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Heitor Villa-lobos
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Brasília
http://wn.com/Brasília -
Brazil
Brazil (; , ), officially the Federative Republic of Brazil (, ), is the largest country in South America. It is the world's fifth largest country, both by geographical area and by population. It is the only Portuguese-speaking country in the Americas and the largest lusophone country in the world.
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Empire of Brazil
The Empire of Brazil was a political entity that comprised present-day Brazil under the rule of Emperors Pedro I and his son Pedro II. Founded in 1822 it was replaced by a republic in 1889.
http://wn.com/Empire_of_Brazil -
Great Britain
Great Britain is an island situated to the northwest of Continental Europe. It is the ninth largest island in the world, and the largest European island. With a population of about 60.0 million people in mid-2009, it is the third most populated island on Earth. Great Britain is surrounded by over 1,000 smaller islands and islets. The island of Ireland lies to its west. Politically, Great Britain may also refer to the island itself together with a number of surrounding islands which comprise the territory of England, Scotland and Wales.
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Iberian Peninsula
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Israel
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Mato Grosso
Mato Grosso ( - lit. "Thick Woods") is one of the states of Brazil, the third largest in area, located in the western part of the country.
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Portugal
Portugal (, ), officially the Portuguese Republic (; ), is a country located in southwestern Europe on the Iberian Peninsula. Portugal is the westernmost country of Europe and is bordered by the Atlantic Ocean to the west and south and by Spain to the north and east. The Atlantic archipelagos of the Azores and Madeira are also part of Portugal.
http://wn.com/Portugal -
Rio de Janeiro
Rio de Janeiro ("River of January", ; ), commonly referred to simply as Rio, is the capital city of the State of Rio de Janeiro, the second largest city of Brazil and the third largest metropolitan area and agglomeration in South America, 6th largest in the Americas and 26th in the world.
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São Paulo
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Tel Aviv
Tel Aviv-Yafo (Hebrew: , lit. "Spring Hill"-Jaffa; , ''Tall 'Abib''), usually referred to as Tel Aviv, is the second-largest city in Israel, with an estimated population of 393,900. The city is situated on the Israeli Mediterranean coastline, with a land area of . It is the largest and most populous city in the metropolitan area of Gush Dan, home to 3.2 million people as of 2008. The city is governed by the Tel Aviv-Yafo municipality, headed by Ron Huldai. Residents of Tel Aviv are called Tel Avivians.
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Aaron Copland
Aaron Copland (November 14, 1900 – December 2, 1990) was an American composer of concert and film music. Instrumental in forging a distinctly American style of composition, he was widely known as "the dean of American composers." Copland's music achieved a balance between modern music and American folk styles. The open, slowly changing harmonies of many of his works are said to evoke the vast American landscape.
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Andrés Segovia
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Arthur Rubinstein
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Audrey Hepburn
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Bidú Sayão
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Bronislaw Kaper
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Bronisław Kaper
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Béhague, Gerard
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Claude Debussy
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Darius Milhaud
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Edgard Varèse
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Erik Satie
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Getúlio Vargas
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Igor Stravinsky
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Ludwig van Beethoven
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Mel Ferrer
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Olivier Messiaen
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Pablo Picasso
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Paul Claudel
Paul Claudel (6 August 1868 – 23 February 1955) was a French poet, dramatist and diplomat, and the younger brother of the sculptor Camille Claudel. He was most famous for his verse dramas, which often convey his devout Catholicism.
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Sergei Diaghilev
Sergei Pavlovich Diaghilev ( / Sergei Pavlovich Dyagilev ) (31 March 187219 August 1929), usually referred to outside of Russia as Serge, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes from which many famous dancers and choreographers would later arise.
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Vincente Minnelli
Vincente Minnelli (February 28, 1903 – July 25, 1986), born Lester Anthony Minnelli, was a Hollywood director and stage director. He was married to Judy Garland from 1945 until 1951; they were the parents of Liza Minnelli.
http://wn.com/Vincente_Minnelli
Villa-Lobos, Heitor Filmography
- Villa-Lobos por uma Soprano (2011)
- Além da Luz (2010)
- Cartola - Música Para os Olhos (2007)
- Máquina de Fazer Democracia - Vida E Obra de Anísio Teixeira (2004)
- Memory of the Unknown (1996)
- O Trem Caipira (1994)
- South of the Border with Disney (1942)
- O Descobrimento do Brasil (1936)
RELEASE
ALBUMS
Piano Music, Volume 8: Guia prático, Albums 10 and 11 / Suite infantil Nos. 1 and 2 (Sonia Rubinsky)
Piano Music, Volume 6: Rudepoêma / As três Marias / Saudades das selvas brasileiras (Sonia Rubinsky)
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Floresta do Amazonas (São Paulo Symphony Orchestra & Choir, John Neschling)
Released 2010
Released 2010
- Floresta do Amazonas: Ouverture
- Floresta do Amazonas: A Floresta (The Forest)
- Floresta do Amazonas: Dança dos Índios (Dance of the Indians)
- Floresta do Amazonas: Em Plena Floresta (In the Depths of the Forest)
- Floresta do Amazonas: Pássaro da Floresta – Canto I (Bird of the Forest – First Song)
- Floresta do Amazonas: Dança da Natureza (Nature’s Dance)
- Floresta do Amazonas: Pássaro da Floresta – Canto II (Bird of the Forest – Second Song)
- Floresta do Amazonas: Canto na Floresta I (Song in the Forest I)
- Floresta do Amazonas: Conspiração e Dança Guerreira (Conspiracy and War Dance)
- Floresta do Amazonas: Veleiros (Sailing Ships)
- Floresta do Amazonas: Em Caminhos para a Caçada (On the way to the Hunt)
- Floresta do Amazonas: Pássaro da Floresta – Canto III (Bird of the Forest – Third Song)
- Floresta do Amazonas: Cair da Tarde (Twilight)
- Floresta do Amazonas: Os Índios em Busca da Moça (The Indians in Search of the Girl)
- Floresta do Amazonas: Pássaro da Floresta – Canto IV (Bird of the Forest – Fourth Song)
- Floresta do Amazonas: Dança Guerreira – repetição (War Dance – repeat)
- Floresta do Amazonas: Interlúdio e Acalanto (Interlude and Lullaby)
- Floresta do Amazonas: Canto na Floresta II (Song in the Forest II)
- Floresta do Amazonas: Caçadores de Cabeça (Head Hunters)
- Floresta do Amazonas: Canção do Amor (Love Song)
- Floresta do Amazonas: Melodia Sentimental (Sentimental Melody)
- Floresta do Amazonas: O Fogo na Floresta (Forest Fire)
- Floresta do Amazonas: Epílogo
- Bachianas Brasileiras No. 5: I. Ária (Cantilena)
- Bachianas Brasileiras No. 5: II. Dança (Martelo)
- Bachianas Brasileiras No. 4: I. Prelúdio (Introdução)
- Bachianas Brasileiras No. 4: II. Coral (Canto do sertão)
- Bachianas Brasileiras No. 4: II. Ária (Cantiga)
- Bachianas Brasileiras No. 4: IV. Dança (Miudinho)
- Bachianas Brasileiras No. 6: I. Ária (Choro)
- Bachianas Brasileiras No. 6: II. Fantasia
- Bachianas Brasileiras No. 1: I. Introdução (Embolada)
- Bachianas Brasileiras No. 1: II. Prelúdio (Modinha)
- Bachianas Brasileiras No. 1: III. Fuga (Conversa)
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Grandes compositores da música clássica, Volume 10: Villa-Lobos
Released 2009
Released 2009
- Bachianas brasileiras No. 2: I. Prelúdio: o canto do capadócio
- Bachianas brasileiras No. 2: II. Ária: o canto da nossa terra
- Bachianas brasileiras No. 2: III. Dança: lembrança do sertão
- Bachianas brasileiras No. 2: IV. Toccata: o trenzinho do caipira
- Bachianas brasileiras No. 5: I. Ária: cantilena
- Bachianas brasileiras No. 5: II. Dança: martelo
- Concerto para violão e orquestra: I. Allegro preciso
- Concerto para violão e orquestra: II. Andantino e andante: cadenza
- Concerto para violão e orquestra: III. Allegretto non troppo
- Descobrimento do Brasil - Suíte No. 1: I. Introdução (largo)
- Descobrimento do Brasil - Suíte No. 1: II. Alegria
- Choros No. 5 "Alma Brasileira"
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Piano Music, Volume 7: Amazonas / Histórias da Carochinha / Valsa scherzo (Sonia Rubinsky)
Released 2008
Released 2008
- Amazonas (Bailado indígena Brasileiro)
- Prelúdios para guitarra: No. 1 in E minor
- Prelúdios para guitarra: No. 2 in E major
- Prelúdios para guitarra: No. 3 in A minor
- Prelúdios para guitarra: No. 4 in E minor
- Prelúdios para guitarra: No. 5 in D major
- Lembranças do sertão: Bachianas Brasileiras No. 2, dansa
- Valsa scherzo
- Bailado infernal
- Feijoada sem perigo
- Histórias da Carochinha: I. No palacio encantado
- Histórias da Carochinha: II. A cortesia do principezinho
- Histórias da Carochinha: III. E o pastorzinho cantava
- Histórias da Carochinha: IV. E a princezinha dançava
- Canções de cordialdade: I. Feliz aniversário
- Canções de cordialdade: II. Boas-festas
- Canções de cordialdade: III. Feliz Natal
- Canções de cordialdade: IV. Feliz ano novo
- Canções de cordialdade: V. Boas-vindas
- Cortejo nupcial
- Valsa lenta
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Piano Music, Volume 8: Guia prático, Albums 10 and 11 / Suite infantil Nos. 1 and 2 (Sonia Rubinsky)
Released 2008
Released 2008
- Guia prático nº 10, W284, nº 1: De flor em flor
- Guia prático nº 10, W284, nº 2: Atché
- Guia prático nº 10, W284, nº 3: Nésta rua
- Guia prático nº 10, W284, nº 4: Fui no Itororó
- Guia prático nº 10, W284, nº 5: Mariquita Muchaca
- Guia prático nº 10, W284, nº 6: No jardim celestial
- Guia prático, nº 11, W473, nº 1: O anel
- Guia prático, nº 11, W473, nº 2: Nigue ninhas
- Guia prático, nº 11, W473, nº 3: Pobre cega
- Guia prático, nº 11, W473, nº 4: A cotia
- Guia prático, nº 11, W473, nº 5: Vida formosa
- Guia prático, nº 11, W473, nº 6: Viva o carnaval
- Ibericarabé
- Suite infantil nº 1, W053: I. Bailando
- Suite infantil nº 1, W053: II. Nenê vai dormir
- Suite infantil nº 1, W053: III. Artimanhas
- Suite infantil nº 1, W053: IV. Reflexão
- Suite infantil nº 1, W053: V. No balanço
- Suite infantil nº 2, W067: I. Allegro
- Suite infantil nº 2, W067: II. Andantino
- Suite infantil nº 2, W067: III. Allegretto
- Suite infantil nº 2, W067: IV. Allegro non troppo
- Marquesa de Santos, W396: II. Gavota-choro
- Marquesa de Santos, W396: I. Valsinha Brasileira
- Guia prático, W276: nº 11: Ba, be, bi, bo, bu
- Guia prático, W276: nº 12: Na Bahia tem
- Guia prático, W276: nº 15: Bela pastora
- Guia prático, W276: nº 18: Cachorrinho
- Guia prático, W276: nº 31: Carneirinho, carneirão
- Guia prático, W276: nº 34: Chora, menina, chora
- Guia prático, W276: nº 41: Constancia
- Guia prático, W276: nº 45: O cravo
- Guia prático, W276: nº 55: Fui no Itororó
- Guia prático, W276: nº 72: A mamai estava doente
- Guia prático, W276: nº 73: Manda tiro, tiro lá
- Guia prático, W276: nº 77: Margarida
- Guia prático, W276: nº 79: Meninas, o meninas
- Guia prático, W276: nº 80: Meu benzinho
- Guia prático, W276: nº 81: Meu pai amarrou meus olhos
- Guia prático, W276: nº 84: Olha o bicho
- Guia prático, W276: nº 87: Pai Francisco
- Guia prático, W276: nº 89: Passa, passa gavião (Lá na ponte da vinhaça)
- Guia prático, W276: nº 90: Passaras não passaras
- Guia prático, W276: nº 95: Pirolito
- Guia prático, W276: nº 99: Pobre peregrino
- Guia prático, W276: nº 105: Quando eu era pequenino
- Guia prático, W276: nº 107: Que lindos olhos!
- Guia prático, W276: nº 108: Rosa amarela
- Guia prático, W276: nº 114: Senhora Dona Sancha
- Guia prático, W276: nº 130: Vem cá, siriri
- Guia prático, W276: nº 133: Vitu
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Choros, Volume 2: Nos. 1, 4, 6, 8, 9 (São Paulo Symphony Orchestra feat. conductor: John Neschling)
Released 2008
Released 2008
- Choros No. 6 (for orchestra)
- Choros No. 1 (for guitar)
- Choros No. 8 (for large orchestra & 2 pianos)
- Choros No. 4 (for 3 horns & trombone)
- Choros No. 9 (for orchestra)
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Bachianas Brasileiras Integrales (Orchestre symphonique du Bresil feat. conductor Isaac Karabtchevsky)
Released 2008
Released 2008
- Bachianas Brasileiras No. 4.: Prelude (Introducao)
- Bachianas Brasileiras No. 4.: Chorale (Canto do Sertao)
- Bachianas Brasileiras No. 4.: Aria (Cantiga)
- Bachianas Brasileiras No. 4.: Dance (Miudinho)
- Bachianas Brasileiras No. 5.: Aria (Cantilena)
- Bachianas Brasileiras No. 5.: Dance (Martelo)
- Bachianas Brasileiras No. 5.: Aria
- Bachianas Brasileiras No. 5.: Fantaisie
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Piano Music, Volume 6: Rudepoêma / As três Marias / Saudades das selvas brasileiras (Sonia Rubinsky)
Released 2007
Released 2007
- Sul América
- New York Sky Line Melody
- As três Marias, nº 1: Alnitah
- As três Marias, nº 2: Alnilam
- As três Marias, nº 3: Mintika
- Saudades das selvas brasileiras: I. Animado
- Saudades das selvas brasileiras: II. Un poco animado
- O gato e o rato
- Petizada: I. A mão direita tem uma roseira
- Petizada: II. Assim ninava mamã
- Petizada: III. A pobrezinha sertaneja
- Petizada: IV. Vestidinho branco
- Petizada: V. Sací
- Petizada: VI. A historia da caipirinha
- Caixinha de música quebrada
- Valsa d'A menina das nuvens
- Bailado infantil
- Carnaval de Pierrot
- Melodia da montanha (Serra da Piedade de Belo Horizonte)
- Rudepoêma
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Piano Music, Volume 5: Guia prático Nos. 1 to 9 (Sonia Rubinsky)
Released 2006
Released 2006
- Guia prático nº 1, W277, nº 1: Acordei de madrugada
- Guia prático nº 1, W277, nº 2: A maré encheu
- Guia prático nº 1, W277, nº 3: A roseira
- Guia prático nº 1, W277, nº 4: Manquinha
- Guia prático nº 1, W277, nº 5: Na corda da viola
- Guia prático nº 2, W278, nº 1: Brinquedo
- Guia prático nº 2, W278, nº 2: Machadinha
- Guia prático nº 2, W278, nº 3: Espanha
- Guia prático nº 2, W278, nº 4: Samba-le-le
- Guia prático nº 2, W278, nº 5: Senhora Dona Viúva
- Guia prático nº 3, W279, nº 1: O pastorzinho
- Guia prático nº 3, W279, nº 2: João Cambuête
- Guia prático nº 3, W279, nº 3: A freira
- Guia prático nº 3, W279, nº 4: Garibaldi foi à Missa
- Guia prático nº 3, W279, nº 5: O pião
- Guia prático nº 4, W280, nº 1: O pobre e o rico
- Guia prático nº 4, W280, nº 2: Rosa amarela
- Guia prático nº 4, W280, nº 3: Olha o passarinho, domine
- Guia prático nº 4, W280, nº 4: O gato
- Guia prático nº 4, W280, nº 5: O sim
- Guia prático nº 5, W281, nº 1: Os pombinhos
- Guia prático nº 5, W281, nº 2: Você diz que sabe tudo
- Guia prático nº 5, W281, nº 3: Có-có-có
- Guia prático nº 5, W281, nº 4: O bastao ou mia gato
- Guia prático nº 5, W281, nº 5: A condessa
- Guia prático nº 6, W282, nº 1: Sonho de uma criança
- Guia prático nº 6, W282, nº 2: O corcunda
- Guia prático nº 6, W282, nº 3: Caranguejo
- Guia prático nº 6, W282, nº 4: A pombinha voou
- Guia prático nº 6, W282, nº 5: Vamos atrás da serra, oh! Calunga!
- Guia prático nº 7, W283, nº 1: No fundo do meu quintal
- Guia prático nº 7, W283, nº 2: Vai, abóbora
- Guia prático nº 7, W283, nº 3: Vamos Maruca
- Guia prático nº 7, W283, nº 4: Os pombinhos
- Guia prático nº 7, W283, nº 5: Anda à roda
- Guia prático nº 8, W358, nº 1: O limão
- Guia prático nº 8, W358, nº 2: Carambola
- Guia prático nº 8, W358, nº 3: Pobre cega
- Guia prático nº 8, W358, nº 4: Pai Francisco
- Guia prático nº 8, W358, nº 5: Xô! Passarinho!
- Guia prático nº 8, W358, nº 6: Sinh'Aninha
- Guia prático nº 8, W358, nº 7: Vestidinho branco
- Guia prático nº 9, W359, nº 1: Laranjeira pequenina
- Guia prático nº 9, W359, nº 2: Pombinha rolinha
- Guia prático nº 9, W359, nº 3: O ciranda, o cirandinha
- Guia prático nº 9, W359, nº 4: A velha que tinha nove filhas
- Guia prático nº 9, W359, nº 5: Constante
- Guia prático nº 9, W359, nº 6: O castelo
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Chamber Music: The Jet Whistle / Song of the Black Swan / Duo for Violin and Viola (mobius)
Released 2006
Released 2006
- The Jet Whistle: I. Allegro non troppo
- The Jet Whistle: II. Adagio
- The Jet Whistle: III. Vivo
- Quintette instrumental for flute, violin, viola, cello and harp: I. Allegro non troppo
- Quintette instrumental for flute, violin, viola, cello and harp: II. Lento
- Quintette instrumental for flute, violin, viola, cello and harp: III. Allegro poco moderato
- Song of the Black Swan
- Duo for violin and viola: I. Allegro
- Duo for violin and viola: II. Adagio
- Duo for violin and viola: III. Allegro Agitato
- Modinhas e cançoes II, nº 2: Vida formosa (trans. flute and harp)
- Modinhas e cançoes II, nº 3: Nesta rua (trans. flute and harp)
- Canções típicas brasileiras, nº 12: Modinha (trans. flute and harp)
- Chanson de cristal (trans. flute and harp)
- Modinhas e cançoes I, nº 1: Canção do marinheiro (trans. flute and harp)
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O Violoncello do Villa, Complete works for violincello and piano (feat. cello: Tânia Lisboa, piano: Miriam Braga), Volume 1
Released 2005
Released 2005
- Berceuse for cello & piano, A. 088, Op. 50
- O canto do cysno negro (Song of the Black Swan) for cello & piano, A. 122
- Sonhar for cello & piano, A. 086, Op. 14
- Aria (Cantilena) for voice & piano (arranged from Bachianas Brasileiras No. 5/1), A. 389/1
- Prelúdio No. 2 for cello & piano, A. 065
- Divigação, for cello, piano & drum, A. 461
- Capriccio, for cello & piano, A. 91, Op. 49
- Élégie, for cello & piano, A. 108, Op. 87
- Pequena suíte for cello & piano, A. 64: I. Romancette
- Pequena suíte for cello & piano, A. 64: II. Legendária
- Pequena suíte for cello & piano, A. 64: III. Harmonias Soltas
- Pequena suíte for cello & piano, A. 64: IV. Fugato (all'antica)
- Pequena suíte for cello & piano, A. 64: V. Melodia
- Pequena suíte for cello & piano, A. 64: VI. Gavotte - Scherzo
- Bachianas Brasileiras No. 2, for orchestra, A. 247: I. Prelúdio - (O Canto do Capadócio)
- Bachianas Brasileiras No. 2, for orchestra, A. 247: II. Aria - (O Canto da Nossa Terra)
- Bachianas Brasileiras No. 2, for orchestra, A. 247: III. Tocata - (O Trenzinho do Caipira)
- Bachianas Brasileiras No. 1 for Cello Ensemble: I. Introduçao (Embolada)
- Bachianas Brasileiras No. 1 for Cello Ensemble: II. Prelúdio (Modinha)
- Bachianas Brasileiras No. 1 for Cello Ensemble: III. Fugue (Conversa)
- Bachianas Brasileiras No. 2 for Chamber Orchestra, "O Canto de capadócio": I. Prelúdio
- Bachianas Brasileiras No. 2 for Chamber Orchestra, "O Canto da nossa terra": II. Aria
- Bachianas Brasileiras No. 2 for Chamber Orchestra, "Lembrança do Sertão": III. Dança
- Bachianas Brasileiras No. 2 for Chamber Orchestra, "O Trenzinho Do Caipira": IV. Toccata
- Bachianas Brasileiras No. 3 for Piano and Orchestra: I. Prelúdio (Ponteio)
- Bachianas Brasileiras No. 3 for Piano and Orchestra: II. Fantasia (Devaneio) (Digression)
- Bachianas Brasileiras No. 3 for Piano and Orchestra: III. Aria - Modinha
- Bachianas Brasileiras No. 3 for Piano and Orchestra: IV. Toccata (Picapu)
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Piano Music, Volume 4: Bachianas Brasileiras No. 4 / Children's Carnival / Simple Song (Sonia Rubinsky)
Released 2004
Released 2004
- Bachianas brasileiras nº 4: Prelúdio
- Bachianas brasileiras nº 4: Coral: Canto do sertão
- Bachianas brasileiras nº 4: Ária: Cantiga
- Bachianas brasileiras nº 4: Dansa: Miudinho
- Poema singelo
- Carnaval das crianças: I. O ginete do Pierrozinho
- Carnaval das crianças: II. O chicote do diabinho
- Carnaval das crianças: III. A manhã da Pierrete
- Carnaval das crianças: IV. Os guizos do dominozinho
- Carnaval das crianças: V. As peripecias do trapeirozinho
- Carnaval das crianças: VI. As traquinices do mascarado Mignon
- Carnaval das crianças: VII. A gaita de um precoce fantasiado
- Carnaval das crianças: VIII. A folia de um bloco infantil
- Francette et Piá
- A fiandeira
- Simples coletânea: Valsa mística
- Simples coletânea: Num berço encantado
- Simples coletânea: Rodante
- Valsa romântica
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O Violoncello do Villa, Complete works for violin, cello and piano (feat. cello: Tânia Lisboa, piano: Miriam Braga, violin: Richard Milone), Volume 3
Released 2004
Released 2004
- Piano Trio No. 2, for violin, cello & piano, A. 105: I. Allegro moderato
- Piano Trio No. 2, for violin, cello & piano, A. 105: II. Berceuse-Barcarolla (Andante Calmo)
- Piano Trio No. 2, for violin, cello & piano, A. 105: III. Scherzo (Allegro Spiritoso Vivace)
- Piano Trio No. 2, for violin, cello & piano, A. 105: IV. Final (Molto Allegro)
- Piano Trio No. 3, for violin, cello & piano, A. 142: Allegro Con Moto
- Piano Trio No. 3, for violin, cello & piano, A. 142: Assai Moderato
- Piano Trio No. 3, for violin, cello & piano, A. 142: Allegro Spirituoso
- Piano Trio No. 3, for violin, cello & piano, A. 142: Final (Allegro Animato)
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Symphony No. 10" Amerindia' (Orquesta Sinfonica De Tenerife feat. conductor: Victor Pablo Pérez)
Released 2004
Released 2004
- Symphony No. 10" Amerindia': I. Allegro
- Symphony No. 10" Amerindia': II. Lento
- Symphony No. 10" Amerindia': III. Scherzo Allegretto Scherzando
- Symphony No. 10" Amerindia': IV. Lento
- Symphony No. 10" Amerindia': V. Poco Allegro
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Piano Music, Volume 3: Ciclo brasileiro / Suite floral / Chôros Nos. 1, 2 and 5 (Sonia Rubinsky)
Released 2003
Released 2003
- Suíte floral: I. Idílio na rede
- Suíte floral: II. Uma camponeza cantadeira
- Suíte floral: III. Alegria na horta
- Ciclo brasileiro: I. Plantio do caboclo
- Ciclo brasileiro: II. Impressões seresteiras
- Ciclo brasileiro: III. Festa no sertão
- Ciclo brasileiro: IV. Dansa do índio branco
- Brinquedo de roda: I. Tira o seu pezinho
- Brinquedo de roda: II. A moda da carranquinha
- Brinquedo de roda: III. Os três cavalheiros
- Brinquedo de roda: IV. Uma, duas angolinhas
- Brinquedo de roda: V. Garibaldi foi à missa
- Brinquedo de roda: VI. Vamos todos cirandar
- Danças características africanas: I. Farrapós
- Danças características africanas: II. Kankukus
- Danças características africanas: III. Kankikis
- Tristorosa
- Chôros No. 1 "Típico"
- Chôros No. 2
- Chôros No. 5 "Alma brasileira"
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Chôros 1-7 (Orquesta Filarmónica de Gran Canaria feat. conductor: Adrian Leaper)
Released 2003
Released 2003
- Introduction to the Chôros, A. 239
- Chôros No. 1 "Tipico brasileiro", A. 161
- Chôros No. 2, A. 197
- Chôros No. 3 "Picapau", A. 206
- Chôros No. 4, A. 218
- Chôros No. 5 "Alma brasiliera", A. 207
- Chôros No. 6, A. 219
- Chôros No. 7 "Settimo", A. 199
- Quatour - Allegro non troppo
- Quatour - Lento
- Quatour - Allegro molto vivace
- Choros n. 2
- Fantasia Concertante - Allegro non troppo
- Fantasia Concertante - Lento
- Fantasia Concertante - Allegro impectuoso
- Distribuição de flores
- Trio - Animê
- Trio - Languissant
- Trio - Vif
- Choros n. 7
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Piano Music, Volume 2: A Prole do Bebê No. 2 / Cirandinhas (Sonia Rubinsky)
Released 2001
Released 2001
- A Lendo do Caboclo
- Ondulando, Op. 31
- Valsa da Dor
- A Prole do Bebê, No. 2: A Baratinha de papel
- A Prole do Bebê, No. 2: O Gatinho de papelão
- A Prole do Bebê, No. 2: O Camundongo de massa
- A Prole do Bebê, No. 2: O Cachorrinho de borracha
- A Prole do Bebê, No. 2: O Cavalinho de páu
- A Prole do Bebê, No. 2: O Boisinho de chumbo
- A Prole do Bebê, No. 2: O Passarinho de panno
- A Prole do Bebê, No. 2: O Ursozinho de algodão
- A Prole do Bebê, No. 2: O Lobosinho de vidro
- Cirandinhas: Zangou-se o Cravo com a Rosa
- Cirandinhas: Adeus, Bela Morena
- Cirandinhas: Vamos, maninha
- Cirandinhas: Olha aquela menina
- Cirandinhas: Senhora pastora
- Cirandinhas: Cae, cae, balão
- Cirandinhas: Todo o mundo passa
- Cirandinhas: Vamos ver a mulatinha
- Cirandinhas: Carneirinho, carneirão
- Cirandinhas: A canoa virou
- Cirandinhas: Nesta rua tem um bosque
- Cirandinhas: Lindos olhos que ela tem
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Chôros Nos. 8 & 9 (Hong Kong Philharmonic Orchestra feat. conductor: Kenneth Schermerhorn)
Released 2001
Released 2001
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Concierto de Aranjuez / Fantasía para un gentilhombr / Concerto for Guitar and Small Orchestra (feat. guitar: John Williams)
Released 2000
Released 2000
- Concierto de Aranjuez: I. Allegro con spirito
- Concierto de Aranjuez: II. Adagio
- Concierto de Aranjuez: III. Allegro gentile
- Fantasía para un gentilhombre: I. Villano y Ricercare
- Fantasía para un gentilhombre: II. Españoleta y Fanfare de la Caballería de Nápoles
- Fantasía para un gentilhombre: III. Danza de las hachas
- Fantasía para un gentilhombre: IV. Canario
- Concerto for Guitar and Small Orchestra: I. Allegro
- Concerto for Guitar and Small Orchestra: II. Andantino
- Concerto for Guitar and Small Orchestra: III. Allegro non troppo
- Quinteto em forma de chôros
- Modinha
- Bachianas brasileiras, No. 6: I. Aria (Chôro, largo)
- Bachianas brasileiras, No. 6: II. Fantasia (Allegro)
- Distribuição de flôres (Distribution of Flowers)
- Assobio a jato (The Jet Whistle): I. Allegro non troppo
- Assobio a jato (The Jet Whistle): II. Adagio
- Assobio a jato (The Jet Whistle): III. Vivo
- Chôros, No. 2
- Canção do amor (Song of Love)
- Trio: I. Animé
- Trio: II. Languisamente
- Trio: III. Vivo
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O Violoncello do Villa, Complete works for violin, cello and piano (feat. cello: Tânia Lisboa, piano: Miriam Braga, violin: Yang Zhang), Volume 2
Released 1999
Released 1999
- Second Sonata for cello and piano, Op. 66: I. Allegro moderato
- Second Sonata for cello and piano, Op. 66: II. Andante cantabile
- Second Sonata for cello and piano, Op. 66: III. Scherzo: Allegro scherzando
- Second Sonata for cello and piano, Op. 66: IV. Allegro vivace sostenuto
- Prelúdio No. 8 for cello and piano, BWV 853
- Prelúdio No.14 for cello and piano, BWV 883
- Chôros bis for violin and cello: I. Moderé
- Chôros bis for violin and cello: II. Lent
- Trio No. 1 in C minor for violin, cello and piano: I. Allegro non troppo
- Trio No. 1 in C minor for violin, cello and piano: II. Andante sostenuto
- Trio No. 1 in C minor for violin, cello and piano: III. Vivace - Scherzo
- Trio No. 1 in C minor for violin, cello and piano: IV. Allegro troppo e final
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Conciertos Para Violonchelo No.1 & 2 [Meneses, Orquesta Sinfonica De Galicia]
Released 1999
Released 1999
- Concierto Para Violonchelo Y Orquesta No.1 - 1. Allegro Con Brio
- 2. Assai Moderato
- 3. Allegro Moderato
- Concierto Para Violonchelo Y Orquesta No.2 - 1. Allegro Non Troppo
- 2. Molto Andante Cantabile
- 3. Scherzo
- 4. Allegro Energico
- Fantasia Para Chelo Y Orquesta - 1. Largo
- 2. Molto Vivace
- 3. Allegro Espressivo
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Chôros No.11 (Finnish Radio Symphony Orchestra feat. conductor: Sakari Oramo, Piano: Ralf Gothoni)
Released 1999
Released 1999
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Piano Music, Volume 1: A Prole do Bebê No. 1 / Cirandas / Hommage à Chopin (Sonia Rubinsky)
Released 1999
Released 1999
- A Prole do Bebê No. 1: Branquinha (A boneca de louca)
- A Prole do Bebê No. 1: Morenhina (A boneca de massa)
- A Prole do Bebê No. 1: Caboclinha (A boneca de barro)
- A Prole do Bebê No. 1: Mulatinha (A boneca de borracha)
- A Prole do Bebê No. 1: Negrinha (A boneca de pau)
- A Prole do Bebê No. 1: A pobrezinha (A boneca de trapo)
- A Prole do Bebê No. 1: O polichinelo
- A Prole do Bebê No. 1: A bruxa (A boneca de pano)
- Cirandas: Terezinha de Jesus
- Cirandas: A Condessa
- Cirandas: Senhora Dona Sancha
- Cirandas: O cravo brigou com a rosa
- Cirandas: Pobre cega
- Cirandas: Passa, passa gavião
- Cirandas: Xô, xô, passarinho
- Cirandas: Vamos atrás de Serra, Calunga
- Cirandas: Fui no tororó
- Cirandas: O pintor de Cannahy
- Cirandas: Nesta rua, nesta rua
- Cirandas: Olha o passarinho, Dominé
- Cirandas: A procura de uma agulhà
- Cirandas: A canôa virou
- Cirandas: Que lindos olhos
- Cirandas: Có, có, có
- Hommage à Chopin: Noturno
- Hommage à Chopin: A la balada
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Bachianas Brasileiras Nos. 1, 2, 5, & 9 (L'Orchestre National de la Radiodiffusion Française feat. conductor: Heitor Villa-Lobos)
Released 1999
Released 1999
- Bachianas Brasileiras No. 5, A. 389: I. Ária: Cantilena (feat. soprano: Victoria de Los Angeles, cello: Fernand Benedetti)
- Bachianas Brasileiras No. 5, A. 389: II. Dança: Martelo (feat. soprano: Victoria de Los Angeles, cello: Fernand Benedetti)
- Bachianas Brasileiras No. 2, A. 247: I. Prelúdio: O Canto do Capadocio
- Bachianas Brasileiras No. 2, A. 247: II. Ária: O canto da Nassa Terra
- Bachianas Brasileiras No. 2, A. 247: III. Dança: Lembrança do Sertão
- Bachianas Brasileiras No. 2, A. 247: IV. Tocata: O Trenzinho do Caipira
- Bachianas Brasileiras No. 1, A. 246: I. Introdução: Embolada
- Bachianas Brasileiras No. 1, A. 246: II. Prelúdio: Modinha
- Bachianas Brasileiras No. 1, A. 246: III. Fuga: Conversa
- Bachianas Brasileiras No. 9, A. 449: I. Prelúdio
- Bachianas Brasileiras No. 9, A. 449: II. Fuga
- Ondulano (Etude) (1913)
- O Gato E o Rato (1914)
- Ibericarabe (1914)
- A Fiandeira (1921)
- A Lenda Do Caboclo (1920)
- Sul America (1925)
- Choros n.5 (Alma Brasileira) (1925)
- Saudades Das Selvas Brasileiras (1927), Part I
- Saudades Das Selvas Brasileiras (1927), Part II
- Valsa Da Dor (1932)
- New York Skyline Melody (1939)
- Poema Singelo (1942)
- Walz in D (1952 or 1957)
- Preludio - Introducao
- Coral - Canto Do Sertao (Songs of the Scrubland)
- Aria - Cantiga
- Danca - Miudinho
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Alma Brasileira (New World Symphony feat. conductor: Michael Tilson Thomas)
Released 1997
Released 1997
- Bachianas Brasileiras No. 4: I. Preludio (Introdução): Lento
- Bachianas Brasileiras No. 4: II. Coral (Canto do Sertão): Largo
- Bachianas Brasileiras No. 4: III. Aria (Cantiga): Moderato
- Bachianas Brasileiras No. 4: IV. Danza (Miudinho): Molto animato
- Bachianas Brasileiras No. 5: I. Aria (Cantilena): Adagio
- Bachianas Brasileiras No. 5: II. Dansa (Martelo): Allegretto
- Bachianas Brasileiras No. 7: I. Preludio (Ponteio): Adagio
- Bachianas Brasileiras No. 7: II. Giga (Quadrilha Caipira): Allegretto scherzando
- Bachianas Brasileiras No. 7: III. Tocata (Desafío): Andantino quasi allegretto
- Bachianas Brasileiras No. 7: IV. Fuga (Conversa): Andante
- Bachianas Brasileiras No. 9: I. Prélude: Vagaroso e mistico
- Bachianas Brasileiras No. 9: II. Fugue: Poco apressado
- Chôros No. 10: Animé - Lent - Animé - Très peu animé
- Five Preludes: I. Andantino expressivo
- Five Preludes: II. Andantino
- Five Preludes: III. Andante
- Five Preludes: IV. Lento
- Five Preludes: V. Poco animato
- Suite Populaire Bresilienne: Mazurka-Choro
- Suite Populaire Bresilienne: Schottish-Choro
- Suite Populaire Bresilienne: Valsa-Choro
- Suite Populaire Bresilienne: Gavota-Choro
- Suite Populaire Bresilienne: Chorinho
- Twelve Etudes: I. Allegro non troppo
- Twelve Etudes: II. Allegro
- Twelve Etudes: III. Allegro moderato
- Twelve Etudes: IV. Andante
- Twelve Etudes: V. Andantino
- Twelve Etudes: VI. Poco allegro
- Twelve Etudes: VII. Très animé
- Twelve Etudes: VIII. Modéré
- Twelve Etudes: IX. Très peu animé
- Twelve Etudes: X. Très animé
- Twelve Etudes: XI. Lent
- Twelve Etudes: XII. Animé
- Choros No.1 for guitar
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Bachianas Brasileiras Nos. 2, 4, & 8 (Cincinnati Symphony Orchestra feat. conductor: Jesús López-Cobos)
Released 1995
Released 1995
- Bachianas Brasileiras No. 2, A. 247: I. Prelúdio: O Canto do Capadocio
- Bachianas Brasileiras No. 2, A. 247: II. Ária: O canto da Nossa Terra
- Bachianas Brasileiras No. 2, A. 247: III. Dança: Lembrança do Sertão
- Bachianas Brasileiras No. 2, A. 247: IV. Tocata: O Trenzinho do Caipira
- Bachianas Brasileiras No. 4, A. 424: I. Prelúdio: Introdução
- Bachianas Brasileiras No. 4, A. 424: II. Coral: Canto do Sertão
- Bachianas Brasileiras No. 4, A. 424: III. Ária: Cantiga
- Bachianas Brasileiras No. 4, A. 424: IV. Dança: Miudinho
- Bachianas Brasileiras No. 8, A. 444: I. Prelúdio
- Bachianas Brasileiras No. 8, A. 444: II. Ária: Modinha
- Bachianas Brasileiras No. 8, A. 444: III. Tocata: Catira Batida
- Bachianas Brasileiras No. 8, A. 444: IV. Fuga
- Uirapurú
- Modinha De Bachiana Brasileiras Nº1
- Gata Borralheira - Fairy of Spring-Fairy of Summer
- Gata Borralheira - Cinderella Goes to the Ball
- Gata Borralheira - Cinderella in the Castle
- Gata Borralheira - Cinderella and the Prince
- Gata Borralheira - Cinderella's Waltz-Midnight
- Gata Borralheira - Apotheosis-Finale
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5 Piano Concertos - Cristina Ortiz / Royal Philharmonic Orchestra / Miguel Gómez-Martínez
Released 1992
Released 1992
- Piano Concerto No. 1: I. Allegro
- Piano Concerto No. 1: II. Allegro- Poco scherzando
- Piano Concerto No. 1: III. Andante & Cadenza
- Piano Concerto No. 1: IV. Allegro non troppo
- Piano Concerto No. 2: I. Vivo
- Piano Concerto No. 2: II. Lento
- Piano Concerto No. 2: III. Quasi allegro (cadencia)
- Piano Concerto No. 2: IV. Allegro
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Villa-Lobos par lui-même (Chœurs et Orchestre National de la Radiodiffusion Française feat. conductor: Heitor Villa-Lobos)
Released 1991
Released 1991
- Descombrimento do Brasil Suite No. 1, A. 377
- Descombrimento do Brasil Suite No. 2, A. 378: I. Impressão Moura: Canção
- Descombrimento do Brasil Suite No. 2, A. 378: II. Adágio sentimental
- Descombrimento do Brasil Suite No. 2, A. 378: III. Cascavel
- Descombrimento do Brasil Suite No. 3, A. 379: I. Impressão Ibérica
- Descombrimento do Brasil Suite No. 3, A. 379: II. Festa nas selvas
- Descombrimento do Brasil Suite No. 3, A. 379: III. Unalalocê
- Descombrimento do Brasil Suite No. 4, A. 380: I. Procissão da Cruz: Visão dos Navegantes
- Descombrimento do Brasil Suite No. 4, A. 380: II. Primeira Missa no Brazil
- Invocação em defesa da Pátria, A. 439
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Piano Trios Nos. 1 and 3 (feat. piano: Monique Duphil, cello: Jay Humeston, violin: Antonio Spiller)
Released 1990
Released 1990
- Piano Trio No. 1 in D minor: I. Allegro non troppo
- Piano Trio No. 1 in D minor: II. Andante sostenuto
- Piano Trio No. 1 in D minor: III. Scherzo: Vivace
- Piano Trio No. 1 in D minor: IV. Allegro troppo e Finale
- Piano Trio No. 3: I. Allegro con moto
- Piano Trio No. 3: II. Assai moderato
- Piano Trio No. 3: III. Allegretto spirituoso
- Piano Trio No. 3: IV. Finale: Allegro animato
- Prelude No. 1 in E minor
- Etude No. 8 in C sharp minor
- Etude No. 7 in E minor
- Valsa-chôro in E minor
- Sexteto místicio
- Prelude No. 3 in A minor
- Mazurka-chôro in A minor
- Etude No. 4 in G major
- Etude No. 5 in C major
- Aria from Bachiana brasileira No. 5
- Prelude No. 5 in D minor
- Gavotta-chôro in D major
- Etude No. 11 in E minor
- Chôro No. 1 "tipico"
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Guitar Concerto / Twelve Etudes / Five Preludes (guitar: Narciso Yepes)
Released 1988
Released 1988
- Guitar Concerto: I. Allegro preciso
- Guitar Concerto: II. Andantino e andante
- Guitar Concerto: III. Allegretto non troppo
- Etude No.1 in E minor: Allegro non troppo
- Etude No.2 in A major: Allegro
- Etude No.3 in D major: Allegro moderato
- Etude No.4 in G major: Un peu modéré - Grandioso
- Etude No.5 in C major: Andantino - Poco meno
- Etude No.6 in E minor: Poco Allegro
- Etude No.7 in E major: Tres animé, Moins
- Etude No.8 in C sharp minor: Modéré
- Etude No.9 in F sharp minor: Tres peu animé
- Etude No.10 in B minor: Tres animé, Un peu animé , Vif
- Etude No.11 in E minor: Lent, Animé, Poco meno, Animé, Lent
- Etude No.12 in A minor: Animé, Più mosso, a tempo primo, Un peu plus animé
- Prelude No.1 in E minor: Andantino espressivo, Più mosso, Primo tempo
- Prelude No.2 in E major: Andantino, Più mosso, Tempo I
- Prelude No.3 in A minor: Andante, Molto adagio e dolorido
- Prelude No.4 in E minor: Lento, Animato, Moderato, Lento
- Prelude No.5 in D major: Poco animato, Meno, Più mosso, A tempo
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Choros II, IV, V, VII & XII (Orchestre Philharmonique de Liège & Ensemble Choros feat. conductor: Pierre Bartholomée)
Released 1986
Released 1986
- Chôros Nº 12, A. 233
- Chôros Nº 5 "Alma brasiliera", A. 207
- Chôros Nº 2, A. 197
- Chôros Nº 4, A. 218
- Chôros Nº 7 "Setemino", A. 199
- Branquinha, a boneca de louça
- Moreninha, a boneca de massa
- Caboclinha, a boneca de barro
- Mulatinha, a boneca de borracha
- Nigrinha, a boneca de pau
- A Pobrezinha, boneca de trapo
- Bruxa, a boneca de pano
- O Polichinelo
- A Teresinha de Jesus
- A Condessa
- Senhora Dona Sancha
- O Cravo Brigou com a Rosa
- Pobre cego
- Passa, Passa, Gaviao
- Xô, xô, passarinho
- Vamos atras da serra, Calunga
- Fui no Tororo
- O Pintor de Canai
- Nesta rua, nesta rua
- Olha o passarinho
- A procura de uma agulha
- A Canoa Virou
- Que lindos olhos
- Co, co, co
- En Mi majeur - Andantino
- En La mineur - Andante
- Terezinha de Jesus
- A Condessa
- A Senhora Dona Sancha
- O Cravo brigou com a Rosa
- Pobre Cega
- Passa, Passa Gavião
- Xô, Xô, Passarinho
- Vamos atrás da serra, calunga
- Fui no Itororó
- O pintor de Cannahy
- Nesta rua, nesta rua
- Olha o passarinho dominé
- A procura de uma agulha
- A canoa virou
- Que lindos olhos
- Có có có...
- O trenzinho do caipira
- Impressões seresteiras No. 2
- Lenda do caboclo
- Bachianas brasileiras No. 5
- Valsa da dor
- Dança do índio branco No. 4
- Lundu da Marquesa de Santos
- O cravo brigou com a rosa
- Passa, passa, gavião
- Trio in C major, RV 82: Allegro non molto (Quasi andante) (Antonio Vivaldi)
- Trio in C major, RV 82: Larghetto (Antonio Vivaldi)
- Trio in C major, RV 82: Allegro (Antonio Vivaldi)
- Concerto For Guitar And Strings In D Major, RV 93: Allegro (Antonio Vivaldi)
- Concerto For Guitar And Strings In D Major, RV 93: Largo (Antonio Vivaldi)
- Concerto For Guitar And Strings In D Major, RV 93: Allegro (Antonio Vivaldi)
- Concerto No.1 For Guitar And Orchestra In D Major, Op. 99: Allegretto (Mario...
- Concerto No.1 For Guitar And Orchestra In D Major, Op. 99: Andantino alla ro...
- Concerto No.1 For Guitar And Orchestra In D Major, Op. 99: Ritmico e cavalle...
- Villa-Lobos, Heitor / Concerto For Guitar And Small Orchestra: Allegro preciso
- Concerto For Guitar And Small Orchestra: Andantino e andante
- Concerto For Guitar And Small Orchestra: Allegretto non troppo
- Bachianas Brasileira No. 01 - Introdução
- Bachianas Brasileira No. 01 - Prelúdio
- Bachianas Brasileira No. 01 - Fuga
- Bachianas Brasileira No. 02 - Prelúdio
- Bachianas Brasileira No. 02 - Ária
- Bachianas Brasileira No. 02 - Dança
- Bachianas Brasileira No. 02 - Tocatta (O Trenzinho Caipira)
- Bachianas Brasileira No. 04 - Prelúdio
- Bachianas Brasileira No. 04 - Coral
- Bachianas Brasileira No. 04 - Ária
- Bachianas Brasileira No. 04 - Dança
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Bachianas Brasileiras Nos. 2, 5, 6 & 9 (L'Orchestre de Paris Mady Mesplé)
- Bachiana Brasileira No.2 for orchestra: Preludio: La chanson du campagnard
- Bachiana Brasileira No.2 for orchestra: Aria: Le chant de notre terre
- Bachiana Brasileira No.2 for orchestra: Dansa: Souvenir du désert
- Bachiana Brasileira No.2 for orchestra: Toccata: Le petit train du paysan brésilien
- Bachiana Brasileira No.5 for soprano and 8 cellos: Aria: cantilena
- Bachiana Brasileira No.5 for soprano and 8 cellos: Dansa: Martelo
- Bachiana Brasileira No.6 for flute and bassoon: Aria
- Bachiana Brasileira No.6 for flute and bassoon: Fantasia
- Bachiana Brasileira No.9 for String Orchestra: Preludio e Fuga
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Concierto de Aranjuez, Concierto del sur, Guitar Concerto (Carlos Chávez Symphony Orchestra feat. conductor: Fernando Lozano)
- Concierto de Aranjuez: I. Allegro con spirito
- Concierto de Aranjuez: II. Adagio
- Concierto de Aranjuez: III. Allegro gentile
- Concierto del sur: I. Allegretto
- Concierto del sur: II. Andante
- Concierto del sur: III. Allegro moderato e festivo
- Guitar Concerto, A.501: I. Allegro preciso
- Guitar Concerto, A.501: II. Andantino e andante
- Guitar Concerto, A.501: III. Allegretto non troppo
- Jeux Interdits: Preludio
- Bachianas brasileiras, No. 4: I. Preludio
- Bachianas brasileiras, No. 4: II. Coral
- Bachianas brasileiras, No. 4: III. Ária
- Bachianas brasileiras, No. 4: IV. Dansa
- Guia prático: I. A mare encheu
- Guia prático: II. Samba-Lêlê
- Guia prático: III. Ó ciranda, ó cirandinha
- Guia prático: IV. Nesta rua
- Guia prático: V. Fui no Itororó
- Guia prático: VI. A pombinha voou
- Guia prático: VII. Garibaldi foi a missa
- Poema singelo
- Caixinha de música quebrada
- Saudades des selvas brasileiras, No. 2
- As três Marias: I. Alnitah
- As três Marias: II. Alnilam
- As três Marias: III. Mintika
- Valsa da dor
- Cirandas: No. 14. A canôa virou
- Cirandas: No. 4. O cravo brigou com a rosa
- Ciclo brasileiro: I. Plantio do caboclo
- Ciclo brasileiro: II. Impressões seresteiras
- Ciclo brasileiro: III. Festa no sertão
- Ciclo brasileiro: IV. Dansa do Indio branco
- Bachianas Brasileiras No.8 - I. Prelúdio Adagio
- Bachianas Brasileiras No.8 - II. Ária (Modinha) Largo
- Bachianas Brasileiras No.8 - III. Tocata (Catira batida) Vivace (Scherzando)
- Bachianas Brasileiras No.8 - IV. Fuga Poco moderato
- Bachianas Brasileiras No.9 - Prelúdio: Vagaroso e místico - Fuga: Poco apressado - Tempo 1 Grandio
- Guitar Concerto - I. Allegro precioso
- Guitar Concerto - II. Andantino e andante cadenza
- Guitar Concerto - III. Allegretto non troppo
- Bachianas Brasileiras No.4 - I. Prelúdio (Introducão) Lento
- Bachianas Brasileiras No.4 - II. Coral (Canto do Sertão) Largo
- Bachianas Brasileiras No.4 - III. Ária (Cantiga) Moderato
- Bachianas Brasileiras No.4 - IV. Danca (Miudinho) Muito animado
- Bachianas Brasileiras No.5 - I. Ária (Cantilena) Adagio
- Bachianas Brasileiras No.5 - II. Danca (Martelo) Allegretto
- Bachianas Brasileiras No.6 - I. Ária (Choro) Largo
- Bachianas Brasileiras No.6 - II. Fantasia (Allegro)
- Bachianas Brasileiras No.7 - I. Prelúdio (Ponteio) Adagio
- Bachianas Brasileiras No.7 - II. Giga (Quadrilha Caipira) Allegretto scherzando
- Bachianas Brasileiras No.7 - III. Tocata (Desafio) Andantino quasi allegretto
- Bachianas Brasileiras No.7 - IV. Fuga (Conversa) Andante
- Prelude No 1, E Minor
- Prelude No 5, D Major
- Prelude No 3, A Minor
- Prelude No 4, E Minor
- Prelude No 2, E Major
- Concerto for Guitar and Orchestra
- Etude No 1
- Etude No 2
- Etude No 3
- Etude No 4
- Etude No 5
- Etude No 6
- Etude No 7
- Etude No 8
- Etude No 9
- Etude No 10
- Etude No 11
- Etude No 12
- Bachianas brasileiras No. 3: Prelúdio (Ponteio) Adagio
- Bachianas brasileiras No. 3: Fantasia (Devaneio) Allegro moderato
- Bachianas brasileiras No. 3: Ária (Modinha) Largo - Grandioso - Quasi allegro - Largo
- Bachianas brasileiras No. 3: Tocata (Picapau - Woodpecker - Specht - pic) Allegro
- Momôprecóce: Fantasy for piano & orchestra
Born: 1887-03-05
Died: 1959-11-17
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David Russell Heitor Villa-Lobos Choro No.1
- Order: Reorder
- Duration: 4:19
- Published: 29 Mar 2007
- Updated: 27 Sep 2012
Courtesy of the Official DavidRussellGuitar.com website. TVE Canal clasico - Spain 2003
http://wn.com/David_Russell_Heitor_Villa-Lobos_Choro_No1
HEITOR VILLA LOBOS - O Trenzinho do Caipira
- Order: Reorder
- Duration: 4:39
- Published: 16 Aug 2008
- Updated: 28 Sep 2012
Composição de Heitor Villa Lobos e parte integrante da peça Bachianas Brasileiras nº 2. A obra se caracteriza por imitar o movimento de uma locomotiva com os instrumentos da orquestra. Regente: Sir Eugene Goosens Orquestra Sinfônica de Londres "O Trenzinho do Caipira" is the composition of Heitor Villa Lobos and an integral part of the piece Bachianas Brasileiras No 2. The work is characterized by imitating the movement of a locomotive with the instruments of the orchestra.
http://wn.com/HEITOR_VILLA_LOBOS_O_Trenzinho_do_Caipira
Julian Bream - Villa-Lobos - Preludes 3 & 4
- Order: Reorder
- Duration: 4:56
- Published: 15 Oct 2006
- Updated: 28 Sep 2012
Julian Bream - Villa-Lobos - Preludes 3 (fragment) & 4 (early 60ies)
http://wn.com/Julian_Bream_Villa-Lobos_Preludes_3_4
Bachianas Brasileiras No 5 - Aria (Heitor Villa-Lobos) - Salli Terri & Laurindo Almeida
- Order: Reorder
- Duration: 6:00
- Published: 13 Jul 2009
- Updated: 28 Sep 2012
Bachianas Brasileiras No 5 (Aria) music - Heitor Villa Lobos lyrics - Ruth V Correa Salli Terri (vocal) Laurindo Almeida (guitar) producer: Robert E Myers recording engineer: Sherwood Hall, III "Duets with the Spanish Guitar" US Capitol 8406 (recorded 1958) The sheet music (with fingering by Andres Segovia) is published by Associated Music Publishers (G Schirmer Inc). 1959 grammy nominations - Best Engineered Record, Classical (winner) Best Classical Performance, Vocal Soloist Villa Lobos considered this version of the Aria, by Salli Terri and Laurindo Almeida, to be the best recorded performance. He originally scored it for voice and eight cellos, and later arranged it for voice and guitar. "Tarde, uma nuvem rosea lenta e transparente, sobre o espaco sonhadora e bela! Surge no infinito a lua docemente, Enfeitando a darde, qual meiga donzela Que se a presta e alinda sonhadoramente, Em anseios d'alma para ficar bela, Grita ao ceo ea terra toda a Natureza!!! Ca la a passarada aos seus tristes queixumes, E reflete o mar to da a sua riqueza... Suave a luz da lua desperta agora, A cruel saudade que ri e chora! Tarde uma nuvem rosea lenta e transparente, Sobre o espaco sonhadora e bela!" "Lo, at midnight clouds are slowly passing, rosy and lustrous, o'er the spacious heav'n with loveliness laden. From the boundless deep the moon arises wondrous, glorifying the evening like a beauteous maiden. Now she adorns herself in half unconscious duty, eager, anxious that we recognize her <b>...</b>
http://wn.com/Bachianas_Brasileiras_No_5_Aria_Heitor_Villa-Lobos_Salli_Terri_Laurindo_Almeida
Choro N° 1 (Heitor Villa-Lobos) - Turibio Santos
- Order: Reorder
- Duration: 3:17
- Published: 31 Jan 2009
- Updated: 26 Sep 2012
Choro N° 1, composto em 1920 pelo brasileiro Heitor Villa-Lobos, para violão solo, aqui executado pelo exímio violonista brasileiro Turibio Soares Santos. - Arquivo Raíssa Amaral & Sergio Napoleão Belluco - Piracicaba / SP - Brasil -
http://wn.com/Choro_N°_1_Heitor_Villa-Lobos_Turibio_Santos
Matt Palmer plays Heitor Villa-Lobos Etude 2
- Order: Reorder
- Duration: 1:46
- Published: 04 May 2007
- Updated: 26 Sep 2012
www.mattpalmerguitar.com http Matt Palmer playing Villa-Lobos Etude #2 in the Sholin Guitar competition at the University of Arizona. 2007 1st prize. Guitar by Kolya Panhuyzen Buy Matt's AMI scale book here: www.mattpalmerguitar.com Matt's CDs are available from : www.mattpalmerguitar.com www.cdbaby.com www.stringsbymail.com
http://wn.com/Matt_Palmer_plays_Heitor_Villa-Lobos_Etude_2
Heitor Villa-Lobos - O trenzinho do caipira (Bachianas brasileiras #2)
- Order: Reorder
- Duration: 5:11
- Published: 06 Oct 2010
- Updated: 28 Sep 2012
Composed by Heitor Villa-Lobos (1887-1959). Performs: "The Royal Philarmonic Orchestra", conductor Enrique Arturo Diemecke.
http://wn.com/Heitor_Villa-Lobos_O_trenzinho_do_caipira_Bachianas_brasileiras_2
Prelude no. 2 - villa lobos
- Order: Reorder
- Duration: 0:28
- Published: 12 Feb 2006
- Updated: 27 Sep 2012
villa lobos plays his own work
http://wn.com/Prelude_no_2_villa_lobos
Narciso Yepes - Estudio 11 de Villa-Lobos
- Order: Reorder
- Duration: 3:25
- Published: 07 May 2007
- Updated: 25 Sep 2012
Recital realizado en 1979 en el Teatro Real de Madrid.
http://wn.com/Narciso_Yepes_Estudio_11_de_Villa-Lobos
Melodia Sentimental (Heitor Villa-Lobos)
- Order: Reorder
- Duration: 3:14
- Published: 30 Dec 2006
- Updated: 28 Sep 2012
"Melodia Sentimental" by Heitor Villa-lobos My arrangement, but largely based on a version on an album by Teca Calazans ("Teca Calazans sings Villa-lobos"). Available on ITunes. Very, VERY nice record Taylor NS54-CE, hybrid classical
http://wn.com/Melodia_Sentimental_Heitor_Villa-Lobos
Modinha - Heitor Villa-Lobos Kolosko-Dimow Duo
- Order: Reorder
- Duration: 2:15
- Published: 16 Sep 2007
- Updated: 12 Sep 2012
Live Performance by the Kolosko-Dimow Duo of Modinha by Heitor Villa-Lobos.
http://wn.com/Modinha_Heitor_Villa-Lobos_Kolosko-Dimow_Duo
Andres Segovia
- Order: Reorder
- Duration: 4:36
- Published: 06 Aug 2008
- Updated: 28 Sep 2012
Performing Villa-Lobos Prelude no. 1 in e minor, live in Spain
http://wn.com/Andres_Segovia
Heitor Villa-Lobos Preludio No. 4 - Sofia Gleeson
- Order: Reorder
- Duration: 2:54
- Published: 05 May 2010
- Updated: 25 Sep 2012
Sofia Gleeson, San Francisco Conservatory, Prep Program, Graduation Recital, May 2009.
http://wn.com/Heitor_Villa-Lobos_Preludio_No_4_Sofia_Gleeson
Heitor Villa Lobos Etude No:1
- Order: Reorder
- Duration: 2:01
- Published: 17 Sep 2006
- Updated: 22 Sep 2012
First one of the twelve etudes composed by Brazilian composer Heitor Villa Lobos
http://wn.com/Heitor_Villa_Lobos_Etude_No1
Trenzinho Caipira - Villa Lobos
- Order: Reorder
- Duration: 5:53
- Published: 04 Jul 2007
- Updated: 27 Sep 2012
Trenzinho Caipira - Villa Lobos
http://wn.com/Trenzinho_Caipira_Villa_Lobos
Heitor Villa-Lobos - Five Preludes for guitar
- Order: Reorder
- Duration: 17:20
- Published: 04 Jan 2012
- Updated: 19 Sep 2012
Jan Sommer, guitar - Villa-Lobos, Heitor. Cinq préludes: pour guitare. Lyric melody. Homage to the Brazilian sertanejo. Capadocia & capoeira melody. Homage to the carioca hustler. Homage to Bach. Homage to the Brazilian Indian. Homage to social life. To the young teenagers who frequent Rio's concerts and theatres. Heitor Villa-Lobos (March 5, 1887 in Rio de Janeiro, Brazil - November 17, 1959) was a Brazilian composer who lived from 1887 to 1959 and is considered one of Brazil's most famous composers of his life. Villa-Lobos was born and grew up in Rio de Janeiro, where his father taught him to play the cello until his father's death in 1899. In his childhood home, he was among others familiar with the clarinet, Bach's Well-Tempered Clavier and general music theory. He was also very inspired by Rio's street musicians who often played some so-called "choro" for Carnival and other festive times. As a young man was Villa-Lobos himself a part of this chôromiljø and traveled in 1905 to northern Brazil where he lived as itinerant musician and occasional farm laborer. In 1907 he went to Rio, where he briefly studied at the National Music Institute. Here he fell quickly from when he showed far more interest in folk music. He went further around in northern Brazil and visited, according to him, including the Amazon country, where he had many musical influences, which he later used. In 1923 he traveled to Europe and lived much of his time in Paris. Several times he traveled back <b>...</b>
http://wn.com/Heitor_Villa-Lobos_Five_Preludes_for_guitar
Kenny Dorham - Prelude (Heitor Villa-Lobos)
- Order: Reorder
- Duration: 4:48
- Published: 10 Mar 2011
- Updated: 16 Sep 2012
From "Matador" (1962) Kenny Dorham - Trumpet Jackie McLean - Alto Saxophone Bobby Timmons - Piano Teddy Smith - Bass JC Moses - Drums
http://wn.com/Kenny_Dorham_Prelude_Heitor_Villa-Lobos
Luciano Marziali plays Heitor Villa-Lobos Prelude 5 LIVE
- Order: Reorder
- Duration: 3:44
- Published: 10 Jun 2009
- Updated: 07 Sep 2012
The italian guitarist Luciano Marziali plays in concert Prelude Nr 5 by Villa-Lobos more infos and contact www.lucianomarziali.com
http://wn.com/Luciano_Marziali_plays_Heitor_Villa-Lobos_Prelude_5_LIVE
Nesta Rua, Nesta Rua - Heitor Villa-Lobos (VOM? 2007)
- Order: Reorder
- Duration: 2:27
- Published: 02 Feb 2008
- Updated: 09 Sep 2012
Pianista: Beatriz Salles Música: Nesta Rua, Nesta Rua Compositor: Heitor Villa-Lobos Gravado no Teatro Nacional, em outubro de 2007. Parte do programa do Recital "Vamos Ouvir Música?" Idealizado e apresentado pela pianista e compositora Neusa França
http://wn.com/Nesta_Rua,_Nesta_Rua_Heitor_Villa-Lobos_VOM?_2007
Jorge Aragao/Heitor Villa Lobos - Bachianas Brasileiras No. 5
- Order: Reorder
- Duration: 2:59
- Published: 15 Jan 2009
- Updated: 28 Sep 2012
This is a Samba-version of Bachianas Brasileiras no. 5, written by Heitor Villa-Lobos
http://wn.com/Jorge_Aragao_Heitor_Villa_Lobos_Bachianas_Brasileiras_No_5
Xuefei Yang playing Villa Lobos Etude No.7 in Turkey
- Order: Reorder
- Duration: 1:56
- Published: 26 Sep 2007
- Updated: 27 Sep 2012
Villa Lobos Etude No.7 played by Xuefei Yang. This video is took at the rehearsal before her concert in Istanbul, June 2007.
http://wn.com/Xuefei_Yang_playing_Villa_Lobos_Etude_No7_in_Turkey
Heitor Villa-Lobos and Choros part 1
- Order: Reorder
- Duration: 10:26
- Published: 05 May 2011
- Updated: 14 Sep 2012
In the 1920s, composer Heitor Villa-Lobos wrote a series of fourteen nationalistic pieces called Choros, which was the direct result of his search for an "authentic" Brazilian musical language in the twenties. In Choros, Villa-Lobos combined elements from the Brazilian urban popular genre choro (from which he drew the title of his series) with European techniques, especially the unbalanced accents, abrupt metrical changes, and dissonances typical of Stravinsky's primitivism. With the exception of Choros number one, which is in fact a popular choro, these compositions reveal a hybrid style, blending European techniques and the Brazilian popular genre together. Villa-Lobos presented some of his Choros in Paris, where he lived in two occasions, and due to what Parisians perceived as musically "exotic," some Choros achieved great success in that city. While scholars Lisa M. Peppercorn, Eero Tarasti, and Jorge Coli, suggested that Villa-Lobos took advantage of a Paris thirsty for "exotic" music to elaborate the aesthetic of Choros and other pieces from the 1920s, they failed to notice that the Choros series resulted from Villa-Lobos's search for a Brazilian musical language that had started before he went to Paris for the first time in 1923, as his symphonic poems Amazonas and Uirapuru, both from 1917, demonstrate. In addition, the series also reflected the philosophies of an entire class of Brazilian modernist artists who proposed the so-called "anthropophagic art," by which <b>...</b>
http://wn.com/Heitor_Villa-Lobos_and_Choros_part_1
John Williams - Prelude n.1 (H. Villa-Lobos)
- Order: Reorder
- Duration: 4:07
- Published: 09 Feb 2007
- Updated: 28 Sep 2012
A brilliant performance by John Williams
http://wn.com/John_Williams_Prelude_n1_H_Villa-Lobos
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Classical music review: Allegro Guitar program lovely, if a little unstrung, at Dallas City Performance Hall
24 Sep 2012
The Dallas Morning News
The new City Performance Hall proved a dream setting for unamplified guitar Sunday afternoon. In an Allegro Guitar Series program, one, two and three guitarists easily filled the space with lovely sounds. The concert drew about 250 people to the 750-seat hall, the balcony of which was closed off....(size: 3.1Kb)
Otago Daily Times
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(Source: Wichita State University) Join the Lieurance Woodwind Quintet for the recital "Under Construction" at 7:30 p.m. Thursday, Oct. 4, in Wiedemann Recital Hall at Wichita State University. Tickets are $7 with discounts available through the College of Fine Arts Box Office, (316)...(size: 3.4Kb)
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16 Sep 2012
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Heitor Villa-Lobos (Portuguese pronunciation: [ejˌtoʁ ˌvilɐ ˈlobus]; March 5, 1887 – November 17, 1959) was a Brazilian composer, described as "the single most significant creative figure in 20th-century Brazilian art music".[1] Villa-Lobos has become the best-known and most significant Latin American composer to date.[2] He wrote numerous orchestral, chamber, instrumental and vocal works. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces).
Contents |
Biography[link]
Youth and exploration[link]
Heitor Villa-Lobos was born in Rio de Janeiro. His father, Raul, was a civil servant, educated man of Spanish extraction, a librarian, an amateur astronomer and musician. In Villa-Lobos's early childhood, Brazil underwent a period of social revolution and modernisation, abolishing slavery in 1888 and overthrowing the Empire of Brazil in 1889. The changes in Brazil were reflected in its musical life: previously European music had been the dominant influence, and the courses at the Conservatório de Música were grounded in traditional counterpoint and harmony. Villa-Lobos underwent very little of this formal training. After a few abortive harmony lessons, he learnt music by illicit observation from the top of the stairs of the regular musical evenings at his house arranged by his father. He learned to play the cello, the guitar and the clarinet. When his father died suddenly in 1899 he earned a living for his family by playing in cinema and theatre orchestras in Rio.[3]
Around 1905 Villa-Lobos started explorations of Brazil's "dark interior", absorbing the native Brazilian musical culture. Serious doubt has been cast on some of Villa-Lobos's tales of the decade or so he spent on these expeditions, and about his capture and near escape from cannibals, with some believing them to be fabrications or wildly embellished romanticism.[4] After this period, he gave up any idea of conventional training and instead absorbed the influences of Brazil's indigenous cultures, itself based on Portuguese, African, and American Indian elements. His earliest compositions were the result of improvisations on the guitar from this period.
Villa-Lobos played with many local Brazilian street-music bands; he was also influenced by the cinema and Ernesto Nazareth's improvised tangos and polkas.[5] For a time Villa-Lobos became a cellist in a Rio opera company, and his early compositions include attempts at Grand Opera. Encouraged by Arthur Napoleão, a pianist and music publisher, he decided to compose seriously.[6]
Brazilian influence[link]
In 1912, Villa-Lobos married the pianist Lucília Guimarães, ended his travels, and began his career as a serious musician. His music began to be published in 1913. He introduced some of his compositions in a series of occasional chamber concerts (later also orchestral concerts) from 1915–1921, mainly in Rio de Janeiro's Salão Nobre do Jornal do Comércio.
The music presented at these concerts shows his coming to terms with the conflicting elements in his experience, and overcoming a crisis of identity, as to whether European or Brazilian music would dominate his style. This was decided by 1916, the year in which he composed the symphonic poems Amazonas and Uirapurú (although Amazonas was not performed until 1929, and Uirapurú was first performed in 1935). These works drew from native Brazilian legends and the use of "primitive", folk material.[7]
European influence did still inspire Villa-Lobos. In 1917 Sergei Diaghilev made an impact on tour in Brazil with his Ballets Russes. That year Villa-Lobos also met the French composer Darius Milhaud, who was in Rio as secretary to Paul Claudel at the French Legation. Milhaud brought the music of Debussy, Satie, and possibly Stravinsky; in return Villa-Lobos introduced Milhaud to Brazilian street music. In 1918, he also met the pianist Arthur Rubinstein, who became a lifelong friend and champion; this meeting prompted Villa-Lobos to write more piano music.[8]
In about 1918 Villa-Lobos abandoned the use of opus numbers for his compositions as a constraint to his pioneering spirit. With the suite Carnaval das crianças (Children's carnival) for two pianos of 1919–20, Villa-Lobos liberated his style altogether from European Romanticism.[9] The piece depicts eight characters or scenes from Rio's Lent Carnival.
In February 1922, a festival of modern art took place in São Paulo and Villa-Lobos contributed performances of his own works. The press were unsympathetic and the audience were not appreciative; their mockery was encouraged by Villa-Lobos's being forced by a foot infection to wear one carpet slipper.[10] The festival ended with Villa-Lobos's Quarteto simbólico, composed as an impression of Brazilian urban life.
In July 1922, Rubinstein gave the first performance of A Prole do Bebê. There had recently been an attempted military coup on Copacabana Beach, and places of entertainment had been closed for days; the public possibly wanted something less intellectually demanding, and the piece was booed. Villa-Lobos was philosophical about it, and Rubinstein later reminisced that the composer said, "I am still too good for them." The piece has been called "the first enduring work of Brazilian modernism".[11]
Rubinstein suggested that Villa-Lobos tour abroad, and in 1923 he set out for Paris. His avowed aim was to exhibit his exotic sound world rather than to study. Just before he left he completed his Nonet (for ten players and chorus) which was first performed after his arrival in the French capital. He stayed in Paris in 1923–24 and 1927–30, and there he met such luminaries as Edgard Varèse, Pablo Picasso, Leopold Stokowski and Aaron Copland. Parisian concerts of his music made a strong impression.[12]
In the 1920s, Villa-Lobos also met the Spanish guitarist Andrés Segovia, who commissioned a guitar study: the composer responded with a set of twelve, each taking a tiny detail or figure from Brazilian chorões (itinerant street musicians) and transforming it into a piece that is not merely didactic. The chorões were also the initial inspiration behind his series of compositions, the Chôros, which were written between 1924–29. The first European performance of Chôros No. 10, in Paris, caused a storm: L. Chevallier wrote of it in Le Monde musical, "[…it is] an art […] to which we must now give a new name."[13]
Vargas era[link]
In 1930, Villa-Lobos, who was in Brazil to conduct, planned to return to Paris. One of the consequences of the revolution of that year was that money could no longer be taken out of the country, and so he had no means of paying any rents abroad. Thus forced to stay in Brazil, he arranged concerts instead around São Paulo, and composed patriotic and educational music. In 1932, he became director of the Superindendência de Educação Musical e Artistica (SEMA), and his duties included arranging concerts including the Brazilian premieres of Ludwig van Beethoven's Missa Solemnis and Johann Sebastian Bach's Mass in B minor as well as Brazilian compositions. His position at SEMA led him to compose mainly patriotic and propagandist works. His series of Bachianas Brasileiras were a notable exception.
In 1936, at the age of forty-nine, Villa-Lobos left his wife, and became romantically involved with Arminda Neves d’Almeida, who remained his companion until death. Arminda eventually took on the name Villa-Lobos, though Villa-Lobos never divorced his first wife. After Villa-Lobos' death, Arminda became the Director of the Museu Villa-Lobos in 1960, until her death in 1985. Arminda was herself a musician and a significant influence on Villa-Lobos. He also dedicated a good number of works to her, including the Ciclo brasileiro and many of the Chôros.
Villa-Lobos's writings of the Vargas era include propaganda for Brazilian nationhood ("brasilidade"),[14] and teaching and theoretical works. His Guia Prático ran to 11 volumes, Solfejos (two volumes, 1942 and 1946) contained vocal exercises, and Canto Orfeônico (1940 and 1950) contained patriotic songs for schools and for civic occasions. His music for the film O Descobrimento do Brasil (The Discovery of Brazil) of 1936, which included versions of earlier compositions, was arranged into orchestral suites, and includes a depiction of the first mass in Brazil in a setting for double choir.
Villa-Lobos published A Música Nacionalista no Govêrno Getúlio Vargas ca. 1941, in which he characterised the nation as a sacred entity whose symbols (including its flag, motto and national anthem) were inviolable. Villa-Lobos was the chair of a committee whose task was to define a definitive version of the Brazilian national anthem.[15]
After 1937, during the Estado Novo period when Vargas seized power by decree, Villa-Lobos continued producing patriotic works directly accessible to mass audiences. Independence Day on September 7, 1939 involved 30 000 children singing the national anthem and items arranged by Villa-Lobos. For the 1943 celebrations he also composed the ballet Dança da terra, which the authorities deemed unsuitable until it was revised. The 1943 celebrations did include Villa-Lobos's hymn Invocação em defesa da pátria shortly after Brazil's declaring war on Germany and its allies.[16]
Villa-Lobos's demagogue status damaged his reputation among certain schools of musicians, among them disciples of new European trends such as serialism— which was effectively off limits in Brazil until the 1960s. This crisis was, in part, due to some Brazilian composers finding it necessary to reconcile Villa-Lobos's own liberation of Brazilian music from European models in the 1920s with a style of music they felt to be more universal.[17]
Composer in demand[link]
Vargas fell from power in 1945. Villa-Lobos was able, after the end of the war, to travel abroad again; he returned to Paris, and also made regular visits to the United States as well as travelling to Great Britain, and Israel. He received a huge number of commissions, and fulfilled many of them despite failing health. He composed concertos for piano, cello (the second one in 1953), classical guitar (in 1951 for Segovia, who refused to play it until the composer provided a cadenza in 1956[18]), harp (for Nicanor Zabaleta in 1953) and harmonica (for John Sebastian, Sr. in 1955–6). Other commissions included his Symphony No. 11 (for the Boston Symphony Orchestra in 1955), and the opera Yerma (1955–56) based on the play by Federico García Lorca. His prolific output of this period prompted criticisms of note spinning and banality: critical reactions to his Piano Concerto No. 5 included the comments "bankrupt" and "piano tuners' orgy".[19]
His music for the film Green Mansions starring Audrey Hepburn and Anthony Perkins, commissioned by MGM in 1958, earned Villa-Lobos $25,000, and he conducted the soundtrack recording himself.[20] The film was in production for many years. Originally to be directed by Vincente Minnelli, it was taken over by Hepburn's husband Mel Ferrer.[21] MGM decided to use only part of Villa-Lobos's music in the actual film, turning instead to Bronislau Kaper for the rest of the music.[22] From the score, Villa-Lobos compiled a work for soprano soloist, male chorus, and orchestra, which he titled Forest of the Amazon and recorded it in 1959 in stereo with Brazilian soprano Bidú Sayão, an unidentified male chorus, and the Symphony of the Air for United Artists Records. The spectacular recording was issued both on LP and reel-to-reel tape.[23]
In June 1959, Villa-Lobos alienated many of his fellow musicians by expressing disillusionment, saying in an interview that Brazil was "dominated by mediocrity".[24] In November he died in Rio; his state funeral was the final major civic event in that city before the capital transferred to Brasília.[25] He is buried in the Cemitério São João Batista in Rio de Janeiro.
Music[link]
His earliest pieces originated in guitar improvisations, for example Panqueca (Pancake) of 1900. The concert series of 1915–21 included first performances of pieces demonstrating originality and virtuosic technique. Some of these pieces are early examples of elements of importance throughout his œuvre. His attachment to the Iberian Peninsula is demonstrated in Canção Ibéria of 1914 and in orchestral transcriptions of some of Enrique Granados' piano Goyescas (1918, now lost). Other themes that were to recur in his later work include the anguish and despair of the piece Desesperança— Sonata Phantastica e Capricciosa no. 1 (1915), a violin sonata including "histrionic and violently contrasting emotions",[26] the birds of L'oiseau blessé d'une flèche (1913), the mother-child relationship (not usually a happy one in Villa-Lobos's music) in Les mères of 1914, and the flowers of Suíte floral for piano of 1916–18 which reappeared in Distribuição de flores for flute and guitar of 1937.
Reconciling European tradition and Brazilian influences was also an element that bore fruit more formally later. His earliest published work Pequena suíte for cello and piano of 1913 shows a love for the cello, but is not notably Brazilian, although it contains elements that were to resurface later.[27] His three-movement String Quartet no. 1 (Suíte graciosa) of 1915 (expanded to six movements ca. 1947[28]) is influenced by European opera,[29] while Três danças características (africanas e indígenas) of 1914–16 for piano, later arranged for octet and subsequently orchestrated, is radically influenced by the tribal music of the Caripunas Indians of Mato Grosso.[30]
With his tone poems Amazonas (1916, first performed in Paris in 1929) and Uirapurú (1916, first performed 1935) he created works dominated by indigenous Brazilian influences. The works use Brazilian folk tales and characters, imitations of the sounds of the jungle and its fauna, imitations of the sound of the nose-flute by the violinophone, and not least imitations of the uirapuru itself.[31]
His meeting with Artur Rubinstein in 1918 prompted Villa-Lobos to compose piano music such as Simples coletânea of 1919 — which was possibly influenced by Rubinstein's playing of Ravel and Scriabin on his South American tours — and Bailado infernal of 1920.[8] The latter piece includes the tempi and expression markings "vertiginoso e frenético", "infernal" and "mais vivo ainda" (faster still).
Carnaval das crianças of 1919–20 saw Villa-Lobos's mature style emerge; unconstrained by the use of traditional formulae or any requirement for dramatic tension, the piece at times imitates a mouth organ, children's dances, a harlequinade, and ends with an impression of the carnival parade. This work was orchestrated in 1929 with new linking passages and a new title, Momoprecoce. Naïveté and innocence is also heard in the piano suites A Prole do Bebê (The Baby's Family) of 1918–21.
Around this time he also fused urban Brazilian influences and impressions, for example in his Quarteto simbólico of 1921. He included the urban street music of the chorões, who were groups containing flute, clarinet and cavaquinho (a Brazilian guitar), and often also including ophicleide, trombones or percussion. Villa-Lobos occasionally joined such bands. Early works showing this influence were incorporated into the Suíte popular brasileiro of 1908–12 assembled by his publisher, and more mature works include the Sexteto místico (ca. 1955, replacing a lost and probably unfinished one begun in 1917[32]), and Canções típicas brasileiras of 1919. His guitar studies are also influenced by the music of the chorões.[33]
All the elements mentioned so far are fused in Villa-Lobos's Nonet. Subtitled Impressão rápida do todo o Brasil (A Brief Impression of the Whole of Brazil), the title of the work denotes it as ostensibly chamber music, but it is scored for flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, piano, a large percussion battery requiring at least two players, and a mixed chorus.
In Paris, his musical vocabulary established, Villa-Lobos solved the problem of his works' form. It was perceived as an incongruity that his Brazilian impressionism should be expressed in the form of quartets and sonatas. He developed new forms to free his imagination from the constraints of conventional musical development such as that required in sonata form.[34] The multi-sectional poema form may be seen in the Suite for Voice and Violin, which is somewhat like a triptych, and the Poema da criança e sua mama for voice, flute, clarinet, and cello (1923). The extended Rudepoema for piano, written for Rubinstein, is a multi-layered work, often requiring notation on several staves, and is both experimental and demanding. Wright calls it "the most impressive result" of this formal development.[35] The Ciranda, or Cirandinha is a stylised treatment of simple Brazilian folk melodies in a wide variety of moods. A ciranda is a child's singing game, but Villa-Lobos's treatment in the works he gave this title are sophisticated. Another form was the Chôros. Villa-Lobos composed more than a dozen works with this title for various instruments, mostly in the years 1924–1929. He described them as "a new form of musical composition", a transformation of the Brazilian music and sounds "by the personality of the composer".[36]
After the revolution of 1930, Villa-Lobos became something of a demagogue. He composed more backward-looking music such as the Missa São Sebastião of 1937, and published teaching pieces and ideological writings.[37]
He also composed between 1930 and 1945 nine pieces he called Bachianas Brasileiras (Brazilian Bachian pieces). These take the forms and nationalism of the Chôros, and add the composer's love of Bach. Villa-Lobos's use of archaisms was not new (an early example is his Pequena suíte for cello and piano, of 1913). The pieces evolved over the period rather than being conceived as a whole, some of them being revised or added to. They contain some of his most popular music, such as No. 5 for soprano and eight cellos (1938–1945), and No. 2 for orchestra of 1930 (the Tocata movement of which is O trenzinho do caipira, "The little train of the Caipira"). They also show the composer's love for the tonal qualities of the cello, both No. 1 and No. 5 being scored for no other instruments. In these works the often harsh dissonances of his earlier music are less evident: or, as Simon Wright puts it, they are "sweetened". The transformation of Chôros into Bachianas Brasileiras is demonstrated clearly by the comparison of No. 6 for flute and bassoon with the earlier Chôros No. 2 for flute and clarinet. The dissonances of the later piece are more controlled, the forward direction of the music easier to discern. Bachianas Brasileiras No. 9 takes the concept so far as to be an abstract Prelude and Fugue, a complete distillation of the composer's national influences.[38] Villa-Lobos eventually recorded all nine of these works for EMI in Paris, mostly with the musicians of the French National Orchestra; these were originally issued on LPs and later reissued on CDs.[39] He also recorded the first section of Bachianas Brasileiras No. 5 with Bidu Sayão and a group of cellists for Columbia.[40]
During his period at SEMA, Villa-Lobos composed five string quartets, nos. 5 to 9, which explored avenues opened by his public music that dominated his output. He also wrote more music for Segovia, the Cinq préludes, which also demonstrate a further formalisation of his composition style. After the fall of the Vargas government, Villa-Lobos returned full-time to composition, resuming a prolific rate of completing works. His concertos— particularly those for the guitar, the harp, and the harmonica— are examples of his earlier poema form. The harp concerto is a large work, and shows a new propensity to focus on a small detail, then to fade it and bring another detail to the foreground. This technique also occurs in his final opera, Yerma, which contains a series of scenes each of which establishes an atmosphere, similarly to the earlier Momoprecoce.
Villa-Lobos's final major work was the music for the film Green Mansions (though in the end, most of his score was replaced with music by Bronislaw Kaper[41]) and its arrangement as Floresta do Amazonas for orchestra, as well as some short songs issued separately. In 1957, he wrote a 17th String Quartet, whose austerity of technique and emotional intensity "provide a eulogy to his craft".[24] His Benedita Sabedoria, a sequence of a capella chorales written in 1958, is a similarly simple setting of Latin biblical texts. These works lack the pictorialism of his more public music.
Except for the lost works, the Nonetto, the two concerted works for violin and orchestra, Suite for Piano and Orchestra, a number of the symphonic poems, most of his choral music and all of the operas, his music is well represented on the world's recital and concert stages and on CD.
Legacy[link]
When touring Europe with his music he said, "I don't use folklore, I am the folklore." (Eu sou o folclore) and "I have not come to learn, I have come to show what I have made up to now." (Ich bin nicht gekommen, um zu lernen, sondern um zu zeigen, was ich bisher gemacht haben)[42] showing that he was quite aware of his unique position among classical composers, and he made good use of his origins to publicise his own works.[43]
Recordings[link]
- Villa-Lobos plays Villa-Lobos (SCSH 010, SanCtuS Recordings) ASIN B00000AFEV (audio)
- Villa-Lobos par lui-même (EMI Classics) ASIN B000002SBL
- Villa-Lobos: Bachianas Brasileiras [1] (EMI Classics) ASIN B00000GCAG
- A database of currently available Villa-Lobos recordings
Media[link]
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Performed by Rebecca Henderson (oboe), William McColl (clarinet) and Arthur Grossman (bassoon)
Performed by Rebecca Henderson (oboe), William McColl (clarinet) and Arthur Grossman (bassoon)
Performed by Rebecca Henderson (oboe), William McColl (clarinet) and Arthur Grossman (bassoon)
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| Problems listening to these files? See media help. | |
Notes[link]
- ^ Béhague 2001.
- ^ Wright 1992,[page needed].
- ^ Wright 1992, 2.
- ^ Peppercorn 1972.
- ^ Wright 1992, 3.
- ^ Wright 1992, 4.
- ^ Wright 1992, 13–19.
- ^ a b Wright 1992, 24.
- ^ Wright, 1992, 28–30.
- ^ Wright 1992, 38.
- ^ Wright 1992, 31–32.
- ^ See, for example, the influence of the brilliance of his orchestral palette on the young Olivier Messiaen, discussed in Griffiths 1985,[page needed].
- ^ Le Monde musical 12 (31 Dec. 1927) quoted in Wright 1992, 77.
- ^ For example, Villa-Lobos [?1941]
- ^ Wright 1992, 108.
- ^ Wright 1992, 115.
- ^ Wright 1992, 117–8.
- ^ Wright 1992, 123.
- ^ The critic of Musical Opinion in 1955, quoted in Wright 1992, 121–22.
- ^ Wright 1992, 136.
- ^ The MGM Story
- ^ Heitor Villa-Lobos website.
- ^ United Artists reel-to-reel tape, released 1959.
- ^ a b Wright 1992, 139.
- ^ Wright 1992, 138.
- ^ Wright 1992, 6.
- ^ Wright 1992, 8–9.
- ^ Peppercorn 1991, 32.
- ^ Villa-Lobos in Sua Obra (2), 229, quoted in Wright, 1992, 9.
- ^ Wright 1992, 9.
- ^ Wright 1992, 13–21.
- ^ See Peppercorn 1991, 38–39.
- ^ Wright 1992, 59.
- ^ Wright 1992, 41ff.
- ^ Wright 1992, 48.
- ^ Note in the score of Chôros No. 3, quoted in Wright 1992, 62.
- ^ Such as Villa-Lobos [1941?].
- ^ Wright, 1992, 81–99 discusses the Bachianas Brasileiras in some detail
- ^ EMI catalogue.
- ^ Sony Masterworks catalogue.
- ^ Green Mansions film credits.
- ^ Negwer 2008, 8.
- ^ Negwer 2009,[page needed].
References and further reading[link]
- Appleby, David P. 1988. Heitor Villa-Lobos: A Bio-Bibliography. New York: Greenwood Press. ISBN 0-313-25346-3
- Béhague, Gerard. 1994. Villa-Lobos: The Search for Brazil's Musical Soul. Austin: Institute of Latin American Studies, University of Texas at Austin, 1994. ISBN 0-292-70823-8
- Béhague, Gerard. 2001. "Villa-Lobos, Heitor". The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
- Griffiths, Paul. 1985. Olivier Messiaen and the Music of Time. London: Faber and Faber. ISBN 0-8014-1813-5
- Negwer, Manuel. 2008. Villa-Lobos: Der Aufbruch der brasilianischen Musik. Mainz: Schott Music. ISBN 3-7957-0168-6
- Negwer, Manuel. 2009. Villa Lobos e o florescimento da música brasileira. São Paulo: Martins Fontes. ISBN 978-85-61635-40-4. [Portuguese version of Negwer 2008.]
- Napp, Cornelia. 2010. „Personal representatives“ in musikverlegerischen Kulturbeziehungen. Die Vertretung von Heitor Villa-Lobos in den USA. Mit Zeittafel „Villa-Lobos in den USA 1947–1961“. Remagen: Max Brockhaus Musikverlag. ISBN 978-3-922173-04-5.
- Peppercorn, Lisa. 1972. "Villa-Lobos's Brazilian Excursions." Musical Times 113, no. 1549 (March): 263–65.
- Peppercorn, Lisa. 1985. "H. Villa-Lobos in Paris." Latin American music review / Revista de musica Latinoamericana 6, no. 2 (Autumn): 235–48
- Peppercorn, Lisa M. 1989. Villa-Lobos. Edited by Audrey Sampson. Illustrated Lives of the Great Composers. London and New York: Omnibus. ISBN 0-7119-1689-6
- Peppercorn, Lisa M. 1991a. Villa-Lobos, the Music: An Analysis of His Style Translated by Stefan De Haan. London: Kahn & Averill; White Plains, NY: Pro/AM Music Resources. ISBN 1-871082-15-3
- Peppercorn, Lisa M. 1991b. "Villa-Lobos 'ben trovato'." Tempo: A Quarterly Review of Modern Music, no. 177 (June): 32–39.
- Peppercorn, Lisa M. 1996. The World of Villa-Lobos in Pictures and Documents. Aldershot, Hants, England: Scolar Press; Brookfield, VT: Ashgate Publishers. ISBN 1-85928-261-X
- Tarasti, Eero. Heitor Villa-Lobos: The Life and Works Jefferson, North Carolina: McFarland. ISBN 0-7864-0013-7
- Villa-Lobos, Heitor. [1941?]. A música nacionalista no govêrno Getulio Vargas. Rio de Janeiro: D.I.P.
- Villa-Lobos, Heitor. 1994. The Villa-Lobos Letters. Edited, translated, and annotated by Lisa M. Peppercorn. Musicians in Letters, no. 1. Kingston upon Thames: Toccata. ISBN 0-907689-28-0
- Villa-Lobos, sua obra: Programa de Ação Cultural, 1972. 1974. Second edition. Rio de Janeiro: MEC,DAC, Museu Villa-Lobos.
- Wright, Simon. 1992. Villa-Lobos. Oxford and New York: Oxford University Press. ISBN 0-19-315475-7
External links[link]
 |
Wikimedia Commons has media related to: Heitor Villa-Lobos |
- Villa-Lobos Website
- Peermusic Classical: Heitor Villa-Lobos Composer's Publisher and Bio
- Free scores by Heitor Villa-Lobos at the International Music Score Library Project
- Classical Composers Database. Villa-Lobos. Biography.
- O acorde de Tristão em Villa-Lobos by Paulo de Tarso Salles
- Heitor Villa-Lobos e o ambiente artístico parisiense: convertendo-se em um músico brasileiro by Paulo Renato Guérios (Portuguese)
- Heitor Villa-Lobos and the Parisian art scene: how to become a Brazilian musician) by Paulo Renato Guérios (English)
- International Jose Guillermo Carrillo Foundation (Spanish)
- Villa-Lobos' guitar music [2] by Stanley Yates
| Persondata | |
|---|---|
| Name | Villa-Lobos, Heitor |
| Alternative names | |
| Short description | 20th century composer |
| Date of birth | March 5, 1887 |
| Place of birth | Rio de Janeiro, Brazil |
| Date of death | November 17, 1959 |
| Place of death | |
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| Julian Bream | |
|---|---|
 Bream in 1964. |
|
| Background information | |
| Born | (1933-07-15) 15 July 1933 (age 78) London, England |
| Genres | Classical music |
| Instruments | Classical Guitar, Lute, baroque guitar |
| Labels | RCA, EMI, BMG |
Julian Bream, CBE (born 15 July 1933), is an English classical guitarist and lutenist and is one of the most distinguished classical guitarists of the 20th century. He has also been successful in renewing popular interest in the Renaissance lute.
Early years[link]
Bream was born in London and brought up in a musical environment. His father played jazz guitar and the young Bream was impressed by hearing the playing of Django Reinhardt.
Bream began his life-long association with the guitar by strumming along on a small gut-string Spanish guitar at a very young age to dance music on the radio. The president of the Philharmonic Society of Guitars, Dr Boris Perott, gave Bream lessons, while Bream's father became the society librarian, giving Bream access to a large collection of rare music.
On his 11th birthday, Bream was given a guitar by his father. He became something of a child prodigy, at 12 winning a junior exhibition award for his piano playing, enabling him to study piano and cello at the Royal College of Music. He made his debut guitar recital at Cheltenham in 1947, aged 13.
He left the Royal College of Music in 1952 and was called up into the army for national service. He was originally drafted into the Pay Corps, but managed to sign up for the Royal Artillery Band after six months. This required him to be stationed in Woolwich, which allowed him to moonlight regularly with the guitar in London.
After three and a half years in the army, he took any musical jobs that came his way, including background music for radio plays and films. Commercial film, recording session and work for the BBC were important to Bream throughout the 1950s and the early '60s.
In the years after national service, Bream pursued a busy career playing around the world, including annual tours in the U.S. and Europe for several years. He played part of a recital at the Wigmore Hall on the lute in 1952 and since has done much to bring music written for the instrument to light.
1960 saw the formation of the Julian Bream Consort, a period-instrument ensemble with Bream as lutenist. The consort led a great revival of interest in the music of the Elizabethan era.
His first European tours took place in 1954 and 1955, and were followed by extensive touring in North America (beginning in 1958), the Far East, India, Australia, the Pacific Islands and other parts of the world. Bream performed for the Peabody Mason Concert series in Boston, first solo in 1959, and later with the US debut of the Julian Bream Consort.[1]
In addition to master-classes given in Canada and the USA, Bream has also conducted an international summer school in Wiltshire, England.
Recordings[link]
Bream has recorded extensively for RCA and EMI Classics. These recordings have won him several awards, including four Grammy Awards, two for Best Chamber Music Performance and two for Best Classical Performance.[2] RCA also released The Ultimate Guitar Collection, a multi-CD set commemorating his birthday in 1993.
From the beginning of the 1990s Julian Bream continued his recording career with EMI Classics, featuring music by J. S. Bach, a Concerto album (with the City of Birmingham Symphony Orchestra and Sir Simon Rattle), and discs devoted to contemporary works and guitar sonatas.
Despite his importance as a classical guitarist, however, many of his RCA recordings (including the series of 20th-century guitar music) were out of print for several years. In 2011 RCA/Sony Classical released My Favorite Albums, a 10-CD set of albums chosen by Julian Bream himself.
Later career[link]
A highly successful biographical film, A Life in the Country, was first shown on BBC TV in 1976. Bream also presented a series of four master-classes guitarists on BBC TV. BBC TV has presented a programme about Julian Bream's life as a concert guitarist. In 1984 he made eight films on location in Spain for Channel 4, exploring historical perspectives of Spanish guitar music.
In 1991, BBC Radio and TV broadcast Bream's BBC Prom performance of Malcolm Arnold's Guitar Concerto. He also participated in a recital and concerto performances of works by Tōru Takemitsu at the Japan Festival in London with the London Symphony Orchestra.
During the 1992-93 season he performed on two separate occasions at the Wigmore Hall - at their Gala Re-opening Festival, and at a special concert celebrating his 60th birthday. In the same period, he toured the Far East, visiting Hong Kong, Taiwan, Korea and Japan, and performed the premiere of Leo Brouwer's arrangement for guitar and orchestra of Albéniz's Iberia at the Proms. In 1994 Bream made debuts in both Turkey and Israel to great acclaim, and the following year played for the soundtrack to the Hollywood film Don Juan de Marcos.
In 1997, in celebration of the 50th anniversary of his debut, he performed a recital at Cheltenham Town Hall. A few weeks later, the BBC dedicated a special television tribute This Is Your Life programme to Julian Bream, filmed after a commemorative concert at the Queen Elizabeth Hall, London.
In recent years, his engagements have included a Gala solo performance at the Philharmonic Hall, Liverpool, a Kosovo Aid concert at St. John's Smith Square, London, with the Academy of St. Martin in the Fields recitals at the Snape Proms, Aldeburgh, and at the Norfolk and Norwich Festival and a tour of UK National Trust properties in summer and autumn 2000.
In November 2001 he gave an anniversary recital at Wigmore Hall, celebrating 50 years since his debut there in 1951.
The 2003 DVD video profile Julian Bream: My Life In Music contains three hours of interview and performance. It has been declared by Graham Wade "the finest film contribution ever to the classic guitar." It became "GRAMOPHONE DVD of the year". His series Guitarra! was made for British television and charts a journey across Spain.
Style and influences[link]
Bream's recitals are wide-ranging, including transcriptions from the 17th century, many pieces by Bach arranged for guitar, popular Spanish pieces, and contemporary music, much for which he was the inspiration. He has stated that he has been influenced by the styles of Andrés Segovia and Francisco Tárrega.
Bream's playing can be characterised as virtuosic and highly expressive, with an eye for details, and with strong use of contrasting timbres.
Dedications and collaborations[link]
Many composers have worked with Bream, and among those who dedicated pieces to him are Malcolm Arnold, Richard Rodney Bennett, Benjamin Britten, Leo Brouwer, Peter Racine Fricker, Hans Werner Henze, Humphrey Searle, Tōru Takemitsu, Michael Tippett and William Walton. Britten's Nocturnal is one of the most famous pieces in the classical guitar repertoire and was written with Bream specifically in mind. It is an unusual set of variations on John Dowland's Come Heavy Sleep (which is played in its original form at the close of the piece).
Bream has also taken part in many collaborations, including work with Peter Pears on Elizabethan music for lute and voice, and three records of guitar duets with John Williams.
Honours and awards[link]
Bream was awarded an Officer of the Order of the British Empire (OBE) in 1964 for services to music, and in the Queen's Birthday Honours List of 1985 he was made a Commander of the Order of the British Empire. He has received Honorary Doctorates from the Universities of Surrey (1968), and Leeds (1984). In 1976 he was personally presented with the Villa-Lobos Gold Medal by the composer's widow. He was elected an Honorary Member of the Royal Academy of Music (1966), and has been honoured with Fellowships of the Royal College of Music (1981) and the Royal Northern College of Music (1983). In 1988 he became an Honorary Member of the Royal Philharmonic Society, and was also presented with the Royal Philharmonic Society Instrumentalist's Award in 1996.
Other details[link]
In 1984 Bream’s arm was seriously injured in a car accident. It cost him great effort to regain his previous technical ability.
Bream has said that he had some "sessions" with Segovia but never really studied with him. Bream does not consistently hold his right-hand fingers at right angles to the strings, but uses a less rigid hand position for tonal variety.[3]
Bream lived for over 40 years in a Georgian farmhouse at Semley in Wiltshire. In 2008 he moved to a smaller house in Donhead St Andrew, Wiltshire.[4]
Pieces written for Julian Bream (in chronological order)[link]
- Reginald Smith Brindle Nocturne for Guitar Solo (1946)
- Reginald Smith Brindle El Polifemo de Oro (1956)
- Lennox Berkeley Sonatina, op. 52, no. 1 (1957)
- Tristram Cary Sonata (1959)
- Malcolm Arnold Concerto for Guitar and Chamber Orchestra, op. 67 (1959)
- Benjamin Britten Nocturnal after John Dowland, op. 70 (1963)
- Richard Rodney Bennett Impromptus (1968)
- Tom Eastwood Ballade-Phantasy (1968)
- Peter Racine Fricker Paseo (1969)
- Reginald Smith Brindle Variants on two themes of J. S. Bach (1970)
- Richard Rodney Bennett Guitar Concerto (1970)
- Malcolm Arnold Fantasy, op. 107 (1971)
- Alan Rawsthorne Elegy (1971)
- William Walton Five Bagatelles (1972)
- Humphrey Searle Five (1974)
- Lennox Berkeley Guitar Concerto, Op. 88 (1974)
- Hans Werner Henze Royal Winter Music (first sonata, 1976)
- Giles Swayne Suite (1976)
- Peter Maxwell Davies Hill Runes (1981)
- Michael Berkeley Sonata in One Movement (1982)
- Richard Rodney Bennett Sonata (1983)
- Michael Tippett The Blue Guitar (1984)
- Leo Brouwer Concerto elegiaco (Guitar Concerto No. 3) (1986)
- Tōru Takemitsu All in Twilight (1987)
- Leo Brouwer Sonata (1990)
Awards and recognitions (incomplete)[link]
- 1964: Officer of the Order of the British Empire
- 1964: Grammy Award for Best Chamber Music Performance at the Grammy Awards of 1964 for Evening of Elizabethan Music performed by the Julian Bream Consort
- 1966: Honorary Member of the Royal Academy of Music
- 1967: Grammy Award for Best Classical Performance – Instrumental Soloist or Soloists (with or without orchestra) at the Grammy Awards of 1967 for Baroque Guitar (Works of Bach, Sanz, Weiss, etc.)
- 1968: Honorary Doctorate from the University of Surrey
- 1972: Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra) at the Grammy Awards of 1972 for André Previn (conductor), Julian Bream & the London Symphony Orchestra for Villa-Lobos: Concerto for Guitar
- 1973: Grammy Award for Best Chamber Music Performance at the Grammy Awards of 1973 for Julian Bream & John Williams for Julian and John (Works by Lawes, Carulli, Albéniz, Granados)
- 1981: Fellowship of the Royal College of Music
- 1983: Fellowship of the Royal Northern College of Music
- 1984: Honorary Doctorate from the University of Leeds
- 1985: Commander of the Order of the British Empire
- 1988: Honorary Member of the Royal Philharmonic Society
- 1996: Royal Philharmonic Society Instrumentalist's Award
Partial discography[link]
LP[link]
- 20th Century Guitar, RCA LSC-2964
- 70's, RCA ARL 0049
- Dedication, RCA ARL 5034
- A Bach Recital for the Guitar, Westminster CLP 1929
- Baroque Guitar (1966), RCA
- The Classical Guitar (3 - LP set), Westminister WMS -1029
- Collection of the Greatest Performances of Julian Bream, Vol. II, Westminster
- Concertos for Lute and Orchestra, RCA ARL1-1180
- Dances of Dowland, RCA LSC-2987
- Elizabethan Lute Songs, RCA LSC-3131
- Elizabethan Music by The Julian Bream Consort, RCA LSC-3195
- The Golden Age of English Lute Music, RCA LSC-3196
- Julian & John, RCA
- Julian Bream's Greatest Hits, Westminster
- Julian Bream's Greatest Hits Volume Two, Westminster 9008-8185
- Lute Music of John Dowland, RCA ARL1-1491
- John Dowland: 14 Lute Pieces, Westminster W-9079
- Music for Voice and Guitar with Peter Pears, RCA LSC-2718
- Popular Classics for Spanish Guitar, RCA
- Rodrigo: Concerto De Aranjuez, Berkeley Guitar Concerto (1975), RCA
- Sonatas for Lute and Harpsichord—Bach, Vivaldi with George Malcolm, RCA LSC-3100
- Villa-Lobos, Twelve Etudes for Guitar, Suite populaire bresillienne (1978), RCA
- The Woods So Wild, RCA LSC-3331
CD[link]
- Fret Works (1990), MCA ASIN B00000DWBQ
- Guitarra: The Guitar in Spain (1990), RCA ASIN B000003EOU
- Joaquin Rodrigo: Concerto Elegiaco/Fantasia Para Un Gentilhombre (1990), RCA ASIN B00000E6E7
- Julian Bream plays Bach (1990), RCA ASIN B000003EOG
- Julian Bream Plays Granados & Albéniz (Music of Spain, Volume Five) (1990), RCA ASIN B00000E68D
- Music of Spain, Vol. 7 (1990), RCA ASIN B00000E697
- Two Loves with Peggy Ashcroft (1990), RCA ASIN B00000E6FM
- Baroque Guitar (1991), RCA ASIN B000003F1J
- La Guitarra Romantica (1991), RCA ASIN B000003F0G
- Rodrigo: Concierto de Aranjuez; Villa-Lobos: Preludes (1991), RCA ASIN B000003EPS
- Romantic Guitar (1991), RCA ASIN B000003EQA
- Baroque Guitar (1993), RCA ASIN B000025HGT
- A Celebration Of Andrés Segovia—Bream (1993), RCA ASIN B000009JN3
- Highlights from the Julian Bream Edition (1993), RCA ASIN B000003FKP
- Rodrigo: Concierto de Aranjuez; Fantasía para un gentilhombre No1-5 (1993), RCA ASIN B000003FI4
- Rodrigo: Concierto de Aranjuez; Takemitsu: To the Edge of Dream with Simon Rattle and the City of Birmingham Symphony Orchestra (1993), Capitol ASIN B00000DNS6
- Together/Julian Bream & John Williams (1993), RCA ASIN B000003FDM
- Together Again/ Julian Bream & John Williams (1993), RCA ASIN B000003FDN
- Villa-Lobos: Guitar Concerto; Preludes; Etudes with André Previn and the London Symphony Orchestra (1993), BMG International ASIN B000024RKH
- Bach Guitar Recital (1994), EMI Classics ASIN B000002RU9
- Bach: Lute Suites, Trio Sonatas (1994), RCA ASIN B000003FG2
- Guitar Concertos (1994), RCA ASIN B000003FG4
- Julian Bream Consort, Vol. 6 (1994), RCA ASIN B000003FFX
- Music of Spain (1994), RCA ASIN B000003FG6
- Popular Classics for Spanish Guitar (1994), RCA ASIN B000003FFY
- Romantic Guitar (1994), RCA ASIN B000003FFZ
- Sonata (1995), Angel ASIN B000002RUX
- 20th Century Guitar I (1996), RCA ASIN B000003FG0
- The Golden Age of English Lute Music (1996), RCA ASIN B000003FFW
- Music for Voice & Guitar (1996), RCA ASIN B000003FG1
- Music of Spain: Milán, Narváez (1996), RCA ASIN B000003FG5
- Popular Classics for the Spanish Guitar (1997), RCA ASIN B000003G9U
- Julian Bream Edition, Volume 1: The Golden Age of English Lute Music (28 CDs) (1998), RCA ASIN B000003FFV
- The Romantic Hours (1998), RCA ASIN B000003FSG
- Spain—Sor, Vol. 24 (1998), BMG Classics ASIN B000025HGH
- Guitar Concertos (1999), RCA ASIN B00000HZS3
- Guitar Music by Albeniz, Vivaldi, Rodrigo & Grandos (2 CDs) (1999), RCA Classics/BMG ASIN B00002DFHV
- Woods So Wild (1999), RCA ASIN B00000HZS6
- Nocturnal: Martin, Britten, Brouwer, Lutoslavski (2000), EMI ASIN B000002RTP
- The Ultimate Guitar Collection (2 CDs) (2000), RCA ASIN B00004UEH6
- Duos de Guitares with John Williams (2001), RCA ASIN B00005I9SO
- Spanish Guitar Music (remastered) (2001), Deutsche Grammophon ASIN B00005OLDN
- Spanish Guitar Recital (2001), RCA ASIN B00005OC01
- Rodrigo: Concierto de Aranjuez; Fantasía para un gentilhombre; Tres piezas espanolas; invocacion y danza (remastered) (2004), RCA ASIN B0002DD67Y
- Spanish Guitar Recital (2004), ASIN B000026GX4
- Guitar Recital: Bach, Sor, Turina, Tippet, Schubert (2005), Testament ASIN B0009UC6L2
- Music of Spain (2005), RCA ASIN B0009U55QA
- Elizabethan Lute Songs, Decca ASIN B000ICGD06
- Julian Bream & Friends, Musical Heritage Society ASIN B000294GJK
- Lute Music from the Royal Courts of Europe, BMG Classics ASIN B000G27DIO
- Music of Spain: The Classical Heritage, RCA ASIN B0001GH54C
- My Favorite Albums, RCA/Sony Classical ASIN B001DD0HPG
References[link]
- ^ Boston Globe, 7 December 1963, Margo Miller, "The Bream concert dances all night".
- ^ Grammy Award Winners
- ^ "Segovia's Contribution to Technical Studies". Graham Wade, EGTA Guitar Journal no.4 (July 1993). http://www.egta.co.uk/content/articles_about_guitarists/segoviatechnique.
- ^ No strings attached: article by Anna Tyzack in the Daily Telegraph Property section pp 1&2, 22 September 2007 (Issue no 47,730)
- Books about Bream
- Stuart W. Button, Julian Bream, the Foundations of a Musical Career, Scolar Press, 1997 (reissued by Bold Strummer Ltd, 2006. ISBN 1-57784-067-4)
- Graham Wade, The Art of Julian Bream, Ashley Mark Publishing Company, 2008
Other books about Bream[link]
- Julian Bream: a Life on the Road. London: Macdonald, 1982. ISBN 0-356-07880-9. Text by Tony Palmer, photographs by Daniel Meadows, includes discography (pp. 204-16).
External links[link]
- Julian Bream's myspace page
- Biography (Hazard Chase)
- Some photos of LP covers (Oviatt Library Digital Collections)
|
|||||||||||||||||
| Persondata | |
|---|---|
| Name | Bream, Julian |
| Alternative names | |
| Short description | English guitarist and lutenist |
| Date of birth | 15 July 1933 |
| Place of birth | London, England |
| Date of death | |
| Place of death | |
http://wn.com/Julian_Bream
Related pages:
http://ru.wn.com/Брим, Джулиан
http://fr.wn.com/Julian Bream
http://nl.wn.com/Julian Bream
http://pt.wn.com/Julian Bream
http://de.wn.com/Julian Bream
http://it.wn.com/Julian Bream
http://pl.wn.com/Julian Bream
http://es.wn.com/Julian Bream
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Salli C. Terri (September 3, 1922, London, Ontario, Canada - May 5, 1996, Long Beach, California) was a singer, arranger, recording artist, and songwriter.
Biography[link]
Terri studied at Wayne State University in Detroit, Michigan where she obtained her Bachelor of Arts degree in music and then went on to earn a Master's degree in music from the University of Southern California. At the beginning of the 1950s, she taught music and drama at the American School in Japan (Chōfu, Tokyo), then returned to America, where she ultimately taught music theory at Fullerton College (Fullerton, California) and directed a women's choir at University of California, Los Angeles (UCLA).
A mezzo-soprano, gifted with a haunting voice filled with feeling and conviction, Terri became one of North America's finest singers. Her professional career began with appearances as a solo artist and arranger with the Roger Wagner Chorale on many recordings. In 1953, she performed with the group at the coronation celebration for Queen Elizabeth II in London. Her eclectic repertoire included religious music, love songs, folk tunes and ballads. In addition to her many LP’s with the Roger Wagner Chorale, she made several solo albums, staged a one-woman show, and sang in both film and television roles as well as doing the voice-over for the cow in the 1964 motion picture Mary Poppins.
At the first Grammy Awards of 1959, Terri was nominated for Best Classical Vocal Performance. The album Duets with Spanish Guitar, also featuring guitarist Laurindo Almeida and flutist Martin Ruderman, won the Grammy for Best Classical Engineered Recording. On this 1958 Capitol Records release, produced by Robert E Myers, referred to by many as a masterpiece, Terri sang the aria from Heitor Villa-Lobos composition, " Bachianas Brasileiras No.5" that the composer declared as the best recorded version of his work. The album, with additions from later recordings and renamed Duets with Spanish Guitar, was re-released in 1990 on a CD in the United States (USA), Canada, the United Kingdom (UK), Germany, and France, is still available at some Internet music sites, and still continues to sell well. A UK-based fan created a tribute site, www.salliterri.org, which has a complete discography, photos, and notes from fans as well as former friends and students.
Terri was married to composer John Biggs (b.1932), with whom she had two daughters, Jennifer Walton and Adrienne Biggs, both violinists. In her later years, she suffered several strokes that left her partially incapacitated until her death at a convalescent home in Long Beach, California.
Discography[link]
Solo Discography (LP) :
- I Know My Love (1961)
- Songs of the American Land (1960)
- At the Gate of Heaven (1960)
- Conversations with the Guitar (1960)
- Songs of Enchantment (1959)
- For My True Love (1959)
- Duets with Spanish Guitar (1958)
Books and scores by Salli Terri :
- Rounds For Everyone From Everywhere (1961)
- Shaker Worship Service (1971)
- Around The Year In Rounds (1974)
- A Moravian Lovefeast (1978)
External links[link]
| Persondata | |
|---|---|
| Name | Terri, Salli |
| Alternative names | |
| Short description | North American singer and arranger |
| Date of birth | September 3, 1922 |
| Place of birth | London, Ontario, Canada |
| Date of death | May 5, 1996 |
| Place of death | Long Beach, California, USA |
http://wn.com/Salli_Terri
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Salli_Terri
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Laurindo Almeida (September 2, 1917, São Paulo, Brazil - July 26, 1995, Van Nuys, California) was a Brazilian virtuoso guitarist and composer who made many recordings of enduring impact in classical, jazz and Latin genres. He is widely credited, with fellow artist Bud Shank, for creating the fusion of Latin and jazz which came to be known as the “bossa nova.” Almeida was the first artist to receive Grammy Awards for both classical and jazz performances. His discography encompasses more than a hundred recordings over five decades.[1]
Contents |
Background[link]
Laurindo Jose de Araujo Almeida Nobrega Neto was born in the village of Prainha, Brazil near Santos in the state of São Paulo.[1]
Born into a musical family, Almeida was a self-taught guitarist. During his teenage years, Almeida moved to São Paulo, where he worked as a radio artist, staff arranger and nightclub performer. At the age of 19, he worked his way to Europe playing guitar in a cruise ship orchestra. In Paris, he attended a performance at the Hot Club by Stephane Grappelli and famed guitarist Django Reinhardt, who became a lifelong artistic inspiration.[2]
Returning to Brazil, Almeida continued composing and performing. He became known for playing both classical Spanish and popular guitar. He moved to the United States in 1947; a trip financed when one of his compositions, a song known as “Johnny Peddler” became a hit recorded by the Andrews Sisters. In Los Angeles, Almeida immediately went to work in film studio orchestras.[1]
Early Career in the United States[link]
Almeida was first introduced to the jazz public as a featured guitarist with the Stan Kenton band in the late 1940s during the height of its success. According to author Michael Sparke, Almeida and his fellow Kenton bandmember drummer Jack Costanzo “endowed the music of Progressive Jazz with a persuasive Latin flavor, and the music is enriched by their presence.”[3] Famed Kenton arranger Pete Rugolo composed "Lament" specifically for Almeida’s cool, quiet sound,[4] and Almeida’s own composition “Amazonia” was also featured by the Kenton orchestra. Almeida stayed with Kenton until 1952.
Almeida’s recording career enjoyed auspicious early success with the 1953 recordings now called Brazilliance No. 1 and No. 2 with fellow Kenton alumnus Bud Shank, bassist Harry Babasin, and drummer Roy Harte on the World Pacific label (originally entitled “The Laurindo Almeida Quartet featuring Bud Shank”).[5] Widely regarded as "landmark" recordings, Almeida and Shank’s combination of Brazilian and jazz rhythms (which Almeida labeled "samba-jazz"-[2]) presaged the fusion of Latin and jazz that a few years later would become popular world-wide as the “bossa nova”. Notable jazz critic Leonard Feather among others credited Almeida and Shank with the creation of the bossa nova sound.[1]
However, other observers note that the beat, harmonic stamp, and economy of expression were different than the bossa nova, giving Almeida and Shank's recording "...a different mood and sound...certainly valuable in its own right."[6]
Almeida’s classical solo recording career on Capitol Records began in 1954 with The Guitar Music of Spain. Almeida made a series of highly successful classical recordings produced by Robert E. Myers.[4] Among Almeida’s notable classical recordings is an album widely considered to be the first classical crossover album, the 1958 Grammy winner Duets with Spanish Guitar with mezzo soprano Salli Terri and flutist Martin Ruderman. In this recording, Almeida arranges standard classical and folk repertoire through the prism of several Latin musical forms, including the modenha, charo, maracatu and boi bumba.[6] The result, according to Hi-Fi and Music Review was "…a prize winner in my collection. Laurindo Almeida’s guitar playing captures the keen poignancy and rhythmic élan of Brazilian music with superb assurance and taste…".[7] The recording was nominated for two Grammy Awards and won for Best Classical Engineering for Sherwood Hall III at the first Grammy Awards ceremony.
Of Almeida’s five career Grammys, four were awarded in classical categories (listed below). His classical recording discography also includes the debut recordings of two major guitar works, Heitor Villa-Lobos' Guitar Concerto and Radamés Gnattali’s Concerto de Copacabana.[8]
In 1964, Almeida again expanded his recording repertoire by joining forces with the Modern Jazz Quartet on Collaboration (Atlantic Records), which combined classical with jazz, called “chamber jazz.” Almeida also toured with the MJQ, both in the 1960s and again in the 1990s.[1]
Film and Television[link]
In addition to his recording achievements, Almeida continued his work with the film studios throughout his career, playing guitar, lute, mandolin and other instruments for more than 800 motion picture and television soundtracks (such as The High Chaparral). Almeida made a cameo appearance on a 1959 episode of Peter Gunn titled "Skin Deep". His performing credits included major motions pictures such as Good-bye, My Lady (1956), Funny Girl (1968), and The Godfather (1972). He composed the complete film scores for ten motion pictures and portions for hundreds of others, including Charles and Ray Eames’s 1957 film Day of the Dead.[4] His final film work was underscoring and performing for Clint Eastwood’s Unforgiven (1992). Some articles report Almeida won at least one Oscar award for film composition; however, while he was involved in films that were nominated, he did not receive an Oscar for his film work.
Later career[link]
In the 1970s, Almeida reunited with Bud Shank, forming the LA Four with Ray Brown and Chuck Flores (later Shelly Manne and then Jeff Hamilton).[9] From 1974-1982, the LA Four toured internationally and recorded a series of albums for Concord Jazz, including The Four Scores!, an acclaimed live recording from the 1974 Concord Jazz Festival.[10] In 1980, Almeida joined forces with Charlie Byrd on a series of highly regarded recordings, including Latin Odyssey, Brazilian Soul and Tango.[5] He also recorded with Baden Powell, Stan Getz and Herbie Mann, among others. His guitar trio, Guitarjam, with Larry Coryell and Sharon Isbin played Carnegie Hall in 1988. In the 1990s, Almeida toured again with the Modern Jazz Quartet. In 1992, Concord Records issued Outra Vez, an October, 1991 live recording with bassist Bob Magnusson and drummer Jim Plank; JazzTimes wrote that Outra Vez was "...a testament to his enduring genius as a concert guitarist, composer and arranger".[11]
In discussing Outra Vez, John Storm Roberts noted "...there was nothing retro about its tour de force, a phenomenal duet of Almeida performing Beethoven's 'Moonlight Sonata' while bassist Bob Magnusson played Thelonius Monk's 'Round Midnight.'"[5]
Honors and Awards[link]
Laurindo Almeida was nominated for sixteen Grammys and received the award five times:
- 1960 The Spanish Guitars of Laurindo Almeida Best Classical Performance Instrumental Soloist or Duo
- 1960 Conversations with the Guitar Best Classical Performance Vocal or Instrumental Chamber Music
- 1961 Discantus Best Contemporary Classical Composition (tied with Igor Stravinsky)
- 1961 Reverie for Spanish Guitars Best Classical Performance Instrumental Soloist without Orchestra
- 1964 Guitar from Ipanema Best Instrumental Jazz Performance-Large Group
In 1992, he was honored with the Latin American & Caribbean Cultural Society Award for "his illustrious career as a performer and composer and his dedicated promotion of the music of the Americas." Shortly before his death, the Brazilian government honored Almeida, awarding him the "Comendador da Ordem do Rio Branco." In 2010, Fanfare inducted his 1958 Duets with Spanish Guitar into its Classical Recording Hall of Fame.[12]
Death[link]
Almeida was teaching, recording and performing until the week before his death on July 26, 1995 at age 77 in Los Angeles, California.[1]
Legacy[link]
Laurindo Almeida's archives are housed at the US Library of Congress. He composed more than 1000 separate compositions, including 200 popular songs. In 1952 Almeida formed his own publishing company, Brazilliance, which has been influential in the dissemination of Latin American music. As described by authors Chris McGowan and Ricardo Pessanha, Laurindo Almeida was "...an artist known for his harmonic mastery, subtle dynamics, rich embellishments and adept improvisatory skills in a variety of idioms".[6]
In 2004 Almeida's guitar work from his version of The Lamp Is Low was sampled by the late Japanese DJ/Producer Nujabes for the song Aruarian Dance which features on the soundtrack to the Anime series Samurai Champloo
Discography[link]
Albums[link]
- Brazilliance (vol. 1)
- Brazilliance (vol. 2)
- Happy Cha Cha Cha
- Viva Bossa Nova!
- Ole! Bossa Nova
- Broadway Solo Guitar
- Guitar From Ipanema
- Stan Getz with Guest Artist Laurindo Almeida Polygram Int'l B0000046V9
- Laurindo Almeida's San Fernando Guitars: New Broadway-Hollywood Hits
- A Man and a Woman
- The Look of Love
- Conversations With the Guitar Capitol SP8532
- Reverie for Spanish Guitars Capitol P8571
- Acapulco '22
- Duets with Spanish Guitar (1958)
- The Spanish Guitars of Laurindo Almeida
- For My True Love Capitol SP8461
- The Intimate Bach, Duets with the Spanish Guitar Vol.2 Capitol SP8582 (1962)
- Impressoes do Brasil Capitol P8381
- Collaboration (Atlantic, 1964) - with the Modern Jazz Quartet
- Sammy Davis, Jr. Sings and Laurindo Almeida Plays (Reprise, 1966) - with Sammy Davis, Jr.
- Danzas! Capitol P8467
- Contemporary Creations for Spanish Guitar Capitol P8447
- The New World of the Guitar Capitol 8392
- Guitar Music of Latin America Capitol P8321
- The Guitar Worlds of Laurindo Almeida Capitol SP8546
- Latin Guitar Dobre Records DR1000
- Jazz From A to B Unique Jazz UNQ1049
- Brazilian soul (duo with Charlie Byrd)1981-1983
- Latin Odyssey (with Charlie Byrd)1981-1983
- Bachground Blues & Greens (with Ray Brown) Century City 80102
- Classical Current Warner Bros.-Seven Arts WS 1803
- Masters of the Guitar, Disk 7 Murray Hill S-4194
- Music of the Brazilian Masters (with Charlie Byrd and Carlos Barbosa-Lima) Concord Picante CCD-4389 (1989)
- Virtuoso Guitar Crystal Clear CCS 8001 (1977)
As sideman[link]
With Lalo Schifrin
- Gone with the Wave (Colpix, 1964)
Concert Film[link]
- Tanya Maria: The Beat of Brazil with Special Guest Laurindo Almeida
- Laurindo Almeida - A Tribute to a Master
Notes[link]
- ^ a b c d e f Oliver, Myrna (August 1, 1995), "Laurindo Almeida, 77, Jazz Guitarist", Los Angeles Times: A14
- ^ a b Brookes, Tim (2005), Guitar: An American Life, Grove Press, p. 165
- ^ Sparke, Michael (2010), Stan Kenton This is an Orchestra, University of North Texas Press
- ^ a b c Tynan, John (July 24, 1958), "The Artistry of Laurindo Almeida", Downbeat: 20
- ^ a b c Roberts, John Storm (1999), Latin Jazz: The First of the Fusions 1880s to Today, Schirmir Books, p. 74
- ^ a b c McGowan, Chris; and Pessanha, Ricardo (2009), The Brazilian Sound; Samba, Bossa Nova, and the Popular Music of Brazil, Temple University Press, p. 179
- ^ Hi-Fi and Music Review, May 1958
- ^ Summerfield, Maurice (2002), The Classical Guitar: Its Evolution, Players and Personalities since 1800, Ashley Mark, p. 217
- ^ McGowan and Pessanha. — p.180.
- ^ Weber, Bruce (April 7, 2009), "Bud Shank, Jazz Saxaphonist, is Dead at 82", The New York Times
- ^ JazzTimes 22, 1992
- ^ "Laurindo Almeida Duets with Spanish Guitar on EMI", Fanfare, September, 2010
External links[link]
- Laurindo Almeida biography and discography in portuguese
- Laurindo Almeida Blog with out of print downloads
- Some photos of LP covers (Oviatt Library Digital Collections)
Further reading[link]
- Ronald C. Purcell. "Almeida (Nobrega Neto), Laurindo (José) (de Araujo)", Grove Music Online, ed. L. Macy (accessed 23 June 2007), grovemusic.com (subscription access).
|
|||||||||||||||||
| Persondata | |
|---|---|
| Name | Almeida, Laurindo |
| Alternative names | |
| Short description | |
| Date of birth | September 2, 1917 |
| Place of birth | |
| Date of death | July 26, 1995 |
| Place of death | |
http://wn.com/Laurindo_Almeida
Related pages:
http://fr.wn.com/Laurindo Almeida
http://pt.wn.com/Laurindo Almeida
http://de.wn.com/Laurindo Almeida
http://it.wn.com/Laurindo Almeida
http://pl.wn.com/Laurindo Almeida
http://es.wn.com/Laurindo Almeida
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Laurindo_Almeida
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
|
|
This article relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Please add citations from reliable sources. (December 2007) |
| Turibio Santos | |
|---|---|
| Birth name | Turibio Soares Santos |
| Born | (1943-03-07) March 7, 1943 (age 69) |
| Origin | São Luis, Brazil |
| Occupations | Guitarist |
| Website | www.turibio.com.br |
Turibio Soares Santos (born March 7, 1943) is considered one of the best Brazilian guitar players alive.[citation needed]
He established himself with a wide repertoire of pieces by Heitor Villa-Lobos, Ernesto Nazareth, Francisco Mignone, and by accompanying musicians like Clara Sverner, Paulo Moura and Olivia Byington on many CDs.
At the age of 10 he was attracted to the classical guitar, his first teacher being Antonio Rebello and later Oscar Càceres. In 1962 he gave his first recital in Rio de Janeiro, followed by a series of concerts all over Brazil. In the following year the Villa-Lobos Museum invited him to play the Brazilian composer’s “Twelve Studies for Guitar” and “The Mystic Sextet”, given its first public hearing. 1964 marked the formation of a duo with Oscar Càceres and several tours of South America. Turibio Santos decided to establish himself in Europe in 1965, in which year he won the first prize in the O.R.T.F.’s International Guitar Competition in Paris.
His appearances in programmes on the ORTF and the BBC as well as his world première recording on disc of Heitor Villa-Lobos's “Twelve Studies” have made him known to the European public.
Many orchestras have welcomed him as a soloist, such as the Monte-Carlo Philharmonic Orchestra, l’Orchestre Philharmonique de Radio France, the English Chamber Orchestra and the Royal Philharmonic Orchestra. In 1974 he joined Yehudi Menuhin and Mstislav Rostropovich in the opening Concert for the Creation of International Funds for Musical Collaboration organised by UNESCO.
Turibio Santos is Director of the Museu Villa-Lobos in Rio de Janeiro.
External links[link]
| Persondata | |
|---|---|
| Name | Santos, Turibio |
| Alternative names | |
| Short description | |
| Date of birth | March 7, 1943 |
| Place of birth | Sao Luis, North Brazil |
| Date of death | |
| Place of death | |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
