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Heitor Villa-Lobos - Obra completa para piano solo (3CDs

Heitor Villa-Lobos - Obra completa para piano solo (3CDs

Marcelo Bratke
Discos: Clásica

Disponible

65,90 € impuestos inc.

Ficha técnica Discos

Sello Biscoito Fino
Estilo Clásica
Año de Edición Original 2012
Instrumental

Más

Oferta especial de los tres CDs individuales de la serie editados respectivamente en 2010, 2012 y 2014.

Edición brasileña de los discos lanzados originalmente en los mismos años mismo año en Reino Unido por el sello Quartz.

(puedes ver los detalles en la ficha individual de cada disco)

"Villa-Lobos - The music which discovered and revealed Brazil.
Macário, José Cavaquinho, Sátiro Bilhar and Quincas Laranjeiras. Between this unorthodox mixture of popular musicians and bohemians of Rio de Janeiro towards the end of the 19th Century, the adolescent Heitor Villa-Lobos fitted in as a mascot to the group. During the endless hours in which he fingered the guitar, he was learning the secrets of an artist’s life, absorbing the richness of popular culture directly from its routes. The death of his father forced Heitor to concentrate more seriously on his music. Having received clarinet and violoncello lessons at home, he began to appear in public concerts and cafés in his youth. The versatility he had, to share the stage with other recitalists and popular guitar players in combination of classical and popular music backgrounds, would be fundamental as a base to his creative persona.
Panqueca, a small piece composed in 1900, already anticipates some of the ingredients which would become the legacy of Villa-Lobos, the most authentic reflection of “brasility”. Neither his friendships with Ravel, Prokofiev, Milhaud and Stravinsky nor the years he was to spend in Paris had become a reality at this point but with the rise of the 20th Century, his unique music began to take on the form of colours of a tropical land. This music was the precocious output of a prodigy whose nickname was Tuhú – one of the multiple facets of the genius that the world would celebrate as “The Indigenous within Frack”.
The music of Heitor Villa-Lobos, a self-taught composer, embodies the Brazilian modernist program with a result that transposed what his rivals and colleagues; musicians, painters and literates of his time, had imagined. The secret lies maybe within his own artistic trajectory, embracing both folkloric and modern musical elements and transposing his unique style into his interest in popular music which followed him from the beginning. This launched him into incursions throughout Brazil researching the rhythms and melodies of his contemporaries.
Travelling around his country, he collected inspiration through registering elements of folkloric music to captivate the friendship of native guitar players and singers throughout this journey. The influence of these expeditions appeared first in the music for the ballets Amazonas and Uirapuru, from 1910, but remained in everything he wrote throughout his life. The most clear example lies perhaps in the cycle of Choros (1920-1929), a synthesis of the aesthetic ideal of “Brazilianism”:
“My first book was the Brazilian map, a Brazil which I observed with my soul, city by city, state by state, forest by forest, trying to capture the soul of a land. Then; the character of this man’s land and after that: the natural treasures of it. I continued confronting these studies of mine with foreign works and tried to find a meeting point to consolidate the personalism and the unalterability of my ideas”, he wrote in a sort of résumé of his musical party. Composer of more than a thousand works, which repeatedly revisited the themes of popular culture, the music of Bach and the universe of children, he left cirandas, cantatas, operas, concertos, symphonies and hundreds of scores that go from piano and harp solo pieces to all kinds of instrumental combinations. Villa-Lobos was more than a composer capable of defining the music physiognomy of a nation, he was engaged in “using” music as a media of communication between the different and contrasting levels of Brazilian society.

Heitor Villa-Lobos was born in Rio de Janeiro in 1887. He entered history as a composer, conductor, teacher and proud national. “Yes I am a Brazilian. In my music I tell the songs of the rivers and the sea of this vast country. I allow the beauty of our forests and our skies to emerge, transposing instinctively to everything I write”, he declared.
Villa-Lobos lived most of his life in Rio, but his international career brought him to live at different periods in Paris from where he merged with Europe’s avant-garde. His last years were spent in New York. He conducted his music with 83 orchestras in 24 countries, including the Vienna and Israel Philharmonic, the New York, London, Cleveland, Boston and the BBC Symphony orchestras. He was recognized by many important institutions in Brazil, France, Italy and the United States, where he received honoris causa from the New York and Miami Universities. He founded the Brazilian Academy of Music, composed for Metro Goldwin Meyer and introduced music as an obligatory subject in the agenda of the schools in Brazil. He died of cancer in Rio de Janeiro on March 17th 1959.
More than the impact of his music on an individual scale, Villa-Lobos was able to create and express to the world the most accurate portrait of Brazil with its diversity and contradictions translated into music."  Celso Masson (periodista)

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