Heitor villa-lobos is the brightest representative of Brazilian musical culture. Biography - Vila Lobos E., Golden Guitar Studio, Dmitry Teslov project, classical guitar, pieces for guitar, works for guitar, compositions for guitar, music archive, audio mp

Eito ́ r wee ́ lla lo ́ boss , more correctlyEitur Villa Lobos ( Heitor Villa-Lobos ; , - ) - Brazilian .

One of the most famous Latin American composers, Vila-Lobos became famous for his synthesis of stylistic features of Brazilian folk and European academic music.

Biography:

Born in Rio de Janeiro . He studied at the conservatory, where the entire training course was entirely based on the European tradition, but then left his studies. After the death of his father (with whom he studied Brazilian music), he made a living acting as an accompanist in silent films, as well as playing in street orchestras. Later he became a violinist at the opera house.

In 1912 he married the pianist Lucilia Guimarães (Lucília Guimaraes ) and began his career as a composer. His works were first published in 1913. Some of his new works he presented to the public for the first time during his orchestral performances from 1915 to 1921. These works still show an "identity crisis", an attempt to choose between European and Brazilian traditions. Later, he relied more and more on the latter.

The first compositions of Vila-Lobos - songs and dance pieces by a twelve-year-old self-taught musician - are marked 1899. In the next 60 years of creative activity (Vila-Lobos diedNovember 17, 1959 at the age of 73 ), the composer created over a thousand (some researchers count up to 1500! ¹) works in a wide variety of genres. He wrote 9 operas, 15 ballets, 12 symphonies, 10 instrumental concertos, more than 60 large chamber compositions (sonatas, trios, quartets); songs, romances, choirs, pieces for individual instruments in the heritage of Vila Lobos number in the hundreds, as well as folk melodies collected and processed by the composer; his music for children, written for educational purposes for music and general education schools, for amateur choirs, includes more than 500 titles. (At the same time, it must be borne in mind that a certain part of the heritage of Vila Lobos remains unpublished and not recorded in catalogs².) Vila Lobos combined in one person a composer, conductor, teacher, collector and researcher of folklore, music critic and writer, administrator, For many years, he headed the country's leading musical institutions (among which there are many created on his initiative and with his personal participation), a member of the government for public education, a delegate of the Brazilian National Committee of UNESCO, and an active figure in the International Music Council. Full member of the Academies of Fine Arts of Paris and New York, honorary member of the Roman Academy "Santa Cecilia", corresponding member of the National Academy of Fine Arts of Buenos Aires, member of the International Music Festival in Salzburg, Commander of the Order of the Legion of Honor of France, doctor honoris causa of many foreign institutions - signs of international recognition of the outstanding merits of the Brazilian composer. For three, four full-fledged, respectable human lives, what Vila-Lobos did would be more than enough for one - amazing, full of supernatural energy, purposeful, selfless - life of an artist who, according to Pablo Casals, became "the greatest pride of the country that gave birth to him ".

Compositions (selection)

Brazilian Bahian. One of the most famous compositions of Vila-Lobos is an aria from the Brazilian Bahiana No. 5.

Sonata No. 2 for cello

Piano Trio No. 2

Concertos for harp and orchestra

Heitor Villa-Lobos (1887-1959), Brazilian composer. Born in Rio de Janeiro on March 5, 1887. At the age of six, under the guidance of his father, he began to learn to play the cello, and five years later he already owned the clarinet, guitar and other instruments. In his youth, he traveled extensively in Brazil, collecting musical folklore. Subsequently, the impressions of Brazilian music, in which folk, popular and Indian elements merged, were reflected in his works. Already a mature composer, Vila-Lobos arrived in Paris in 1922, where his music received its first recognition. Returning to Brazil, he devoted himself entirely to creativity. In 1932 he became head of musical education in Brazil. Vila Lobos organized music schools and choirs in different cities and became known throughout the country. From 1944 to 1959, he repeatedly visited the United States, where he conducted the premieres of a number of his compositions and in 1948 took part in the production of his opera Malasarte (1921). Vila Lobos died in Rio de Janeiro on November 17, 1959.

Vila-Lobos' deep reverence for Bach's work brought to life the famous "Brazilian Bahianas" (1930-1945), ten suites for various instrumental compositions. Vila Lobos cultivated two national musical genres: seresta (a type of traditional song) and shoro (a synthesis of Brazilian, Amerindian and popular musical elements).

Vila-Lobos is one of the most prolific contemporary composers; the genre range of his work extends from operas and symphonic forms to adaptations of children's songs. Among his main works are the symphonic poems "Uirapuru" (1917), "Amazons" (1927); Rudepoema (1921-1926) and Shoro No. 5: Alma brasileira (1926) for piano; Shoro No. 8 (1925) for two pianos and orchestra; Shoro No. 10 (1925) for choir and orchestra; Brazilian Bahiana No. 1 (1930) for eight cellos and Seresta (1924-1941) for voice and piano.

from 1867 to 1959

VILA-LOBOS Heitor (Heitor Villa-Lobos), March 5, 1887 - November 17, 1959, Rio de Janeiro - an outstanding Brazilian composer, connoisseur of musical folklore, conductor, teacher. Took lessons from F. Braga. In 1905-1912 he traveled around the country, studied folk life, musical folklore (he recorded over 1000 folk melodies). From 1915 he performed with author's concerts. In 1923-30. lived mainly in Paris, communicated with French composers. In the 1930s, he did a great job of organizing a unified system of musical education in Brazil, founded a number of music schools and choirs. E. Vila-Lobos is the author of special teaching aids ("Practical Guide", "Choral Singing", "Solfeggio", etc.), the theoretical work "Musical Education". He also acted as a conductor, promoted Brazilian music in his homeland and in other countries. He received his musical education in Paris, where he met A. Segovia and to whom he later devoted all his compositions for the guitar. The compositions of Vila-Lobos for guitar have a pronounced national character, modern rhythms and harmonies in them are closely intertwined with original songs and dances of Brazilian Indians and blacks. Head of the National Composite School. Initiator of the creation of the Brazilian Academy of Music (1945, its president). Developed a system of musical education of children. He wrote 9 operas, 15 ballets, 20 symphonies, 18 symphonic poems, 9 concertos, 17 string quartets; 14 "Shoros" (1920-29), "Brazilian Bahian" (1944) for instrumental ensembles, an innumerable number of choirs, songs, music for children, arrangements of folklore samples, etc. - in total over a thousand of the most diverse compositions.

Creativity Vila-Lobos - one of the pinnacles of Latin American music. In 1986, the Vila Lobos Museum was opened in Rio de Janeiro.

The initial acquaintance with music took place under the guidance of his father, a widely educated person. He taught his son to play the cello and clarinet. Heitor briefly attended music classes at St. Peter in Rio de Janeiro, later - courses at the National Music Institute. However, Vila-Lobos never received a systematic education - his relatives did not have enough money, and the young man had to think about earning money.

Heitor Villa-LobosThe composer's future was determined by his innate musicality. From his youth, Vila-Lobos played in shoro - small street ensembles, communicated with folk musicians. In order to collect and study musical folklore, folk rituals, fairy tales, legends, Vila-Lobos took part in the folklore expedition of 1904-1905; the following trips around the country took place in 1910-1912. Influenced by Brazilian folk music, Vila-Lobos creates his first major cycle for chamber orchestra, Songs of Sertana (1909). Significant for the musician was the acquaintance with the composer D. Millau and pianist Arthur Rubinstein.

In 1923, Vila-Lobos received a government scholarship, which enabled him to live for several years in Paris. There he meets with many outstanding musicians, including M. Ravel, M. De Falla, V. d "Andy, S. Prokofiev. By this time, Vila-Lobos was fully formed as an artist, his works are widely known not only in Brazil , but also in Europe.Away from his homeland, feeling especially keenly his connection with Brazilian art, among other works, he completes a huge cycle of "Shoro" - a kind of creative refraction of Brazilian folklore.

Heitor Villa-Lobos In 1931, Vila-Lobos returned to Brazil and immediately became actively involved in the musical life of the country. He gave concerts in sixty-six cities in almost all of its provinces. On behalf of the government, organizing a unified system of music education in the country. Heitor Vila-Lobos creates the National Conservatory, dozens of music schools and choirs, introduces music into school curricula, believing that choral singing is the basis of music education. In the same years, his textbook “A Practical Guide for the Study of Folklore” appeared - an anthology of small choral songs for two or three voices a cappella or accompanied by piano, which is considered a genuine encyclopedia of Brazilian musical and poetic folklore. On the initiative of Vila-Lobos, in 1945, the Brazilian Academy of Music was opened in Rio de Janeiro, of which he remained president until the end of his life.

The composer also carried out extensive concert activities, promoting Brazilian music - he performed as a conductor in his homeland, in the countries of South and North America, and in Europe. Recognition came to him during his lifetime. In 1943, Vila-Lobos was awarded an honorary doctorate from New York University, and in 1944 he was elected a corresponding member of the Argentine Academy of Fine Arts. In 1958, he received the "Grand Prix" for the disc with the suites "Discovery of Brazil".

The range of Vila-Lobos' creativity is very wide - from monumental symphonic paintings to small vocal and instrumental miniatures. His works (there are more than a thousand of them) have a pronounced national character. Vila-Lobos believed fervently in the transformative power of music; that is why he devoted so much energy to his musical education, to his musical and social activities, and to the popularization of the achievements of world musical culture. His best creation is the Brazilian Bahian cycle. Nowhere before has the composer achieved such an organic combination of national origins and classical forms, such heights of inspiration.

With the guitar, which Vila-Lobos played beautifully and could even be considered a virtuoso on this instrument, bright pages of his work are connected. The first works for the guitar were transcriptions of pieces by classical and romantic composers. Among the original compositions of Vila-Lobos subsequently created are the Concerto for guitar and orchestra, the cycle of miniatures "Twelve Etudes", "Popular Brazilian Suite", 5 preludes, transcriptions for two guitars, etc. Many of these works are inspired by the art of the outstanding contemporary guitarist A. Segovia and dedicated to him.

VILA-LOBOS Heitor (Heitor Villa-Lobos), March 5, 1887 - November 17, 1959, Rio de Janeiro - an outstanding Brazilian composer, connoisseur of musical folklore, conductor, teacher. Took lessons from F. Braga. In 1905-1912 he traveled around the country, studied folk life, musical folklore (he recorded over 1000 folk melodies). From 1915 he performed with author's concerts. In 1923-30. lived mainly in Paris, communicated with French composers. In the 1930s, he did a great job of organizing a unified system of musical education in Brazil, founded a number of music schools and choirs. E. Vila-Lobos is the author of special teaching aids ("Practical Guide", "Choral Singing", "Solfeggio", etc.), the theoretical work "Musical Education". He also acted as a conductor, promoted Brazilian music in his homeland and in other countries. He received his musical education in Paris, where he met A. Segovia and to whom he later devoted all his compositions for the guitar. The compositions of Vila-Lobos for guitar have a pronounced national character, modern rhythms and harmonies in them are closely intertwined with original songs and dances of Brazilian Indians and blacks. Head of the National Composite School. Initiator of the creation of the Brazilian Academy of Music (1945, its president). Developed a system of musical education of children. He wrote 9 operas, 15 ballets, 20 symphonies, 18 symphonic poems, 9 concertos, 17 string quartets; 14 "Shoros" (1920-29), "Brazilian Bahian" (1944) for instrumental ensembles, an innumerable number of choirs, songs, music for children, arrangements of folklore samples, etc. - in total over a thousand of the most diverse compositions.

Creativity Vila-Lobos - one of the pinnacles of Latin American music. In 1986, the Vila Lobos Museum was opened in Rio de Janeiro.

* * *

The initial acquaintance with music took place under the guidance of his father, a widely educated person. He taught his son to play the cello and clarinet. Heitor briefly attended music classes at St. Peter in Rio de Janeiro, later - courses at the National Music Institute. However, Vila-Lobos never received a systematic education - his relatives did not have enough money, and the young man had to think about earning money.

The future of the composer was determined by his innate musicality. From his youth, Vila-Lobos played in shoro - small street ensembles, communicated with folk musicians. In order to collect and study musical folklore, folk rituals, fairy tales, legends, Vila-Lobos took part in the folklore expedition of 1904-1905; the following trips around the country took place in 1910-1912. Influenced by Brazilian folk music, Vila-Lobos creates his first major cycle for chamber orchestra, Songs of Sertana (1909). Significant for the musician was the acquaintance with the composer D. Millau and pianist Arthur Rubinstein.

In 1923, Vila-Lobos received a government scholarship, which enabled him to live for several years in Paris. There he meets with many outstanding musicians, including M. Ravel, M. De Falla, V. d "Andy, S. Prokofiev. By this time, Vila-Lobos was fully formed as an artist, his works are widely known not only in Brazil , but also in Europe.Away from his homeland, feeling especially keenly his connection with Brazilian art, among other works, he completes a huge cycle of "Shoro" - a kind of creative refraction of Brazilian folklore.

In 1931, Vila Lobos returned to Brazil and immediately became actively involved in the musical life of the country. He gave concerts in sixty-six cities in almost all of its provinces. On behalf of the government, organizing a unified system of music education in the country. Heitor Vila-Lobos creates the National Conservatory, dozens of music schools and choirs, introduces music into school curricula, believing that choral singing is the basis of music education. In the same years, his textbook “A Practical Guide for the Study of Folklore” appeared - an anthology of small choral songs for two or three voices a cappella or accompanied by piano, which is considered a genuine encyclopedia of Brazilian musical and poetic folklore. On the initiative of Vila-Lobos, in 1945, the Brazilian Academy of Music was opened in Rio de Janeiro, of which he remained president until the end of his life.

The composer also carried out extensive concert activities, promoting Brazilian music - he performed as a conductor in his homeland, in the countries of South and North America, and in Europe. Recognition came to him during his lifetime. In 1943, Vila-Lobos was awarded an honorary doctorate from New York University, and in 1944 he was elected a corresponding member of the Argentine Academy of Fine Arts. In 1958, he received the "Grand Prix" for the disc with the suites "Discovery of Brazil".

The range of Vila-Lobos' creativity is very wide - from monumental symphonic paintings to small vocal and instrumental miniatures. His works (there are more than a thousand of them) have a pronounced national character. Vila-Lobos believed fervently in the transformative power of music; that is why he devoted so much energy to his musical education, to his musical and social activities, and to the popularization of the achievements of world musical culture. His best creation is the Brazilian Bahian cycle. Nowhere before has the composer achieved such an organic combination of national origins and classical forms, such heights of inspiration.

With the guitar, which Vila-Lobos played beautifully and could even be considered a virtuoso on this instrument, bright pages of his work are connected. The first works for the guitar were transcriptions of pieces by classical and romantic composers. Among the original compositions of Vila-Lobos subsequently created are the Concerto for guitar and orchestra, the cycle of miniatures "Twelve Etudes", "Popular Brazilian Suite", 5 preludes, transcriptions for two guitars, etc. Many of these works are inspired by the art of the outstanding contemporary guitarist A. Segovia and dedicated to him.

Bachiana Brasileiras No 5 - Aria (Cantilena)	TAB
Choro No 1	TAB	MIDI	WMA
Etude No 1 in Em	TAB	MIDI
Etude No 3 in D	TAB
Etude No 11 in Em	TAB	MIDI
Prelude No 1	TAB	MIDI
Prelude No 2	TAB
Prelude No 3 (wma - Manuel Barrueco)

Heitor Villa-Lobos was born on March 5, 1887 in Rio de Janeiro. His father, Raul Villa-Lobos, a highly educated person and a great music lover, contributed to the awakening of young Heitor's interest in music and the development of his musical abilities. He introduced the boy to musical notation and taught him to play the cello and clarinet.

His father died when Heitor was 12 years old, and the boy had to grow up quickly. He joined a group of city musicians who played on the streets, at weddings, christenings, birthdays. At the same time, he still had time to study and successfully completed school at the monastery of San Bento. He did not have enough money to pay for music lessons and he paid off his teacher by giving him French lessons. Later, Villa-Lobos entered the National Music Institute, in the harmony class, but he did not like the strict discipline that reigned there. Therefore, he continued to perform in a street orchestra, and earned money by playing in cinemas or restaurants. At this time, he already easily composed various pieces - waltzes, marches, polkas.

Lacking a formal education, Villa-Lobos worked on his own. He read a lot, but the boundless curiosity of the young man was not satisfied with one reading. He preferred personal experience to knowledge gleaned from books. Having sold part of the library left by his father, Villa-Lobos in 1905 made his first trip around the country. What he saw and heard - folk songs and dances, competitions of village musicians, their improvisations, local musical instruments - struck the imagination of a young musician who retained his love and keen interest in folklore, in the history of Brazil throughout his life, awakened in him a deep national consciousness. A year later, he again goes on a trip, this time to the southern states (to make it, Villa-Lobos, who did not have the means, had to act as a representative of a match factory). During these trips, Villa-Lobos not only observed, but also collected material.

Four years later, Villa-Lobos undertook a trip to the Amazon, to Belen and Manaus, for which he had to join the nomadic Portuguese operetta troupe as a cellist, and then, this time as part of a scientific folklore expedition, for three years traveled extensive territory of central and western Brazil, visited Mato Grosso, Rondonia, Acre - the most virgin, remote areas of the country, dominated by the Indian population. In total, from 1905 to 1912, Villa-Lobos made five long trips around the country, recording a total of more than a thousand folk melodies and texts. Later he said: "The map of Brazil became my textbook of harmony."

The next decade (1913-1922) was an important period in the formation of the artistic views of Villa-Lobos and his development as a composer. He learns from the experience of his older contemporaries; improves his technique by studying with experienced musicians. Despite this, the Brazilian public is in no hurry to recognize the talented musician and composer. On November 13, 1915, Villa-Lobos made his official debut: in the hall of the newspaper "Journal do comercio" in Rio de Janeiro, he gave his first public author's concert. Although at that time Villa-Lobos was not yet familiar with the innovations of Schoenberg and Stravinsky, his musical language was already distinguished by unusual boldness and novelty. The reaction of the public, brought up on Italian operas, and critics, who sacredly honored the “rules”, was unanimous: the first booed the composer, the second qualified his music as written by an epileptic and intended for paranoids. Villa-Lobos did not hesitate to pick up the glove thrown to him, stepping on the path of a long-term, without exaggeration, heroic struggle against conservatism, provincialism, inertia and prejudices that reigned in the artistic life of Brazil in those years and fettered creative thought, for the establishment of new aesthetic values.

In 1922, friends of Villa-Lobos obtained a government subsidy for him, which made it possible to go to Europe, and the next year the composer sailed to France to settle in Paris for a long time. He went to the capital of the world not to study, but to achieve recognition. An indicative fact is the venerable Vincent d "Andy, whose "Course of Musical Composition" Villa-Lobos carefully studied back in Rio de Janeiro and to whom he turned for advice upon arrival in Paris, said to the Brazilian musician, having carefully looked through his compositions:" You You already know and are able to do everything that you could learn from me.

In the capital of France, Villa-Lobos communicated with the largest musicians of our time - Maurice Ravel, Paul Dukas, Arthur Honegger, Georges Auric, Jacques Thibault, Igor Stravinsky, Sergei Prokofiev, Manuel de Falla, Pablo Casals, Leopold Stokowski, George Enescu. The performance of the works of Villa-Lobos in concerts attracted the attention of the Parisian musical world to him. Paris recognized the Brazilian composer, which at that time was tantamount to world recognition. Villa-Lobos spent eight years in Paris, working with his characteristic energy and tirelessness, and still remaining a true Brazilian artist both in subject matter and in the spirit of his works. His fame grew. His music has been successfully performed in London, Brussels, Amsterdam, Vienna, Berlin, Madrid, Lisbon. He was appointed professor of composition at the Paris Conservatoire and a member of its Academic Council. Every year, leaving for his homeland, he conducted concerts from his own works and works by European composers, then unknown in Brazil.

In the 1930s, Villa-Lobos was entrusted with the organization of a unified system of musical education in Brazil. For several years he was passionately engaged in the development of new methods of teaching music in schools. Of great importance in his systems was given to choral singing, which he considered a necessary foundation for subsequent professional education.

Villa-Lobos has done a colossal educational work. He became the founder of music schools, choirs, led the school of choirmaster teachers, formed an orchestra, contributed to the opening of the National Academy of Choral Singing (1942) and headed it until the end of his life. Performing with his orchestra around the world, he contributed to the development of interest in Brazilian music.

The composer wrote extremely easily all his life, in a wide variety of genres, for a wide variety of audiences, for certain performers and performing groups. The degree of complexity of his music is different - from simple and unpretentious tunes to compositions that are unusual in terms of the composition of harmonies and the pattern of melodies.

The first works of Villa-Lobos - songs and dance pieces were written by him at the age of twelve. In the next 60 years, the master wrote more than a thousand works. He created nine operas, fifteen ballets, twelve symphonies, eighteen program symphonic poems, instrumental concertos, etc. Villa-Lobos' remarkable contribution to world guitar literature is his two cycles - “5 Preludes” and “12 Etudes”. A real masterpiece is a cycle of nine suites for various compositions of instruments called "Brazilian Bakhian" (1944). Close in form to the "Brazilian Bakhian" is the cycle "Shoros" (1929), consisting of fourteen suites for chamber ensembles.

The huge musical heritage left to us by Villa-Lobos is unique, diverse and original. It has a virgin selva and sun-scorched sertans, the majestic course of mighty rivers and cascading waterfalls; in it you can hear the sound of the ocean surf, the restless hustle and bustle of Rio, the soft speech of the Creoles and the guttural dialect of the Indians. Like Brazil, it is different and one at the same time, and you need to listen to it in order to feel in this polyphonic element the features of a single appearance - something that bears the same characteristic, unique stamp of the general (Brazilian) and individual (the personality of the artist).