A STUDY OF COMPOSITIONAL ELEMENTS IN CICLO BRASILEIRO BY HEITOR VILLA- LOBOS Maria Eduarda Lucena Vieira A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2017 Committee: Gene Trantham, Advisor Yu-Lien The
ABSTRACT ii Gene Trantham, Advisor Heitor Villa-Lobos, a well-known Brazilian composer, was born in the city of Rio de Janeiro, in 1887, the same place where he died, in 1959. He was influenced by many composers not only from Brazil, but also from around the world, such as Debussy, Igor Stravinsky and Darius Milhaud. Even though Villa-Lobos spent most of his life traveling to Europe and the United States, his works always had a Brazilian musical flavor. This thesis will focus on the Ciclo Brasileiro (Brazilian Cycle) written for piano in 1936. The premiere of this set was initially presented in 1938 as individual pieces including Impressões Seresteiras (The Impressions of a Serenade) and Dança do Indio Branco (Dance of the White Indian). The other pieces of the set, Plantio do Caboclo (The Peasant s Sowing) and Festa no Sertão (The Fete in the Desert) were premiered in 1939. Both performances occurred in Rio de Janeiro. Also in 1936 he wrote two other pieces, Bazzum, for men s voices and Modinhas e canções (Folk Songs and Songs), album 1. My thesis will explore Heitor Villa-Lobos Ciclo Brasileiro and hopefully will find direct or indirect elements of the Brazilian culture. In chapter 1, I will present an introduction including Villa-Lobos background about his life and music, and how classical and folk influences affected his compositional process in the Ciclo Brasileiro. Chapter 2 will be an analysis on each piece within this set with a special emphasis on Brazilian characteristics. Hereby, the focus will be on rhythm and melody. This exploration should reveal a direct or indirect connection to Brazilian folklore.
The goal of this thesis is to present Villa-Lobos pieces with the hope that they would iii become more known and performed outside of Brazil. Even though some English-speaking scholars have examined Heitor Villa-Lobos piano music, more studies are needed of these specific pieces to help us to understand Villa-lobos creative process and to bring attention to important Brazilian characteristics in these pieces.
For Dr. Trantham and Dr. The for helping me with this journey. iv
ACKNOWLEDGMENTS v Dr. Trantham, thank you for all the patience, time, and ignoring all the phone calls when I was talking in your office. Dr. The, thank you for believe in me every time I was frustrated, your kind words made me a better person. To all my professors during my two years at Bowling Green State University that helped me pursue my Masters. Finally, to my family and friends back in Brazil, without you I could have not written a single page of this thesis!
vi TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION... 1 CHAPTER II. ANALYSIS OF BRAZILIAN CYCLE 1936-1937... 6 Plantio do Caboclo... 6 Melodic and Structure s... 7 and s... 8 Impressões Seresteiras... 9 Melodic and Structure s... 11 and s... 13 Festa no Sertão... 16 Melodic and Structure s... 18 and s... 21 Dansa do Índio Branco... 22 Melodic and Structure s. 24 and s. 26 CHAPTER III. FINAL CONSIDERATIONS... 27 Relating Rhythm Pattern to Brazilian Elements... 27 General Observations of Identified Brazilian Characteristics... 30 Final Thoughts... 33 BIBLIOGRAPHY... 34 APPENDIX A. FORM CHARTS... 36
vii LIST OF EXAMPLES Example Page 2.1 Descending chordal pattern in the B section mm.30-31.. 8 2.2. First 31 measures of the Impressões Seresteiras... 12 2.3 Example of the same rhythm pattern in the B section of Impressões Seresteiras... 13 2.4 Syncopation in the left hand and technical difficulty in the C section of Impressões Seresteiras... 15 2.5 Last four measures of the Impressões Seresteiras... 16 2.6 Melody and descending four note pattern in Festa no Sertão... 19 2.7 B section with the chromatic left hand in Festa no Sertão... 20 2.8 4 th interval in the right hand in Festa no Sertão... 21 2.9 Last few measures of the piece with the 4 th interval in the right hand... 22 2.10 Dies Irae... 25 2.11 Example of the ascending/descending melody of the Dansa do Indio Branco... 25 2.12 G major chord with F pedal in the Dansa do Indio Branco... 25 2.13 First few measures of the B section in Dansa do Indio Branco... 26 2.14 Last 7 measures of the piece with the black/white pattern of Dansa do Indio Branco. 26 3.1 Samba syncope... 28 3.2 Samba rhythm exactly same rhythm in the C Section of Impressões Seresteiras... 28 3.3 Samba rhythm 28 3.4 Maracatú rhythm... 29 3.5 Baião rhythm. 29
viii 3.6 Plantio do Caboclo, B section, left hand.... 29 3.7 Impressões Seresteiras, C section. 30
ix LIST OF TABLES Table Page 2.1 chart of Plantio do Cabloco... 6 2.2 chart of Impressões Seresteiras... 9 2.3 chart of Festa no Sertão... 16 2.4 chart of Dansa do Indio Branco... 22
1 CHAPTER I. INTRODUCTION Heitor Villa-Lobos is no doubt Brazil's most known composer. Born in Rio de Janeiro on March 5th, 1887, Villa-Lobos was the son of Raul Villa-Lobos and Noêmia Umbelina Monteiro. Raul Villa-Lobos was a teacher in schools from Rio de Janeiro, a librarian and an active civilian in the politics world from his time, Raul Villa-Lobos was also an amateur musician who promoted regular musical evenings at his house. After Heitor Villa-Lobos was born, Raul introduced his six years old son to the cello followed by the clarinet. Around the time when Tuhú Heitor Villa-Lobos nickname given to him by his mother, was born, Brazil experienced a great change in its history. In 1888, Brazil abolished slavery, and in 1889 it became a republic. Raul had a big influence in Tuhú s life for 12 years, when he died from a fast and devastating disease in 1899. At that point, Tuhú had already composed his first composition, Os Sedutores (the Seducers), for piano and voice, and started to write for guitar as well. 1 Around this time, popular music wasn t as welcome as classical music by the society, and when Heitor Villa-Lobos showed his interested in popular music, more specifically the chorões, his mother was totally against it. The chorões is a group of musicians, mainly instrumentalists, who improvise on popular songs. The name comes from the popular music called Choro. After a while, Tuhú took harmony and counterpoint lessons at the Conservatório de Música and became part of a group playing the guitar and directed by Quincas Laranjeiras. 2 After finishing high school, Heitor Villa-Lobos tried to please his mother by entering a preparatory course to became a medical doctor, but he gave up in 1903 after a few months of trying. When he was 16, he needed to leave his mother s home because of her 1 Appleby, David P. Heitor Villa-Lobos A life (1887-1959) (Boston Way: Scarecrow Press, 2009) 2 Mariz, Vasco. Heitor Villa-Lobos Brazilian Composer. University of Florida Press,1963
2 disappointment with his decision not to become a doctor, and he went to live with his aunt Zizinha, starting life as a chorão, playing in the streets, bars, and night clubs. He was also the cellist for the orchestra in the Teatro Recreio, where he got his classical experience by playing in operas and orchestra concertos. 3 Seizing to discover the rest of Brazil, Tuhú, in 1905, at 18 years old, made a trip, funded by selling his dad s old books, to the Northern and Northeast states of Brazil, as well as the Amazon, and Central and Southern Brazil to absorb and learn its traditional music. During his trip to the South, he didn't absorb as much as in the North mostly because the South of Brazil has a strong European ascendancy. His trips lasted until 1911 and were a grand source of inspiration for his later compositions. He collected dozens of popular tunes and songs, some of which he later used in some of his works. In 1913, Villa-Lobos married the pianist Lucília Guimarães, whom he met in 1912. Lucília Guimarães changed his life by ending his travels and beginning his career as a serious musician. Lucília said a little in her Memoirs how their life was when they got married. She says that they lived with her parents and Heitor Villa-Lobos, or Villa (how she called him) started to compose more for piano, and she was the one who premiered the pieces: A 12 de Novembro de 1913 nos casámos. Continuei lecionando, e o Villa tocando, de dia, na Confeitaria Colombo, e, a noite, no Assirio, restaurante localizado no Teatro Munincipal. Ficámos morando com a minha família, já então em uma casa da Rua Foncesa Tele nº7, em S. Cristovão. Apesar das dificuldades que atravessámos, o Villa começou a compor suas primeiras obras, com afinco e, como não tocasse piano ainda, era eu quem fazia as primeiras execuções, parciais 4 The period 1912-17 was Villa-Lobos more intense and mature years as a creative composer, he had done some concerts with his works in Rio de Janeiro, and his career started 3 Mariz, Vasco. 1963. Heito Villa-Lobos Brazilian Composer. Gainesville: University of Florida Press. 4 Peppercorn, Lisa M. 1996. The World of Villa-Lobos in Pictures and Documents. Aldershot: Scholar Press.
3 to launch. By 1917 he produced several works, including his first guitar piece Suite Popular Brasileira (Popular Brazilian Suite). His first official concert dedicated to his work was in November of 1915, at Salão Nobre do Jornal do Comércio, the program consisted of instrumental performers, string players, and his wife was the principal pianist. Even though the concert was a success, the critics made negative comments about his compositions. After his big premier, Villa-Lobos had a few more concerts dedicated to his works only, between 1917 and 1919. These concerts established him as controversial and gave him a spot in the Semana de Arte Moderna de 1922 (Week of Modern Art of 1922). In 1917 the French composer Darius Milhaud arrived in Rio de Janeiro invited by the diplomat Paul Claudel. Milhaud, who stayed in Brazil for two years, met Villa-Lobos who introduced him to Brazilian music, and as a prove of his passion for this culture he composed works as "Le bouf sur le toit" and "Saudades do Brasil." In 1918, Milhaud introduced to Villa-Lobos the pianist Arthur Rubinstein, who became his good friend. During these years, Rubinstein wrote about Villa-Lobos as a genius in the whole American continent, and Villa- Lobos asked for his help when he wanted a chance to perform in France. right here in Brazil lives an authentic genius, in my opinion the only one on the while American continent. His country does not understand his music yet, but future generations will be proud of him. Like all great creators, he has no means of making his works known in the world unless he is helped by some great Maecenas. The composer is Heitor Villa- Lobos, a future famous name in the history of Brazil, and if you are ready to help him, your name will always be linked with his. 5 In 1922, Villa-Lobos had already embraced modernism, and around this time the 'Week of Modern Art' in São Paul occurred, and Villa-Lobos was one of the composers invited to represent modern music in Brazil. The event promoted Villa-Lobos works with three concerts with only his pieces, such as piano solos, sonatas, chamber works, and vocal works. 5 Peppercorn, Lisa M. 1996. The World of Villa-Lobos in Pictures and Documents.Aldershot: Scholar Press.
4 In 1923, Villa-Lobos left for Europe, funded by the government and rich friends. Villa-Lobos started in Paris and gave concerts throughout Europe with Latin American music. Only in 1924, Villa-Lobos was able to give a concert with only his works in Paris. After that, he went back to Rio de Janeiro filled with inspiration. Peppercorn says in her book that the years between 1924 and 1927 were the most fruitful and most significant in Villa- Lobos development as a composer. 6 After going back to Paris, he gave concerts of his works in 1927 and 1930. Even spending this much time in Europe, Villa-Lobos did not forget his native musical style, he wanted to be unique and original to attract more audience members, and with his singular characteristic, he had the support of important people such as Rubinstein and Magda Tagliaferro (Brazilian pianist who lived in Paris). In Europe Villa- Lobos also met the Spanish guitarist Andrés Segovia, and he had the opportunity to start writing for guitar again. He wrote 12 etudes, 5 etudes and a concerto, all between 1929 and 1951. Villa-Lobos also met, during his years in Paris, conductors who performed his music for the first time in the United States. In 1930, Villa-Lobos went to São Paulo to organize concerts with works by him and by French composers. He also had the idea to offer music education in schools, based on choral singing. At the time, the president of Brazil was Getúlio Vargas, and he embraced Villa-Lobos idea. In the 1930s, Villa-Lobos was well known as a music educator in Brazil and around 1931 he was in charge of the Superintendence of Musical and Artistic Education of Rio de Janeiro. The schools in Rio de Janeiro were named after him, and he gave concerts with other Brazilian composers as well. During this time, Villa-Lobos didn t compose as much as before because he was busy with administrative work, such as giving lectures in Europe. 6 Peppercorn, Lisa M. 1996. The World of Villa-Lobos in Pictures and Documents. Aldershot: Scholar Press.
5 The forties and fifties were years of recognition and fame for Villa-Lobos. In 1942 the government founded a National Conservatory of Orpheonic Singing, and Villa-Lobos was appointed director, a position in which he remained until 1957. During this period he also began to conduct orchestras and choruses, not only in Brazil but also in Argentina, Uruguay and Chile. Later he conducted and recorded his works in the United States and France. In 1936 he was invited to the Music Education Congress in Prague, where he conducted several of his own pieces for a Berlin radio station. In the same year, he separated from his wife and began his life with Arminda Neves d'almeida (Mindinha), who not only devoted herself to him for the next 23 years, but continued to work assiduously until her death in 1985 to promote his works in her capacity as director of the Villa-Lobos Museum, founded in 1960. The last decade of Villa-Lobos's life was marked by the gradual deterioration of his health. In his final seven years, he returned to live in Paris. In 1959 he returned to Rio de Janeiro, and his health had worsened considerably. He died a few months later, and his funeral was attended by many dignitaries, including the country's president. The man who, when touring Europe with his music said, "I don't use folklore, I am the folklore" (Eu sou o folclore) and "I have not come to learn, I have come to show what I have made up to now" 7, was dead at 72. 7 Mariz, Vasco. Historia da música no Brasil. Rio de Janeiro: Civilização Brasileira, 1981, 331c
6 CHAPTER II. ANALYSIS OF BRAZILIAN CYCLE 1936-1937 Vasco Mariz says that the Brazilian Cycle depicts the backwoodsman who seeds his land (Plantio do Caboclo), sings a serenade to the moon (Impressões Seresteiras), then gives a hillbilly Party (Festa no Sertão) and invites the White Indian to it (Dansa do Índio Branco). Plantio do Cabloco The first piece of the set, Plantio do Caboclo (Native Planting Song) was written in 1936 in Rio de Janeiro, dedicated to Arminda Neves d Almeida. In Portuguese, Caboclo means a mix of white and Indian. In 1939 Plantio do Caboclo and Festa no Sertão were premiered in Rio de Janeiro. See table 2.1 for the form chart of the first piece. Table 2.1 chart of Plantio do Caboclo Intro A Measures 1-4 5-20 Phrase a (mm.5-10) a (11-16) extension (mm.17-20) Melodic Descending four note pattern (mm.8-10 and 14-16) Eb-Db-Cb-Bb Black and G-flat D-flat G-flat (I-V-I) White Gb-C G-flat E-flat minor B-flat minor G-flat Ostinato begins B Measures 21-43 Phrase b (mm.21-28) c (29-43) Melodic Descending four note pattern (mm.21-22, mm.23-24) Gb-F-Eb-Db mm.29 dansa do indio branco melody
7 Added notes (mm.29) 1 descending seventh in the tenor line (mm.41) chromatic melody in the R.H. starting from mm.32 parallel harmonic motion starting in mm.29 Same rhythmic pattern lasting 1 measure and a half for 6 measures (mm.31-37) Eighteenth + eighteenth + quarter note + eighteenth + eighteenth + quarter note + eighteenth + eighteenth + quarter + eighteenth notes. Same rhythmic pattern 1 measure long repeating twice (mm.37-38) Eighteenth + eighteenth + quarter note + eighteenth + eighteenth + quarter note. Same rhythmic pattern of ½ measure repeating 5 times (mm.39-41) Eighteenth + eighteenth + quarter note. A Coda Measures 44-71 72-76 Phrase a (mm.44-49) a (50-57) extension (mm.58-61) a (mm.62-71) Melodic Descending four note pattern (mm.47-49 and 53-55) Eb-Db-Cb-Bb G-flat D-flat G-flat (I-V-I) G-flat E-flat minor B-flat minor G-flat 5 measures on the same key G-flat Ostinato begins Same rhythmic pattern on the left hand Melodic and Structure s The piece starts with a four-measure introduction that opens with the tonic (G-flat major), moving to C major, D-flat and back to G-flat. This progression is repeated and establishes the characteristic tritone relationship (G-flat C) that is also a black and white key relationship (G-flat B-flat D-flat/ C E G). Villa-Lobos frequently uses throughout the Cycle.
8 For this first piece, a descending melodic line is a primary feature, in measure 5 the melody appears as a simple line in the tenor voice moving by 2nds (B-flat, C, D-flat, C, B- flat, C, D-flat), and this idea repeats until measure 20. Throughout the piece, a descending four-note pattern is noticed, E-flat D-flat C-flat B-flat. In measures 21-22 and 23-24, we can see a melody falling by 2nd (G-flat, F, E-flat, D-flat; see the first 4 tenor notes in Example 2.1). In the B section, Villa-Lobos combines syncopation, melody, intervals in descending patterns. In measure 31, the combined melody and syncopated rhythm and resulted in an expanded descending fourth pattern from Bb mm.31, to F mm.35. From measure 30 to the end of section B, it s clear to several descending chordal patterns appear such as four falling 5th, three falling 4th, two falling 3rd, and one falling 7th (see example 2.1 for a falling 4th and a falling 3rd pattern). Ascending four-note patterns begins to mix in descending four-note patterns in measure 32. Example 2.1 Descending chordal pattern in the B section mm.30-31 and s One strongly identifiable characteristic of this piece is the syncopation between the right hand and the left hand. the pattern of sixteenth + eighteenth + sixteenth is an African rhythmic remnant that survived in the New World and was considered by various musicologists to be one of the most important rhythmic formulas that emerged in the Americas in the 19th century. 8 So that the rhythm was performed accurate, it was normal at 8 Lopes, Tania Mara. O fator atrasado na musica brasileira. Per Musi, 5-14
9 this time it was normal for the composers to explain how the rhythm was supposed to be played. Although it is accepted that the origin of the syncope is in Africa, the musicologists diverge on the way, time and place of its appearance. Some believe that it evolved from a basic rhythm, others that it is a transformation or assimilation of an Iberian triplet. Most agree that this syncope is unrelated to the old European syncope and that the interpretation would be different, from a delayed factor, a term that Appleby uses to define a delay and irregular performance of the internal subdivisions of syncopated rhythms in Brazilian music. 9 Impressões Seresteiras The Impressões Seresteiras (The Impressions of a Serenade) are a nostalgic or melancholic reference to the Serenades around 1920-1940, which were incredibly popular in Brazil performed by the Chorões. In his younger years, Villa-Lobos was a member of Chorões where he enjoyed playing music with his friends in the evening. Table 2.2 chart of Impressões Seresteiras Intro A Measures 1-5 6-31 Phrase a (mm.6-9) a (mm.10-13) b (mm.14-20) Melodic Descending arpeggio in open 5ths (C-sharp minor) Very clear melody that includes a descending four note pattern Chromatic bass from mm.6-24 (From C- sharp up to B and then down to D-sharp) Very functional harmony (D-sharp G- sharp C-sharp) Waltz rhythm 9 Appleby, David P. Heitor Villa-lobos A life (1887-1959). Scarecrow Press
10 B Retransition Measures 32-106 107-125 Phrase c (mm.32-57) bridge (mm.58-66) c (mm.67-80) d (mm.81-95) e (mm.96-06) bridge (mm.107-125) Melodic Simple melody imitating the A section. Chromatic bass in c. Simple harmony starting in C-sharp minor, moving to G-sharp B major E major C-sharp minor (mm.32-67). Circle of fifths (A-sharp D-sharp G-sharp C-sharp minor) from measures 95-125. Waltz rhythm continuous. L.H. introduces an irregular quadruplet pattern (mm.51-53, 57) A Measures 126-151 Phrase a (mm.126-129) a (mm.130-133) b (mm.134-140) Melodic Very clear melody that includes a descending four note pattern Chromatic bass from mm.126-144 (From C-sharp up to B and then down to D-sharp) Very functional harmony (D-sharp G-sharp C-sharp) Waltz rhythm C Retransition Measures 152-219 210-219 Phrase f (mm.152-163) f (mm.152-180) bridge (mm.181-183) f (mm.184-193) bridge (mm.194-219) Melodic Soprano line is the melody accompany by chords Chromatic pattern appears in mm.187 in the soprano line ( G F-sharp, A G-sharp, G F-sharp)
11 Chromatic pattern in mm.193 (A G-sharp G F-sharp E-sharp) Long pedal notes (E A D B A C G E A D F-sharp) from measures 152 197 Black/white feature presented more as a melody from mm.195-200 Syncopation in both hands Quadruplets in the right hand against dotted quarter note + eightheen notes in the left hand A Measures 220-251 Phrase a (mm.224-227) a (mm.228-231) b (mm.232-242) Melodic Very clear melody that includes a descending four note pattern Chromatic bass from mm.126-144 (From C-sharp up to B and then down to D-sharp) Very functional harmony (D-sharp G-sharp C-sharp) Waltz rhythm Melodic and Structure s The second piece of this set Impressões Seresteiras, written in 1936, is a waltz in an ABACA form. The piece starts with an introduction which opens with a long arpeggio in C- sharp minor descending by open 5ths, the key of the piece. There are two primary melodic features in this piece: a structurally clear melody (a a b) and an extended chromatic bass line. At measure 6, the theme one is presented in G- sharp, moving to F-sharp - mm.14, and finishing at measure 29 in C-sharp. The bass line in the A section moves chromatically (C-sharp C-double-sharp D-sharp E E-sharp, going up to B-natural and then descending to D-sharp) (see example 2.2)
Example 2.2 First 31 measures of the Impressões Seresteiras 12
13 The B section is based on segments of theme 1 of A with a bigger development. Starting on the tonic, this time, the melody imitates the A section rhythmically for both hands until the left hand, in measure 51, has an irregular pattern. This change prepares the return to the tonic in measure 66 (see example 2.3). From measure 66 until the retransition, Villa- Lobos doubles the right hand with an octave. Example 2.3 Example of the same rhythm pattern in the B section of Impressões Seresteiras In the C section, the soprano line is the melody from measures 153 164 and then switches to the left hand until 178. When the melody comes back to the right hand, there is a chromatic pattern in measure 187 189 (G F-sharp, A G-sharp, G F-sharp) and another pattern right before the black/white feature in measure 193 (A G-sharp G F-sharp E- sharp). and s features in this second piece includes a chromatic bass line, a simple harmonic progression and extended pedal points. As mentioned previously the A section has a chromatic bass moving from a C-sharp until B and then back to a D-sharp. In measure 24, the right-hand plays a C-sharp diminish chord with a D-sharp (ii) in the left hand, moving to G-sharp (V) and finishing at C-sharp minor in measure 29. The B section starts on the V (Csharp) moving back to the dominant at measure 41, at measure 55 goes down to a B + expanded chords to an E major at mm.58 and mm.67 goes back to C#. All the time, the melody follows the rhythmic pattern of the A section.
14 At measure 85, Villa-Lobos starts to build a climax by going from a C-sharp pedal for 11 measures until an A-sharp at mm.96. At mm.96, Villa-Lobos creates a way to go back to the A section through a circle of fifths, from A-sharpº7 mm.96-99 to D-sharpº7 mm.100-105, to G-sharp - mm. 106-121, to finally back to C-sharp minor mm.122. The C section starts at mm.152 with an arpeggio of E major going to A minor at mm.154. The section from 164 180 arrives at G until E (V) on measure 183 (see example 2.4). At measure 184, Villa-Lobos comes back to the same rhythmic idea from the beginning of the C-section until reaches F-sharp 7, the following six measures are a white and black key relationship that Villa-Lobos provides with an almost chromatic scale. At 220, Villa-Lobos goes back to C-sharp minor, after a few modulations, ending the piece with two measures of preparation to the final chord in C-sharp minor (see example 2.5)
15 Example 2.4 Syncopation in the left hand and technical difficulty in the C section of Impressões Seresteiras
16 Example 2.5 Last four measures of the Impressões Seresteiras Festa no Sertão Festa no Sertão is literally The Feast in the Desert, but could be The Feast in the Hinterland. The word Sertão is better known as a sub region in the Northeast of Brazil. Around the time of colonization, the Northeast was the first one to be colonized. The word Sertão can also mean the hinterland of Brazil, as well as the dry and almost inhospitable Sertão of Northeast, the plenty and rich Sertão of Southeast, the hot and humid Sertão of North, and the sometimes freezing Sertão of the South. All of them were known by Villa- Lobos through his trips all over the country. Table 2.3 chart of Festa no Sertão A Measures 1 37 Phrase a (mm1-19) transition 1 (20-37) Melodic Descending four-note pattern (mm.4-5, 6-7, 9-10) G F E D Back/white note conflict (mm.7,12) Chromatic pattern in mm. 20 Ab-G-Gb-F Chromatic pattern in mm.24,26 (F E Eb D) Ascending chromatic (Eb E F F# - G) mm.27-30 Neighbor motion ostinato (mm.2)
17 B Measures 38-53 Phrase Melodic Melody in the tenor line falls in the chromatic pattern from measures 38-43 (G G G F E-flat D) Chromatic bass from measures 38-43 (C B B-flat A-flat G F- sharp) V/V V I mm.43-45 Parallel motion Mix of quadruples, quintuples, and sextuple in the right hand against a syncopated rhythmic pattern in the left hand A Measures 54-83 Phrase a (mm.54-72) transition 2 (73-83) Melodic Descending four-note pattern (mm.56-57, 59-60, 62-65) Back/white note conflict (mm.60,66) Neighbor motion ostinato C Measures 84-104 Phrase c (mm.84-92) transition 3 (93-104) Melodic Interval of a 4 th in the alto voice from measures 94-97 (F C) Descending four note pattern mm.83,85,88 B-flat A-flat G-flat F E-flat D C B F E-flat D C Long E-flat pattern until mm.88 and then A-flat Secundal (added notes) mm.97 A
18 Measures 105-142 Phrase Melodic Four-note pattern (mm.108-111, 113-114, 115-116) Black/white note conflict (mm.111,116) Intervallic 4 th from measure 124-139 in the alto and soprano line (D G) Ends in C major The syncope can be compared to the samba rhythm. Melodic and Structure s The third piece of the set is in ABACA in a rondo form, and it moves, basically, into three keys, C major, C minor and E-flat major. There are three transition sections, first at mm.20-37, second mm.73-83 and last one at mm.94-104. The melody has a length of 4 measures and moves in 4ths, and at the end of the last measure, Villa-Lobos repeats his white and black keys relationship. See Example 2.6 for the descending melody and the white and black keys relationship. In the A section, we can see as in the other pieces descending fournote pattern: G F E D, in measures 4-5,6-7, 9-10. From measures 20 30, there are several chromatic patterns on the top line of the right hand, the first one is in mm.20 A-flat, G, G-flat, F, in measure 24 and 26 there is a chromatic descending four notes F, E, E-flat, D. The last chromatic pattern in this section is an ascending one in measure 27 E-flat, E, F, F-sharp, G.
19 Example 2.6 Melody and descending four note pattern in Festa no Sertão In the B section, the melody moves in the tenor line from measure 38-43 (G-G-G-F- E-flat-D). In the left hand, we can see a chromatic bass movement from the beginning of the section to mm. 43: C- B- B-flat- A-flat- G- F-sharp. The right hand has the same ostinato pattern changing between quadruples, quintuples and sextuple. See example 2.7 for the B section. At the beginning of the C-section, we see three descending four-note pattern from measures 83 89 (B-flat, A-flat, G-flat, F/ E-flat, D, C, B/ F, E-flat, D, C) also in measure 93 the 4th interval is showed again in the alto voice for 4 measures from F-C, reaching G at 98. See example 2.8
Example 2.7 B section with the chromatic left hand in Festa no Sertão 20
21 Example 2.8 4 th interval in the right hand in Festa no Sertão and s The harmony in this piece is very simple. It starts with a C major triad and, near the first transition of the piece, a C pedal appears for 8 measures together with an A-flat chord until measure 25 where he starts to change the major chords B-flat7 at mm.25, G-7 at mm.30, E-flat/B-flat at mm. 34, G7 (b5, b7) at mm.37, to get in C minor at measure 38. The B section beginnings in C minor and includes a short cadential pattern t in the bass line (V/V V i in measures 43 45). At the end of the section, there is an ascending whole tone scale in mm.50 (D-flat, E-flat, F, G, A, B-flat, C). The challenging part of the B section is the syncope in the left hand where the chords and the right-hand change between quadruplet, quintuplet and sextuplet. Next, to the end of the piece, the A section returns, and from measure 124 to 139 the 4th relationship appears again, (D and G in octaves) bringing this syncopated section to the end. The most characteristic feature in this piece is the rhythm, and the syncope in the A and B section can be compared to the samba rhythm (see chapter 3 example 3.1-3.3). The piece ends in C major. This is especially evident in the last 11 measures (see example 2.9).
22 Example 2.9 Last few measures of the piece with the 4 th interval in the right hand Dansa do Índio Branco Dansa do Indio Branco (Dance of the White Indian), could be interpreted as is referring to Villa-Lobos himself in the title. The ancestors of the composer were Spanish, but he always claimed to be Brazilian, meaning a mix of blood and culture of Europeans, Africans and Indio. Also there are studies that shows that Villa-Lobos had interest in the, Indio culture around the time he wrote this piece, he wrote two more pieces, the Primeira Missa no Brasil and the Descobrimento do Brasil, where the melody is an indio folk tune. Table 2.4: chart of Dansa do Indio Branco A Measures 1-84 Phrase Intro (mm.1-5) a (mm. 6-23) a (mm.32-50) bridge (mm.51-53) b (mm.54-77) bridge (78-84)
23 Melodic Melody is raising 2nds and falling 3rds from measure 14 (C,C,C,B,A/C,C,C,D,B/D,D,D,E,C,C,C,D,B,B,B,C,A) Expand theme from measure 32 From measure 54, the melody moves to the soprano line going against the F pedal making a dissonance sound. Transition to the B section is followed by 7 measures of repeating G (mm.78-84) Syncopated rhythm in both hands B Measures 85-127 Phrase c (mm.85-112) d (mm.113-127) Melodic Melody in the left hand starting with a 5 th from measure 85. Climax starts at G going up to A B reaching D in measure 113. From measure 113 until 137, the melody falls from from D to low D like a scale. In measure 85 mix of C major and G major End of the section finishes with a plagal cadence Syncopated rhythm from 113 127 A Measures 128-208 Phrase Intro (mm.128-133) a (mm. 134-151) a (mm.160-1780) bridge (mm.179-181) b (mm.182-202) bridge (203-208) Melodic Melody is raising 2nds and falling 3rds from measure 142 (C,C,C,B,A/C,C,C,D,B/D,D,D,E,C,C,C,D,B,B,B,C,A) Expand theme from measure 160 From measure 179, the melody moves to the soprano line going against the F pedal making a dissonance sound. Transition to the B section is followed by 7 measures of repeating G (mm.203-208) Syncopated rhythm in both hands
24 B Measures 209-228 Phrase c (mm.209-228) Melodic Melody in the left hand starting with a 5 th from measure 209. Glissando in measure 227 to give the beginning of the Coda In measure 209 mix of C major and G major Syncopated rhythm CODA Measures 229-246 Phrase Melodic Black/white note conflict from measure 239 Right Hand only white keys and Left Hand only black keys. From measure 239, change of: The tonic (A C E G-sharp) Minor dominant (E G B D#) Melody and Structure s The piece moves between 2 keys, A minor and C major. In the A section, the melody, in measure 14, contains raising 2nds and falling 3rds. Comparing other studies, Rust affirms that this melody could be a mix of chants of native people of Brazil and the chants of the Jesuit. Rust also says that this melody could be compared with the Dies Irae where the theme has also rising seconds and falling thirds. 10 Examples 2.10 and 2.11 compare the Dies Irae and the melody in this piece. 10 Rust, Roberta. Piano Works from Heitor Villa-Lobos' Middle Period: A Study of Choros no. 5, Bachianas Brasileiras no. 4, and Ciclo Brasileiro. (PhD dissertation, University of Miami, 1991).
25 Example 2.10 Dies Irae Example 2.11 Example of the ascending/descending melody of the Dansa do Indio Branco In measure 32 the theme is expanded with octaves but follows the same pattern. The melody switches to the soprano line in measure 54. This change can be challenging because of the dissonance brought by the F pedal in the left hand and the F in the G major chord in the right hand (see example 2.12). Example 2.12 G major chord with F pedal in the Dansa do Indio Branco
26 The B section starts with a melody that is dominated by thirds in many of which are ascending. and s Dansa do Indio Branco is harmonically very simple. Starting in A minor, Villa-Lobos doesn t change the key very often, in measure 54, there is a G major chord, changing to a C major at mm.71, transitioning to the B section. At the beginning of the B section, there is a mix of 2 keys, C major and G major, where the left hand plays C major and the right hand plays G major. See example 2.13 for the beginning of the B section. Example 2.13 First few measures of the B section in Dansa do Indio Branco The A section returns without changes followed by the B section until measure 227 with a glissando beginning the Coda. The climax of the coda is in measure 239 where Villa- Lobos plays with the white and black key relationship. A pattern of tonic (A-C-E-G-sharp) to minor dominant (E-G-B-D-sharp) falls by thirds begins in measure 239 and continues until the low A (Am7 is reached). See example 2.14 for the last measures of the piece. Just like all the other pieces, the Dansa do Indio Branco challenges the pianist with the strong syncope, the melody in the bass together with octaves, and the control of sound and pulse. Example 2.14 Last 7 measures of the piece with the black/white pattern of Dansa do Indio Branco
27 CHAPTER III. FINAL CONSIDERATIONS AND CONCLUSIONS Relating Rhythm Patterns to Brazilian Elements Comparisons between rhythmic examples and Brazilian elements will occur in this chapter. As stated before, Brazil was colonized by Europeans, and their culture, along with that of Africans brought as slaves and that of indios, resulted in Brazil s music. Sadroni says in his book about the Brazilian Syncope: Mas o que nos interessa mais diretamente é constatar que, neste ponto, o Brasil está muito mais perto da África do que da Europa. De fato, a música brasileira está coalhada de casos que podem ser descritos de maneira muito mais adequada através de conceitos como os expostos acima que através da teoria do compasso. No tambor-de-mina maranhense, no xangô e no maracatu pernambucanos, no candomblé e na capoeira baianos, na macumba e nos sambas cariocas, entre outros, fórmulas como 3+3+2, 3+2+3+2+2 e 3+2+2+3+2+2+2 fazem parte do dia a dia dos músicos 11 The translation for this quote is: But what interests us most directly is here, at this point, Brazil is much closer to Africa than to Europe. In fact, Brazilian music is being used in cases that can be modified by means of concepts such as expositions above what is the theory of time. In tambor-de-mina maranhese (Maranhão drum-of-mina), in xangô and maracatu from Pernambuco, in candomblé and Capoeira from Bahia, Macumba and Sambas from Rio de Janeiro, among others, formulas such as 3 + 3 + 2, 3 + 2 + 3 + 2 + 2 And 3 + 2 + 2 + 3 + 2 + 2 + 2 make part of the day a musician s day. The rhythmic system for the Ciclo Brasileiro is extremely evident and present in all four pieces. Villa-Lobos eccentric way of composing makes it sound natural and easy, the syncope in his pieces are familiar to the Brazilian ears but different and interesting to the foreign ears. His love for his country s culture made him one of the most important composers in Brazil. We can see that by comparing syncope from popular music with syncope in the Ciclo Brasileiro. There are five rhythmic patterns from popular music that appear on examples 3.1, 3.2, 3.3, 3.4, 3.5. 11 Sandroni, Carlos. Feitiço Decente, Zahar, 2001, 19.
28 In examples 3.1, 3.3, and 3.4 the samba is a traditional type of dance originated in Bahia (state in the Northeast of Brazil). There are different types of samba and various styles depending on the States: one for dancing in a slow tempo, one for dancing a fast tempo, and one for carnival. Example 3.1 Samba syncope Seresteiras Example 3.2 Samba rhythm exactly same rhythm in the C section of Impressões Example 3.3 Samba rhythm In example 3.4, Maracatu is a rhythmic dance from Pernambuco (Northeast of Brazil). This genre is usually in a fast tempo, accompanied by percussion instruments.
29 Example 3.4 Maracatú rhythm Example 3. 5 is known as Baião. This rhythmic pattern originated in the Northeast of Brazil and is the base for popular types of dances, like forró. The instruments used for this type of dance usually are going against the beats of the drums. Example 3.5 Baião rhythm example: All these examples can be compared to the syncope of the pieces in the set, for Example 3.6 Plantio do Caboclo, B section, left hand
30 Example 3.7 Impressões Seresteiras, C section If we compare the example 3.6 with the example 3.1, we ll notice a similarity with the two rhythms. The example 3.7 and 3.3 can also be compared and noticed the similarity with the samba rhythm. General Observation of Identified Brazilian Characteristics We might think that when Villa-Lobos chose the title of the work he wanted it to be descriptive, maybe even narrative. Ciclo, or Cycle is an interval of space or time in which one set of events or phenomena is completed. The cycle here is the arch between the sowing and the celebration of the harvest. It begins with the Plantio do Caboclo (Native Planting Song), continues with Impressões Seresteiras (The Impressions of a Serenade), maybe a rest after the hard work. After this, there s the Festa no Sertão (The Feast in the Hinterland), and the conclusion with the Dansa do Indio Branco (Dance of the White Indian), when the workers invite the White Indian, Villa-Lobos himself. Like many other works of Villa-Lobos, this one is a celebration of the Brazilian identity, in a time when it was still undefined. The indio culture and the Afro-Brazilian culture were for Villa-Lobos part of what he saw as a Brazilian Culture, that has many influences and a unique blend or mix. These influences don t exclude the European culture: in 1937, the same year of Ciclo Brasileiro, he completed the Missa de São Sebastião, a
31 musical Mass in traditional form (with Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei). São Sebastião is the patron saint of the city of Rio de Janeiro. The Ciclo Brasileiro offer another theme for discussion, the question of nationalism versus universalism, or better how art surpasses nationalism and becomes universal. There s a quote, usually attributed to Tolstoy, Paint your village and you will paint the whole world, and we can say that Villa-Lobos s paintings show the many colors and an advanced technique. We can t forget that nationalism in the arts of the Twentieth Century goes beyond the political involvement of the Nineteenth Century. From the researches of the newcomer Ethnomusicology, that aimed to preserve the cultural heritage, composers like Bartók, Kodály, Stravinsky, and Villa-Lobos himself used known melodies and rhythms, and reworked and incorporated them in works of incredible complexity. Nationalism was an important subject in Brazil in the thirties, even a state affair. Villa-Lobos was aware of the political use of it by Brazil s government, but for him there was a difference between nationalism and patriotism: Patriotism in music, and capitalizing upon it, is very dangerous. You will have propaganda instead. But nationalism the power of the earth, the geographic and ethnographic influences that a composer cannot escape, the musical idioms and sentiment of people and environment these origins, in my opinion, are indispensable to a vital and genuine art. 12 Perhaps Villa-Lobos popularity is a result of the variety of compositional procedures that he uses in working the themes, whether quotations or original melodies with folk flavor. This mixture of regional and cosmopolitan elements was determinant for his style and musical language. If it was capital to his permanence, then it encouraged the folklorisation of his legacy. 12 Rubinsky, Sonia. Villa-Lobos, H.: Piano Music, vol.3. Naxos, 2013, compact disc
32 Villa-Lobos needs, in the Twentieth-first century, a different kind of approach, one that concentrates more in the music than in his folklore. He once said he considered his works letters written to posterity and to which he expected no answer. He also said I do not write in a dissonant style just to be modern. What I write is a direct consequence of my studies, of the synthesis that I have achieved in order to express the particular nature of Brazilian culture. I tested my studies against the heritage of Western music and eventually arrived at a middle ground that represents the individuality of my ideas. 13 It is this heritage of form, content, instrumental and compositional technique, that has to be rediscovered. His works were easily assimilated by his contemporaries. Today s musicians should recognize his importance as a composer who speaks to everyone, and not only to his fellow countrymen. After looking and analyzing the pieces, it is clear to see some characteristics linking all the pieces together. 1. A simple harmonic progression. Villa-Lobos provided a simple predominant - dominant tonic so that the melody and rhythm would not compete with a complex harmonic progression. 2. Descending melodic pattern (frequently descending fourths). This is especially prominent in the melodies of Plantio do Cabloco and Festa no Sertão (see example 2.6) 3. Chromatic line (often in the bass) as seen in example 2.2 Impressões Seresteiras. 4. patterns from popular and folk music. Syncope plays an important role in this set, Plantio do Cabloco, Impressões Seresteiras, Festa no Sertão and 13 Rubinsky, Sonia. Villa-Lobos, H.: Piano Music, vol.3. Naxos, 2013, compact disc
33 Dansa do Indio Branco and can be associated to Brazilian traditional rhythms such as samba, maracatú, baião. Final Thoughts It is hoped that this study has brought to light some features found in Ciclo Brasileiro that might help other researchers establish common musical characteristics that could be associated with traditional Brazilian music. Perhaps this thesis will also help to make Villa- Lobos piano pieces more known and appreciated. His admirable work brings Brazilian culture into classical music and should be explored, more especially by English-speaking scholars.
34 BIBLIOGRAPHY Andrade, Mário de. Ensaio sobre a música brasileira. 3 rd ed. São Paulo: Villa Rica, Brasilia, 1972 Appleby, David P. Heitor Villa-Lobos: A Life (1887-1959). Lanham, MD: Scarecrow Press, 2002. Assis, C. A. Fatores de coerência nos Choros no 5 ( Alma brasileira ), de H. Villa- Lobos, 64-73. Per Musi, Belo Horizonte, n.20, 2009. Azevedo Leitão, Simone. Heitor Villa-Lobos MOMOPRECOCE FANTASY for Piano and Orchestra (1919-1929): An Historical, Stylistic, and Interpretative Study. Diss. U of Miami, 2009. Batista Ávila, Marli. A Obra Pedagógica De Heitor Villa-Lobos - Uma Leitura Atual De Sua Contribuição Para a Educação Musical No Brasil. Thesis. USP, 2010. Béhague, Gerard. Heitor Villa-Lobos: The Search for Brazil's Musical Soul. Austin: Institute of Latin American Studies, University of Texas at Austin, 1994. Camargo Piedade, Acácio Tadeu de. "Trópicas Em Villa-Lobos: O Excesso Bruto E Puro.",1-8, Simpósio Internacional Villa-Lobos, USP, 2009. Cançado, Tânia Mara Lopes. O fator atrasado na música brasileira, 5-14 Per Musi, Belo Horizonte, v.2, 2000 Fonseca, Edilberto José de Macedo. Villa-Lobos e Movimento Folclórico Brasileiro Cançado, Tania Mara Lopes. O fator atrasado na música brasileira: evolução, características e interpretação. Per Musi. Belo Horizonte, v.2, 2000. P.5-14 Mariz, Vasco. Heitor Villa-Lobos; Brazilian Composer. Gainesville: University of Florida Press, 1963. Mariz, Vasco. Historia da música no Brasil. Rio de Janeiro: Civilização Brasileira, 1981, 3 31c Nery Filho, Walter. OS VOOS D O PASSARINHO DE PANO E ANÁLISE DOS PROCESSOS COMPOSICIONAIS NA SUÍTE PROLE DO BEBÊ No 2 DE VILLA- LOBOS. PhD diss., Universidade De Sao Paulo, 2012. Nogueira França, Eurico. "Villa Lobos Interprete Musical Do Tropico." Ci&T, 1983. Orrego-Salas, Juan A. "Heitor Villa-Lobos Figura, Obra Y Estilo." Revista Musical Chilena. Peppercorn, L. M. The World of Villa-Lobos: In Pictures and Documents. Brookfield, VT: Scolar Press, 1996.
35 Rubinsky, Sonia. Villa-Lobos, H.: Piano Music, vol.3. Naxos, 2013, compact disc Rust, Roberta. Piano Works from Heitor Villa-Lobos' Middle Period: A Study of Choros no. 5, Bachianas Brasileiras no. 4, and Ciclo Brasileiro. PhD diss., University of Miami, 1991. Order No. 9136502. http://search.proquest.com/docview/303950169?accountid=26417. Sandroni, Carlos. Feitiço Decente Transformações do samba no Rio de Janeiro (1917-1923). Zahar, 2001 Silva, José Ivo da. Os Estilos e as Idéias em Villa-Lobos, Anais do Simpósio de Pesquisa em Música 3, 2006: p. 81-87. ISBN 85-98826-10-8. Tarasti, Eero. Heitor Villa-Lobos: The Life and Works, 1887-1959. Jefferson, NC: McFarland, 1995. Villa-Lobos, Heitor. The Piano Music of Heitor Villa-Lobos. New York: Music Sales Corp. 1992. Wright, Simon. Villa-Lobos. Oxford: Oxford University Press, 1992.
36 APPENDIX A. FORM CHARTS Table 2.1: chart of Plantio do Caboclo Intro A Measures 1-4 5-20 Phrase a (mm.5-10) a (11-16) extension (mm.17-20) Melodic Descending four note pattern (mm.8-10 and 14-16) Eb-Db-Cb-Bb Black and White Gb- C G-flat D-flat G-flat (I-V-I) G-flat E-flat minor B-flat minor G-flat Ostinato begins B Measures 21-43 Phrase b (mm.21-28) c (29-43) Melodic Descending four note pattern (mm.21-22, mm.23-24) Gb-F-Eb-Db mm.29 dansa do indio branco melody Added notes (mm.29) 1 descending seventh in the tenor line (mm.41) chromatic melody in the R.H. staring from mm.32 parallel harmonic motion starting in mm.29 Same rhythmic pattern lasting 1 measure and a half for 6 measures (mm.31-37) Eighteenth + eighteenth + quarter note + eighteenth + eighteenth + quarter note + eighteenth + eighteenth + quarter + eighteenth notes. Same rhythmic pattern 1 measure long repeating twice (mm.37-38) Eighteenth + eighteenth + quarter note + eighteenth + eighteenth + quarter note. Same rhythmic pattern of ½ measure repeating 5 times (mm.39-41) Eighteenth + eighteenth + quarter note. A Coda
37 Measures 44-71 72-76 Phrase a (mm.44-49) a (50-57) extension (mm.58-61) a (mm.62-71) Melodic Descending four note pattern (mm.47-49 and 53-55) Eb-Db-Cb-Bb G-flat D-flat G-flat (I-V-I) G-flat E-flat minor B-flat minor G-flat 5 measures on the same key G- flat Ostinato begins Same rhythmic pattern on the left hand Table 2.2: chart of Impressões Seresteiras Intro A Measures 1-5 6-31 Phrase a (mm.6-9) a (mm.10-13) b (mm.14-20) Melodic Descending arpeggio in open 5ths (C-sharp minor) Very clear melody that includes a descending four note pattern Chromatic bass from mm.6-24 (From C-sharp up to B and then down to D-sharp) Very functional harmony (D-sharp G-sharp C- sharp) Waltz rhythm B Retransition Measures 32-106 107-125 Phrase c (mm.32-57) bridge (mm.58-66) c (mm.67-80) d (mm.81-95) e (mm.96-06) bridge (mm.107-125) Melodic Simple melody imitating the A section.
38 Chromatic bass in c. Simple harmony starting in C-sharp minor, moving to G-sharp B major E major C-sharp minor (mm.32-67). Circle of fifths (A-sharp D-sharp G-sharp C-sharp minor) from measures 95-125. Waltz rhythm continuous. L.H. introduces an irregular quadruplet pattern (mm.51-53, 57) A Measures 126-151 Phrase a (mm.126-129) a (mm.130-133) b (mm.134-140) Melodic Very clear melody that includes a descending four note pattern Chromatic bass from mm.126-144 (From C-sharp up to B and then down to D-sharp) Very functional harmony (D-sharp G-sharp C-sharp) Waltz rhythm C Retransition Measures 152-219 210-219 Phrase f (mm.152-163) f (mm.152-180) bridge (mm.181-183) f (mm.184-193) bridge (mm.194-219) Melodic Soprano line is the melody accompany by chords Chromatic pattern appears in mm.187 in the soprano line ( G F-sharp, A G-sharp, G F-sharp) Chromatic pattern in mm.193 (A G-sharp G F-sharp E-sharp) Long pedal notes (E A D B A C G E A D F-sharp) from measures 152 197 Black/white feature presented more as a melody from mm.195-200 Syncopation in both hands Quadruplets in the right hand against dotted quarter note + eightheen notes in the left hand A Measures 220-251