# Heitor Villa-Lobos (1887-1959)



## Sid James

*Heitor Villa-Lobos*

Heitor Villa-Lobos (1887-1959) put Brazil on the map, musically speaking.

His father, an amateur musician, taught him to play cello, violin and guitar. As a young man, he spent alot of time playing with local street musicians in Rio de Janeiro. In the early years of the Twentieth Century, he travelled all over Brazil and the Carribbean, collecting and studying folk music. Returning to Rio, he attempted to gain formal musical education, but this was not successful. It did not stop him, however, from beginning to compose. He became a recognised composer in Brazil, and was invited to Paris in 1923, staying there until 1930 to perform his works, many of which were also published. Returning to Brazil, he involved himself in setting up a public music education system which was to culminate in 1945 with the establishment of the Brazil Academy of Music. In the final decade of his life he was much in demand as a conductor, travelling again to France and the United States.

He was a very prolific composer, producing works across all genres. His _Bachianas brasilieras_, in which he fuses the style of Bach with the music of Brazil, are well-known. Other works notable works include the _Choros_ and much music for guitar, including the superb _Guitar Concerto_ and the _Etudes and Preludes_ for solo guitar.


----------



## JTech82

I like a few of Villa-Lobos' compositions. His Concerto for Soprano Saxophone is quite good. His Guitar Concerto is really a standout piece.


----------



## Sid James

JTech82 said:


> I like a few of Villa-Lobos' compositions. His Concerto for Soprano Saxophone is quite good. His Guitar Concerto is really a standout piece.


I think compositions like the _Guitar Concerto_ make him like the Brazillian Bartok. The way he combines folk idioms with his modern style is very profound, but quite appealing to listen to at the same time. I have not yet heard his _Choros_, I plan to acquire some of these at some stage, although I do have a LP recording of the _Bachianas No. 5_, the most famous. This is less astringent and more lyrical than the _Concerto_, but beautiful all the same.


----------



## JTech82

Andre said:


> I think compositions like the _Guitar Concerto_ make him like the Brazillian Bartok. The way he combines folk idioms with his modern style is very profound, but quite appealing to listen to at the same time. I have not yet heard his _Choros_, I plan to acquire some of these at some stage, although I do have a LP recording of the _Bachianas No. 5_, the most famous. This is less astringent and more lyrical than the _Concerto_, but beautiful all the same.


I haven't heard that much of him to really make a judgement of his music, but I looked him up on Wikipedia yesterday and that guy was BUSY! He wrote a ton of music, but the unfortunate thing is that not many people have championed his work. Ashkenazy did some recordings as did Lopez-Cobos and Neville Marriner.


----------



## jhar26

I have a recording from Naxos of the complete Bachianas Brasileiras by the Nashville Symphony Orchestra under Kenneth Schermerhorn which I like very much. Very cheap also - £10 for three cd's. 

I also have the complete string quartets from Brilliant Classis by the Cuarteto Latinoamericano. £18 for six cd's. I haven't yet listened to any of it, but it's a highly rated set.


----------



## LvB

The String Quartets are, as a whole, uneven, but the best of them are very effective. I'd also recommend the first Piano Concerto (there are five, all of which I've heard, but this is the one I have and really remember). It's one of the grandest-- spiky and dissonant and sombre, but with some powerhouse climaxes and very moving tunes; I don't know why it isn't played more often. His symphonic poem _Uirapuru_ is also colorful and very powerful.

His music is all over the place in terms of quality, and I doubt that, in the end, he's one of the greats, but the best of it is very good indeed. He's certainly worth investigating.....


----------



## mueske

I once heard a recording of one of his Chôros, a rather long piece, I think it was the eighth, and liked it very much. A shame you don't hear his music that often, or is that just me?


----------



## Air

I got introduced to Villa-lobos through a cutesy little 1/2 minute piano piece called _O Pochinelo._ It's a joke but incredibly fun to play.

My favorite piece by Villa-lobos would have to be Aria-Cantilena from Bachianas Brasileirias No. 5.


----------



## Air

*The greatest Latin-American composer, period.* (Don't get me wrong, I love Ginastera!)

I was prompted to write this thread after listening to the Carnegie Hall performance of the YouTube Symphony Orchestra. Many people have called it a joke (which I can agree to partially); however, it displayed a true cultural diversity and teamwork that was truly wonderful to watch.

It was such a treat to hear Heitor's magic become part of the repertoire. I have fallen in love with his creativity in the last month, and truly felt that it was a wonderful way to honor an amazing but neglected composer, a true patriot who captured the culture of Brazil in a way no one else has.

Wikipedia bio: http://en.wikipedia.org/wiki/Heitor_Villa-Lobos

(I found his escape from cannibals quite interesting. Much of music has a savage yet beautiful nature to it. A good example of this is his Choros No. 10.)

I was first introduced to Villa-Lobos as an 8-year-old playing an original little piano work called O Polichinelo. I was reintroduced a few months ago to his Bachianas Brasileiras, including the famous and beautiful #5, still one of my favorite arias of all time. They are all special, a mix of Brazilian folk and the style of Bach. Each have two names (for example: a "Bachian" like Preludio and a "Brazilian" (Modinha). My favorites are No. 1, No. 2, No. 4, No. 5, No. 6, No. 7, and No. 9.

Villa-lobos also wrote a 12 symphony cycle that I have not yet heard in full. They have much cultural and historical influence, with names like the "Unforeseen", "The Ascension", "The War", "The Victory", and "The Peace".

I have recently fallen in love with his Choros, as well as his brilliant "A Floresta do Amazonas" suite, the "Uirapuru" and "Amazonas" ballet, and "Momoprécoce".

Along with his more-well-known Guitar Concerto, Heitor wrote 5 piano, 2 cello, and 1 harmonica concerti, and fantasies for piano, cello, bassoon and saxaphone.

I also read that he wrote 18 string quartets, 5 trios, and 4 operas, so... I'll be busy. 

Feel free to post POSITIVE comments and remarks. Remember that any negativity is at your own risk!


----------



## handlebar

I agree that Villa Lobos was the best of the Latin American composers. I listen to his guitar works and Brasilianas often. Underrated and not played enough in the concert hall. 
Thanks for the thread.

Jim


----------



## Sid James

I've already put a thread on Villa-Lobos here a few months ago:

http://www.talkclassical.com/4690-heitor-villa-lobos.html


----------



## Air

Andre said:


> I've already put a thread on Villa-Lobos here a few months ago:
> 
> http://www.talkclassical.com/4690-heitor-villa-lobos.html


Lol, it's happened before.  There's about 5 threads called "Prokofiev", 10 called "Your favorite work of all time" and 15 called "Mahler."


----------



## Mark Harwood

Norbert Kraft plays Heitor Villa-Lobos's complete solo guitar works on Naxos 8.553987. I warmly recommend it.


----------



## Sid James

mueske said:


> I once heard a recording of one of his Chôros, a rather long piece, I think it was the eighth, and liked it very much. A shame you don't hear his music that often, or is that just me?


I just heard _*Choros 8 & 9*_ last night on the Naxos disc with Hong Kong PO/Schermerhorn. It's really interesting music, which includes harsh rhythms but also some lyrical ideas. An ensemble of Brazilian instruments is also included. The _choros_ was a style of street music found in Rio de Janeiro.

Basically, I'd say that these works are very rhapsodic - they are quite free & unstructured. He wrote them while he was living in Paris - one can surmise that he picked up some European influences like Debussy & Stravinsky - but they sound more Brazilian than European. I recommend these works to anyone who wants to go beyond his more popular works (_Bachianas Brasilieras No. 5 & Guitar Concerto_). They are a bit more complex & dense, but still quite accessible.


----------



## handlebar

All of the Brasilieras and the complete guitar works for solo guitar.

Jim


----------



## Frasier

mueske said:


> I once heard a recording of one of his Chôros, a rather long piece, I think it was the eighth, and liked it very much. A shame you don't hear his music that often, or is that just me?


The truth is that his music is usually very difficult and expensive to perform. He seems to love extremes (in compass, rhythms, endurance and agility); writes complex cross-rhythms, often in weird time signatures (for example the March in Uirapuru, a staight enough 2/4 beat is actually written in 3/4). And his orchestral music is often dense in texture such that conductors have serious problems getting balance while giving the lines enough clarity. Then there's the matter of weird instruments, particularly percussion, indigenous to Brazil.

He was a master at orchestration - his "Forest of the Amazon" should convince anyone (look for the recording he conducted himself) and the Symphony No 10 (Carl St Clair version). Good examples of his chamber writing are in the Trio for oboe clarinet and bassoon; the Quintet en Forme de Choros; the Septet; the Nonet; the Sextuor Mystique and most of his string quartets. A pretty piece is his Quartet for Flute, Alto Sax, Harp and Celeste with female chorus.

True that like most composers, his output is variable. Toward the end of his life he turned out commissions like there was no tomorrow but with little new music. One of his last pieces was the Fantasia Concertante for 32 cellos.


----------



## Mirror Image

I have listened to some Villa-Lobos and to be honest I don't really understand him at all. I heard his "Guitar Concerto," which is an "okay" piece. I don't really think he's that great of a composer. For me, it seems his ideas aren't cohesive and they're very raw and not formulated in any particular way and don't follow any kind of logic other than to dazzle the listener with their technical ability. I also feel the overall dynamics of his music are something that doesn't really do much for me.

I'll file him into the "I don't understand him yet" category, but until then, it's onto things that I do understand like, well...I don't really have to start listing my favorite composers again do I?


----------



## vavaving

I'll recommend a recording of his chamber music by Mobius. It is quite listenable. By the way, a Bachiana on the bandolim...


----------



## Lisztfreak

I once heard a nasty quote:

'Why do I always learn, when I do not like a piece at all, that it was composed by Villa-Lobos?'
Igor Stravinsky


----------



## Frasier

That's because Stravinsky was jealous of HVL and didn't like him at all. I think it was Villa-Lobos who said, "Stravinsky? É um velho fart!" recognising that Stravinsky really had run out of steam after the 3 ballets and sunk back into the comfortable womb of tonality and classical forms. Tis true that Stravinsky tried to hold on to 3-ballet fame by keep revising them, particularly the Rite which he simplified in the late 1940s in the hope it would get played more often.

Stravinsky would have loved to do some of the things HVL got up to!


----------



## Mirror Image

Frasier said:


> That's because Stravinsky was jealous of HVL and didn't like him at all. I think it was Villa-Lobos who said, "Stravinsky? É um velho fart!" recognising that Stravinsky really had run out of steam after the 3 ballets and sunk back into the comfortable womb of tonality and classical forms. Tis true that Stravinsky tried to hold on to 3-ballet fame by keep revising them, particularly the Rite which he simplified in the late 1940s in the hope it would get played more often.
> 
> Stravinsky would have loved to do some of the things HVL got up to!


Even if Stravinsky had only composed "The Rite of Spring" it still would have more impact than anything Villa-Lobos composed. "The Rite of Spring" will always be remembered and played in concert halls.

What's one of the first classical pieces people either hear or are told to listen to? You guessed it "The Rite of Spring."


----------



## Frasier

I agree wholeheartedly. The Rite of Spring was utter genius and has guaranteed Stravinsky a brass plate in the front hall!

For that matter there isn't an awful lot of Villa-Lobos I actually like - in fact he wrote some pretty dreary works - IMHO the Guitar Concerto is one of them; his Symphony #1 likewise. His Guitar Prelude #3 is so repetitive and people like Bream try to wring every last drop of "feeling" from it...I don't know if they succeed because I've invariably nodded off before the end. 
He also wrote some brilliant stuff but it's rarely accessible - very difficult to get right. I once had a shot at Rudepoema (piano) but it was far too difficult.


----------



## Sid James

Mirror Image said:


> I have listened to some Villa-Lobos and to be honest I don't really understand him at all...I don't really think he's that great of a composer. For me, it seems his ideas aren't cohesive and they're very raw and not formulated in any particular way and don't follow any kind of logic other than to dazzle the listener with their technical ability.


I think that there is a danger in listening to the music of non-European composers, including South American ones, with too much of a European ear, so to speak. One must remember that composers like Villa-Lobos, Ramirez, Ginastera & Piazzolla were not only aiming to put their countries on the map, musically speaking, but to create new idioms out of the indigenous cultures & traditions which existed in their countries.

You simply can't apply the valus of Western classical music to these composers, as some of Villa-Lobos' music was indeed raw, as he used the music of the tribes of the Amazon (where he had travelled extensively as a young man, as noted above) and also the street music of his native city, Rio de Janeiro. Similarly, Ramirez used the music of Andean peoples & as most people know, Piazzolla the urban tango of Buenos Aires.

So basically, one needs to keep in mind that this music won't sound like European music, because it has nothing to do with it, except from some influence of modern trends that these composers all absorbed, more or less. & as for Stravinsky, I'd argue that some of Villa-Lobos' works are, in a way, more genuine than the _Rite of Spring _because they are not based on some imaginary savage tribe but actually real sources that Villa-Lobos encountered during his journeys across Brazil. This is the reason why some of his works sound less polished than what Stravinsky was doing.


----------



## Mirror Image

Andre said:


> I think that there is a danger in listening to the music of non-European composers, including South American ones, with too much of a European ear, so to speak. One must remember that composers like Villa-Lobos, Ramirez, Ginastera & Piazzolla were not only aiming to put their countries on the map, musically speaking, but to create new idioms out of the indigenous cultures & traditions which existed in their countries.
> 
> You simply can't apply the valus of Western classical music to these composers, as some of Villa-Lobos' music was indeed raw, as he used the music of the tribes of the Amazon (where he had travelled extensively as a young man, as noted above) and also the street music of his native city, Rio de Janeiro. Similarly, Ramirez used the music of Andean peoples & as most people know, Piazzolla the urban tango of Buenos Aires.
> 
> So basically, one needs to keep in mind that this music won't sound like European music, because it has nothing to do with it, except from some influence of modern trends that these composers all absorbed, more or less. & as for Stravinsky, I'd argue that some of Villa-Lobos' works are, in a way, more genuine than the _Rite of Spring _because they are not based on some imaginary savage tribe but actually real sources that Villa-Lobos encountered during his journeys across Brazil. This is the reason why some of his works sound less polished than what Stravinsky was doing.


How many people remembers "The Rite of Spring"? How many people were directly influenced by "The Rite of Spring"? I think Stravinsky's influence alone speaks volumes that Villa-Lobos couldn't even fathom.

I understand Villia-Lobos is quintessentially Brazilian and I'm aware of the influences found in his music. I just don't connect with his music. This has nothing to do with a European vs. non-European frame of mind, it has to do with whether I actually like the music or not and so far nothing really resonates with me.

As I said, I don't understand Villa-Lobos' music yet and I don't think I will anytime soon, because I'm not a fan of his orchestration nor am I a fan of the way he structures his pieces.


----------



## Sid James

Mirror Image said:


> How many people remembers "The Rite of Spring"? How many people were directly influenced by "The Rite of Spring"? I think Stravinsky's influence alone speaks volumes that Villa-Lobos couldn't even fathom.


Villa-Lobos was among many composers influenced by _The Rite of Spring _by Stravinsky. His _Choros 8 & 9_, for example, employ similar brutal rhythms & strange harmonies. However, I think that he was not merely making a carbon copy of Stravinsky but trying to develop his own style. Of course Stravinsky was the greater composer, but undoubtedly others like Villa-Lobos have a place in our appreciation of C20th music also.

It is true that Stravinsky's_ Rite _was a phenomenon, & influenced composers as diverse as Orff, Ifukube, Holst, Varese...the list can go on. Another piece which similarly revolutionised music a generation earlier was Debussy's _Prelude to the Afternoon of a Faun._ It is also interesting how much in common Debussy's late ballet _Jeux_ & Stravinsky's early _Rite_ had. I think that many of the above composers, including the South Americans I mentioned earlier, owe a great debt to these two. But this does not diminish the enormous contribution that these made to music generally, as well as in their own respective countries.


----------



## Frasier

Andre said:


> Villa-Lobos was among many composers influenced by _The Rite of Spring _by Stravinsky. His _Choros 8 & 9_, for example, employ similar brutal rhythms & strange harmonies.


I find that hard to accept and think HVL barely fell under the influence of Stravinsky. The Rite was staged in 1913, It was unlikely that HVL had heard The Rite when he wrote Uirapuru in 1916. As for Choros 8 & 9, the nature of the cross-rhythms and HVL's style of handling their notation seem to bear no likeness to The Rite. They really are more complex than the Rite - Stravinsky at least changes time signatures - VL often doesn't but builds ametric ryhthm into regular time sigs. Worse is that VL resorts to cross-rhythms and complex multiple lines some might call counterpoint but I reckon are often simultaneous independent lines. He carried this to extreme in the choral work of Choros 10 where the catholic Mass is sung against the indigenous Mass - different rhythms, different tempi, different "keys".

One might as well claim that Revueltas was under the influence of Stravinsky.... But maybe they were under the influence of a new freedom that broke in music around the turn of the 20th Century. I suggest that the more likely.



> However, I think that he was not merely making a carbon copy of Stravinsky but trying to develop his own style.


He had developed a style before he ever came into contact with Stravinsky's music in a serious way. He was the prime mover in Brazillian nationalism in music and set out to debunk Brazil of the European classical influence it was still under in 1900.


> Of course Stravinsky was the greater composer, but undoubtedly others like Villa-Lobos have a place in our appreciation of C20th music also.


I think Stravinsky had moments of genius but lost it after the Rite. His fame rests on the 3 ballets, his mutterings to journalists and self-promotion in the USA. Only his diehard fans would claim there are any memorable bits in his later ballets, say Baiser de la Fée, or his Symphonies for this and that. He is remembered for the Rite, Firebird and Petruska. Villa-Lobos is remembered for one work, really, the 5th Bachianas - but that's because he has never been adequately promoted. And that's because his music is - generally - difficult and expensive. And Villa-Lobos didn't promote himself in the US as intensively as Stravinsky.



> It is true that Stravinsky's_ Rite _was a phenomenon, & influenced composers as diverse as Orff, Ifukube, Holst, Varese...the list can go on. Another piece which similarly revolutionised music a generation earlier was Debussy's _Prelude to the Afternoon of a Faun._


.Debussy's influence on HVL is more likely. Although he was no great pianist, HVL would have had Debussy piano music at his disposal; and there are hints of Debussy in the Quartet for Flute, Sax, Harp and Celeste with female chorus. And other works.


> It is also interesting how much in common Debussy's late ballet _Jeux_ & Stravinsky's early _Rite_ had.


You're joking, surely. I'd love to hear your views on what. Stravinsky's more classical use of modal melody in the Rite and Debussy's way of evolving motifs, particularly in Jeux seem vastly different. They were written around the same time but in isolation even though Debussy and Stravinsky knew each other. Jeux defies analysis but does demonstrate Debussy's easy ability to move in and out of diatonic, chromatic, whole-tone, and atonal writing; and his incredible way of developing melodic strands sometimes from just ornaments, just a couple of notes.


----------



## Herzeleide

I'd say _Agon_ and _Requiem Canticles_ are masterpieces and _The Flood_ is absolutely wonderful.


----------



## Bach

Mirror Image said:


> How many people remembers "The Rite of Spring"? How many people were directly influenced by "The Rite of Spring"? I think Stravinsky's influence alone speaks volumes that Villa-Lobos couldn't even fathom.
> 
> I understand Villia-Lobos is quintessentially Brazilian and I'm aware of the influences found in his music. I just don't connect with his music. This has nothing to do with a European vs. non-European frame of mind, it has to do with whether I actually like the music or not and so far nothing really resonates with me.


His guitar preludes are very beautiful.


----------



## Sid James

Frasier said:


> I find that hard to accept and think HVL barely fell under the influence of Stravinsky...
> 
> He had developed a style before he ever came into contact with Stravinsky's music in a serious way. He was the prime mover in Brazillian nationalism in music and set out to debunk Brazil of the European classical influence it was still under in 1900. I think Stravinsky had moments of genius but lost it after the Rite. His fame rests on the 3 ballets, his mutterings to journalists and self-promotion in the USA...And Villa-Lobos didn't promote himself in the US as intensively as Stravinsky.


I'm less knowledgeable about Villa-Lobos than you, so maybe I shouldn't have said that he was directly influenced by Stravinsky. I think your quote "but maybe [he was] under the influence of a new freedom that broke in music around the turn of the 20th Century" is what I should have probably said. As for those _Choros_ (Nos. 8 & 9), he composed one of them in Paris & the other after returning to Brazil from there. So inevitably he would have fallen under the influence of contemporary European trends in music, whatever they were. & as I said above, in his works Villa-Lobos was not imagining the exotic or savage, as Stravinsky did in the _Rite_. Villa-Lobos was reacting to reality, basing his music on the music he heard not only in the streets of Rio but in the jungles of the Amazon.

& I agree that it is unfortunate that Villa-Lobos is not as well known as Stravinsky. I've also read elsewhere that Stravinsky also criticised Orff's _Carmina Burana_, which was actually influenced by his own _Oedipus Rex_. So it looks like Stravinsky did this to other composers, maybe as you suggest, to get ahead himself. He reminds me of another egomaniac genius of the C20th, the painter Pablo Picasso.



Frasier said:


> Stravinsky's more classical use of modal melody in the Rite and Debussy's way of evolving motifs, particularly in Jeux seem vastly different. They were written around the same time but in isolation even though Debussy and Stravinsky knew each other.


I should have perhaps said that Debussy's _Jeux_ & Stravinsky's _Rite_ were equally revolutionary in terms of how they changed people's approach to ballet.


----------



## Herzeleide

Frasier said:


> Stravinsky's more classical use of modal melody in the Rite


'More classical'? 

He got it all from Russian folk music.


----------



## Lisztfreak

Mirror Image said:


> What's one of the first classical pieces people either hear or are told to listen to? You guessed it "The Rite of Spring."


However, no one I know who isn't into classical music likes it. They all think the work is quite unbearable, terrible and not music really. A few of those are particularly annoyed by the bassoon introduction.

Kill me if I know why...


----------



## Mirror Image

Lisztfreak said:


> However, no one I know who isn't into classical music likes it. They all think the work is quite unbearable, terrible and not music really. A few of those are particularly annoyed by the bassoon introduction.
> 
> Kill me if I know why...


"The Rite of Spring" was one of the most innovative pieces of music of all-time. Most people who don't like "The Rite" are usually classical conservatives. I know many older people (70 and above) who absolutely hate everything Stravinsky has ever written. One reason many non-musician listeners don't like him is because of the rhythmic complexity of his pieces and just the fact that he's viewed as some kind of radical much like Debussy was when he was getting more notice on the scene.

You either love or hate him. I personally love almost everything and I know I own everything he's ever written. Stravinsky is simply a brilliant composer.


----------



## Mirror Image

Lisztfreak said:


> A few of those are particularly annoyed by the bassoon introduction.


Legend has it, that none other than Camille Saint-Saens was in the audience of the premiere of "The Rite.." and he immediately stood up when the bassoon solo started and yelled "That's not a bassoon! That is a buffoon!"

Which these statements alone from Saint-Saens only solidify why I personally don't care what other composers thought about other composer's music. Saint-Saens was a bitter old man who couldn't deal with the reality that he was, in fact, a mediocre composer compared to the likes of fellow Frenchmen Berlioz, Debussy, Faure, and Ravel.


----------



## Bach

> "That's not a bassoon! That is a buffoon!"


Hmm! "Ce n'est pas un bassoon! C'est un bouffon!" Yep, or something like that..



> mediocre composer compared to the likes of fellow Frenchmen Berlioz, Debussy, Faure, and Ravel.


Not sure about that - He's probably greater than Faure and I think he's a better musician than Berlioz.


----------



## Bach

> You either love or hate him. I personally love almost everything and I know I own everything he's ever written. Stravinsky is simply a brilliant composer.


Including the serialism?


----------



## Mirror Image

Bach said:


> Including the serialism?


Perhaps not everything. I have a box called "The Works of Igor Stravinsky" on Sony that's 22-CDs that contains the following:

Individual Track Details:

1. Firebird by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: Russia 
Date of Recording: 1/1961 
Venue: Hollywood, California

2. Scherzo à la russe by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1943-1944; USA 
Date of Recording: 12/17/1963 
Venue: New York, New York

3. Scherzo fantastique, Op. 3 by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1907-1908; Russia 
Date of Recording: 12/1/1962 
Venue: Toronto, Canada

4. Fireworks, Op. 4 by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1908; Russia 
Date of Recording: 12/17/1963 
Venue: New York, New York

5. Pétrouchka by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: Switzerland 
Date of Recording: 2/1960 
Venue: Hollywood, California

6. Le sacre du printemps by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1911-1913 
Date of Recording: 1/1960 
Venue: New York, New York

7. Les noces by Igor Stravinsky 
Performer: Roger Sessions (Piano), Aaron Copland (Piano), Lukas Foss (Piano), 
Samuel Barber (Piano), Loren Driscoll (Tenor), Mildred Allen (Soprano), 
Regina Sarfaty (Mezzo Soprano), Robert Oliver (Bass) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: American Concert Choir, Columbia Percussion Ensemble 
Period: 20th Century 
Written: Switzerland 
Date of Recording: 12/21/1959 
Venue: Hollywood, California

8. Renard by Igor Stravinsky 
Performer: William Murphy (Baritone), Loren Driscoll (Tenor), Donald Gramm (Bass Baritone), 
George Shirley (Tenor) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1915-1916; Switzerland 
Date of Recording: 1/26/1962 
Venue: New York, New York

9. L'histoire du soldat: Suite for Chamber Ensemble by Igor Stravinsky 
Performer: William Kraft (Percussion), Robert Marsteller (Trombone), Don Christlieb (Bassoon), 
Richard Kelly (Double Bass), Roy D'Antonio (Clarinet), Israel Baker (Violin), 
Charles Brady (Trumpet) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1918; Switzerland 
Date of Recording: 2/1961 
Venue: Hollywood, California

10. Apollon musagète by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: France 
Date of Recording: 6/29/1964 
Venue: New York, New York

11. Agon by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Cleveland Orchestra 
Period: 20th Century 
Written: 1957; USA 
Date of Recording: 3/13/1964 
Venue: Cleveland, Ohio

12. Scènes de ballet by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1944; USA 
Date of Recording: 3/28/1963 
Venue: Toronto, Canada

13. Bluebird Pas-de-deux by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1941; USA 
Date of Recording: 12/17/1964 
Venue: New York, New York

14. Le baiser de la fée by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1928/1950; France 
Date of Recording: 8/1965 
Venue: Hollywood, California

15. Pulcinella by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: Switzerland 
Date of Recording: 8/23/1965 
Venue: Hollywood, California

16. Orpheus by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Chicago Symphony Orchestra 
Period: 20th Century 
Written: 1947; USA 
Date of Recording: 7/20/1964 
Venue: Chicago, Illinois

17. Pétrouchka: Suite by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1911/1947; Switzerland 
Date of Recording: 2/1960 
Venue: Hollywood, California

18. Pulcinella Suite by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1922/1947; France 
Date of Recording: 8/25/1965 
Venue: Hollywood, California

19. Firebird Suite by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1919 version; Russia 
Date of Recording: 1/18/1967 
Venue: Hollywood, California

Notes: Version: 1945.

20. Symphony no 1 in E flat major, Op. 1 by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1905-1907; Russia 
Date of Recording: 5/2/1966 
Venue: Hollywood, California

21. Portrait of Stravinsky - Stravinsky in Rehearsal by Various

Notes: Includes: 
Apollo 4:44 (Recorded in New York City, in December 1964)
Sleeping Beauty / Dornröschen / La Belle au bois dormant 2:14 (Recorded in New York City, in December 1963)
Recollections of my Childhood (with Cathy Berberian) 1:16 (Recorded in New York City, in December 1964)
Pulcinella 2:44 (Recorded in New York City, in August 1965)
Piano Concerto (with Philippe Entremont) 5:46 (Recorded in New York City, in May 1964)
Symphony in C 7:52 (Recorded in Toronto, Canada, in December 1962)
With the Columbia Symphony Orchestra and CBC Symphony Orchestra.

22. Stravinsky in His Own Words by Various 
Performer: John McClure (Narrator)

23. Symphony in Three Movements by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1942-1945; USA 
Date of Recording: 2/1/1961 
Venue: Hollywood, California

24. Symphony in C by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1939-1940; USA 
Date of Recording: 12/1962 
Venue: Toronto, Canada

25. Symphony of Psalms by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Toronto Festival Singers, CBC Symphony Orchestra 
Period: 20th Century 
Written: 1930/1948; France 
Date of Recording: 3/30/1963 
Venue: Toronto, Canada

Notes: Version: 1948 revision.

26. Concerto for Piano and Winds by Igor Stravinsky 
Performer: Philippe Entremont (Piano) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1923-1924; France 
Date of Recording: 5/13/1964 
Venue: New York, New York

Notes: Version: 1950 revision.

27. Movements for Piano and Orchestra by Igor Stravinsky 
Performer: Charles Rosen (Piano) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1961; USA 
Date of Recording: 2/12/1961 
Venue: Hollywood, California

28. Capriccio for Piano and Orchestra by Igor Stravinsky 
Performer: Philippe Entremont (Piano) 
Conductor: Robert Craft 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1928-1929; France 
Date of Recording: 1/3/1966 
Venue: New York, New York

Notes: Recorded under the supervision of the composer.

29. Concerto for Violin in D major by Igor Stravinsky 
Performer: Isaac Stern (Violin) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1931; France 
Date of Recording: 6/1960 
Venue: Hollywood, California

30. Greeting Prelude by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1956; USA 
Date of Recording: 12/16/1963 
Venue: New York, New York

31. Suite no 1 for small Orchestra by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1917-1925; France 
Date of Recording: 3/29/1963 
Venue: Toronto, Canada

32. Suite no 2 for small Orchestra by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1921; France 
Date of Recording: 3/30/1963 
Venue: Toronto, Canada

33. Concerto in E flat major "Dumbarton Oaks" by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1938; France 
Date of Recording: 3/29/1964 
Venue: Hollywood, California

34. Four Norwegian Moods by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1942; USA 
Date of Recording: 3/29/1963 
Venue: Toronto, Canada

35. Circus Polka by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1942; USA 
Date of Recording: 3/29/1963 
Venue: Toronto, Canada

36. Concerto for String Orchestra in D major by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1946; USA 
Date of Recording: 12/17/1963 
Venue: New York, New York

37. Instrumental Miniatures (8) by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1962; USA 
Date of Recording: 4/29/1962 
Venue: Toronto, Canada

38. Etudes (4) for Orchestra by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1928/1952; France 
Date of Recording: 1962 
Venue: Toronto, Canada

39. Preludium for Jazz Band by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Jazz Band 
Period: 20th Century 
Written: 1936-1937; France 
Date of Recording: 4/27/1965 
Venue: New York, New York

40. Concertino for 12 instruments by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1952; USA 
Date of Recording: 10/26/1965 
Venue: Hollywood, California

41. Octet for Wind Instruments by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1923/1952; France 
Date of Recording: 1/5/1961 
Venue: New York, New York

42. Rag-time for 11 instruments by Igor Stravinsky 
Performer: Toni Koves-Steiner (Cimbalom) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1918; Switzerland 
Date of Recording: 1/26/1962 
Venue: New York, New York

43. Tango by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Jazz Band 
Period: 20th Century 
Written: 1940; USA 
Date of Recording: 4/27/1965 
Venue: New York, New York

Notes: Version: 1953.

44. Septet by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1953; USA 
Date of Recording: 10/27/1965 
Venue: Hollywood, California

45. Pastorale for Violin, Oboe, English Horn, Clarinet and Bassoon by Igor Stravinsky 
Performer: Israel Baker (Violin) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1933; France

46. Ebony Concerto by Igor Stravinsky 
Performer: Benny Goodman (Clarinet) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Jazz Band 
Period: 20th Century 
Written: 1945; USA 
Date of Recording: 110/27/1965 
Venue: Hollywood, California

47. Symphonies of Wind Instruments by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Northwest German Radio Symphony Orchestra 
Period: 20th Century 
Written: 1920; France 
Date of Recording: 1951

Notes: Version: 1947.
This selecton is a monaural recording.

48. Duo concertant for Violin and Piano by Igor Stravinsky 
Performer: Igor Stravinsky (Piano), Joseph Szigeti (Violin) 
Period: 20th Century 
Written: 1931-1932; France 
Date of Recording: 10/1945

Notes: This selection is a monaural recording.

49. Serenade for Piano in A major by Igor Stravinsky 
Performer: Igor Stravinsky (Piano) 
Period: 20th Century 
Written: 1925; France 
Date of Recording: 7/1934 
Venue: Paris, France

Notes: This selection is a monaural recording.

50. Concerto for 2 Pianos by Igor Stravinsky 
Performer: Igor Stravinsky (Piano), Soulima Stravinsky (Piano) 
Period: 20th Century 
Written: 1931-1935; France 
Date of Recording: 2/16/1938 
Venue: Paris, France

Notes: This selection is a monaural recording.

51. Rag-time for Piano by Igor Stravinsky 
Performer: Igor Stravinsky (Piano) 
Period: 20th Century 
Written: 1919; Switzerland 
Date of Recording: 7/1934 
Venue: Paris, France

Notes: This selection is a monaural recording.

52. Sonata for 2 Pianos by Igor Stravinsky 
Performer: Robert Fizdale (Piano), Andrew Gold (Tenor) 
Period: 20th Century 
Written: 1943-1944; USA 
Date of Recording: 11/30/1961 
Venue: New York, New York

53. Sonata for Piano by Igor Stravinsky 
Performer: Charles Rosen (Piano) 
Period: 20th Century 
Written: 1924; France 
Date of Recording: 12/1960 
Venue: New York, New York

54. Le rossignol by Igor Stravinsky 
Performer: William Murphy (Baritone), Stanley Kolk (Tenor), Elaine Bonazzi (Mezzo Soprano), 
Herbert Beattie (Bass), Kenneth Smith (Bass), Loren Driscoll (Tenor), 
Reri Grist (Soprano), Marina Picassi (Soprano), Donald Gramm (Bass Baritone), 
Carl Kaiser (Bass) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Washington D.C. Opera Society Orchestra, Washington D.C. Opera Society Chorus 
Period: 20th Century 
Written: 1908-1914; Russia 
Date of Recording: 12/1960 
Venue: Washington D.C.

55. Mavra by Igor Stravinsky 
Performer: Susan Belinck (Soprano), Mary Simmons (Mezzo Soprano), Patricia Rideout (Alto), 
Stanley Kolk (Tenor) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1921-1922; France 
Date of Recording: 5/7/1964 
Venue: Toronto, Canada

56. Faun and shepherdess, Op. 2 by Igor Stravinsky 
Performer: Mary Simmons (Mezzo Soprano) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1906; Russia 
Date of Recording: 5/8/1964 
Venue: Toronto, Canada

57. Poèmes (2) de Paul Verlaine, Op. 9 by Igor Stravinsky 
Performer: Donald Gramm (Bass Baritone) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1910/1951; Russia 
Date of Recording: 1964-1966 
Venue: Hollywood, California

58. Poems (2) of Konstantin Bal'mont by Igor Stravinsky 
Performer: Evelyn Lear (Soprano) 
Conductor: Robert Craft 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1911/1954; Russia 
Date of Recording: 1/24/1967 
Venue: Hollywood, California

59. Japanese Lyrics (3) by Igor Stravinsky 
Performer: Evelyn Lear (Soprano) 
Conductor: Robert Craft 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1912-1913; Switzerland 
Date of Recording: 6/10/1968 
Venue: Hollywood, California

60. Little Songs (3) "Recollections of my childhood" by Igor Stravinsky 
Performer: Cathy Berberian (Mezzo Soprano) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1906/1913; Russia 
Date of Recording: 12/11/1964 
Venue: New York, New York

61. Pribaoutki by Igor Stravinsky 
Performer: Cathy Berberian (Mezzo Soprano) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1914; Switzerland 
Date of Recording: 12/11/1964 
Venue: New York, New York

62. Cat's Cradle Songs (4) by Igor Stravinsky 
Performer: Cathy Berberian (Mezzo Soprano) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1915-1916; Switzerland 
Date of Recording: 12/1/1964 
Venue: New York, New York

63. Russian Peasant Songs (4) by Igor Stravinsky 
Conductor: Gregg Smith 
Orchestra/Ensemble: Gregg Smith Singers 
Period: 20th Century 
Written: 1914-1917; Switzerland 
Date of Recording: 8/2/1965 
Venue: Hollywood, California

64. Four Songs by Igor Stravinsky 
Performer: Dorothy Remsen (Harp), Louise Di Tullio (Flute), Adrienne Albert (Soprano), 
Laurindo Almeida (Guitar) 
Period: 20th Century 
Written: 1953-1954; USA 
Date of Recording: 11/30/1965 
Venue: Hollywood, California

65. Three Songs from William Shakespeare by Igor Stravinsky 
Performer: Cathy Berberian (Mezzo Soprano) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1953; USA 
Date of Recording: 12/14/1964 
Venue: New York, New York

66. In memoriam Dylan Thomas by Igor Stravinsky 
Performer: Alexander Young (Tenor) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1954; USA 
Date of Recording: 11/27/1965 
Venue: Hollywood, California

67. Elegy for JFK by Igor Stravinsky 
Performer: Charles Russo (Clarinet), Jack Kreiselmann (Clarinet), Cathy Berberian (Mezzo Soprano), 
Paul E Howland (Clarinet) 
Period: 20th Century 
Written: 1964; USA 
Date of Recording: 12/14/1964 
Venue: New York, New York

68. The Owl and the Pussycat by Igor Stravinsky 
Performer: Robert Craft (Piano), Adrienne Albert (Soprano) 
Period: 20th Century 
Written: 1966; USA 
Date of Recording: 8/18/1967

69. Trois histoires pour enfants: no 1, Tilim-bom by Igor Stravinsky 
Performer: Evelyn Lear (Soprano) 
Conductor: Robert Craft 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1915-1917; Switzerland 
Date of Recording: 1967-1968 
Venue: Hollywood, California

70. Rake's Progress by Igor Stravinsky 
Performer: Peter Tracey (Bass), Kevin Miller (Tenor), Regina Sarfaty (Mezzo Soprano), 
Judith Raskin (Soprano), Alexander Young (Tenor), John Reardon (Baritone), 
Don Garrard (Bass) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Royal Philharmonic Orchestra, Sadler's Wells Opera Chorus 
Period: 20th Century 
Written: 1948-1951; USA 
Date of Recording: 6/1964 
Venue: London, England

71. Oedipus rex by Igor Stravinsky 
Performer: Loren Driscoll (Tenor), Shirley Verrett (Mezzo Soprano), George Shirley (Tenor), 
Donald Gramm (Bass Baritone), Chester Watson (Bass), John Reardon (Baritone), 
John Westbrook (Spoken Vocals) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Washington D.C. Opera Society Orchestra, Washington D.C. Opera Society Chorus 
Period: 20th Century 
Written: 1926-1927; France 
Date of Recording: 1/20/1961 
Venue: Washington D.C.

Notes: Version: 1949.

72. The Flood by Igor Stravinsky 
Performer: Paul Tripp (Spoken Vocals), Richard Robinson (Tenor), Sebastian Cabot (Spoken Vocals), 
Laurence Harvey (Spoken Vocals), John Reardon (Baritone), Elsa Lanchester (Spoken Vocals), 
Robert Oliver (Bass) 
Conductor: Robert Craft 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1961-1962; USA 
Date of Recording: 3/1962 
Venue: Hollywood, California

73. Perséphone by Igor Stravinsky 
Performer: Vera Zorina (Spoken Vocals), Michele Molese (Tenor) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra, Gregg Smith Singers, Ithaca College Concert Choir 
Period: 20th Century 
Written: 1933-1934; France 
Date of Recording: 5/1966 
Venue: Hollywood, California

74. Ode by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Cleveland Orchestra 
Period: 20th Century 
Written: 1943; USA 
Date of Recording: 3/13/1964 
Venue: Cleveland, Ohio

75. Monumentum pro Gesualdo di Venosa ad CD annum by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1960; USA 
Date of Recording: 6/9/1960 
Venue: Hollywood, California

76. Chorale Variations on "Von Himmel hoch da komm' ich her" by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Toronto Festival Singers, CBC Symphony Orchestra 
Period: 20th Century 
Written: 1955-1956; USA 
Date of Recording: 3/30/1963 
Venue: Toronto, Canada

77. Le roi des étoiles by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Toronto Festival Singers, CBC Symphony Orchestra 
Period: 20th Century 
Written: 1911-1912; Russia 
Date of Recording: 12/29/1962 
Venue: Toronto, Canada

78. Ave Maria by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Toronto Festival Singers 
Period: 20th Century 
Written: 1949; USA 
Date of Recording: 5/8/1964 
Venue: Toronto, Canada

Notes: Version: 1949.

79. Credo by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Gregg Smith Singers 
Period: 20th Century 
Written: 1949; USA 
Date of Recording: 8/20/1965 
Venue: Hollywood, California

Notes: Version: 1964.

80. Pater noster by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Toronto Festival Singers 
Period: 20th Century 
Written: 1926/1949; France 
Date of Recording: 5/8/1964 
Venue: Toronto, Canada

Notes: Version: 1949.

81. Cantata by Igor Stravinsky 
Performer: Adrienne Albert (Soprano), Alexander Young (Tenor) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Gregg Smith Singers, Columbia Chamber Ensemble 
Period: 20th Century 
Written: 1951-1952; USA 
Date of Recording: 1965-1966 
Venue: Hollywood, California

82. Mass by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra, Gregg Smith Singers 
Period: 20th Century 
Written: 1944-1948; USA 
Date of Recording: 6/5/1960 
Venue: Hollywood, California

83. Babel by Igor Stravinsky 
Performer: John Colicos (Spoken Vocals) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Toronto Festival Singers, CBC Symphony Orchestra 
Period: 20th Century 
Written: 1944; USA 
Date of Recording: 11/29/1962 
Venue: Toronto, Canada

84. Canticum sacrum ad honorem Sancti Marci nominis by Igor Stravinsky 
Performer: Richard Robinson (Tenor), Howard Chitjian (Baritone) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Los Angeles Festival Symphony Orchestra, Los Angeles Festival Chorus 
Period: 20th Century 
Written: 1955; USA 
Date of Recording: 6/19/1957 
Venue: Hollywood, California

85. Introitus (requiem aeternam): TS Eliot in memorium by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Ensemble, Gregg Smith Singers 
Period: 20th Century 
Written: 1965; USA 
Date of Recording: 2/9/1966 
Venue: New York, New York

86. A Sermon, a Narrative and a Prayer by Igor Stravinsky 
Performer: John Horton (Spoken Vocals), Loren Driscoll (Tenor), Shirley Verrett (Mezzo Soprano) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: CBC Symphony Orchestra 
Period: 20th Century 
Written: 1960-1961; USA 
Date of Recording: 4/29/1962 
Venue: Toronto, Canada

87. The dove descending breaks the air by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Toronto Festival Singers 
Period: 20th Century 
Written: 1962; USA 
Date of Recording: 4/29/1962 
Venue: Toronto, Canada

88. Threni - id est Lamentationes Jeremiae prophetae by Igor Stravinsky 
Performer: James Wainner (Tenor), William Lewis (Tenor), Beatrice Krebs (Alto), 
Bethany Beardslee (Soprano), Mac Morgan (Spoken Vocals), Robert Oliver (Bass) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra, Schola Cantorum 
Period: 20th Century 
Written: 1957-1958; USA 
Date of Recording: 1/1959 
Venue: New York, New York

89. Chant du rossignol by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1917; Switzerland 
Date of Recording: 1/23/1967 
Venue: Hollywood, California

90. Danses concertantes by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Chamber Orchestra 
Period: 20th Century 
Written: 1942; USA 
Date of Recording: 1/20/1967 
Venue: Hollywood, California

91. Epitaphium by Igor Stravinsky 
Performer: Kalman Bloch (Clarinet), Arthur Gleghorn (Flute), Dorothy Remsen (Harp) 
Period: 20th Century 
Written: 1959; USA 
Date of Recording: 12/14/1964 
Venue: New York, New York

92. Double Canon for String Quartet by Igor Stravinsky 
Performer: Sanford Schonbach (Viola), Otis Igleman (Violin), Israel Baker (Violin), 
George Neikrug (Cello) 
Period: 20th Century 
Written: 1959; USA 
Date of Recording: 1/25/1961 
Venue: Hollywood, California

93. Abraham and Isaac by Igor Stravinsky 
Performer: Richard Frisch (Baritone) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1963; USA 
Date of Recording: 1967-1969 
Venue: Hollywood, California

94. Variations for Orchestra "Aldous Huxley in memoriam" by Igor Stravinsky 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra 
Period: 20th Century 
Written: 1963-1964; USA 
Date of Recording: 10/11/1960 
Venue: New York, New York

95. Requiem Canticles by Igor Stravinsky 
Performer: Elaine Bonazzi (Mezzo Soprano), Linda Anderson (Soprano), Donald Gramm (Bass Baritone), 
Charles Bressler (Tenor) 
Conductor: Igor Stravinsky 
Orchestra/Ensemble: Columbia Symphony Orchestra, Ithaca College Concert Choir 
Period: 20th Century 
Written: 1965-1966; USA


----------



## Bach

Yes, I have the same box - (plus more, of course) and several of those works are serialist - what do you think of the requiem canticles or the canticum sacrum?


----------



## Mirror Image

Bach said:


> Yes, I have the same box - (plus more, of course) and several of those works are serialist - what do you think of the requiem canticles or the canticum sacrum?


Honestly, Bach I haven't listened to much of that box set. I have a ton more Stravinsky than just that box, so and I haven't even heard a lot of those yet.

Here is my Stravinsky collection:

- Stravinsky Conducts Stravinsky: Petrushka; Le Sacre du Printemps
Orch: Columbia Symphony
Cond: Igor Stravinsky
Label: Sony

- Stravinsky Conducts Stravinsky: Symphony of Psalms/Symphony in 3 Movements
Orch: Columbia Symphony, CBC Symphony
Cond: Igor Stravinsky
Label: Sony

- Stravinsky Conducts Stravinsky: Firebird Suite-Complete; Scherzo; Firework
Orch: CBC Symphony, Columbia Symphony
Cond: Igor Stravinsky
Label: Sony

- Works of Igor Stravinsky (22-CD set)
Label: Sony

- Three Greek Ballets (Apollo, Agon, Orpheus)
Orch: London Symphony, Orchestra of St. Luke's
Cond: Robert Craft
Label: Naxos

- The Rite of Spring, Firebird Suite; Prokofiev: Scythian Suite (Expanded Edition)
Orch: NY Philharmonic
Cond: L. Bernstein
Label: Sony

- Petrouchka; Le Sacre de printemps
Orch: Cleveland Orchestra
Cond: Pierre Boulez
Label: DG

- Le Chant du Rossignol, L'Histoire du Soldat
Orch: Cleveland Orchestra
Cond: Pierre Boulez
Label: DG

- Symphony of Psalms; Symphony in Three Movements
Orch: Cleveland Orchestra
Cond: Pierre Boulez
Label: DG

- The Firebird/Fantaisie for Orchestra Op.4; Four Studies
Orch: Chicago Symphony
Cond: Pierre Boulez
Label: DG

-Stravinsky Edition (4-CD set)
Orch: City of Birmingham Symphony
Cond: Sir Simon Rattle
Label: EMI

-Symphony of Psalms; Symphony In C; Symphony In Three Movements
Orch: Berlin Philharmonic
Cond: Sir Simon Rattle
Label: EMI

-The Rite of Spring; Fireworks; Firebird
Orch: Boston Symphony, Chicago Symphony
Cond: Seiji Ozawa
Label: RCA

-The Robert Craft Edition: Stravinsky Ballets (6-CD set)
Orch: Orchestra of St. Luke's, London Philharmonia
Cond: Robert Craft
Label: Naxos

-The Rite of Spring
Orch: Atlanta Symphony
Cond: Yoel Levi
Label: Telarc

-The Rite of Spring; Symphony in Three Movements
Orch: NY Philharmonic
Cond; Zubin Mehta
Label: Apex

-The Rite of Spring; Firebird
Orch: Royal Philharmonic
Cond: Yuri Simonov
Label: Royal Philharmonic Masterwork

-The Great Ballets (2-CD set)
Orch: London Symphony, London Philharmonic
Cond; Bernard Haitink, Igor Markevitch
Label: Philips

-Stravinski (6-CD set)
Orch: Philharmonia Orchestra of London
Cond; Essa-Pekka Salonen
Label: Sony

-Symphonies
Orch: Chicago Symphony
Cond; Sir Georg Solti
Label: Decca

-Le Sacre du printemps/L'Oiseau de feu/Jeu de cartes/Petrouchka/Pulcinella (2-CD set)
Orch: London Symphony
Cond; Claudio Abbado
Label: DG


----------



## Bach

Well, you have something to look forward to then


----------



## alvarohenrique

For those who got interested on knowing more about Villa-Lobos, I recommend the Complete Choros recording made by OSESP (Orchestra of Sao Paulo), released by BIS. This is the first time all Choros are recorded at once, and just a very few times this repertoire was so well playied.

If by any chance any of you still don't know his guitar works, here comes a link to a live recording of a concert I have just made in Switzerland. Free download. www.alvarohenrique.com/Alvaro_Henrique_Live_in_Switzerland_09may2009_Villa-Lobos_Konzert.zip .


----------



## bdelykleon

Villa-Lobos is a very hard composer to judge, ,we don't even know how many things he composed, some speculate arround 5000 pieces, and his output is so uneven in terms of awareness and quality. His guitar works which are a very tiny part of his oeuvre, are one firmly in the instruments repertoire and due to his vastly large catalogue, he pops up in the repertoire of less popular instruments such the saxophone, the bassoon, the harmonica and, believe it or not, the whistle (!). Some of his piano suites based in popular dances are fairly known and are a good example of 20th century piano, and his Bachianas are an easy choice in latin american orientated programs.

Unfortunately I don't think this is the best Villa-Lobos we have to offer, some of his choros (specially the chamber from 1 to 7 and no. 10) constitute great music, his noneto is one of the most brilliant pieces in early 20th century, Momoprecoce for piano and orchestra is far superior to his piano concerto and Rudepoema is, in my view, his greatest work, an incredibly hard to play and visceral piece dedicated to Rubinstein, you can see Hamelin playing it here:









unfortunately all but the brazilians are unable to know the best Villa Lobos due to the strange formations (the Nonetto calls for extensive percussion, a mixed choir, woodwind and some solo strings), badly edited works, and overall dificulty.


----------



## livemylife

Mirror Image said:


> I have listened to some Villa-Lobos and to be honest I don't really understand him at all. I heard his "Guitar Concerto," which is an "okay" piece. I don't really think he's that great of a composer. For me, it seems his ideas aren't cohesive and they're very raw and not formulated in any particular way and don't follow any kind of logic other than to dazzle the listener with their technical ability. I also feel the overall dynamics of his music are something that doesn't really do much for me.
> 
> I'll file him into the "I don't understand him yet" category, but until then, it's onto things that I do understand like, well...I don't really have to start listing my favorite composers again do I?


I'm assuming you have not heard Bachianas brasileiras no. 5?? There is NO WAY someone could find this music unappealing. It is remarkably beautiful. I hear/perform this piece every summer at camp and it gives me the same goosebumps as the first time I heard it.

That said, Bachianas no. 1 is also great. Unfortunately, I have not listened to the other seven.


----------



## bdelykleon

Several famous sopranos recorded the Bachianas no. 5, from memory I can mention Renée Fleming, Victoria de Los Angeles, Anna Moffo, Barbara Hendricks, Arleen Auger. But I can't deal with most foreignesr due to their poor accent, but Anna Moffo has a far far better pronounciation. To me, the best recording of this work is the one with Bidu Sayão, arguably our best singer.

And I'm aware at least of 2 complete sets of the Nine Bachianas, one from Telarc and this one by Naxos:









This is an incredibly good CD with Villa Lobos and Ives' masterpiees for solo piano:









This is a good disc with some of his works, including Bachianas no. 3 and Momoprecoce, the fantasia por sax and orchestra, the guitar concerto and some of the solo piano works:









It's funny to notice how Villa-Lobos can swing between the neoclassical tuneful pieces like the Bachianas, and the dense Varesian works like Momoprecoce and Rudepoema.


----------



## Mirror Image

livemylife said:


> I'm assuming you have not heard Bachianas brasileiras no. 5?? There is NO WAY someone could find this music unappealing. It is remarkably beautiful.


So you can't believe that somebody has a different opinion than yours?


----------



## Mirror Image

bdelykleon said:


> And I'm aware at least of 2 complete sets of the Nine Bachianas, one from Telarc and this one by Naxos:


There's also one on EMI:


----------



## livemylife

What do you think of the piece? Do you not like it, not even a little bit?


----------



## Mirror Image

livemylife said:


> What do you think of the piece? Do you not like it, not even a little bit?


No, I don't.

Here is what I wrote about Villa-Lobos in several posts back:

I have listened to some Villa-Lobos and to be honest I don't really understand him at all. I heard his "Guitar Concerto," which is an "okay" piece. I don't really think he's that great of a composer. For me, it seems his ideas aren't cohesive and they're very raw and not formulated in any particular way and don't follow any kind of logic other than to dazzle the listener with their technical ability. I also feel the overall dynamics of his music are something that doesn't really do much for me.


----------



## bdelykleon

livemylife said:


> What do you think of the piece? Do you not like it, not even a little bit?


I don't if I heard too many times, but I don't like this piece that much, the melody sounds a little bit cheesy. Bachianas nos. 2 and 5 are almost as known here as the National Anthem (btw, there is a curious fantasy by Gottshalk on our anthem)...


----------



## livemylife

I was talking about the particular piece, Bachianas no.5. It has a reoccurring theme that's pretty easy to follow. Also, it is very low on the technical scale; I don't see any technical brilliance in this piece.

I agree with some of his music (I'm not too fond of his quartets), but I have to give him credit for Bachianas no. 5.


----------



## bdelykleon

Mirror Image said:


> . For me, it seems his ideas aren't cohesive and they're very raw and not formulated in any particular way and don't follow any kind of logic other than to dazzle the listener with their technical ability.


You are not entirely wrong on that. Villa-Lobos can't find himself specially in the academic forms, when he is writing fantasias, ballets and the such, he is more at ease. And Villa-Lobos' quartets (actually some are good, but the large majoritym no), symphonies, concertos are little short of awful...


----------



## Mirror Image

livemylife said:


> I was talking about the particular piece, Bachianas no.5. It has a reoccurring theme that's pretty easy to follow. Also, it is very low on the technical scale; I don't see any technical brilliance in this piece.
> 
> I agree with some of his music (I'm not too fond of his quartets), but I have to give him credit for Bachianas no. 5.


See page 3. Those are the only further comments I wish to make about Villa-Lobos.


----------



## livemylife

As you wish.


----------



## TresPicos

What about his symphonies? Are they any good?

I've never heard one, and I actually just heard _of _them.


----------



## bdelykleon

I did listened to all of them (I don't even think all are recorded, and our national orchestras don't play these works very often), but all I did are a quite unremarkable mess. Villa decided to compose them in his neoclassical phase, and he didn't have the talent for such academical forms.

As I've said before, there is a great brazilian composer of symphonies and he is Mozart Camargo Guarnieri:
http://en.wikipedia.org/wiki/Mozart_Camargo_Guarnieri
Here's one of his pieces:


----------



## starry

Well his Bachianas brasilieras have some good music there's no doubt, worth hearing. But elsewhere I read some saying his many quartets are among the greatest of the last century. I listened to several and found much uninspired music. Well crafted no doubt, but that's not enough for me. I think he is yet another in this period who gets overhyped.


----------



## Sid James

Of Villa-Lobos' chamber music, I've only heard one of the Naxos discs, which includes works like the _Quintet for violin, viola, flute, cello & harp, & the Duo for violin and viola_, as well as shorter pieces and transcriptions of songs. I wouldn't say these are the greatest of the C20th, but he's great at evoking a very Brazilian atmosphere and his instrumentation shows great craftsmanship, as you say. The sound can be very rich. He also absorbed many influences in Europe, for example in the _Duo_, I detect a hint of Hindemith. There is also a song-like quality to some of his melodies, which I find very attractive & listenable.


----------



## Sid James

I've recently acquired this 3 cd set of the complete Bachianas Brasileiras:










These are quite colourful, richly textured and rhythmically complex works. On the face of it, you wouldn't think that combining Bach with Brazil would be a good idea, but in Villa-Lobos' hands, it works very well. It's interesting that he integrates the two so well together, that it's difficult to tell when one begins and the other ends...

*No. 1* is interestingly scored for 'an orchestra of cellos.'

*No. 2* is probably my favourite, for chamber orchestra, but the sound is richer than what you'd think. Like Bach's _Brandenburg Concertos_, there are solos in these works for different instruments, in this case the tenor saxophone and Villa-Lobos' favourite instrument, the cello. This work contains the musical impression of a train moving through the Brazilian countryside as it's last movement.

*No. 3* is virtually a piano concerto, in four movements, including the colourful 'woodpecker' of the final movement.

*Nos. 4, 7 & 8* are virtually concertos for orchestra, demonstrating Villa-Lobos' skills at writing for different sections of the orchestra. Some very characteristic orchestration in these.

*No. 5* is the famous one for 8 cellos & soprano solo. The melody from the first movement is achingly beautiful, if quite hackneyed due to it's sheer popularity.

*No. 6* is for flute and bassoon, the contrapuntal writing reflecting Bach in his two-part inventions.

*No. 9* is a prelude & fugue for string orchestra, perhaps the most interesting of the lot. The prelude sounds tonally quite vague, and the fugue is a fusion of the Baroque with Brazilian. It's interesting how he wrote the last one in 1944, and lived until 1959 but didn't compose any more in the series. Perhaps he felt that he'd exhausted all of the directions and ideas that could be explored...


----------



## Head_case

Like others here, the only Villas-Lobos stuff I've got is on the Marco Polo label (Danubius Quartet). 

I get the impression that they don't 'define' his music, the way he had intended. I've only got the middle quartets, and not the complete cycle. Nothing is worse than feeling the compulsion to buy the complete cycle, because 'the others might be better'. The last thing I want to do, is end up with 18 string quartets by Milhaud, of which only 3 are ones I'd enjoy, and the others really should've been reworked on a Freudiian couch, so that he could get over his Beethoven-envy, and concentrate on making music according to his own voice, instead of using fillers. 

Villas-Lobos is far more important than Milhaud in this respect. We all want string quartet cycles to be consistent. It would be interesting to see which ones come out on tops for a recommended list.......
I think Taneyev is my model for that reason; he's not afraid to rework earlier compositions into balance. 

One of the greatest attraction about his music, is that it is culturally influenced by a different location and folk. This alone makes him appealing for me....although a little more mastery of the string quartet medium, either in terms of editing or reworking, wouldn't have gone amiss...


----------



## Almaviva

*I don't feel like reading the whole thread now, so I...*



Andre said:


> Heitor Villa-Lobos (1887-1959) put Brazil on the map, musically speaking.


... don't know if anybody has already brought this up:

While I entirely agree with your statement (and I like Villa-Lobos very much), let's not forget that Antonio Carlos Gomes also put Brazil on the musical map. His opera _Il Guarany_ is stupendous. I liked it so much that I have just purchased three more by him which I haven't had the time to listen to yet: Salvator Rosa, Lo Schiavo, and Fosca.


----------



## Air

I just got to dig a little further into Villa-Lobos's endlessly fascinating chamber output. Today I discovered the _Quatuor, for Flute, Harp, Celesta, Alto Saxophone, and Women's Voices_ (also known as the _Quatuor Symbolique_) through Rhapsody player. Not a very directional piece, but it's intense aural pleasure from beginning to end. Out-of-the-world modal work, almost like one would find in impressionistic music (particularly French). He's very good with unique groupings of instruments such as this one (harp stands out, celesta is wonderfully used). The voices set the tone in very much the same way as the chorus in Ravel's _Daphnis et Chloe_. There are more than coincidental similarities between this piece and the Adventure of Pan (following the Sunrise) in _Daphnis_. Though, the chamber environment is more intimate (something I like, being a piano aficionado), and certainly more abstract (I'm thinking Debussy). I never knew Villa-Lobos could be so very French, it's quite a pleasant find!

I'd definitely recommend this and Villa-Lobos's other chamber music (esp. _String Quartets_) after you're familiar with his essentials (Choros, Bachianas, Rudepoema, etc.).


----------



## Sid James

I'm not sure if you've got or heard this Naxos disc before Air, but the _Quintet Instrumentale_ on it sounds exactly like the _Nonet_ you describe above. I played it once to a friend, and he said it sounded very French impressionist to him upon that first listen. The other works on the disc also have this Ravellian flavour combined with his typically Brazilian style, except for the _Duo for Violin & Viola_, which I feel is more in the heavier contrapuntal style of Hindemith...


----------



## Air

I haven't heard the Naxos disc you mentioned, but the impression that your friend gave was about spot on. By the way, it's the _Quarteto Simbólico_ I was describing (_Quatuor_ in Portuguese I think, correct me if I'm wrong), not the other work on the disc, the _Nonetto_, which I have not heard yet but will be sure to get to soon.

It seems that Villa-Lobos's acquaintance with Milhaud in 1917 and his introduction to primarily French composers such as Debussy and Satie is the reason that of all the European classical tradition, his music resembles French impressionism the most. Though that term itself is very vague. I think the Diaghilev influence is quite clear too. Listening to the Rudepoema (1926) and the Choros series of the 20's there is definitely a bit of Stravinsky.

I'm not acquainted enough with Milhaud to know if there are similarities between the two.

What I find a bit strange and intriguing is that the work you mentioned, the _Quinteto Instrumental_, was actually written in 1957, 2 years before his death. The fact that it's written in the same style as the _Quarteto Simbólico_ (1917) above is quite curious.


----------



## Comus

Here's the piece that hooked me to Villa-Lobos:

Villa-Lobos: Fantaisie Concertante (1953) for piano, clarinet & bassoon 

Recordings of this piece are a bit limited, but this one should suffice. Like Air said, he does best with unique groupings of instruments.

I think that kind of 'impressionist' aspect of his music is what I love so much, the mystery and dreaminess of it. It makes me think of a foggy jungle. He spent some time in France, but from what I understand, he was more preoccupied with pushing his own music on the Europeans than studying there.


----------



## Frasier

Air said:


> I just got to dig a little further into Villa-Lobos's endlessly fascinating chamber output. Today I discovered the _Quatuor, for Flute, Harp, Celesta, Alto Saxophone, and Women's Voices_ (also known as the _Quatuor Symbolique_) through Rhapsody player. Not a very directional piece, but it's intense aural pleasure from beginning to end. Out-of-the-world modal work, almost like one would find in impressionistic music (particularly French). He's very good with unique groupings of instruments such as this one (harp stands out, celesta is wonderfully used). The voices set the tone in very much the same way as the chorus in Ravel's _Daphnis et Chloe_. There are more than coincidental similarities between this piece and the Adventure of Pan (following the Sunrise) in _Daphnis_. Though, the chamber environment is more intimate (something I like, being a piano aficionado), and certainly more abstract (I'm thinking Debussy). I never knew Villa-Lobos could be so very French, it's quite a pleasant find!
> 
> I'd definitely recommend this and Villa-Lobos's other chamber music (esp. _String Quartets_) after you're familiar with his essentials (Choros, Bachianas, Rudepoema, etc.).


There's a most pleasant recording of this work, along with the Sexteto Mistico, the Septet, a couple of duos and the Bachianas 9 on Lorelt: Lontano, the BBC Singers cond: Odaline de la Matinez. (LNT102)

I have the original LP (as a memento) with the Roger Wagner outfit and quite like it. The Noneto fares better with more recent recording.


----------



## Frasier

Oops. Sorry, wrong thread.


----------



## moody

Mirror Image said:


> I have listened to some Villa-Lobos and to be honest I don't really understand him at all. I heard his "Guitar Concerto," which is an "okay" piece. I don't really think he's that great of a composer. For me, it seems his ideas aren't cohesive and they're very raw and not formulated in any particular way and don't follow any kind of logic other than to dazzle the listener with their technical ability. I also feel the overall dynamics of his music are something that doesn't really do much for me.
> 
> I'll file him into the "I don't understand him yet" category, but until then, it's onto things that I do understand like, well...I don't really have to start listing my favorite composers again do I?


No, I think we can excuse you.


----------



## violadude

Mirror Image said:


> No, I don't.
> 
> Here is what I wrote about Villa-Lobos in several posts back:
> 
> I have listened to some Villa-Lobos and to be honest I don't really understand him at all. I heard his "Guitar Concerto," which is an "okay" piece. I don't really think he's that great of a composer. For me, it seems his ideas aren't cohesive and they're very raw and not formulated in any particular way and don't follow any kind of logic other than to dazzle the listener with their technical ability. I also feel the overall dynamics of his music are something that doesn't really do much for me.


Try his string quartets. They are the opposite of what you describe.


----------



## moody

I think I joined this thread about two years too late. Start her up again Sid !


----------



## starthrower

What's wrong with raw? Does all music have to ultra sophisticated and refined to be enjoyed? I suppose I'm not as analytical as the trained musicians and composers here, but I don't need to understand everything about the composition to enjoy listening to it.


----------



## Sid James

moody said:


> I think I joined this thread about two years too late. Start her up again Sid !


The former member Mirror Image left this forum about 2 years ago. But it's never too late to talk about Villa-Lobos! A very interesting composer, indeed...


----------



## starthrower

violadude said:


> Try his string quartets. They are the opposite of what you describe.


I found two CDs at my library covering nos. 12-17. I'm going to give them a listen.


----------



## opus55

I just discovered Villa-Lobos through Naxos complete recording of _Bachianas Brasileiras_. I think they are refreshing and innovative. They are certainly different from european music which made me keep listening for over an hour - just fascinating music. There's a lot of cello and also flute+basson combination is interesting. I had to pause for dinner but this 3-disc set is far from boring.


----------



## BubbleBobble

Villa-Lobos is awesome

_Rudepoema_ is a quality piano work. Marc-Andre Hamelin handled it well, for one

I love the string quartets, for the most part

some of the guitar is a little repetitive as someone said earlier in the thread (I actually stopped reading when all the Stravinsky stuff started to surface, but anyway) but I also like it a good bit

there are many charming solo piano works

Bachianas are pretty decent too

idk

I feel like he's one of the greats in classical music, but I'm assuming a lot of you guys would disagree


----------



## chalkpie

Bump.

Starting my VL journey thanks to Spotify. Choros 10 blew my mind last night. The buzz didn't hurt either :cheers::cheers::cheers:


----------



## Prodromides

Hi, chalkpie.

If you are interested, here's my 'baker's dozen' of favorites by Villa-Lobos:


Amazonas (1917)
Danca dos Mosquitos (1922)
Choros No.8 (1925)
Choros No.10 (1925)
Choros No.6 (1926)
Rudepoema (1926)
Choros No.11 (1928)
Choros No.9 (1929)
Choros No.12 (1929)
Fantasy for Cello and Orchestra (1945)
Erosao (1950)
Symphony No.10 "AmerIndia" (1952)
Genesis (1954)

you might also be interested in the soundtrack album to GREEN MANSIONS (1959) for which Villa-Lobos wrote music without seeing the film and MGM's Bronislau Kaper re-arranged VL's music to synchronize with onscreen content.


----------



## chalkpie

Prodromides said:


> Hi, chalkpie.
> 
> If you are interested, here's my 'baker's dozen' of favorites by Villa-Lobos:
> 
> 
> Amazonas (1917)
> Danca dos Mosquitos (1922)
> Choros No.8 (1925)
> Choros No.10 (1925)
> Choros No.6 (1926)
> Rudepoema (1926)
> Choros No.11 (1928)
> Choros No.9 (1929)
> Choros No.12 (1929)
> Fantasy for Cello and Orchestra (1945)
> Erosao (1950)
> Symphony No.10 "AmerIndia" (1952)
> Genesis (1954)
> 
> you might also be interested in the soundtrack album to GREEN MANSIONS (1959) for which Villa-Lobos wrote music without seeing the film and MGM's Bronislau Kaper re-arranged VL's music to synchronize with onscreen content.


Thanks for the list Prod, much appreciated. No Bachianas, symphonies, or string quartets on there for you?

Listening to Amazonias right now. Terrific. This guy is all over the map- its so hard to get a reading on him since he can sound like 4 or 5 different composers depending on the piece. I did Choros 8 and 9 today during the commute. So much going on there - I need many more spins - but very original and intriguing music. Somehow this cat flew under my radar for years, and I am a huge 20th century/modern composers enthusiast. I am thrilled I have found him, and with Spotify the selection of recordings is killer.


----------



## Prodromides

Hi, chalkpie.

A few of the string quartets and Bachianas I have didn't entice me to get any more, but you may love them.
All the 12 symphonies are OK by me, but only symphony #10 is a favorite. VL's symphony #6 was based (according to its subtitle) on the contours of Brazilian mountains.
All 5 of VL's piano concertos are engaging, too.

VL's choral works seem rather conventional by comparison with his _Chorus_ series, but his chamber music for woodwinds (I feel) are splendid.


----------



## Guest

What do people think of Villa-Lobos' symphonies? I listened to his first couple of symphonies a month or two ago and they didn't leave a big impression, but I'm listening to the 10th now, and it's quite good to my ears.


----------



## hpowders

The Doll Suite is nice. Some wonderful excerpts by Rubinstein are around.


----------



## Neo Romanza

arcaneholocaust said:


> What do people think of Villa-Lobos' symphonies? I listened to his first couple of symphonies a month or two ago and they didn't leave a big impression, but I'm listening to the 10th now, and it's quite good to my ears.


VL's symphonies are most definitely of variable quality. Where he shines is in other works like the ballets _Uirapuru_, _Genesis_, _Emperor Jones_, and symphonic poems like _Amazonas_, _Erosao_, etc. Also, works like the _Choros_ and _Bachianas Brasileiras_ are essential VL. I would also check out the SQs and solo piano music. Again, top-drawer VL.


----------



## Haydninplainsight

It's amazing to listen to music from such an accomplished composer and then to find out that he had no formal musical education. What a gift.


----------



## Sonata

I recently borrowed a few albums from the library of his work and just started listening to it yesterday. His first piano trio is wonderful! I look forward to hearing more from him.


----------



## Birdsong88

Villa-Lobos, for me is a hit or a miss. When I do like a piece of his I really like it. I need to explore more of his works. However, I will probably skip his string quartets. Those were a miss for me.


----------



## Jorge Hereth

Sid James said:


> Heitor Villa-Lobos (1887-1959) put Brazil on the map, musically speaking. ...


I like your biographic description of Villa-Lobos, but sorry, here in Brazil it's not exactly him we see as having put us on the map, but it's Antônio Carlos Gomes (1836-1896), a Brazilian from Campinas, SP, who in 1870 became one of the composers of the Teatro alla Scala in Milano, Italy.

In September 1997 I got a job accompanying a German philharmonic orchestra during a Brazil tournée as their translator. Ok, to be a translator for a philharmonic orchestra, you need to speak at least four languages, with English and Italian among them. My luck I do, and I got the job. At every concert they played something by Villa-Lobos.

Asking them, they told me since there was a Brazilian composer and since they were in Brazil, they would play something by him. Asking them if they had ever heard of Nunes Garcia, Marcos Portugal, Silva Gomes, Farias Machado, Lobo Mesquita, Santos Cunha, Carlos Gomes, Santana Gomes, Francisco Braga, Henrique Oswald, Leopoldo Miguéz, Gama Malcher, Alberto Nepomuceno, José Siqueira, etc., they did not have a clue of who these guys were... Not even a Chilean violinist in the orchestra had an idea there might be more Brazilian composers existing. But well, you might think in a Latin-American category, but Hispanic America and Brazil are worlds apart, culturally and musically speaking, and Brazil shows more similarities to the USA and Mexico than nearer Spanish speaking countries.

Now, about the audience, stage workers, while staying behind the curtains and having some beers, cigarettes - in the end-1990s one working could still smoke there and have some beers, but we still lived in another world - and sandwiches with them, they always gave me the information about how audience was reacting. And these guys, some of them had decades of expertise for it. I realized myself the applauses after a Villa-Lobos were always very disciplined. During some executions stage workers told me from the looks they saw spying through the curtains: "Audience is once more askig themselves: another foreign orchestra with Villa-Lobos. Don't these foreigners know any other Brazilian composer?". But during other executions stage workers told me: "Audience continues without knowing who Villa Lobos was".

What I wanna tell you: Heitor Villa-Lobos was one of the greatest composers Brazil has ever had. Nevertheless we don't see him as the greatest, but as one among the greatest. Like the other guys I mentioned above, and lots of others. But the one seen as having put us on the map is Carlos Gomes.


----------



## GioCar

Bom dia Jorge, interesting post :tiphat:

Why don't you start a thread on Carlos Gomes? You look like knowing a lot of him.


----------



## Orfeo

May I humbly yet enthusiastically take this moment to recommend "Floresta do Amazonas", which is pretty remarkable. And this BIS recording is supreme!

http://www.amazon.com/Floresta-Amazonas-Poems-Dora-Vasconcelllos/dp/B003LR4QQI/ref=sr_1_3?ie=UTF8&qid=1440081787&sr=8-3&keywords=floresta+do+amazonas


----------



## Grizzled Ghost

I humbly and enthusiastically second this recommendation. I picked up the BIS album a couple days ago as a Daily Deal on the eClassical website. I was blown away. I like it better than the Symphony #12 which I also recently purchasesd. I suspect it is the best of his later works.



Jorge Hereth said:


> ...Nunes Garcia, Marcos Portugal, Silva Gomes, Farias Machado, Lobo Mesquita, Santos Cunha, Carlos Gomes, Santana Gomes, Francisco Braga, Henrique Oswald, Leopoldo Miguéz, Gama Malcher, Alberto Nepomuceno, José Siqueira, etc., they did not have a clue of who these guys were...


What a list of composers! I have to explore....



Jorge Hereth said:


> But well, you might think in a Latin-American category, but Hispanic America and Brazil are worlds apart, culturally and musically speaking, and Brazil shows more similarities to the USA and Mexico than nearer Spanish speaking countries.


How interesting!


----------



## Jorge Hereth

That might be an idea. But I don't feel knowing enough on him for the time being. But there's something I'm working on, and after having it ready, guess I'm gonna start a thread.

Ah, now I see, GioCar, you live in Milano, right the central point of Carlos Gomes main activities which start there with Se sa minga, Nella Luna and Il Guarany. :lol:

Or maybe better, three threads: one about Brazilian Lyric and Music theatre, since we are pretty rich in Operas, Operettas, Mágicas, and even have three or four Zarzuelas and some Vaudevilles, Musicals and lots of Revue Theatre.

For a sample, here the overture to Henrique Alves de Mesquita's opera _O Vagabundo_:





The second one about Brazilian Sacred Music, also in that one we are pretty rich and vaults are pretty well preserved. Already met with _Barroco Mineiro_?

Here, as a sample, Lobo Mesquita's Te Deum:





And for the third thread, yes, it should be one dedicated to Antônio Carlos Gomes, that guy's got enough for a thread about him.

For the time being, here two interesting articles in Italian you might be interested in:

Antonio Carlos Gomes: un musicista tra Scapigliatura e Verismo

GOMES ANTONIO CARLOS (Campinas, 11 luglio 1836 - 16 settembre 1896): Compositore brasiliano


----------



## Jorge Hereth

Orfeo said:


> May I humbly yet enthusiastically take this moment to recommend "Floresta do Amazonas", which is pretty remarkable. And this BIS recording is supreme!
> 
> http://www.amazon.com/Floresta-Amazonas-Poems-Dora-Vasconcelllos/dp/B003LR4QQI/ref=sr_1_3?ie=UTF8&qid=1440081787&sr=8-3&keywords=floresta+do+amazonas


It actually is beautiful:





And here another beautiful one, his opera _Magdalena_, regrettably audio only:


----------



## Orfeo

^^^
Thanks so much Jorge for uploading these gems. I'll give them a listen. Are you familiar with Daniel Catan's "Florencia en el Amazonas?" It's a wonderful work.


----------



## GioCar

Jorge Hereth said:


> That might be an idea. But I don't feel knowing enough on him for the time being. But there's something I'm working on, and after having it ready, guess I'm gonna start a thread.
> 
> Ah, now I see, GioCar, you live in Milano, right the central point of Carlos Gomes main activities which start there with Se sa minga, Nella Luna and Il Guarany. :lol:
> ....
> 
> For the time being, here two interesting articles in Italian you might be interested in:
> 
> Antonio Carlos Gomes: un musicista tra Scapigliatura e Verismo
> 
> GOMES ANTONIO CARLOS (Campinas, 11 luglio 1836 - 16 settembre 1896): Compositore brasiliano


Thank you very much for the two very comprehensive articles on Carlos Gomes, just wondering whether there is something similar in English everyone can read.

Well, you don't actually need to be be a real expert to start a thread here in TC . It would be nice to have all information regarding Carlos Gomes in a single thread of the Composer Guestbooks forum. I'm intrigued to know more of "Se sa minga" (i.e. "it is not known" in Milanese dialect)

Now stop speaking of him in the Villa-Lobos thread, I have borrowed too much of his space...


----------



## Jorge Hereth

Daniel Catán Porteny (México DF: April 3, 1949 - Austin, TX: April 8, 2011)? Had never heard of him nor his music before, but what do we have Wikipedia and YouTube for?

Gave a look at his bio here: Daniel Catán and meanwhile listened to that one here:





WOW! It actually is extraordinarily extremely beautiful! Should be brought to Brazil here one of these days, seems completely unknown here...

The only Brazilian search result I found on google was FNAC - a megastore chain of French origin here here - announcing they can provide recordings by him, and also for that one I had to activate google's advanced search. Will later today post the video in my Facebook, so at least some Brazilians will get to know him.

Thank you so much for indicating Catán.


----------



## Orfeo

Jorge Hereth said:


> Daniel Catán Porteny (México DF: April 3, 1949 - Austin, TX: April 8, 2011)? Had never heard of him nor his music before, but what do we have Wikipedia and YouTube for?
> 
> Gave a look at his bio here: Daniel Catán and meanwhile listened to that one here:
> 
> 
> 
> 
> 
> WOW! It actually is extraordinarily extremely beautiful! Should be brought to Brazil here one of these days, seems completely unknown here...
> 
> The only Brazilian search result I found on google was FNAC - a megastore chain of French origin here here - announcing they can provide recordings by him, and also for that one I had to activate google's advanced search. Will later today post the video in my Facebook, so at least some Brazilians will get to know him.
> 
> Thank you so much for indicating Catán.


You're welcome. Enjoy.


----------



## Jorge Hereth

I hadn't realized before - newcomer desease... - this thread was to be exclusive about Villa-Lobos. GioCar will be relieved I've spent the last five hours on my Carlos Gomes thread and started it, and now, returning to this one here, I realize nobody has even mentioned Villa-Lobos' operas! Ok, guess I have to be the one, starting with _Yerma_, here in a 2010 performance at Teatro Amazonas in Manaus, AM:

Act 1:





Act 2:





Act 3:





Act 4:


----------



## Jorge Hereth

And here the same _Yerma_ in a 1983 performance - audio only - made up as a three acts thing at Teatro Municipal in Rio de Janeiro city:

Act 1:





Act 2:





Act 3:


----------



## Jorge Hereth

And here, isolated scenes of Villa-Lobos opera _A Menina das Nuvens_ (_The Girl from the Clouds_). Sorry, could not find anything complete.

Here some recordings of 2009 performances at Palácio das Artes in Belo Horizonte, MG:
1. 




2. 




3. 




4. 




Unidentified recording (very beautiful):


----------



## Johnnie Burgess

I am enjoying his wonderful string quartet cycle.


----------



## Pugg

Kiri te Kanawa: "Aria (Cantilena)", Bachianas brasileiras n'5 (Villa-Lobos) :tiphat:


----------



## Johnnie Burgess

Cuarteto Latinoamericano have an excellent recording of his string quartet cycle.


----------



## sctubes

High appreciation for Villa-Lobos - have several different versions of Bachianas Brasileiras as well as several other works.


----------



## R3PL4Y

What do y'all think of his symphonies? These seem to be not often discussed as far as his body of work goes.


----------



## starthrower

I can't keep up with composers like Villa-Lobos, or Milhaud. They wrote too much music. I haven't listened to any of the symphonies. Just a couple of string quartets, choros, and Bachianas Brasileiras.


----------



## Necronomicon

As a guitar lover, its hard not to appreciate villa-lobos. I love the way you can almost hear the fact he is a cellist just from the timings in his 5 preludes. Bachianas Brasileiras is great as well, unique for its time.


----------



## R3PL4Y

Is anyone here familiar with the piano concertos? i have heard that a lot of Villa-Lobos' music has been criticized for being "note-spinning", particularly these pieces. I wonder what everybody who is familiar with them thinks of them.


----------



## Pugg

Necronomicon said:


> As a guitar lover, its hard not to appreciate Villa-Lobos. I love the way you can almost hear the fact he is a cellist just from the timings in his 5 preludes. Bachianas Brasileiras is great as well, unique for its time.


That's the whole point.


----------



## rojaba

I just discovered the Bachianas Brasileiras last week and they have really stuck in my ear. Third movement of the 4th is quite something.

This recording is the nicest I've found so far. Bit split on the cover. On the one hand it's fun, on the other hand it's that type of stereotyping that is completely unraveled by the music.


----------



## Pugg

rojaba said:


> I just discovered the Bachianas Brasileiras last week and they have really stuck in my ear. Third movement of the 4th is quite something.
> 
> This recording is the nicest I've found so far. Bit split on the cover. On the one hand it's fun, on the other hand it's that type of stereotyping that is completely unravelled by the music.
> 
> View attachment 90676


Then again, as they say, do not judge a CD by it's cover.


----------



## Prodromides

R3PL4Y said:


> Is anyone here familiar with the piano concertos? i have heard that a lot of Villa-Lobos' music has been criticized for being "note-spinning", particularly these pieces. I wonder what everybody who is familiar with them thinks of them.


All 5 of VL's piano concertos have been in my music collection for more than 20 years since I purchased the London label's 2-CD set on them during the mid-1990s.
I recall liking the 3rd & 5th the most, but a listener who is 'into' Villa-Lobos's more Brazilian stylizations (and doesn't listen to everything via the aural prism of Germanic principles) would no doubt be receptive toward any of them.

My perspective on this is that appreciation of music (by any composer) rather depends on the listener's experiences & sensibilities. If you like colorful orchestral music, then you should like Villa-Lobos.


----------



## Nate Miller

Villa-Lobos guitar works are some of my favorites that I play. To me his music is like what Debussy would have written, had he written for guitar. The extended harmonies and the colorful passages in his music are what the guitar was made for.

at lot times in his guitar works, there are passages that look nearly unplayable, but after some thinking a fingering usually emerges that is based on some "old friend" chord shapes. That only happens when a composer plays guitar themselves, which he did.


----------



## ronaldgeorge

Pugg said:


> Then again, as they say, do not judge a CD by it's cover.


Yeah...That cover is flat-out campy. I've seen some strange classical covers....This one really misses the mark.


----------



## ronaldgeorge

R3PL4Y said:


> What do y'all think of his symphonies? These seem to be not often discussed as far as his body of work goes.


I know his output can be a bit daunting, but the symphonies are worth listening to. Most were composed later in his career. Symphonies 4, 5, 7, 8 and 12 are familiar to me. They're good but so are his other late orchestral works,_ Uirapura_ and _Mandu-Carara_.


----------



## jdec

This is a nice piece:


----------



## hpowders

I like his Doll Suite for piano. Have Artur Rubinstein doing it.


----------



## Pugg

ronaldgeorge said:


> Yeah...That cover is flat-out campy. I've seen some strange classical covers....This one really misses the mark.


I think what they tried to say was: the conductor on holiday in Brazil, just a wild guess.


----------



## Janspe

I listened to Villa-Lobos' music for the first time today. I started with a (possibly) unsual piece, the *Piano Concerto No. 1*. Looking through the list of his works, I can see that he composed _a lot_ - might take a while to explore his music... Can't wait to get my hands into his string quartets and of course the _Chôros_ and _Bachianas Brasileiras_.

Fans of V-L, speak up! Any suggestions for a newcomer?


----------



## Portamento

Janspe said:


> Fans of V-L, speak up! Any suggestions for a newcomer?


Villa-Lobos's _Bachianas Brasileiras_ and _Chôros_ are his best works, all of which are for the most part masterpieces. I would start with those, because the rest of his output tends to be very inconsistent. The piano concertos are nice and colorful works with great character, and I suppose they would also as a good (if not standard) place to start. I do, however, think you should start with the fourth concerto for it is more lyrical and less... "out there" than the rest of his piano concertos. Next; the string quartets of Villa-Lobos are an especially inconsistent part of the composer's works ―some are first-rate and others are very mediocre. The fifth is probably one of the most appealing of the 17 he wrote. I haven't listened to many of Villa-Lobos's string quartets, but I am sure that there are other gems among this part of his ouevre!

Regards,
Portamento


----------



## alvarohenrique

This Sunday was Heitor Villa-Lobos' 130th birthday. Villa-Lobos changed completelly the guitar. The guitar repertoire can be divided on b.VL and a.VL. Still nowadays his pieces sound unbeliavable to be playied - and yet they are! Here's a list of some of his main guitar compositions.









Valse-Choro | Heitor Villa-Lobos | lost composition
Villa-Lobos' Valse-Choro was meant to be published on the Suite Populaire Bresiliene (Brazilian Popular Suite), but was lost and recently discovered.









Valsa Simples | Heitor Villa-Lobos`discovered music
No, it's not Mazurka-Choro. Valsa Simples is a youth piece by Heitor Villa-Lobos which was later developed to become Mazurka-Choro.









Studies 10 (version 1928), 10 (version 1958), 11 and 12 | Heitor Villa-Lobos
Have you ever heard BOTH versions of the Study 10? Here`s a chance to listen to the 1928 and the 1958 version beside each other, along with the Studies 11 and 12.









5 Préludes | Heitor Villa-Lobos (1887-1959)
One of Villa-Lobos' main masterpieces


----------



## Chatellerault

Janspe said:


> I listened to Villa-Lobos' music for the first time today. I started with a (possibly) unsual piece, the *Piano Concerto No. 1*. Looking through the list of his works, I can see that he composed _a lot_ - might take a while to explore his music... Can't wait to get my hands into his string quartets and of course the _Chôros_ and _Bachianas Brasileiras_.
> 
> Fans of V-L, speak up! Any suggestions for a newcomer?


I've never listened to his concertos. As far as I know his most often played pieces are the _Chôros_, _Bachianas Brasileiras_, all the guitar works (_12 Etudes, 5 Preludes_ and others), solo piano works and the piano fantasy Momoprecoce, inspired by Carnival in Rio.

His solo piano works have been recorded by great pianists such as Rubinstein, Guiomar Novaes and Nelson Freire.

This video of Momoprecoce (Freire and OSESP with Marin Alsop) has a short introduction and a stunning, colorful performance:


----------



## Pugg

Chatellerault said:


> I've never listened to his concertos. As far as I know his most often played pieces are the _Chôros_, _Bachianas Brasileiras_, all the guitar works (_12 Etudes, 5 Preludes_ and others), solo piano works and the piano fantasy Momoprecoce, inspired by Carnival in Rio.
> 
> His solo piano works have been recorded by great pianists such as Rubinstein, Guiomar Novaes and Nelson Freire.
> 
> This video of Momoprecoce (Freire and OSESP with Marin Alsop) has a short introduction and a stunning, colorful performance:


Good search work, thanks for sharing.


----------



## alvarohenrique

There's a live performance of mine playing Villa-Lobos Complete Solo Guitar Works:


----------



## leonsm

I loved to listen in this year the Symphony No. 3 and the Harmonica Concerto by Villa-Lobos, two amazing pieces in its own way.


----------



## Chatellerault

Recently listened to a couple of discs from the Symphonies set by OSESP and Isaac Karabtchevsky (NAXOS).

While his symphonies are often neglected and I still didn't fix my opinion about them, his symphonic poem *Uirapuru *(name of a bird from Amazon Forest) is a masterpiece foreshadowing Messiaen's Bird Style. Of course, Messiaen himself used to say his orchestration was deeply influenced by Villa-Lobos.


----------



## Orpheus

Chatellerault said:


> Recently listened to a couple of discs from the Symphonies set by OSESP and Isaac Karabtchevsky (NAXOS).
> 
> While his symphonies are often neglected and I still didn't fix my opinion about them, his symphonic poem *Uirapuru *(name of a bird from Amazon Forest) is a masterpiece foreshadowing Messiaen's Bird Style. Of course, Messiaen himself used to say his orchestration was deeply influenced by Villa-Lobos.
> 
> View attachment 100314


I got this recording too recently, and find myself still unsure what to make of these works. The 12th struck me as... nothing special, to say the least, while Uirapuru was like a rainforest-based Tapiola, but one which did not display much of either the weight or conviction of that celebrated piece. It was clearly the superior work of the two though, and might repay closer listening in future. I have yet to be convinced by Villa-Lobos as a symphonist (he doesn't seem to have taken himself very seriously either, given the little care he apparently had for his symphonic manuscripts); but he definitely had considerable ability with tone-poems and the like; I really need to listen more to his works in this genre.



rojaba said:


> This recording is the nicest I've found so far. Bit split on the cover. On the one hand it's fun, on the other hand it's that type of stereotyping that is completely unraveled by the music.


That cover is... quite something; most of it an idiotic something. The stereotyping could only have been more laughable if he also had been standing on a carnival float while scantily-clad ladies gyrated their rears in the background, and Christ the Redeemer looked down on the whole sorry ensemble from his airy vantage point atop the Sugarloaf (why not?). Let's think of an equivalent for other nations: Rattle preparing to tackle Berlioz in a horizontally striped shirt and beret, sitting atop a bicycle, with a string of onions around his neck and a baguette under his arm, perhaps? Or how about a lederhosen-wearing Solti, conducting Wagner with a beer in one hand and baton in the other? Whatever genius designed the cover couldn't even get the bird right, therefore making it pretty obvious the picture was taken (or more likely, put together) somewhere that was _not_ Brazil - the US, most likely.

Enough, enough... the sheer corniness of the imagery made me laugh, anyway.


----------



## EchoEcho

I'm about to launch into my annual traversal of my collection of HVL music – now up to 28 hours I see, with very little duplication – yikes!

Whenever I listen to Choros or Bachianas Brasileiras, I feel a bit foolish that I waste so much time listening to other music.


----------



## lucasbiblio

Hi guys,

I think it's opportune for the topic. OSESP (São Paulo Symphony Orchestra) has just released the box containing all the symphonies of Heitor Villa-Lobos by the Naxos. This is one of the most important projects in the recent history of the discography of Brazilian music: the recording of the symphonic integral of the composer Heitor Villa-Lobos. This box, which has garnered international critics praise over the past few years, includes all the volumes of the series, in a total of 6 CDs. The project, which also includes the edition of the sheet music, helps to shed light on the complexity and diversity of the composer's creation, becoming a reference hereafter in the study of his legacy for Brazilian music. The records also testify to the current quality of the orchestra and the work of conductor Isaac Karabtchevsky who, since recording the integral of the Brazilian Bachianas in the 1970s with the Brazilian Symphony Orchestra, became one of his most intelligent and sensitive performers. We are talking about a work that will remain for the history of music as the reference of the HVL symphonies for any execution of the works from now on.

The box is being sold internationally, here in Brazil it costs around U$ 26, a bargain for an work like this.

This is the definitive edition of the Villa-Lobos symphonic work.


----------



## Pugg

lucasbiblio said:


> Hi guys,
> 
> I think it's opportune for the topic. OSESP (São Paulo Symphony Orchestra) has just released the box containing all the symphonies of Heitor Villa-Lobos by the Naxos. This is one of the most important projects in the recent history of the discography of Brazilian music: the recording of the symphonic integral of the composer Heitor Villa-Lobos. This box, which has garnered international critics praise over the past few years, includes all the volumes of the series, in a total of 6 CDs. The project, which also includes the edition of the sheet music, helps to shed light on the complexity and diversity of the composer's creation, becoming a reference hereafter in the study of his legacy for Brazilian music. The records also testify to the current quality of the orchestra and the work of conductor Isaac Karabtchevsky who, since recording the integral of the Brazilian Bachianas in the 1970s with the Brazilian Symphony Orchestra, became one of his most intelligent and sensitive performers. We are talking about a work that will remain for the history of music as the reference of the HVL symphonies for any execution of the works from now on.
> 
> The box is being sold internationally, here in Brazil it costs around U$ 26, a bargain for an work like this.
> 
> This is the definitive edition of the Villa-Lobos symphonic work.
> 
> View attachment 101875


Looks interesting and is this world wide available? 
Welcome to Talk Classical by the way.


----------



## EchoEcho

I have four of the six (?) Karabtchevsky Naxos discs. I like them, but not (yet) as much as I like Choros and Bachianas Brasileiras. Still, I'm happy to listen to them, again and again.


----------



## Chatellerault

EchoEcho said:


> I have four of the six (?) Karabtchevsky Naxos discs. I like them, but not (yet) as much as I like Choros and Bachianas Brasileiras. Still, I'm happy to listen to them, again and again.


Same for me. Orchestra and conductor seem ideal for these works but it seems to me there's a reason for his _Choros_, _Bachianas Brasileiras_, _Guitar Etudes_ etc to be more famous.

Villa-Lobos's idiomatic language just doesn't fit as well in Symphony form.

For me the highlight of this Naxos box is the symphonic poem _Uirapuru_.


----------



## Kjetil Heggelund

On this day, the man was born in 1887. Happy birthday to the 132 year-old!


----------



## qanik

how can one write about the Amazon and it's rainforest without intrinsically linking it with the music of Villa Lobos??? his music is the essence of the rainforest and its peoples, without going into all his oeuvres the cardinal work is Forest Of the Amazon ( the last major work 1956 before he died) - this is the Amazon! listen to it and you are there, birds, trees, First Nation's peoples. Read "Green Mansions" by Wm Hudson first ,ignore the movie read the book, though the book's venue is Venezuela- the music from the movie which Villa Lobos was commissioned to write ,he later re-wrote with the Amazon in mind, into this concert suite.The first recording in 1960 was performed & conducted by Villa Lobos himself with Bidu Sayao on a record from United Artists Records, later reissued in 1996 as a CD titled "Inspiration". In 1987 there was a fabulous and intimate Brasilian recording of Floresta do Amazonas of a small 5 person chamber ensemble issued on Kuarup Discos, wonderful. In 1994 this symphonic piece was performed by the Moscow Radio Symphony with Renee Fleming; the last recording I have is with Sao Paulo Symphony with Anna Korondi put out in 2010 by BIS .If this is not enough to get you into the Amazon listen to Villa Lobos, in his operetta Magdalena, especially the adaptation done by Andre Kostelanetz on his Columbia record "Music of Villa Lobos". Finally I should quickly mention other pieces of music Bachianas Brasileiaris #5, the toccata from #2 (especially the remastered Everest recording),the ballet Uirapuru,the other ballet Amazonas,and The Origin of the Amazon River. And to further underline the standing of Villa Lobos's recording of Forest of the Amazon, look how Philip Glass blatantly plagiarized music from it for his 1999 album Aquas da Amazonia.


----------



## Fabulin

qanik said:


> how can one write about the Amazon and it's rainforest without intrinsically linking it with the music of Villa Lobos??? his music is the essence of the rainforest and its peoples, without going into all his oeuvres the cardinal work is Forest Of the Amazon ( the last major work 1956 before he died) - this is the Amazon! listen to it and you are there, birds, trees, First Nation's peoples. Read "Green Mansions" by Wm Hudson first ,ignore the movie read the book, though the book's venue is Venezuela- the music from the movie which Villa Lobos was commissioned to write ,he later re-wrote with the Amazon in mind, into this concert suite.The first recording in 1960 was performed & conducted by Villa Lobos himself with Bidu Sayao on a record from United Artists Records, later reissued in 1996 as a CD titled "Inspiration". In 1987 there was a fabulous and intimate Brasilian recording of Floresta do Amazonas of a small 5 person chamber ensemble issued on Kuarup Discos, wonderful. In 1994 this symphonic piece was performed by the Moscow Radio Symphony with Renee Fleming; the last recording I have is with Sao Paulo Symphony with Anna Korondi put out in 2010 by BIS .If this is not enough to get you into the Amazon listen to Villa Lobos, in his operetta Magdalena, especially the adaptation done by Andre Kostelanetz on his Columbia record "Music of Villa Lobos". Finally I should quickly mention other pieces of music Bachianas Brasileiaris #5, the toccata from #2 (especially the remastered Everest recording),the ballet Uirapuru,the other ballet Amazonas,and The Origin of the Amazon River. And to further underline the standing of Villa Lobos's recording of Forest of the Amazon, look how Philip Glass blatantly plagiarized music from it for his 1999 album Aquas da Amazonia.


Villa-Lobos' original recording is far superior to the other two. Do you agree?


----------



## Chatellerault

Of the "forest" works you mentioned, I prefer Uirapuru, more concise and with beautiful birdsong writing. Much like the music of Messiaen, who admits in interviews his strong admiration for Villa-Lobos.

Funny enough, contemporary scholars might call Villa-Lobos's Amazonian music "Cultural appropriation, at times also phrased cultural misappropriation", as he was a white man born in Rio de Janeiro some two thousand km away from the Amazon rainforest. Of course, to the same scholars, a New Yorker Jew like Gershwin should've written music inspired by Southern US negro rhythms. I'm just being provocative, I believe these people are detecting real world problems (silenced communities etc) but in the end they think of cultures as static and ontological and they got it all wrong.


----------



## Sid James

*A Villa-Lobos diary* - recent listening

*Choros #8*

Villa-Lobos said his series of _choros_ pieces where serenades in which he aimed to combine "different modalities of Brazilian, Indian, and popular music, having for principal elements rhythm and any typical melody of popular character." They bring together many of the composer's formative experiences such as playing with bands on the streets, bars and restaurants of Rio, his travels in the interior of the country to study Afro-Brazilian music and also his exposure to the latest musical trends in Paris.

*Choros #8* incorporates native Brazilian instruments as well as pianos and saxophone. The opening is unusual, featuring a shaker (_caracaxa_) and bass drum. A sense of high drama unfolds, with interjections by the brass and strings. The piece presents a kaleidoscope of rhythms, tunes and textures. Amidst the obsessive rhythms and startling sonorities there are lyrical interludes of great delicacy, particularly featuring flute and woodwinds. There is a natural sense of ebb and flow, the bass drum and brass band music alternates with gentler sections.

*Five Songs (trans. McGhee/Nicholls for Flute and Harp)*

Villa-Lobos' huge output in all genres has been compared to the vastness of the Amazon rainforest. Many of his compositions are still in manuscript, others are published but hard to track down, some lost, unfinished, or reworked into other pieces.

This transcription of *Five Songs* appear on an album of chamber music rarities. They are not far in demeanour from those lyrical interludes heard in _Choros #8_. Their sense of melancholy and longing remind me of the sambas by that other famous Brazilian, Antonio Carlos Jobim.

*Concerto for Guitar and Small Orchestra*

The *Guitar Concerto*, along with _Bachianas Brasileiras #5_, was the first piece I heard by Villa-Lobos. It was the recording by John Williams, who has criticised the piece for having underdeveloped ideas and lack of integration between the soloist and orchestra. This charge of unevenness has often been levelled at Villa-Lobos, and it is a valid point because he didn't see the need to apply too much control to his ability to pour out music.

It must be said that the concerto had a difficult and relatively long gestation. It was originally in the form of a fantasia, written for Andres Segovia who really wanted a concerto. So with some adjustments, including the addition of a cadenza, it became a concerto.

I think that the concerto is greater than the sum of its parts. It's stylistically in between the two pieces I listened to earlier, neither wildly experimental nor too close to popular idioms. The musical argument is classic Villa-Lobos, combining vigour, colour and lyricism. The weight is on the middle movement, with its ravishing guitar part which sounds extraordinarily like the human voice.

The recordings which I listened to:

Choros - Hong Kong PO/Kenneth Schermerhorn, Naxos 8.555241





Songs - Lorna McGhee, flute; Alison Nicholls, harp, Naxos 8.557765





Concerto - Angel Romero, guitar/London PO/Jesus Lopez-Cobos, EMI 3815292


----------



## Chatellerault

Sid James said:


> *Concerto for Guitar and Small Orchestra*
> [...]
> 
> I think that the concerto is greater than the sum of its parts. It's stylistically in between the two pieces I listened to earlier, neither wildly experimental nor too close to popular idioms. The musical argument is classic Villa-Lobos, combining vigour, colour and lyricism. The weight is on the middle movement, with its ravishing guitar part which sounds extraordinarily like the human voice.


The Guitar Concerto, Cello Concerto no. 2, Harmonica Concerto and Piano Concertos no. 3-5 are late works, from his last decade.

Like other 20th century composers, Villa-Lobos seems to have a mature phase when he integrates the compositional periods from his life. Although he never had a completely atonal / dodecaphonic phase, unlike other composers who fit in that scheme of a middle atonal phase and a late eclectic phase.

Besides, guitar and cello are important instruments to Villa-Lobos. At 13 he was playing cello at theatres and cafes. The guitar was his bridge with popular and folk music from Rio de Janeiro, including his famous "choros", that start with a piece for solo guitar (no.1), then one for flute and clarinet (no.2) evolving to larger ensembles. The most common instruments heard in the traditional "choro" (not the classical stylised form) are guitar, mandolin, flute and _pandeiro_, which is a kind of tambourine.


----------



## Chatellerault

Sid James said:


> *A Villa-Lobos diary*
> This transcription of *Five Songs* appear on an album of chamber music rarities. They are not far in demeanour from those lyrical interludes heard in _Choros #8_. Their sense of melancholy and longing remind me of the sambas by that other famous Brazilian, Antonio Carlos Jobim.


And Mr. Jobim (1927-1994), of course, was an early fan of Villa-Lobos. In an interview he recalls when, as a young man, he visited the old composer's home and saw him write on huge orchestral sheets while smoking his cigarrete, with the TV as backgroung noise and a soprano singing in the other room. Not a recluse genius.


----------



## Livly_Station

Honestly...

Top 5 composer to me.

To say something a little bit unusual, Villa-Lobos reminds me of the music of J.S. Bach, but with modern and brazilian influences. And I'm not making this comparison because of his _Bachianas Brasileiras_.


----------



## Neo Romanza

Livly_Station said:


> Honestly...
> 
> Top 5 composer to me.
> 
> To say something a little bit unusual, Villa-Lobos reminds me of the music of J.S. Bach, but with modern and brazilian influences. And I'm not making this comparison because of his _Bachianas Brasileiras_.


Villa-Lobos has been a favorite of mine for more than a decade now. What are some of your favorite works?


----------



## Livly_Station

Neo Romanza said:


> Villa-Lobos has been a favorite of mine for more than a decade now. What are some of your favorite works?


The piece I have the most fun with is the _Choros No. 12_, which is obviously the one I recommend the most from the cycle.

From the _Bachianas Brasileiras_, I adore almost all of them equally (Nos. 1, 3, 4, 5 and 7), but my favorite is No. 2 (_"Trenzinho Caipira"_).

Recently I've been listening more to his symphonies, performed by OSESP, which are quite underrated by the classical community. My favorite right now is No. 4 (_"Victory"_), but No. 3 (_"War"_) is not far behind. More importantly, I just fell in love with Symphony No. 2 (_"Ascension"_) and it might become my favorite. I also like Nos. 6 and 12. As for the rest, I still need to get more familiar with them, so perhaps my opinions will change in a week.

Among his other orchestral works (there are many good ones here), my favorite is the epic _Floresta do Amazonas_.

From his Concertos, if I had to choose one, it would be the Piano Concerto No. 5! 
From his solo guitar works, my favorite is the _Suíte Popular Brasileira_. 
From his solo piano works, I love his _Hommage à Chopin (Nocturne and Ballade)_, but there are many great short pieces from his cycles.

I still need to get more familiar with Villa-Lobos' chamber works, especially his string quartet -- but two that I always loved are his _Sexteto Místico_ and the short _Distribuição das Flores_.

All that said, it seems to me that Villa-Lobos is incapable of making bad music. Everything is at least pleasant, but it's often great.


----------



## Neo Romanza

Livly_Station said:


> The piece I have the most fun with is the _Choros No. 12_, which is obviously the one I recommend the most from the cycle.
> 
> From the _Bachianas Brasileiras_, I adore almost all of them equally (Nos. 1, 3, 4, 5 and 7), but my favorite is No. 2 (_"Trenzinho Caipira"_).
> 
> Recently I've been listening more to his symphonies, performed by OSESP, which are quite underrated by the classical community. My favorite right now is No. 4 (_"Victory"_), but No. 3 (_"War"_) is not far behind. More importantly, I just fell in love with Symphony No. 2 (_"Ascension"_) and it might become my favorite. I also like Nos. 6 and 12. As for the rest, I still need to get more familiar with them, so perhaps my opinions will change in a week.
> 
> Among his other orchestral works (there are many good ones here), my favorite is the epic _Floresta do Amazonas_.
> 
> From his Concertos, if I had to choose one, it would be the Piano Concerto No. 5!
> From his solo guitar works, my favorite is the _Suíte Popular Brasileira_.
> From his solo piano works, I love his _Hommage à Chopin (Nocturne and Ballade)_, but there are many great short pieces from his cycles.
> 
> I still need to get more familiar with Villa-Lobos' chamber works, *especially his string quartet* -- but two that I always loved are his _Sexteto Místico_ and the short _Distribuição das Flores_.
> 
> All that said, it seems to me that Villa-Lobos is incapable of making bad music. Everything is at least pleasant, but it's often great.


He has more than one string quartet.  There's 17 SQs in all.


----------



## Livly_Station

Neo Romanza said:


> He has more than one string quartet.  There's 17 SQs in all.


Oh, I know, I just forgot the "s" at the end of "quartet*s*"


----------



## Neo Romanza

Livly_Station said:


> Oh, I know, I just forgot the "s" at the end of "quartet*s*"


Anyway, to follow-up on your response to my initial question: for me, I don't think Villa-Lobos was particularly impressive in his symphonies or the piano concerti, but since you praise them so highly I might have to revisit the works you mentioned just to refresh my memory. I love the following from his oeuvre: the SQs, much of the solo piano music, the _Chôros_, a few of the _Bachianas Brasileiras_ (I think these works unfairly overshadow the _Chôros_), _Quinteto instrumental_, the _Piano Trios_, the _Violin Sonatas_, the ballets like _Gênesis_, _Uirapuru_, _Amazonas_ and _Erosão_, the solo guitar works, _Floresta do Amazonas_ et. al.


----------



## Livly_Station

Neo Romanza said:


> Anyway, to follow-up on your response to my initial question: for me, *I don't think Villa-Lobos was particularly impressive in his symphonies or the piano concerti, but since you praise them so highly I might have to revisit the works you mentioned just to refresh my memory*. I love the following from his oeuvre: the SQs, much of the solo piano music, the _Chôros_, a few of the _Bachianas Brasileiras_ (I think these works unfairly overshadow the _Chôros_), _Quinteto instrumental_, the _Piano Trios_, the _Violin Sonatas_, the ballets like _Gênesis_, _Uirapuru_, _Amazonas_ and _Erosão_, the solo guitar works, _Floresta do Amazonas_ et. al.


There's an interesting article about Villa-Lobos and his symphonies that you might want to check out, which is especially important because it explains that OSESP (_Symphony Orchestra of the State of São Paulo_) has recently revised and edited the scores of the symphonies: https://revistapesquisa.fapesp.br/en/the-almost-unknown-villa-lobos-2/

Hopefully, this project will revitalize interest in the symphonies and some of them might enter the standard repertoire, so we'll see more recordings from the most important orchestras.

I do agree with you that the _Choros_ might be Villa-Lobos' best cycle -- but one interesting thing about the symphonies is that the first half (1-4) was composed before 1920 and the second half (6-12) after 1944, during Villa-Lobos' mature years, so I appreciate this contrast. In comparison, the _Choros_ and _Bachianas_ were composed almost entirely in the same decade -- respectively, the 1920s and 1930s.

By the way, most of Villa-Lobos' works in more traditional forms (symphonies, concertos, string quartets) were composed after the 1940s, most in the 1950s, when he died. I believe the classical community is less interested in these works because Villa-Lobos was already out of fashion, but especially because they are seem as "less brazilian" (at least in name), so they don't carry the exotic label of being "non-western" (despite being quite idiosyncratic and progressive still).

I really like the late Concertos (for piano and other instruments). They're more accessible than the later symphonies -- which is good for live performances --, but still interesting and clever, not to mention beautiful.

Anyway, I still have to go through the SQs and the Piano Trios, but I agree that your favorites are all brilliant works, especially the orchestral pieces like _Uirapuru_ and _Gênesis_. Btw, in the early 1910s, Villa-Lobos composed a _Suite for Strings_ which sounds nothing like him, but it's quite beautiful.


----------



## Neo Romanza

Livly_Station said:


> There's an interesting article about Villa-Lobos and his symphonies that you might want to check out, which is especially important because it explains that OSESP (_Symphony Orchestra of the State of São Paulo_) has recently revised and edited the scores of the symphonies: https://revistapesquisa.fapesp.br/en/the-almost-unknown-villa-lobos-2/
> 
> Hopefully, this project will revitalize interest in the symphonies and some of them might enter the standard repertoire, so we'll see more recordings from the most important orchestras.
> 
> I do agree with you that the _Choros_ might be Villa-Lobos' best cycle -- but one interesting thing about the symphonies is that the first half (1-4) was composed before 1920 and the second half (6-12) after 1944, during Villa-Lobos' mature years, so I appreciate this contrast. In comparison, the _Choros_ and _Bachianas_ were composed almost entirely in the same decade -- respectively, the 1920s and 1930s.
> 
> By the way, most of Villa-Lobos' works in more traditional forms (symphonies, concertos, string quartets) were composed after the 1940s, most in the 1950s, when he died. I believe the classical community is less interested in these works because Villa-Lobos was already out of fashion, but especially because they are seem as "less brazilian" (at least in name), so they don't carry the exotic label of being "non-western" (despite being quite idiosyncratic and progressive still).
> 
> I really like the late Concertos (for piano and other instruments). They're more accessible than the later symphonies -- which is good for live performances --, but still interesting and clever, not to mention beautiful.
> 
> Anyway, I still have to go through the SQs and the Piano Trios, but I agree that your favorites are all brilliant works, especially the orchestral pieces like _Uirapuru_ and _Gênesis_. Btw, in the early 1910s, Villa-Lobos composed a _Suite for Strings_ which sounds nothing like him, but it's quite beautiful.


Thanks for the article. I'll have to check it out at some point. I own two sets of symphonies: the one on CPO with St. Clair and the Naxos series with Karabtchevsky. The Naxos series blows the CPO set out of the water. I also forgot to mention how much I enjoyed his _String Trio_ as well. This is a work that has thankfully been recorded several times. Naxos has a new recording of the _Violin Sonatas_ out that is excellent and I'm glad they finally got around to these works, because the only other performances I've heard is the recording on Brilliant Classics, which performance-wise is quite good, but the fidelity isn't --- it's drowned in reverb, which is unfortunate. Another work that I find completely irresistible is the _Fantasia for soprano saxophone and chamber orchestra_. This short work is a feast and delight for the ears start to finish.

I believe that Villa-Lobos deserves higher praise then he seems to receive, but I think a lot of the problem is listeners simply seem to not be able to grasp the sheer size of his oeuvre. It _is_ large without a doubt, but this shouldn't hinder anyone from getting into his music.


----------



## Livly_Station

Neo Romanza said:


> Thanks for the article. I'll have to check it out at some point. I own two sets of symphonies: the one on CPO with St. Clair and the Naxos series with Karabtchevsky. The Naxos series blows the CPO set out of the water. I also forgot to mention how much I enjoyed his _String Trio_ as well. This is a work that has thankfully been recorded several times. Naxos has a new recording of the _Violin Sonatas_ out that is excellent and I'm glad they finally got around to these works, because the only other performances I've heard is the recording on Brilliant Classics, which performance-wise is quite good, but the fidelity isn't --- it's drowned in reverb, which is unfortunate. Another work that I find completely irresistible is the _Fantasia for soprano saxophone and chamber orchestra_. This short work is a feast and delight for the ears start to finish.


You're in good hands with the Naxos set!

In regards to the Violin Sonatas, I do like them, but I don't like them even more because I'm not particularly a fan of the combination of only one violin balanced with the piano (in general, regardless of composer). Now I have to admit that the _Fantasia for saxophone_ is one the famous works that haven't charmed me as much as the others.



> I believe that Villa-Lobos deserves higher praise then he seems to receive, but I think a lot of the problem is listeners simply seem to not be able to grasp the sheer size of his oeuvre. It _is_ large without a doubt, but this shouldn't hinder anyone from getting into his music.


That's true. Also, Villa-Lobos' oeuvre is not publicized enough (despite his fame), so most classical fans don't know more than the minimum or, while discovering the composer, they don't revisit the pieces as much as they do with the solidified repertoire of the great composers.


----------



## Neo Romanza

Livly_Station said:


> You're in good hands with the Naxos set!
> 
> In regards to the Violin Sonatas, I do like them, but I don't like them even more because I'm not particularly a fan of the combination of only one violin balanced with the piano (in general, regardless of composer). Now I have to admit that the _Fantasia for saxophone_ is one the famous works that haven't charmed me as much as the others.
> 
> That's true. Also, Villa-Lobos' oeuvre is not publicized enough (despite his fame), so most classical fans don't know more than the minimum or, while discovering the composer, they don't revisit the pieces as much as they do with the solidified repertoire of the great composers.


How do you feel about wind sonatas? Cello sonatas? Viola sonatas?


----------



## Livly_Station

Neo Romanza said:


> How do you feel about wind sonatas? Cello sonatas? Viola sonatas?


In general? In my opinion, the cello balances with the piano better than the violin, but I usually don't listen to either Cello or Violin Sonatas very much -- or Wind or Viola, for that matter. I start liking these chamber works better when it's a Trio or bigger groups... or maybe some unusual combinations for two instruments (like Villa-Lobos' _Distribuição das Flores_, for flute and guitar).

Besides that, I like works for solo instruments, like Bach's sonatas and partitas.


----------



## Neo Romanza

Livly_Station said:


> In general? In my opinion, the cello balances with the piano better than the violin, but I usually don't listen to either Cello or Violin Sonatas very much -- or Wind or Viola, for that matter. I start liking these chamber works better when it's a Trio or bigger groups... or maybe some unusual combinations for two instruments (like Villa-Lobos' _Distribuição das Flores_, for flute and guitar).
> 
> Besides that, I like works for solo instruments, like Bach's sonatas and partitas.


I personally don't understand the ambivalence for duos, but to each their own. You're missing out on some incredible music by only listening to works with three or more instrument combinations. I couldn't imagine my life without those incredible Poulenc wind sonatas or the Ives _Violin Sonatas_ for example. But to each their own.


----------



## Livly_Station

Neo Romanza said:


> I personally don't understand the ambivalence for duos, but to each their own. You're missing out on some incredible music by only listening to works with three or more instrument combinations. I couldn't imagine my life without those incredible Poulenc wind sonatas or the Ives _Violin Sonatas_ for example. But to each their own.


Well, I didn't delete them from my life -- it's just not something I seek out to listen to very often because I find other ensembles more rewarding sonically. And my preference is not exactly against "duos", but only piano+[homophonic intrument] -- with the exception of voice, since I like _lieder_ and other songs for piano and voice.


----------



## Neo Romanza

Livly_Station said:


> Well, I didn't delete them from my life -- it's just not something I seek out to listen to very often because I find other ensembles more rewarding sonically. And my preference is not exactly against "duos", but only piano+[homophonic intrument] -- with the exception of voice, since I like _lieder_ and other songs for piano and voice.


No need to defend your quirks. I'm not fond of a cappella music, but I love choral works with instrumental accompaniment whether it be a chamber ensemble or a large orchestra. I also don't care for solo instrumental with the notable exception of solo piano music, which I love --- solo violin or cello never interested me. I'm one of those listeners that loves to hear harmony.


----------



## JackRance

As a brazilian I love Villa-Lobos and I don't understand why he is so rarely played...


----------



## John Zito

My introduction to Villa-Lobos was the Decca recording of Jorge Luis Prats playing Bachianas Brasileiras No. 4:

https://youtube.com/playlist?list=OLAK5uy_kHNrrB8VE6jwBYZOFCBEvXvoHu8sIyt_4

Still a big favorite of mine, especially the Coral. It's such a shame that he hasn't made another album since. After that, I love Marc-André Hamelin's Hyperion disc of Villa-Lobos piano music, especially the _Rudepoêma_. Otherwise, I'm pretty uninitiated, but I look forward to listening to the Naxos recording of the violin sonatas!


----------



## Chatellerault

John Zito said:


> My introduction to Villa-Lobos was the Decca recording of Jorge Luis Prats playing Bachianas Brasileiras No. 4:
> 
> https://youtube.com/playlist?list=OLAK5uy_kHNrrB8VE6jwBYZOFCBEvXvoHu8sIyt_4
> 
> Still a big favorite of mine, especially the Coral. It's such a shame that he hasn't made another album since. After that, I love Marc-André Hamelin's Hyperion disc of Villa-Lobos piano music, especially the _Rudepoêma_. Otherwise, I'm pretty uninitiated, but I look forward to listening to the Naxos recording of the violin sonatas!


As you mention piano music by Villa-Lobos, I hope you've listened to Freire's recordings, if not, you should.

From when Freire was about 30, on Telefunken/TELDEC
https://www.discogs.com/pt_BR/Heitor-Villa-Lobos-Nelson-Freire-Klavierwerke/release/3114715






Or from 2012, on Decca:


----------



## JackRance

https://www.talkclassical.com/groups/official-tc-villa-lobos-fan-group.html


----------



## Neo Romanza

JackRance said:


> As a brazilian I love Villa-Lobos and I don't understand why he is so rarely played...


Perhaps a lot of it has to do with him being Brazilian? It seems that outside of Europe and Russia, the classical world doesn't exist for many listeners. Thankfully, it does for me and you can count me as a huge of Villa-Lobos. I've made several long-ish post here, so you may want to look those over and the same goes for the member Livly_Station who has expressed their love for the composer on this thread as well.


----------



## Livly_Station

I'm enjoying my birthday with some Villa-Lobos.

Bachianas No. 1, 7, 8 and 9, and Choros No. 6 -- all so incredibly beautiful!


----------



## Neo Romanza

Livly_Station said:


> I'm enjoying my birthday with some Villa-Lobos.
> 
> Bachianas No. 1, 7, 8 and 9, and Choros No. 6 -- all so incredibly beautiful!


Happy Birthday, Livly! Hope you are enjoying your day.


----------



## Livly_Station

Neo Romanza said:


> Happy Birthday, Livly! Hope you are enjoying your day.


Thank you very much! I am having fun!


----------



## Livly_Station

John Zito said:


> My introduction to Villa-Lobos was the Decca recording of Jorge Luis Prats playing Bachianas Brasileiras No. 4:
> 
> https://youtube.com/playlist?list=OLAK5uy_kHNrrB8VE6jwBYZOFCBEvXvoHu8sIyt_4
> 
> Still a big favorite of mine, especially the Coral. It's such a shame that he hasn't made another album since. After that, I love Marc-André Hamelin's Hyperion disc of Villa-Lobos piano music, especially the _Rudepoêma_. Otherwise, I'm pretty uninitiated, but I look forward to listening to the Naxos recording of the violin sonatas!


The _Coral_ (_"Canto do Sertão"_) has a section which uses a really unique piano technique that I've never seen elsewhere. You're supposed to play some chords without letting the hammer hit the strings (so no sound), but letting the chord reverberate through the notes of the bass.


----------



## burnabyguitar

Glad to see Villa-Lobos has a seat here

Here is a prelude from him: 



and the famous etude 1 - live concert many many years ago...


----------



## Chatellerault

Chatellerault said:


> As you mention piano music by Villa-Lobos, I hope you've listened to Freire's recordings, if not, you should.
> 
> From when Freire was about 30, on Telefunken/TELDEC
> https://www.discogs.com/pt_BR/Heitor-Villa-Lobos-Nelson-Freire-Klavierwerke/release/3114715
> 
> 
> 
> 
> 
> 
> Or from 2012, on Decca:


I recently mentioned these albums (Teldec 1974 and Decca 2012) by Nelson Freire, who just passed away at 77 years old 

He was one one the greatest interpreters of Villa-Lobos and, in order to bring more of his V-L repertoire, I recommend this video recorded in Germany, 1965. He plays the 4th movement of Bachianas brasileiras No.4, as well as other exquisite piano miniatures by Liszt, Debussy, Scriabin and Rach:


----------



## Chatellerault

Not to be missed is Freire's 2012 BBC Proms performance of Momoprecoce, a piece for piano and orchestra composed by Villa-Lobos in 1929. "Momo", like pierrot or harlequin, is a figure from Carnival. It is a festive work, with a large percussion set.


----------

