In the text of a radio talk given in August 1975, Walter Burle Marx recalled (Presença de Villa Lobos no. 10) that Villa-Lobos had offered to produce a piece for one of the young persons' concerts he (Burle Marx) was organising. Two days before the concert, in November 1932, he visited Villa-Lobos in his little apartment in the centre of Rio. The composer had just finished dinner and was clearing the table."Villa-Lobos," he inquired, "how far have you got with the work you've promised?""I'll work on it tonight, and should finish it at 4 a.m.""And the parts?""I'll do them myself and some friends are coming to help me later.""Then I'll let you get on with it and not disturb you.""You're not disturbing me at all," said Villa-Lobos, insisting that Burle Marx stayed. After sorting the manuscripts on the table, Villa-Lobos went on working on the orchestration while talking to his visitor. At the same time, in another room of the apartment, the pianist Jose Brandão was playing the transcription of the symphonic poem 'Amazonas', and from time to time, Villa-Lobos, hearing something that wasn't right, called out to Brandao, "No, no, it's G flat in the bass," and so forth.The fact was that next day at 9 a.m., the young musicians received the score of the Caixinha de Boas Festas, with all the parts written out.
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