 4 a.m."
 "Villa-Lobos," he inquired, "how far have you got with the work you've promised?"    "I'll work on it tonight, and should finish it at 4 a.m."
"And the parts?"
"I'll do them myself and some friends are coming to help me later."
"Then I'll let you get on with it and not disturb you." "You're not disturbing me at all," said Villa-Lobos, insisting that Burle Marx stayed.
After sorting the manuscripts on the table, Villa-Lobos went on working on the orchestration while talking to his visitor.  At the same time, in another room of the apartment, the pianist Jose Brandão was playing the transcription of the symphonic poem 'Amazonas', and form time to time, Villa-Lobos, hearing something that wasn't right, called out to Brandao, "No, no, it's G flat in the bass," and so forth. The fact was that next day at 9 a.m., the young musicians received the score of the Caixinha de Boas Festas, with all the parts written out.
Here's another: Lisa Peppercorn reminisces about her visit with Villa-Lobos while he and John Sebastian worked on the Harmonica Concerto.
It was one of my joys to work with John and Villa-Lobos during the writing of the Concerto. The composer sat at the huge semi-circular desk with a pot of black thick coffee, several cigars and ashtrays all around working on several compositions at once, while watching a TV at intervals. All the time wearing a hat...
These are examples of Digression or Divigation (Divagação in Portuguese), and I expect this is a common enough trait of great artists. The big, the very big, picture emerges in the mind of the genius, and he or she pokes around it, taking different paths, sometimes at once, to bring it to the rest of us. In the words of Italo Calvino, "Divagation or digression is a way to postpone the ending," and it's in story-telling that we see it most often. According to Lawrence Sterne, "Digression is the sunshine of narrative".  It reminds me of the tall tales Villa told during his first trip to Paris, most notably the one about the man-eating plant in the Brazilian jungle that swallowed a companion whole, but that spit him out unharmed when Villa played a tune on a flute. And this in answer to the banal question "where do you get your ideas?" The music itself is often full of musical digressions, with development sloughed off in favour of another theme, or two or three. Symphonies become suites, and suites are hidden as "Choros" with touches of samba or other urban serenades. In a way these stories and his huge body of work (which he turned into another tall tale, since it's nowhere near as large as he made out) are digressions, to postpone the ending.

Paul Holdengraber from the New York Public Library has been talking for a while about Digression. He quotes the psychoanalyst Adam Phillips: “Digression is secular revelation,” and explains more fully:
When we talk about digression, we’re talking about getting lost, about taking the side roads, or the road just behind the road we thought we were taking. What doesn’t quite fit, what might be dismissed, but isn’t, becomes the road to revelation.
Just a personal aside (ha!), my whole Villa-Lobos life on the web, which is coming up to 25 years pretty soon, is a series of hyper-text digressions to reveal some of the facets of the amazing person who was Heitor Villa-Lobos.

All this complex narrative, and I finally get around to what I wanted to post today, which is this very good performance of Villa's little piece for cello and piano which he wrote in 1946, entitled Divagação. Notice how the composer (a professional cellist himself) digresses with some ad libitum cello-drumming before he begins the actual cello part!

Thanks to @Holdengraber for his amazing Twitter feed, and for the great work he's doing at NYPL.

Monday, October 24, 2016

Villa-Lobos and Donga

I came across a great book by the guitarist and former Museu Villa-Lobos Director Turibio Santos, called Heitor Villa-Lobos and the Guitar. Originally published by the Museu in 1975, an English translation from Wise Owl Music came out in 1986. Here's a cool chapter about Villa's early days amongst the choroes.

Donga is Ernesto Joaquim Maria dos Santos (1890-1974). He wrote what is often considered the first Samba. That disc dropped 100 years ago, in 1916.

A few years ago I posted this at Tumbling Villa-Lobos. It gives another picture of Villa-Lobos hob-nobbing with the top popular musicians of the day.
"I went out for some bohemian fun with [historian Sergio Buarque de Holanda & journalist Pedro Dantas] the other night. With Villa-Lobos and Gallet, too. We went for an evening of guitar music and a drop of cachaça [cane liquor] with three true Brazilians - Pixinguinha, Patricio, and Donga."
The sociologist & cultural anthropologist Gilberto Freyre meets the greatest popular musicians - sambaistas - of Rio de Janeiro, from a diary entry in 1926. As usual, Villa-Lobos is right in the middle, as is his colleague Luciano Gallet. This is from the fascinating book The Mystery of Samba: Popular Music and National Identity in Brazil, by Hermano Vianna.

Another great caricature

This splendid caricature is from Marco Antonio Carvalho Santos's book Heitor Villa-Lobos, published by MEC in 2010. I can't find a credit; can anyone help with the artist's name?

And check it out! It's now my new Twitter profile photo.