The Piano Music of Heitor Villa-Lobos

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The Piano Music of Heitor Villa-Lobos

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dc.contributor.other Heitor Villa-Lobos es
dc.contributor.other Sonia Rubinsky es
dc.coverage.spatial Paris, France es
dc.date.accessioned 2013-09-02T22:15:38Z
dc.date.available 2008
dc.date.available 2013-09-02T22:15:38Z
dc.date.copyright 2008
dc.date.issued 2013-09-02
dc.identifier.uri http://hdl.handle.net/123456789/3738
dc.description.abstract The music of Heitor Villa-Lobos is known for its characteristic nationalism, driving rhythms, and original instrumentation. He was trained as an autodidact opposed to academic instruction, his music grew in a completely independent and individual fashion. Villa-Lobos began studying music at an early age, when his father, a worker at the National Library and an amateur musician, taught him to play cello, viola, and guitar. These early influences later became evident in the orchestration of some of his more prominent works. Although he intended to enter school to study medicine, Villa-Lobos soon found that he preferred spending time with the local popular musicians, becoming familiar with the various musical styles native to Rio de Janeiro's street and night life. Among other skills, he learned to improvise guitar melodies over the "choro," a popular instrumental genre of the time, which lent Villa-Lobos the effortless Latin nationality so strongly present in his music. From the ages of 18 to 25 he traveled extensively throughout Brazil and the African-influenced Caribbean nations, collecting themes and assessing the major style characteristics of the local musics. It was also during this time that Villa-Lobos composed his first major compositions, most notably his Piano Trio No. 1. When he returned to Rio de Janeiro in 1912, Villa-Lobos briefly attempted to receive a more formalized education, but his personality and musical practice proved ill-matched with the academic establishment and, although he made important connections with the faculty, he soon left classes. He spent the next ten years composing and playing freelance cello in cafes and cinemas to earn a living. He eventually gained national recognition and a fair sum of government funding with the premiere of his Third Symphony, "A guerra," the first part of a symphonic trilogy commissioned by the Brazilian government to commemorate World War I. From 1923 to 1930, Villa-Lobos found himself centered in Paris, where he was a huge success, his music being widely published and frequently performed. He eventually returned to Brazil, however, becoming one of the most esteemed artists of the new Nationalist regime, which lasted until 1945. During the 1930s, Villa-Lobos involved himself deeply and enthusiastically with public music education, once again traveling throughout Brazil to offer his services as a teacher and school coordinator. In 1945, his passion reached the ultimate fruition when he founded the Brazilian Academy of Music. He spent the last ten years of his life traveling and conducting, primarily in New York and Paris. © Graham Olson, All Music Guide es
dc.description.tableofcontents CD8-- Guia Práctico Álbum No. 10 (1932) ; Der Flôr em Flôr, Atché, Nesta Rua, Fui no Itororó (1ª versão), Mariquita Muchacha, No Jardim Celestial-- Guia Prático Álbum No. 11 (1949) ; O Anel, Nighe Ninhas, Pobre Cega, A Cotia, Vida Formosa, Viva o Carnaval!-- Ibericarabe (1914) / transcribed / Lucília Guimarães Villa-Lobos-- Suite Infantil No. 1 (1912) ; Bailando, Nenê vai dormir, Artimanhas, Reflexões, No Balanço-- Suite Infantil No. 2 (1913) ; Allegro, Andantino, Allegretto, Allegro non troppo-- Excerpts from Marqueza de Santos (1938) ; III Gavota-Chôro, II Valsinha Brasileira (à maneira antiga)-- Selections from Guia Prático 1º Volume (1932) ; No. 11 Ba Be Bi Bo BU, No. 12 Na Baía Tem, No. 15 Bela Pastora, No. 18 Cachorrinho, No. 31 Carneirinho Carneirão, No. 34 Chora Menina Chora, No. 41 Constancia, No. 45 O Cravo (1ª versão), No. 55 Fui no Itororó (2ª versão), o. 72 A Mamãi estava doente, No. 73 Manda Tiro Tiro Lá, No. 77 Margarida, No. 79 Meninas Ó Meninas, No. 80 Meu Bemzinho, No. 81 Meu Pai Amarraou meus Olhos, No. 84 Olha o Bicho, No. 87 Pai Francisco (1ª versão), No. 89 Passe Passe Gavião (Lá na Ponte da Vinhaça), No. 90 Passarás não Passarás, No. 95 Pirolito, No. 99 Pobre Peregrino, No. 105 Quando eu era pequenino, No. 107 Que lindos Olhos!, No. 108 Rosa Amarela (1ª versão), No. 130 Vem Cá Siriri, No. 133 Vitú-- es
dc.format.extent 79:17 min. es
dc.format.medium 1 CD Rom (79 min., 17 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 747313050475 es
dc.subject.lcsh Piano Music es
dc.title The Piano Music of Heitor Villa-Lobos es
dc.title.alternative Piano Music 8 es
dc.title.alternative Guia Prático Album 10 and 11 : Suite Infantil Nos. 1 and 2 es
dc.title.alternative La Música para Piano de Heitor Villa-Lobos es
dc.language.rfc3066 eng es
dc.rights.holder Naxos Rights International Ltd. es
dc.identifier.classification 747313801336 es
dc.subject.cdu Vill.15 es


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Guia Práctico Álbum No. 10 (1932).wav 7:37 76.85Mb WAV audio wav
Guia Prático Album No. 11 (1949).wav 14:36 147.4Mb WAV audio wav
Ibericarabe (1914).wav 5:23 54.32Mb WAV audio wav
Suite Infantil No. 1 (1912).wav 10:07 102.1Mb WAV audio wav
Suite Infantil No. 2 (1913).wav 5:18 53.45Mb WAV audio wav
Excerpts from Marqueza de Santos (1938).wav 9:14 93.26Mb WAV audio wav
Selections from Guia Prático 1º Volume (1932).wav 24:43 249.5Mb WAV audio wav

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