Symphony No. 10 (Villa-Lobos)

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Symphony No. 10
Sumé pater patrium: Sinfonia ameríndia com coros
Oratorio by Heitor Villa-Lobos
Heitor Villa-Lobos (c. 1922).jpg
Heitor Villa-Lobos
EnglishSumé, Father of Fathers: Amerindian Symphony with Chorus
CatalogueW511
Occasion400th Anniversary of the founding of the City of São Paulo
Text"Beata Virgem" by Padre José de Anchieta
Language
  • Portuguese
  • Latin
  • Tupi
Composed1952 (1952) 15 February 1953 (1953-02-15): Rio de Janeiro / New York
DedicationMindinha
Published1952 (1952): Paris
Publisher Max Eschig
Duration67 min.
Movements5
ScoringOrchestra, SATB chorus, tenor, baritone, and bass soloists
Premiere
Date4 April 1957 (1957-04-04):
LocationSalle Gaveau, Paris
ConductorHeitor Villa-Lobos
Performers

Symphony No. 10, Sumé pater patrium: Sinfonia ameríndia com coros (Oratorio) is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1952–53. The broadcast performance of the world-premiere performance under the composer's direction lasts just over 67 minutes.

Contents

History

Villa-Lobos composed his Tenth Symphony for the 400th anniversary of the founding of the city of São Paulo. He began work in Rio de Janeiro in 1952, completing the score on 15 February 1953 in New York. It was first performed at the Théâtre des Champs-Élysées in Paris on 4 April 1957. The soloists were Jean Giraudeau (tenor), Camille Maurane (baritone), and Jacques Chalude (bass). The Orchestre National et Choeur de la Radiodiffusion Française was conducted by the composer. The score is dedicated to Mindinha (Arminda Neves d'Almeida), the composer's companion for the last 23 years of his life. [1]

Instrumentation

The symphony/oratorio is scored for tenor, baritone, and bass soloists, mixed choir, and an orchestra consisting of 2 piccolos, 2 flutes, 2 oboes, cor anglais, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, cymbals, chocalho, coconut hulls, lion's roar, bells, gong, sleigh bells, small frame drum, bass drum, xylophone, marimba, celesta, 2 harps, piano, organ, and strings.

Analysis

The symphony has five movements:

  1. Allegro: "A terra e os seres" (The Earth and Its Creatures)
  2. Lento: "Grito de guerra" (War Cry)
  3. Scherzo (Allegretto scherzando): "Iurupichuna"
  4. Lento: "A voz da terra e a aparição de Anchieta" (The Voice of the Earth and the Appearance of Anchieta)
  5. Poco allegro: Glory in Heaven, and Peace on Earth[ citation needed ]

The first movement is for the orchestra alone, and serves as an overture to the four remaining movements, which feature the vocal soloists and choirs. The movement is in sectional form, dominated by a principal melodic motif consisting of an upper-neighbour note figure followed by an upward leap. This motif is found in all five of the main sections of the movement, which are differentiated by tempo, key area (C, B, E, C, and C), instrumentation, rhythms, harmonies, and specific transformations of the main motif. The second theme of the first of these sections is the only one not derived from the core motif. Quasi-tonal quartal harmonies are especially evident, but alternate with polychords in dense ostinato textures and more thinly orchestrated tonal passages. The fourth section, which is developmental, begins with an abrupt change of tempo and a short tonal fugato in the strings. [2]

Discography

Chronologically, in order of recording date.

Related Research Articles

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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.

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Chôros No. 12 is an orchestral work written between 1925 and 1945 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. 12 is one of the longest compositions in the series, a performance lasting about 35 minutes.

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Chôros No. 9 is an orchestral work written between 1929 and 1942 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. A recorded performance of Chôros No. 9 made by the composer lasts almost 28 minutes.

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Chôros No. 6 is an orchestral work written between 1925 and 1942 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. 6 is one of the longer compositions in the series, lasting about 25 minutes in performance.

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Chôros No. 8 is a work for orchestra and two pianos, written in 1925 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. A recording of Chôros No. 8 conducted by the composer lasts 22 minutes.

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The Piano Concerto No. 4, W505, is a composition for piano and orchestra by the Brazilian composer Heitor Villa-Lobos, written in 1952. A performance lasts about 27 minutes.

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Piano Concerto No. 1, W453, is a composition for piano and orchestra by the Brazilian composer Heitor Villa-Lobos, written in 1945. A performance lasts about 38 minutes.

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The Piano Concerto No. 5, W 521, is a piano concerto by the Brazilian composer Heitor Villa-Lobos, written in 1954. One performance recorded under the composer's baton lasts 18 minutes, 48 seconds.

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References

  1. Villa-Lobos, sua obra 2009, p. 46.
  2. Enyart 1984, pp. 330, 332–333, 337, 340–341.

Cited sources

Further reading