Heitor Villa-Lobos was born in Rio de Janeiro. His father, Raul, was a wealthy, 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, finally 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.[1]
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.[2] After this period he gave up any idea of conventional training and instead absorbed the influence of Brazil's indigenous cultural diversity, 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.[3] 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.[4]
[edit] Brazilian influence
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.[5]
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 Artur Rubinstein, who became a lifelong friend and champion; this meeting prompted Villa-Lobos to write more piano music.[6]
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.[7] 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.[8] 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".[9]
TAKEN FROM WIKIPEDIA
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hmm....
MisterGurki 9 months ago
way too go
thebender1959 2 years ago
i think you should play the whole song slower
louis725 2 years ago
Félicitations pour cette brillante interprêtation!
bauds3 2 years ago
bien echo yo e tocado por 2 anos y puedo tocar todos estilos de guitarra solo tengo 15 pero tengo un amor inmenso por la guitarra :]
zos2322 3 years ago
Very good. That is not easy one.
BlueJazzyClassic 3 years ago
ohhhhh wow! 5 sterne mein Freund für dich...
excelent und sehr gut gespielt!
das stück das kenne ich auch, habe auch schon mal gespielt! bin grad bei einem neues Stück es heißt: el ultimo tremolo von augustin barrios mongore! es ist sehr schweres stück..
schöne liebe Grüße
Gerhard
imperatus86 3 years ago
eres un alma de dios jacquillo!, sigue así, felicidades!!
manduker 3 years ago
WOW!! buenismo!! siguela practicando una y otra vez y te va a salir perfecta!!!
XavierPaez 3 years ago
Very good. Keep it up!
--Van
van1976 3 years ago