Prelude No. 4 (Villa-Lobos)

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Prelude No. 4 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

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The piece is subtitled "Homenagem ao índio brasileiro" (Homage to the Brazilian Indian), is in the key of E minor, marked "Lento", and is the fourth of the Five Preludes, written in 1940. The others are in E minor, E major, A minor, and D major. It was first performed, together with its four companions, by Abel Carlevaro in Montevideo on 11 December 1942. [1]

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<i>Rudepoêma</i> Composition by Heitor Villa-Lobos

Rudepoêma is a composition by Heitor Villa-Lobos. It was written in Rio de Janeiro from 1921 to 1926 and is the largest and most challenging work Villa-Lobos wrote for the solo piano. It is in one continuous movement and runs about 19–20 minutes. The piece has been described as "Le Sacre du printemps meets the Brazilian jungle". For the title of this work, as he also did for other compositions, such as Vidapura and Momoprecoce, Villa-Lobos compounded two words together: rude, meaning "rude", "coarse", "uncultured", "discourteous", and poema, "poem". However, the score's dedicatee, Arthur Rubinstein, explained, "The 'Rude' of the title did not have the English meaning. In Brazil it meant 'savage'. When I asked him if he considered me a savage pianist, he said excitedly, 'We are both savage! We don't care much for pedantic detail. I compose and you play, off the heart, making the music live, and this is what I hope I expressed in this work'". Rudepoêma was later orchestrated by the composer, and premiered under his baton in Rio de Janeiro on July 15, 1942.

<span class="mw-page-title-main">Étude No. 1 (Villa-Lobos)</span>

Heitor Villa-Lobos's Étude No. 1, part of his 12 Studies for Guitar, was first published by Max Eschig, Paris, in 1953.

Prelude No. 1 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

<i>Chôros No. 1</i>

Chôros No. 1 is a composition for guitar by the Brazilian composer Heitor Villa-Lobos, written in 1920.

<i>Chôros No. 3</i>

Chôros No. 3, "Pica-pau" (Woodpecker) is a work for male choir or instrumental septet, or both together, written in 1925 by the Brazilian composer Heitor Villa-Lobos. It forms a part of a series of fourteen numbered compositions collectively titled Chôros, ranging from solos for guitar and for piano up to works scored for soloist or chorus with orchestra or multiple orchestras. and in duration up to over an hour. Chôros No. 3 is one of the shorter members of the series, a performance lasting about three-and-a-half minutes.

<i>Chôros No. 10</i> Work by Brazilian composer Heitor Villa-Lobos

Chôros No. 10 is a work for chorus and orchestra written in 1926 by the Brazilian composer Heitor Villa-Lobos. It is part of a series of fourteen numbered compositions collectively titled Chôros, ranging from solos for guitar and for piano up to works scored for soloist or chorus with orchestra or multiple orchestras, and in duration up to over an hour. Chôros No. 10 is of moderate length, one performance recorded by the composer lasting just under thirteen minutes.

<i>Chôros No. 11</i> Musical composition by Heitor Villa-Lobos

Chôros No. 11 is a work for piano and orchestra written in 1928 by the Brazilian composer Heitor Villa-Lobos. It is part of a series of fourteen numbered compositions collectively titled Chôros, ranging from solos for guitar and for piano up to works scored for soloist or chorus with orchestra or multiple orchestras. Chôros No. 11 is the longest in the series, a performance lasting over an hour.

<i>Chôros No. 4</i>

Chôros No. 4 is a quartet for three horns and trombone, written in 1926 by the Brazilian composer Heitor Villa-Lobos. It forms a part of a series of fourteen numbered compositions collectively titled Chôros, ranging from solos for guitar and for piano up to works scored for soloist or chorus with orchestra or multiple orchestras, and in duration up to over an hour. Chôros No. 4 is one of the shorter members of the series, a performance lasting about five-and-a-half minutes.

<i>Chôros No. 14</i>

Chôros No. 14 is a work for choruses, orchestra, and band, written in 1928 by the Brazilian composer Heitor Villa-Lobos. It is the last of a series of fourteen numbered compositions collectively titled Chôros, ranging from solos for guitar and for piano up to works scored for soloist or chorus with orchestra or multiple orchestras, and in duration up to over an hour. The whereabouts of the score of Chôros No. 14 is unknown.

<i>Quinteto (em forma de chôros)</i>

The Quinteto is a chamber-music composition by the Brazilian composer Heitor Villa-Lobos, written in 1928. Originally scored for five woodwind instruments, it is most often performed in an arrangement for the conventional wind quintet of flute, oboe, clarinet, horn, and bassoon. A performance lasts about eleven minutes.

<span class="mw-page-title-main">Symphony No. 5 (Villa-Lobos)</span>

Symphony No. 5, A Paz (Peace) is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1920. The score has been lost.

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Nonet, subtitled "Impressão rápida de todo o Brasil" is a chamber-music work by the Brazilian composer Heitor Villa-Lobos, written in 1923. It is number W191 in the catalogue of works compiled by David Appleby.

Prelude No. 2 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

Prelude No. 3 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

Prelude No. 5 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

Heitor Villa-Lobos's Étude No. 11, one of his Twelve Études for Guitar, was first published by Max Eschig, Paris, in 1953.

<span class="mw-page-title-main">Étude No. 6 (Villa-Lobos)</span>

Heitor Villa-Lobos's Étude No. 6, one of his Twelve Études for Guitar, was first published by Max Eschig, Paris, in 1953.

<span class="mw-page-title-main">Fantasia for saxophone, three horns, and strings</span> Concertante work by Heitor Villa-Lobos

Fantasia for saxophone, three horns, and strings, W. 490, is a concertante work in three movements by the Brazilian composer Heitor Villa-Lobos, written in 1948. A performance of it lasts approximately ten minutes.

References

  1. Villa-Lobos, sua obra. 2009. Version 1.0. MinC / IBRAM, and the Museu Villa-Lobos. Based on the third edition, 1989. p. 153.

Further reading