 | |
 | |
| Established | 1960 |
|---|---|
| Location | Rio de Janeiro, Brazil |
| Coordinates | 22°57′07″S43°11′26″W / 22.951870°S 43.190553°W |
| Website | museuvillalobos |
The Villa-Lobos Museum (Portuguese: Museu Villa-Lobos) is a museum in Rio de Janeiro, Brazil, that is dedicated to exhibiting artifacts related to the composer Heitor Villa-Lobos.
In 1960, the museum was founded by Arminda Neves d'Almeida, Heitor Villa-Lobos's second wife, who directed the museum for 24 years. The 19th-century building that houses it is listed by the National Institute of Historic and Artistic Heritage. [1] The museum occasionally hosts concerts. [2] In 2019, the museum digitized a collection of photographs it contained, in partnership with Instituto Brasileiro de Museus and Federal University of Goiás. [3] In 2020, it launched a virtual exhibition titled "Native Brazilian Music" containing 50 photographs and audio recordings of Brazilian songs, as well as photographs of musicians in recordings. [4] It was shown at Google Arts & Culture where letters between Leopold Stokowski and Villa-Lobos were shown as well as newspaper clippings. [5] In June 2021, the museum launched a virtual exhibition titled "Memórias de Arminda" about the life of Arminda Neves, which included an adapted version of Google Street View. [6]
The museum has a collection of objects and documents about the life and work of Heitor Villa-Lobos; [7] a collection of musical instruments, books and scores; [2] recordings and tapes; [8] and a collection of conducting batons. [9]
Heitor Villa-Lobos was a Brazilian composer, conductor, cellist, and classical guitarist described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has become the best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2,000 works by his death in 1959. His music was influenced by both Brazilian folk music and stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras and his Chôros. His Etudes for classical guitar (1929) were dedicated to Andrés Segovia, while his 5 Preludes (1940) were dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha". Both are important works in the classical guitar repertory.
Chôros is the title of a series of compositions by the Brazilian composer Heitor Villa-Lobos, composed between 1920 and 1929.
String Quartet No. 7 is the seventh of seventeen works in the genre by the Brazilian composer Heitor Villa-Lobos, written in 1942. With a performance lasting approximately 37 minutes, it is the longest of Villa-Lobos's string quartets
String Quartet No. 8 is one of seventeen works in the genre by the Brazilian composer Heitor Villa-Lobos, written in 1944. A performance lasts approximately twenty-five minutes.
String Quartet No. 9 is part of a series of seventeen works in the medium by the Brazilian composer Heitor Villa-Lobos, and was written in 1945. A performance lasts approximately 25 minutes.
String Quartet No. 10 is one of a series of seventeen works in the genre by the Brazilian composer Heitor Villa-Lobos, and was written in 1946. A performance lasts approximately 23 minutes.
String Quartet No. 11 is a 1947 string quartet, part of a 17-work series in the medium by Brazilian composer Heitor Villa-Lobos. A performance lasts approximately 27 minutes.
String Quartet No. 12 is the part of a series of seventeen works in the genre by the Brazilian composer Heitor Villa-Lobos, and was written in 1950. A performance lasts approximately twenty-two minutes.
String Quartet No. 13 is one of a series of seventeen works in the medium by the Brazilian composer Heitor Villa-Lobos, and was written in 1951. A performance of it lasts approximately twenty minutes.
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. 5 is a solo piano composition 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. 5 is one of the shorter members of the series, with a performance lasting about four-and-a-half 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. 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.
Introdução aos Chôros: Abertura, is a composition for guitar and orchestra by the Brazilian composer Heitor Villa-Lobos, composed in 1929 as an overture to precede a complete performance of his series of fourteen Chôros. A performance of just the Introdução lasts about thirteen 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.
Marcelo Bratke is a Brazilian pianist.
| International | |
|---|---|
| National | |
