Symphony No. 6 | |
---|---|
Sobre a linha das montanhas do Brasil | |
by Heitor Villa-Lobos | |
English | On the Outline of the Mountains of Brazil |
Catalogue | W447 |
Based on | "Millimetrization" of the outline of mountains at Belo Horizonte in Brazil |
Composed | 1944 : |
Dedication | Mindinha |
Published | 1955 New York : |
Publisher | Belwin-Mills |
Duration | 25 mins. |
Movements | 4 |
Premiere | |
Date | 29 April 1950 : |
Location | Theatro Municipal, Rio de Janeiro |
Conductor | Heitor Villa-Lobos |
Performers | Orquestra Sinfônica do Theatro Municipal |
Symphony No. 6Sobre a linha das montanhas do Brasil (On the Outline of the Mountains of Brazil) is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1944. It lasts about twenty-five minutes in performance.
Villa-Lobos composed his Sixth Symphony in Rio de Janeiro in 1944. It was first performed in Rio de Janeiro on 29 April 1950 by the Orquestra do Theatro Municipal, conducted by the composer. The score is dedicated to Mindinha. [1]
An early report, based on conversations with Villa-Lobos in Paris in 1928–29, said that a Sixth Symphony (subtitled Symphonie indienne and based on Brazilian indigenous themes) had been written shortly after the Fifth Symphony, at about the same time as Villa-Lobos's opera Malazarte (1921), but had never been performed. [2] No reference to such a work is found in the official catalogue of the composer's works, however.
The symphony is scored for an orchestra consisting of 2 piccolos, 3 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, bass drum, large side drum, Indian drum, side drum, cymbals, vibraphone, celesta, 2 harps, and strings.
The symphony consists of four movements:
The main theme of the symphony was devised by projecting the outline of mountains at Belo Horizonte, Brazil, onto graph paper and transcribing the result as a melody. Villa-Lobos called this technique milimetrazação (graphing), sometimes rendered in English as "millimetrization". [3] or "milmeterization". [4] A harmonized version of this melody for piano, together with a similar treatment titled New York Skyline, was initially published in the October 1942 issue of New Music, devoted to works by Brazilian composers. [5]
The first movement is in a slightly unconventional sonata-allegro form which, according to the composer's usual methods, omits the second theme from the recapitulation. The overall tonal centre is on C, with secondary key areas on D and G. [6]
In the second movement, Villa-Lobos utilizes a technique of drawing attention to a pitch through its exclusion, in an arguably atonal passage in b. 33–47 where a clarinet solo weaves a long melody repeatedly using eleven chromatic notes, with the omission of the note G. This pitch is then introduced emphatically in the viola entrance at b. 47. [7]
The Bachianas Brasileiras are a series of nine suites by the Brazilian composer Heitor Villa-Lobos, written for various combinations of instruments and voices between 1930 and 1945. They represent a fusion of Brazilian folk and popular music on the one hand and the style of Johann Sebastian Bach on the other, as an attempt to freely adapt a number of Baroque harmonic and contrapuntal procedures to Brazilian music. Most of the movements in each suite have two titles: one "Bachian", the other Brazilian.
Chôros is the title of a series of compositions by the Brazilian composer Heitor Villa-Lobos, composed between 1920 and 1929.
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. 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. 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.
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. 5, A Paz (Peace) is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1920. The score has been lost.
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. 8 is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1950. A performance lasts about 25 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. 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.
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.
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.
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.
The Piano Concerto No. 2, W487, is a piano concerto by the Brazilian composer Heitor Villa-Lobos, written in 1948. A performance lasts about 28 minutes.
The Piano Concerto No. 3, W512, is a composition for piano and orchestra by the Brazilian composer Heitor Villa-Lobos, written in 1952–57. A performance lasts about 26 minutes.