| Symphony No. 5 | |
|---|---|
| A Paz | |
| lost choral symphony by Heitor Villa-Lobos | |
 Heitor Villa-Lobos | |
| English | Peace |
| Catalogue | W170 |
| Language | Portuguese |
| Composed | 1920: |
| Movements | 4 |
| Scoring | Orchestra, brass band, SATB chorus |
Symphony No. 5, A Paz (Peace) is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1920. The score has been lost.
According to the official account, Villa-Lobos composed his Fifth Symphony in 1920. It is the third of a trilogy of programmatic symphonies written to commemorate World War I, based on arguments by Luís Gastão d'Escragnolle Dória . It is also the last of a cycle of five symphonies in the style of Vincent d'Indy. It was never performed, and the score has been lost. A programme documenting a performance on 5 March 1961 at Carnegie Hall in New York, by the New York Philharmonic conducted by Eleazar de Carvalho appears to have been a hoax. When asked by the Museu Villa-Lobos for confirmation, the conductor informed them that he had never had a copy of the score, and that concert never took place. [1] Although a memorial concert in Carnegie Hall by members of the New York Philharmonic conducted by Carvalho was announced for that date, the all-Villa-Lobos programme was to include the Madonna Fantasia, the Cello Concerto in A minor, Bachianas Brasileiras No. 5 , and Uirapuri[ sic ]. No mention was made of any symphony. [2] In any case, Lisa Peppercorn doubts that the work was actually completed in 1920, but only progressed beyond the conception of the idea in 1946. According to her, the Ricordi catalogue of Villa-Lobos's works published on 30 June 1965 lists the symphony under the title Odisséa da Paz, and states it was composed in 1921. [3] David Appleby, on the other hand, gives this as the subtitle of the Seventh Symphony. [4]
The symphony has four movements:
In 1928 or 1929, Villa-Lobos explained to music journalist Suzanne Demarquez that the as-yet unperformed Fifth Symphony, like its two predecessors, added a wind band to the orchestra, but also included a mixed chorus singing nonsense syllables borrowed from several languages: Russian, French, Chinese, African, etc. The object of such a text is to explore the influence of phonemes and rhythm on musical effect, as he did again later in the choir parts of the Nonet and Chôros No. 10 . [5]
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.
Chôros No. 7, subtitled "Settimino" (Septet), is an instrumental septet written in 1924 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. 7 is of modest length, a performance lasting about eight-and-a-half minutes.
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.
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.
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.
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.
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.
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.
Symphony No. 1O Imprevisto is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1916. A performance lasts about twenty-five minutes.
Symphony No. 2, Ascensão (Ascension) is a composition by the Brazilian composer Heitor Villa-Lobos, written between 1917 and 1944.
Symphony No. 3 is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1919. A performance lasts about 35 minutes.
Symphony No. 4, "A Vitória" (Victory) is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1919. A recording conducted by the composer lasts just over thirty minutes.
Symphony No. 6Sobre a linha das montanhas do Brasil is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1944. It lasts about twenty-five minutes in performance.
Symphony No. 7, Odisséia da paz is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1945. A performance lasts about 30 minutes.
Symphony No. 9 is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1952. A performance lasts about twenty minutes.
Symphony No. 11 is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1955. A performance lasts about twenty-five minutes.
Symphony No. 12 is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1957. A performance lasts about twenty-five minutes.
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.
A prole do bebê—spelled A próle do bébé in the scores, which were published before the 1943 orthography reform—(The Baby's Family) is a collection of character pieces by Heitor Villa-Lobos for piano. It was composed in three volumes. The volume known as Series 1 was composed in 1918, and Series 2 in 1921. The Third Series was composed in 1916, but it was not published and the manuscript has been lost. According to another source, although the unpublished manuscript has not been located, Series 3 was composed in 1926 and, like Series 2, is dedicated to Aline van Barentzen, whereas Series 1 is dedicated to the composer's wife, Lucilia Villa-Lobos. According to yet another, contemporary source, the third series was "en préparation" as of 1929 and would be titled Sportsman.
