Classical Music Buzz > The Villa-Lobos Magazine
The Villa-Lobos Magazine
Dean Frey
News about Heitor Villa-Lobos on the web and in the Real World.
Blogging Villa-Lobos since October 2001.
639 Entries
Pop on over to Music for Several Instruments for a review of saxophonist Asya Fateyeva's new Bach and Villa-Lobos disc Bachiana.


23 days ago | |
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Henry Prunières in 1935

Henry Prunières is an important figure in the arts in Paris between the wars. He created La Revue musicale in 1920, running it until 1939. This periodical documented Villa-Lobos's exploits in Paris in the 1920s. Here is a letter Villa-Lobos wrote to Prunières in 1929, from the French National Library's Gallica portal.



1 month ago | |
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I noticed the remastered disc of Vera Dulova's 1976 Melodiya recording of the Villa-Lobos Harp Concerto up on the Naxos Music Library today. Here's the original LP:


The Harp Concerto should be much better known than it is. It was written in 1953 on commission from harpist Nicanor Zabaleta.

This is the same disc in a 2015 remastering:

2 months ago | |
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This is a really interesting interview that Villa-Lobos gave at the Empire State Music Festival in Harriman State Park (Bear Mountain) in New York, on July 12, 1959. This was the composer's last concert before his death. Though he couldn't have been in the best of health, he sounds his usual self. His wife Mindinha chimes in at the end.

Unfortunately my Portuguese is less than basic, but this Google translation of the YouTube poster's summary give the gist of what Villa said:
Villa-Lobos comments on the issues of the time, welcomes the Brazilian people, declares his love for the homeland - Rio de Janeiro - and talks to the journalist while the orchestra rehearses the presentation of more. In the audio that is now part of the MEC FM radio collection, Villa-Lobos demystifies the creation process. "This business of coming inspiration does not exist in me. I was born inspired already. Either I do a good thing, or I do crap. But this business of me looking for inspiration, letting hair grow to have inspiration, drink, it does not exist in me. I write when I need to. 
2 months ago | |
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Miloš Karadaglic plays a spectacular Prelude as an encore, in this preview from Medici.TV.
3 months ago | |
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The Argentine choreographer Dani Pannullo and his dance company present Uirapuru, based on Villa-Lobos' great early orchestral masterpiece. The music is played by JORCAM, conducted by Jordi Frances-Sanjuan. This is from 2011.

3 months ago | |
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Here's a Christmas staple for the Villa-Lobos lover: the beautiful Praesepe, a choral work written in 1952 for alto soloist and mixed chorus, #21 in the collection Musica Sacra, vol. 1.

Villa-Lobos set the words of Padre Jose de Anchieta, a Portuguese missionary to Brazil, written in 1563.

Text and translation are from the liner notes to the Corydon Singers/Matthew Best Villa Lobos sacred music CD on the Hyperion label (CDA6638, 1992/93.) Used with permission of Hyperion Records.

4 months ago | |
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In this short audio clip from the Centre de Recherche en Ethnomusicologie, Olivier Messiaen talks about the influence of Villa-Lobos on his own music.
5 months ago | |
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In his liner essay for the third volume of The Guitar Manuscripts on Naxos, guitarist Andrea Bissoli quotes from the memoirs of the Spanish pianist Tomás Terán:
That year [1928] we spent the summer together in Lussac-les-Châteaux. We found a place to stay above a kind of pâtisserie that only opened on high days and holidays. Our rooms looked out over the garden at the back and were divided by a wooden panel that was so insubstantial we could chat to one another through the wall till the early hours. Villa planned to amuse himself by constructing a fleet of kites, so we’d arrived laden down with enormous lengths of bamboo, rope and sheets of paper: the lady who owned the shop below thought we must have been members of a circus ... The day he flew the first kite (designed in the shape of a huge fish), it was caught by a sudden gust of wind just as he was launching it, and went up like a rocket; it dragged Villa along for several metres before I managed to cut its ropes. The kite came down three or four kilometres away: after that experience his “great beasts” frightened me. I suggested to him that in future he should tie them to a tree, for safety’s sake, and he agreed. Those kites were great fun for the people of Lussac. Some days, Villa would play the guitar late into the night (I should point out we were the only people staying at the pâtisserie); that was when he had the idea of composing his studies for the instrument.
This is how Villa-Lobos came to write one of his most important creations: the 12 Etudes for guitar.



Naxos has just released a box set of the three volumes of The Guitar Manuscripts. I'll be writing a review Real Soon Now. In the meantime, here's a picture (from the Museu Villa-Lobos) of Villa-Lobos and Terán with one of Villa's Great Beasts; and via Spotify, the  “symphonic episode” O papagaio do moleque (The little boy’s kite), from the same disc. It's played by the Minas Gerais Philharmonic Orchestra, conducted by Fabio Mechetti.

I think that's Villa on the left, Terán in the middle, and I assume Lucilla on the right.


5 months ago | |
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The 50th annual Festival Música Nova 'Gilberto Mendes' takes place in Ribeirão Preto during November 2016. This year's festival is in memory of Mendes, who died January 1, 2016, and Pierre Boulez, who died four days later.

There's more information on the Festival concerts here. And here's the superb OSESP Choir conducted by Naomi Munakata, singing one of Mendes' great avant garde works, Beba Coca-Cola. This clip is from the documentary film A Odisseia Musical de Gilberto Mendes, directed by Carlos de Moura Ribeiro Mendes.

5 months ago | |
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