Turibio-Santos-Heitor-Villa-Lobos-and-the-Guitar(1).pdf

(24156 KB) Pobierz
I'
To
Augusto
Rodrigues
and
Ilervrnnio
tlello
de Can,olho
Turibio
Sontos
tluron
\wrA-Lsnos
Ans
The
qXITNn
kanslated
by
Victoria
Forde
awd
C'rahaTYlWade
Wise
Owl
Music
i
lejtgr
Villa.Lobos
and
the Guitar
originaily,published by the
M;;;;
Viila_Lobos
,
1975.
CONTEN'I'S
ff
g
l
translation,
Graham
WarJe
First
published
in
English
by
Wise
Owl
Music,
Gurtnacloona,
Ban
try,
Co.
Cork,
Ireland.
Layout
and
Typography o
Wise
Owl
Music
19g5.
@
t
las
Enelish
lntroduction
Clossary
I
2
fl
l
AII
rights
reserved.
No
part
of
this
publication lnay
be
reproduced,
stored
in
a
retrieval
systern
or.tru.,'.*iir".a
n
any
form
..".h
a
nical,
orlr,"l""or_r,
recording
or by
any
ili:"
?,,
:l:
:::.o
"l:, ,
.
--^-^_*.r
',lvru_uupylng,
wise
without
the
pnor
written
or
othei_
permission
o{
the
lrnlrto..
holders.
copyright
J
4
5
6
'l
8
9
fl
I
l0
11
T2
ACKNOWLEDGEMENTS
l3
One Musician?
Or Many
Mr-rsicians?
The
Musicians
-
Tornds
Teran, Anclres
Scgtlviu,
Heitor
Villa-Lobos
The
Twelve
Studies
1940
-
The
Preludes
The
Five
Preludes
which
were
Six
A
Concerto
was Needed
Problenrs
of
Interpreting Villa-Lobos
The
Personality
of
Villa-Lobos
More about the Personalitv
anc'l
lleliel's
o1'
Villa-Lobos
The
Beliefs
of
Villa-Lobos
The
Song
of
Villa-Lobos
The Influence
of
his Work
Conclusion
lt
t1
2I
29
31
36
40
,15
11
49
52
56
58
The
publishers
wish
to
thank
assisrance
and
co_operuilJn"tn
thg
following
fbr
their
the
production
of
this
;:H:,.
Victoria
Forde, lllackrock,
Co.
Wade,
Senior Lecturer,
Citv
f9..t,
Ireland;
Craham
oi
ie".",t"r.Cutt"g.
of
Music;
Lionel
Lethbridge;
oscar
cr;r;;;
il;.
-..proarce
Eschig,
paris,
for
pennission
;r;;i.
.Hugon
of
Messis- Max
to
copyright
examples;
Arrnincla
Villa
Lobos,'i,,.
firr.u
Villa_Lobos,
musical
Janciro;
Herm
fnio
tsello tle
APPENDICES
I
List
of
Cornpositions
for Cuitar
by
l{eitor
Villa-Lobos
Discography
59
c.*rjr,","ill,t.n
l.nningr.
Rio
de
II
III
IV
VI
64
'71
1',2
Bibliography
Suggested
Further
Reading
Concerto
-
Music
E,xamples
o1
15
'l
()
Facsimile
of Villa-Lobos'
Manuscript
Mazurka
(1911)
INTITODUCTION
'I'his
is
the
first
presentation
itr
lirrglislr
ol'tire
book
by
Turibio
Santos
originally
published
by
the
lllLt.sctt
l/illt!.r..,bt.t.y
wtlh
the support of
XIEC
-
Deparlanrt:ttto
tle
tlssttttIo,s'
('ultrtruis
o1'l{icr
de
Janeiro
in
1975.
Turibio
Santos was
bont
in
1943
in
Slt> [.riis,
Maranliao,
irr
North
Brazil.
I{e
began
playing
the
gLritar
at
tltc
age
ot'ten
and
studied
with
Antonio
R.ebello
and
later
with
Oscar
('acercs.
lrr
1962
he
made
his
debut
as
a
recitalist
in l{io
clc
Janoiro
ancl
followed
this
with
an
extensive
tour
of
llraz.il.
ln
1963,
at
tlrc
irrvitation
of
the Musett
Villu
Lobos, lre
glvc
tlre
t'irst
contlrletc
perforrtrance
of
tire
Twelve
Sttrclie,s.
J'wo
yt:urs
llter'l'Lr
riltio
Santos
won
first
prize
in
the
prestigictLts
Oll'l'F
Intcniational
Guitar
Cornpetition
in
Paris.
In
l96B
he
nurrle
tlre
f
irst
ever
recordirrg
of
the entire
set
ol
the'l'tvelt,e
Stttdies.
Since these
early
years
of
his carecr'l'rrribio
Santos
lras
established
his
reputation
as one
of thc
rnost
clistinguishccl
guitarists
of
llrazil.
FIe
has
appearecl
with
rrurjor
orchcstras
througltout the world
ancl
ach.ieved
internatiunal
acclainr
lor
his
many recordings
on
tlie
Erato label. T'lius hc
is uniclLrcly
cpralif ied
as
one
of
the
foremost authorities
on
the
gr.ritar
ruusic
ot'lleitor-
Villa-Lobos;
in
the
1950's
Turibio
Santos
atte
nde
d
se
nrinars
rvillr
the
cornposer
and
becanre
closely
associated
witli
rtrany
ol'
tlrc
musicians
of
Rio
de
Janeiro
with
whorn Vtlla-l-obos
had
workcrl.
As
one
miglit
expect,
this
book
is intensely
llraziliarr.
lt
relies
to
some
extent
on
the
reader's
knorvleclge
ol'Ilraz_il's
historical
and
cultural
background and
o11
sorllg
awarcnoss
or
tlre
local nrusic,
customs
and personalities
of
I{io
de Janeiro.
A
short
glosary
has
therefore
been
provicled
to
f
ill
in at
least
sr.rrrre
ol'tlic
essential
background.
iil
i
I
Villa-Lobos'
own lif'e
as
a
cornposer
rellects
a
constant
struggle
to
make the
Brazilian
people,
at
all
social levcls,
rnore
conscioLls
of
their
national
idcntity,
especially
as
it
could
bc
expressed
through thc
rich
and
varied nrusical
traditions ol'
IJrlrzil.
${
h_
il
f,lt
r/
;l
l.
i
From about
1930
onwards
villa-Lobos
*ur
o uigo-ur
campaigner
for
Brazilian
curture'
achievins
rnan-y
of
iris
orjectives
not only by
the
power
of
his
conipositioni
but
6t'il;r"li'
Jn.rg.ti"
participation
in
his
country's
prog-ramme
io.
Santos was
one
of
t'e
r"u"v-uri.-^6oircation
in
schools.
Turibio
iiroiJ,ii,
of primary
school
children
whose
cultural
upb_ringing;r;;;;;
by
and methods
of
Heitor
v'ui"L"r."in.
the
educational
policies
convictions abouf Brazilian
.urtr;-i;""
composer,s
deeply
held
a
vital
Despite the great
tasks
undertJen.by
part
of
thii
book.
VilJa_Lobos,
(both
in
the
field
of
rarge-scate
cho.ai
ani-'orctrestral-
works
and
in
a
number
of
ambitiousprojects
intended
to
f;;th";'ilJo#rr.r,
or
Brazilian
music)
iuruio
S;;;;;-;""stantly
reminds
us,
the
composer
never
^
folSo.t
the
importan_ce
of
the
guitar
permanent
feature
of
the
as
a
nationar
art.
sin".
irr.'ir"rirr"lre
first
settled
in
Brazil
in
the
,i"t."nif,
instru
m
e
n
ts
t'
u*
1."n
p.opu
""it.
lar.
rn"
rir?.i'
ilJrt:ttt
ri,l,l-*i:i
brings together the
artislic
a"-u.ra,
Lr'the
melodic
vitaiity,
rhythms
.".r
rrr."l.ries
classical
guitar
with
the
of
looking
at
each
of ,re *"u-r.no*"^"ir")tra^ ,re folk
tradition.
In
and
studies
Turibio
Santos
intlicates
many
aspects
of
this
fusion
which
can
only
be
understoocl
within
the context
or-ri.ur'ian
culture; we
are
arso
warned
against
abusing the
spirit
oiirri,
u.t, ugu'irlri,"*u'gJ"ru,o'
and
mannerism
often
inoucei
t;
th. a"ptn, of
feeling
*t
i.h
th.
music
of
v'ra-Lobos
and
ttre
guitar-itJr
first
time this
perenniar
pu.t
oi
it
"u., bring about.
For
the
repertoire
is
presented.in
entirely
"
t*.ntieth-century
guitar
nl"r'ir"
European
players sugh
u
ui.*poi.,iis p"*;;r;.":'rand
for
utterly
essential
if
an
approp-riate
interpretation
is
to
U"
o.iilu.a.
In
thc
preparation
of
this
t*l-r"
English
I
wourd rike to
thank
all
tltose
who
r,uu"
n"rp"J"io*u.a,
the
trinslation.
In
particular,
acknowledgement
it
ar"
,o"vi.,oriu
Forde
for
the
first
was
"scornful
of
the
many
influences
which
tended
to
-unO
underrnine
a
sense
of
nruritiu.,
iO.ntit',
.uniquely
u."," young
man fought
against
ttre
reverencr
ro.
u more
acadenric
styre
of
music
and
the
adverse
effect
of
-ro..ign
cultural
influences.
Paradoxically'
it
was
only
after
he spent
several
years
in
Europe
that
the
rnusic
of Vi'a_iob;,
;;;;;.d
true
and
was
given
the
recognition-ii-orserved.
popularity
in
Brazil
He
complete
draft
of
the
text
frorn
the
Portuguesc.
'lhanks
are
due
ebo
to
Lionel
Lethbridge,
whose
rendering
of
a large
part
of
tlie
book undertaken
during
a
visit
to
Brazil
was
of
intrnense
help,
ancl
to
Oscar
Carrasco,
who
ofl'ered expert
advice
on
rnany rnatters in
connection
with
the
original
text. And
as
always,
to
nry
wife,
Flizabeth,
for
her
indispensable
work
in
the
preparation
ol
the
manuscript.
GRAHAM
WADE
Noven-rber 1985
lr
I
I
l
i---
GLOSSARY
popr"rlar
clrordo attd
cotnposer,
wltose
itnprovis-
ational style,
along
with
that
of
Ernesto Nazareth,
was
an
early influence on Villa-Lobos.
carioca:
native
or inhabitant
of
Rio
de
Janeiro.
cavaquinho:
the
surall
guitar
of
Portugal and
Brazil, related
to
the
four-string
cavaco
of
Portugal.
The
four
course cavaquinho
is
said
to
have reached
various
parts
of
the
world,
including
Hawaii,
in
the
fifteenth
century,
and is thus an
ancestor
of
the
ukelele.
[n
Venezuela the
cuatro
is
intimately
related to
the
cattaquinho.
In
Brazil,
the
cavaqttinho
has
four
metal
strings
and
has
been a popttlar
folk
instrumerrt
since
the
midclle
of
the
nineteentlt
century.
It
is sometimes
known
as
the
machete.
Cearense,
Catulo
tia
Paixdo
:
a
popular
poet-guitarist, who
aroused
hostility
in
tl're
early days
among musicians
at
the
Instituto
Nucional
de
Mhsica
wl"ro
felt
that
classical
and
llillrar,
Siitiro:
and
commented
how
the
'typical rhythntic
and
nte:loclic
types
of
expression'
wliiclr
apl)car
aro 'accitlerrtully,
lrl,vuys
gives a
new
ancl
broader
delinition
clf the
choros
as
,a
new
fonn
of
musical composition... a
synthesis
o1'
the cliflcrent
forms
of
the
ntusic
of
the
lnclian
and pitpular
nrusic...'
popular
concerts
should
not
be
held under the
ausp ices.
same
chordo (pl. choroesl. perforttter
of
choros
(iiterally,
a
weeper).
clrorinho:
dimintrtive
of
chrtro, tirerefore
meaning
a
little
choro.
choro:
tron't
c'ltnrar
to
weep.
The
word
is
used
to
signify
recitals
of
popular
rttusic,
tlte
occasions
when
the
music is
played,
and
the
nrusic
itself. In
the nineteenth
century
the
word
was
rused
to
designate
various instrumental
ensembles.
Tliese
consisted
of
instruments
sttch
as
flute,
clarinet,
ophicleide,
or
tronrbone,
cavaquinho
and
percussion;
such
groups
played
dances,
usually
of
European descent,
at
various
festive
occasions.
An
instrurnental
improvisation
was called
a
choro,
and
this
tenrl
was
applied
to
the
group
and
to
the
perlomrance.
Heitor
Villa-Lobos
wrote
sixteen
pieces
under
this
title,
ranging
from
a
work
for
solo
guitar
to
large instrumental
ensembles.
In
the
preface
Io
Choros
No.
3;:Villa-Lobos
r::i
transfonned by the
cornposer's
personality'.
dobrado:
literally
rneans
'doublecl';
rrrililary
urare
lrirrg
n.rrisic.
Donga:
a
popular
musician
,
E,rnesto
Joaquirri Maria
dos
Santos
(
1BB9-
1914).
Ilis
Peolo
T'eleJbno
(
l9
t 7
)
is
be
licvcti ro
be
the
flrst
composition
to
use
the
ingreclie.ts
of'
tlrc
ur.ba'
samba,
a
popular
rhythrl
developecl
urainly af'tcr
Worlcl
War
1.
melopbias:
musical
accompanirnents
to
nan'ative
versg
I'onrrs,
sometimes
found
in
Amerindian
ntusic.
Mindinha:
Armincla Villa-Lobos, the
seconcl
wile
of'
trre
conlposer.
modinha:
a sentimental
type of
song,
relatecl
to
the
cllcier
lornr
ol'
mocla,
an
old
Portuguese
word
ureaning soug
or
rrrelocly.
'lhe
motlinha
nay
be the
only
genuine
llrazilian
,ropula.r.
fonn without
an
origin
in lblk
music.
It
rvas
particularly
popular
in
the
late
eightee'th
century
in
[roth
Portirgal
a.d
Brazil.
m|sica
fplcloricu: this
tentr,
and
rnhsica
TtoTtulur
arc
Lrsed
frequently by
villa-Lobos
and
llraz.rlia'
to
lnearr
'rusicia's
music
of
a
popular
or
folk
nature.
Nazareth, Ernesto JLilio
de:
Ernesto de Nazareth
(
lg63
1934)
was
one
of
the
early nationalist
cornposers;
ire
wrote
trvcr
hundred and
twenty
compositions
for
piano
irr
nrany
styles
including
Braz.ilian
tangos,
polkas, waltzcs,
schot
tische
s,
polca-choros,
quadrilles
etc.
Clnros
No.
1
by
Villa-l.obos
rs
dedicated
to
hirrr.
oJicleide: the
ltalian
spelling
for
ophicreide,
an
obsolcte
brass
wind
instmment
of
tire
keyecl bugle
faurily,
rrsed
to
proviclc
a
bass
line.
Ovalle,
Jayme:
A
Brazilia'
conrposer
(b.
lB94)
wh.
urade
a
special
study
of
Afro-Brazilian
r,usic.
I{c
is
partic,larly
known
lbr
his
exquisite melody,
Azuldo
(T'he llluebrrd),
which reflects the
folk
elements.

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika:

Zgłoś jeśli naruszono regulamin