Experiencing Villa-Lobos Conference Report

The important International Villa-Lobos Conference in Richmond VA held in March 2008 was a great success. Lee Boyd has sent a detailed report from Richmond, which I've posted on the Villa-Lobos Website. Thanks, Lee!

Villa-Lobos Conference in Paris, pt. 2

Lee Boyd continues her commentary on the Villa-Lobos Conference in Paris:

Saturday April 13

NOEL DEVOS discussed the large amount of very expressive wind music produced by VL, which he pointed out was both idiomatic and often virtuosic, though never impossible to play. Moreover, he felt VL was more generous than most composers in giving orchestral winds juicy parts. [Here is an interesting interview with Noel Devos from Double Reed in PDF format].

MANUEL DE CORREA LAGO gave detailed analyses of the occurrence of the large number of children's folk songs in the Guia Pratica and other works, such as the Cirandas. He suggested some published sources which may have been used by VL, in addition to his own personal experience.

LUCIA SILVA BARRENECHEA gave the most thrilling presentation of the conference, in my opinion. First she read excerpts from her doctoral thesis, which described the background of VL's composing the "Hommage a Chopin," and analyzed his approach to combining Chopin's style with his own. She had to sing excerpts which she would have demonstrated on the piano, but we were in a room without one. For that reason, she also had to play a recording of the complete piece which she made 4 days earlier, rather than perform live. Her performance was simply masterful: total technical control and a breadth of expression rarely available in playing such virtuosic material. I am sure both Chopin and Villa-Lobos would have been delighted had they been present.

[A highlight later that day was] Benjamin Bunch's playing the de los Angeles recording of the Aria of Bachaianas Brasileiras No. 5 at the end of his talk. Which is
still haunting me.

In the afternoon there was a roundtable discussing some publishing background, and the possible ways in which the complete works of Villa-Lobos might be issued. Gandelman observed that electronic media have completely changed how things are done, so their effects might retard or speed up the process depending on goodness knows what. Maestro Duarte said at age 60 he knew he would never live to see the end of it, but proposed that a commission of young and brilliant musicologists (LF Lima immediately sprang to my mind) be appointed to address the work in an orderly and up to date manner.

Turibio Santos, as Director of the Villa-Lobos Museum, described how much music there actually is to cope with, and even more appearing. The Guimaraes family once drove up to the Museum in a Volkswagen, opened the trunk, and unloaded a number of boxes of scores and other materials. They have promised to look for more. He described the previous time in Museum history, during which Dona Arminda organized and promoted its work, as "The Heroic Period." I think he said his regime's main task is consolidation.

Gandelman told an interesting story of how he tried to track down the lost score of Villa-Lobos's 5th Symphony, which involved Ricordi of New York, which was bought by a medium size company and then by a very large publishing conglomerate. He said he thought he might be able to get help from the Mafia to obtain whatever was still in the old files. The panel asked him about that, and as he was talking about the Mafia, I suddenly blurted out, "But Mayor Giuliani killed the Mafia!" Perhaps I shouldn't be allowed out in public any more: I was surprised at myself and rather embarrassed. But life went on. The day came to a climax when someone said we should all give Professor Tarasti a standing ovation for organizing this historic First, but not last, International Villa-Lobos Conference. This was a very nice moment I'll never forget.

Something else I'll never forget is how I realized, in the moment of shocked silence after my weird comment, that everybody in the room knew who Mayor Giuliani was, and why that was so.

The best pleasure of the conference was just being with people who wanted to talk about their experiences with Villa-Lobos. Mostly, in my life, when I want to talk about this topic, I have been used to seeing my companion's eyes slowly go out of focus as attention drifts away. My husband attended the concert on Thursday night and will give me a paragraph on that soon.

*****

Thanks for that report, Lee. We'll all look forward to Jim's report on the concert. This is the first Mafia connection I've heard of to classical music - all that comes to mind is the opera in Godfather III). With Rudy Giuliani no longer in public life, we should perhaps be looking to Tony Soprano for help.

VL Conference Report - Day two from Paris

Here are Lee Boy's reports from the second day of the Conference - Thursday, April 11.

Luis Fernando Lima - Choros no. 8 by Villa-Lobos: A Semiotic Analysis - "Lima presented an unusually lucid and insightful analysis of Choros No. 8, explaining the different levels of communication involved, as well as the components of the score. He made semiotic analysis seem exciting and useful, and not, as I have seen it described, 'frightful gobbledy gook'."

Cristina Bittencourt - Une hypothese de construction d'une interpretation - "Bittencourt is a pianist who explained how she arrived at a full interpretation of one of the Cirandas by examining the progressively complex relationships the composer invested in the simple elements of the sustained melodic notes and the constantly running cells of 16th notes. Maestro Duarte identified some fo the Brazilian folk sources in this piece and congratulated Cristina on her discoveries."

Anais Flechet - Entre musique et image: la reception des oeuvres de Villa-Lobos en France dans les annees 1920 - "Flechet examined French music criticism in the 1920's with respect to VL's music itself and the French thirst for exoticism in that period. Villa-Lobos was seen by Henry Pruniere, Florent Schmitt, and others as a 'bon sauvage' in some cases, and a 'sauvage sauvage' in others."

Flavia Toni - Amizade de Mario Andrade e Villa-Lobos - "Flavia Toni read several letters from an important correspondence between VL and Mario de Andrade, 'the Pope of Modernism,' revealing the great excitement both men felt at the birth of this new music and the strength they obtained through sharing these feelings with each other. Luis Fernando Lima pointed out that in the early 1920's the period of the letters Flavia Toni covered, Mario had not yet settled on his complete conception of Brazilian Modernism. Thus VL, far from not being 'one of them,' is shown to have exerted a strong influence."

Mario Rey - Narrative in the Chamber Works of Heitor Villa-Lobos's Bachianas Brasileiras - "Mario Rey applied the interpreative categories of a noted semiotician to 3 Cantigas, from BB's 4, 5 and 6. He used transparences of the music and CD excerpts to illustrate his insights. For example, in BB6, for flute and bassoon, the composer wants the listener to notice the virtuosity of the flute player, as well as the beauty of the notes. He explained how Bach's musical techniques were applied in non-Baroque ways. In the question period, he was asked why Bach, as opposed to, say, Mozart, was chosen to be synthesized with Brazilian materials. Dr. Rey reminded us all that VL was a cellist, and would have known the Bach cello suites intimately."

Emmanual Gorge - Influences indigenes sur le langage musical de Villa-Lobos - "Gorge was reading Jean de Lery's book about his trip to early Brazil and discovered the musical examples he collected. Gorge showed some examples of VL's use of this material, played some recordings, and discussed some French composers with an interest in this type of material. Maestro Vidal told us about Messiaen's enthusiasm for VL."

"More to Follow..."

International Villa-Lobos Conference

As nice as it is right now in Red Deer (after a horrendously cold early spring), I'd still rather be in Paris right now, attending the first International Villa-Lobos Conference. Here are some reports from our intrepid reporter on the scene: Lee Boyd. 

 From Wednesday's program: 

Eero Tarasti - Villa-Lobos's Contribution to the XXth Century Music - "Professor Tarasti situated VL as a composer for audiences all over the world as well as Brazilians. He cited several composers who achieved international recognition in the 20th Century by applying their erudite musical skills to the folk and popular musics of their countries." 

Roberto Duarte - The Revisions of VL's Orchestral Works - "Maestro Duarte explained how many details in VL's orchestral manuscripts needed to be corrected before musicans' parts could be distributed for his VL recording sessions. Some were the same as any composer's minor oversights, such as putting rests in the bassoon parts but not in the double bass, but one typical VL error roused sympathy in all of us - a performance instruction with phrases in both Portuguese and French." "Our question periods are in French, English & Portuguese, also sometimes in the same sentences. Of special note, Maestro Duarte used his laptop and PowerPoint software to display and manipulate scanned manuscript excerpts, which worked very nicely." 

Noel Devos - "Noel Devos is a bassoonist who has performed much VL music, some under the composer's direction. He described several occasions on which an orchestra member said his instrument couldn't execute the notes as written, whereupon VL took the instrument and played them." "Unfortunately Ana Stella Schic could not appear a the afternoon sessions [her scheduled talk was Memoires of Villa-Lobos]." 

Pierre Vidal - Villa-Lobos tel que je l'ai connu - "Maestro Vidal described his many experiences with the composer on and offstage, during VL's time in Paris." 

Maria Teresa Madeira - Villa-Lobos and Jose Vierira Brandao - Madera is concentrating on documenting the life of the pianist Jose Vieiro Brandao, who permiered many of VL's piano works, and to whom some are dedicated." 

Ronald Paz - In Memory of Heitor Villa-Lobos: Results of the Research - "Ronaldo Paz showed a film about his family's reminiscences of meeting VL in Berlin in the 1930's. The sound system of the Parisian equipment didn't cooperate with the Bolivian audio, but Sr. Paz read his paper in clear, well-paced Spanish that precisely matched the film speed, a fascinating performance." 

Leah Arbelada Boyd - Truth & Justice for Dona Arminda, as well as for Dona Lucilia, and even Dona Lisa - "Leah Arbelada Boyd described the allegory on the life of Villa-Lobos which is embedded in Jorge Amado's Dona Flor and Her Two Husbands, and discussed some of the circumstances surrounding it." 

"Professor Tarasti fortunately obtained for us a restored copy of the film O Descobrimento do Brasil with VL's music, which he showed after the talks. Besides the music, there is some unusual anthropological material in this Brazilian government production from the 1930's." 

Thanks so much, Lee, for these fascinating reports. Reports from Thursday's sessions are on their way!

Paris Conference

Lee Boyd is one of the lucky people who will be attending the International Villa-Lobos Conference, to be held at the L'Institut Finlandais, Paris, April 10-13, 2002. Lee will be presenting a paper entitled "Truth and Justice for Dona Arminda, as well as for Dona Lucília, and even Dona Lisa." It's clear that Lee's presentation will add a great deal to our knowledge of Villa-Lobos' life. I'm looking forward to posting more information about this fascinating subject as I receive it.

I'll also pass on information about the Conference as I receive it, Dear Blog Reader. I'll try to post a bit more frequently in the next little while. This is an exciting time in Villa-Lobos scholarship!

Erico Verissimo's Cronica translated

As promised, here are some excerpts from Lee Boyd's translation of Erico Verissimo's cronica:

'It's evening at our house. Mafalda is seated under the lamp, knitting. Through the big window in the study a light can be seen growing in the December sky, like a pale slice of watermelon.The breeze brings us the fragrance of roses from our little garden. A record is turning on the phonograph, and from its speaker flows the plangent music of violoncellos, in a long, languid, undulating phrase, with the sweetness of a serenade. I recognize the voice of Villa-Lobos, the greatest minstrel of our people. I feel his living, human presence in the room, and I begin to think about our many meetings, their places and times.

'The first time I read that name was in 1923, in the art column of the "Revista do Brasil" [Brazil Review]. I was 18, sitting dreaming in one of the squares in Cruz Alta, on a bench under some bamboos quivering in the breeze of a waning September. It was then that I became aware of a modern Brazilian musician who belonged to the group of rebel artists and writers responsible for the Week of Modern Art in Sao Paulo. Villa-Lobos --- according to the columnist --- had recently gone to Paris and on his arrival, when a reporter asked if he'd come to study composing, he replied, "No. I've come to teach it."'

*******

'There were 30 of us in the audience. Villa-Lobos climbed up on stage and went to the front, follwed by Mr. Foss, a young man with beautiful hair and a sculptured profile, exactly what one expects in an artist and intellectual (and rarely finds...). The Brazilian is holding a burning cigar stub. For the first time in my life, I see a man smoke while giving a public speech. In his fluent and picturesque French, Villa-Lobos, who didn't have a clear theme for his talk, tells stories about music and musicians, not bothering about coherence -- a sort of oral list of "diverse activities." It was as if he were seated at a cafe table in Montparnasse; chatting with friends, having a brandy, legs crossed, relaxed in gesture and speech. On the whole, I can't really recall why the speaker brought up the case of the famous Italian tenor who, shut in the bathroom, managed to break a glass with a high C. The audience laughed and the speaker laughed with them. After that, he seemed somewhat at a loss and tired of all this talk. He glanced behind him, and off to the sides, as if he were looking for something, and cried out, "I want a piano! Bring me a piano!" Lukas Foss got up from his chair and went off to find a grand piano, which eventually was brought onto the stage.

'Still with his cigar between his teeth, our Villa sat down at the noble instrument, played a few chords, looked at the audience, and said, "I'll play Brahms" ... He begins to play a passage from a sonata, and then comments "and the piano won't budge." He addresses himself to the Apassionata and lightly plays the opening phrase.

'Turning to the audience, "I play Beethoven, but the piano doesn't stir." After that comes Schumann, Schubert, Chopin. And, according to the Maestro, the piano continues not to " budge." Finally the speaker cries out, "I'll play Villa-Lobos!" His hands romped over the keys, producing a passage from his "Rudepoema." He got up and pointed to the piano, exclaiming. "It budged! It budged!"'

Great story! Thanks for bringing it to a wider audience, Lee. Here's the moving final portion of Verissimo's memoir:

'During their 1959-60 winter season the National Symphony in Washington played the Villa-Lobos "Choros No. 10" in Constitution Hall with the Howard University Chorus. We were in the audience. Right from the first chord, the presence of the composer filled that great space. And with him came the whole of Brazil, grandiose Brazil, sentimental Brazil, wrongheaded Brazil, rascally Brazil, disorganized Brazil, lyrical Brazil the streetsinger --- our indolence, our sensitivity, our romance, our sensuality, our hopes, yes, and our faults, too, all transformed into music. And when the chorus, at the finale of the Choros, began to sing "Rasga o Coracao," it was as if our own hearts were breaking, and then, deeply moved (nostalgia for Villa-Lobos, for Brazil, nostalgia for the Marching Band of the Cruz Alta 8th Infantry, nostalgia for that plaza of my youth, nostalgia for nostalgia, how do I know! --- ), I stifled a sob, but I couldn't prevent the tears from rolling down my cheeks. I didn't dare look at Mafalda beside me, who was also suffering in that moment of picquant beauty.'

Ricardo Prado article translated

Back on October 27, 2001, I talked about an article by columnist Ricardo Prado, which discussed VL's Magdalena and its Broadway production in the late 1950's. The article was in Portuguese, but it was obvious (even to someone as unilingual as me) that there lots of interest here. Lee Boyd came to the rescue with a translation, and Ricardo Prado very kindly gave his permission for me to put the English version up on the web. So here it is - a fascinating story of a period in VL's life that's not especially well documented in English.

Ricardo's message was very nice: "...congratulations for your excellent work on the Heitor Villa-Lobos website. As a musician and a Brazilian, I'm always happy for every opportunity to confirm that my admiration for the master is not merely nationalist sentiment. I am honored by your invitation and it is with great pleasure that I and no.com.br authorize the publication of my article. Please let me know when it will be available for me to savor, once again, that most gratifying sensation I get from sharing my pleasure in Villa-Lobos' music. Please let me know of any news on your website and contact me should you need any further assistance from me."

I've loved working with Lee on this project, since besides providing the very readable translation, she is very much an expert on VL's life and music. I'm looking forward to providing more of Lee's work on the HVL Website - that will happen Real Soon Now.