Iberia, October 5, 1992

This is the concert program of the Iberia performance on Monday, October 5, 1992 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were "Siete canciones populares españolas" by Manuel de Falla, Three "Tangos Brasileiros" by Ernesto Nazareth, Estrella é Lúa Nova by Heitor Villa-Lobos, Ó Pallida Madona by H. Villa-Lobos, Viola Quebrada by H. Villa-Lobos, Cançāo do Poeta do Século XVIII by H. Villa-Lobos, Xango by H. Villa-Lobos, "Cuatro madrigales amatorios" by Joaquín Rodrigo, and "Poema en forma de canciones" by Joaquín Turina. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Ein Liederabend, November 10, 1987

This is the concert program of the Ein Liederabend performance on Tuesday, November 10, 1987 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Lascia ch'io pianga (from Rinaldo) by George Frideric Handel, Wir wandelten by Johannes Brahms, What can we poor females do? by Henry Purcell, Selve amiche by Antonio Caldara, Mirti, faggi, tronchi e fronde by A. Caldara, Vaghe luci e troppo crudo by A. Caldara, La mort d'Ophélie by Hector Berlioz, La maja dolorosa by Enrique Granados, El majo discreto by E. Granados, Flow gently, sweet Afton - Traditional Scottish, Der Schmied by J. Brahms, Au cimetière by Gabriel Fauré, Miau by Heitor Villa-Lobos, Lundu by H. Villa-Lobos, Evocação by H. Villa-Lobos, If music be the food of love by H. Purcell, Spleen by G. Fauré, and Zueignung by Richard Strauss. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Guest Artist: Miguel Proença, piano, October 25, 1986

This is the concert program of the Guest Artist: Miguel Proença, piano performance on Saturday, October 25, 1986 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were 3 Intermezzi, Op. 119 by Johannes Brahms, Sonata, Op. 5 in F minor by J. Brahms, 5 Cirandas by Hector Villa-Lobos, Hommage a Chopin by H. Villa-Lobos, and Sonata No. 4 by Alexander Scriabin. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Aspectos interpretativos em quartetos de cordas de Heitor Villa-Lobos

Mestrado em MúsicaEste trabalho tem por finalidade fazer um estudo interpretativo do primeiro, quinto e décimo sétimo Quartetos de cordas de Heitor Villa-Lobos, situá-los dentro da esfera nacionalista, e abordar questões técnicas que auxiliem os instrumentistas na execução dos mesmos. Composto em 1915, ano que marca o início de sua apresentação oficial como compositor no Rio de Janeiro, o Primeiro Quarteto é uma suíte de seis pequenas peças, onde Villa-Lobos começa a mostrar traços de seu interesse pela cultura popular brasileira. O Quinto Quarteto, escrito em 1931, inicia a série de composição dos Quartetos nacionalistas e é considerado o primeiro dos quartetos populares. O primeiro e o último andamento são baseados em cantigas tradicionais brasileiras. O Décimo Sétimo Quarteto foi composto em 1957 e Villa-Lobos nunca chegou a escutá-lo. Possui quatro andamentos e uma linguagem harmônica mais elaborada. Os aspectos interpretativos de cada Quarteto foram estudados separadamente por andamentos, mostrando suas características bem como as ideias musicais propostas pelo compositor.This work aims to undertake an interpretive study of the First, Fifth and Seventeenth String Quartets of Heitor Villa-Lobos, addressing technical issues that may help performers. Composed in 1915, the year of Villas-Lobos’ official presentation as composer in Rio de Janeiro, the First Quartet is a suite of six short pieces, in which Villa-Lobos began to display his interest in Brazilian popular culture. The Fifth Quartet, composed in 1931, begins a series of nationalistic Quartets and is considered the first of the popular quartets. The first and last movements are based on traditional Brazilian songs. The Seventeenth Quartet was composed in 1957, and Villa-Lobos never heard it. It has four movements and a more elaborate harmonic language. The interpretive aspects of each quartet were studied separately for each movement, discussing their characteristics as well as the musical ideas proposed by the composer

The guitar music of Heitor Villa-Lobos : challenging common assumptions regarding idiomatic fingerings, shapes and gestures as used in selected preludes and etudesc

The lecture explores the idiomatic "guitaristic" gestures used by Villa-Lobos in selected Etudes and Preludes focusing on the relationships between both the "idiomatic" fingerings/shapes employed by Villa-Lobos and their the harmonic and formal design of each composition. The emphasis is emphasis on Etude number 12, though there is further discussion of how early twentieth century compositional trends were incorporated in the Etudes, Preludes and Choros of Villa-Lobos. Audio/visual recording of a lecture-presentation given for the Big Guitar Weekend event at the Royal Scottish Academy of Music and Drama 10 November 2009

The Fugues in the Bachianas Brasileiras by Heitor Villa-Lobos: Neoclassicism and Learned Style

This text is concerned with Villa-Lobos’s fugues in Bachianas Brasileiras. By acknowledging his reading of D’Indy’s music composition treatise Villa-Lobos also recognizes his knowledge of rules and practices of fugue composition as instructed by D’Indy. Further evidence may be corroborated by Villa-Lobos’s own description of these works in 1947 and published by Villa-Lobos Museum in 1972. In these descriptions the composer refers to fugue d’école and how he adheres or how he transgresses these composition instructions. In all the fugues examined the structural components of a fugue d’école are functional and represent a learned skill by the composer. Villa-Lobos shows us his ability, his craftmanship in fugue composition, and his chronologically distant inheritance of learned style. The amalgamation of these characteristics, stylistic allusions to the music of J. S. Bach, and of Brazilian music moods characterize these “nationalistic neoclassical fugues”

Experiencing Villa-Lobos, Vocal & Choral Concert

Experiencing Villa-LobosVocal & Choral ConcertFriday, March 22, 2019 at 5pmSonia Vlahcevic Concert HallW.E. Singleton Center for the Performing ArtsVirginia Commonwealth UniversityRichmond, Va

Brazilian elements in Villa-Lobos\u27s Assobio a Jato

Heitor Villa-Lobos was particularly lauded for creating a unique Brazilian style of art music. He imbued in his works a flavor of the many facets and cultures of Brazilian life, from the jungles of the Amazon to the street musicians of Rio de Janeiro. One of his late works, a piece entitled Assobio a Jato (The Jet Whistle), demonstrates this Brazilian flavor, even though the composition was written later in Villa-Lobos\u27s life when the Brazilian element was not so obvious as in his earlier works. The purpose of this paper is to present a brief background about Villa-Lobos and an overview of Brazilian popular and folk music. Further, a discussion about how Villa­ Lobos incorporated this music into his own compositions follows, and an analysis of Assobio a Jato with regard to its elements of Brazilian music concludes the paper

Experiencing Villa-Lobos, Young Performers Concert

Experiencing Villa-LobosYoung Performers ConcertFriday, March 22, 2019 at 3:30pmSonia Vlahcevic Concert HallW.E. Singleton Center for the Performing ArtsVirginia Commonwealth UniversityRichmond, Va

A conductor\u27s study of Villa-Lobos\u27s Magnificat-Alleluia and Bendita Sabedoria

Heitor Villa-Lobos is one of the most important names in South American music and probably the most important name in Brazilian music. His musical output includes symphonies, symphonic poems, operas, chamber music, concertos, and choral music, among other genres. His choral music output is significant and includes pieces in which the chorus seems to be used for color and rhythm in a primarily instrumental texture, educational music, folk and secular pieces, large scale choral pieces, and sacred music. This document provides a brief survey of his choral music and a conductor\u27s study of his last two choral works, Bendita Sabedoria and Magnificat-Alleluia. The research is divided into three chapters. The first chapter, entitled Survey of Villa-Lobos\u27s Choral Music, briefly examines the principal categories of his choral output. Works such as Nonetto, Quatuor (including female choir), Choros no.10, Missa São Sebastião, Missa Vidapura, and Pater Noster are used as examples. The second and third chapters are entitled A Conductor\u27s Study of Villa-Lobos\u27s Bendita Sabedoria and A Conductor\u27s Study of Villa-Lobos\u27s Magnificat-Alleluia, respectively. The two works are examined in the areas of text, form, texture, harmony, rhythm, and orchestration, with suggestions for their interpretation and preparation of the two works included in the conductor\u27s study. Villa-Lobos\u27s choral music encompasses a variety of choral works in different categories. Among these, Bendita-Sabedoria and Magnificat-Alleluia are outstanding works that deserve more frequent performances due to their inherent musical qualities