Heitor Villa-Lobos

1 Biography
1.1 Youth and exploration
Heitor Villa-Lobos was born in Rio de Janeiro. His father, Raul, was a civil servant, an educated man of Spanish extraction, a librarian, and an amateur astronomer and
musician. In Villa-Loboss early childhood, Brazil underwent a period of social revolution and modernisation,
abolishing slavery in 1888 and overthrowing the Empire
of Brazil in 1889. The changes in Brazil were reected in
its musical life: previously European music had been the
dominant inuence, and the courses at the Conservatrio
de Msica were grounded in traditional counterpoint and
harmony. Villa-Lobos underwent very little of this formal training. After a few abortive harmony lessons, he
learnt music by illicit observation from the top of the
stairs of the regular musical evenings at his house arranged by his father. He learned to play cello, guitar and
clarinet. When his father died suddenly in 1899 he earned
a living for his family by playing in cinema and theatre orchestras in Rio.[3]
Around 1905 Villa-Lobos started explorations of Brazils
dark interior, absorbing the native Brazilian musical
culture. Serious doubt has been cast on some of VillaLoboss tales of the decade or so he spent on these expeditions, and about his capture and near escape from
cannibals, with some believing them to be fabrications or
wildly embellished romanticism.[4] After this period, he
gave up any idea of conventional training and instead absorbed the musical inuences of Brazils indigenous cultures, themselves based on Portuguese and African, as
well as American Indian elements. His earliest compositions were the result of improvisations on the guitar from
this period.

Heitor Villa-Lobos circa 1922

Villa-Lobos played with many local Brazilian streetmusic bands; he was also inuenced by the cinema and
Ernesto Nazareths improvised tangos and polkas.[5] For
a time Villa-Lobos became a cellist in a Rio opera company, and his early compositions include attempts at
Grand Opera. Encouraged by Arthur Napoleo, a pianist
and music publisher, he decided to compose seriously.[6]

Heitor Villa-Lobos (Portuguese: [ejto vil lobus];

March 5, 1887 November 17, 1959) was a Brazilian
composer, described as the single most signicant creative gure in 20th-century Brazilian art music.[1] VillaLobos has become the best-known and most signicant
Latin American composer to date.[2] A prolic composer,
he wrote numerous orchestral, chamber, instrumental
and vocal works, totaling over 2000 works by his death
in 1959. His music was inuenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplied by his Bachianas
Brasileiras (Brazilian Bachian-pieces). His preludes for
guitar, written in 1940, are important works in the guitar
repertory, and were inspired by Andrs Segovia.

1.2 Brazilian inuences

In 1912, Villa-Lobos married the pianist Luclia
Guimares, ended his travels, and began his career as
a serious musician. His music began to be published in
1

1 BIOGRAPHY
numbers for his compositions as a constraint to his pioneering spirit. With the piano suite Carnaval das crianas
(Childrens carnival) of 191920, Villa-Lobos liberated
his style altogether from European Romanticism:[9] the
suite, in eight movements with the nale written for piano duet, depicts eight characters or scenes from Rios
Lent Carnival.
In February 1922, a festival of modern art took place in
So Paulo and Villa-Lobos contributed performances of
his own works. The press were unsympathetic and the audience were not appreciative; their mockery was encouraged by Villa-Loboss being forced by a foot infection to
wear one carpet slipper.[10] The festival ended with VillaLoboss Quarteto simblico, composed as an impression
of Brazilian urban life.
In July 1922, Rubinstein gave the rst performance of the
piano suite A Prole do Beb (The Babys Family), composed in 1918. There had recently been an attempted
military coup on Copacabana Beach, and places of entertainment had been closed for days; the public possibly
wanted something less intellectually demanding, and the
piece was booed. Villa-Lobos was philosophical about it,
and Rubinstein later reminisced that the composer said,
I am still too good for them. The piece has been called
the rst enduring work of Brazilian modernism.[11]

Rubinstein suggested that Villa-Lobos tour abroad, and in

Heitor Villa-Lobos statue next to Rio de Janeiros Municipal The- 1923 he set out for Paris. His avowed aim was to exhibit
ater.
his exotic sound world rather than to study. Just before he
left he completed his Nonet (for ten players and chorus)
which was rst performed after his arrival in the French
1913. He introduced some of his compositions in a series capital. He stayed in Paris in 192324 and 192730, and
of occasional chamber concerts (later also orchestral con- there he met such luminaries as Edgard Varse, Pablo Picerts) from 19151921, mainly in Rio de Janeiros Salo casso, Leopold Stokowski and Aaron Copland. Parisian
concerts of his music made a strong impression.[12]
Nobre do Jornal do Comrcio.
In the 1920s, Villa-Lobos also met the Spanish guitarist Andrs Segovia, who commissioned a guitar study:
the composer responded by writing a set of twelve such
pieces, each based on a tiny detail or gure played
by Brazilian itinerant street musicians (chores), transformed into a tude that is not merely didactic. The music of chores also provided the initial inspiration for his
Chros, a series of compositions written between 1924
29. The rst European performance of Chros No. 10,
in Paris, caused a storm: L. Chevallier wrote of it in Le
Monde musical, "[...it is] an art [...] to which we must
European inuences did still inspire Villa-Lobos. In 1917
now give a new name.[13]
Sergei Diaghilev made an impact on tour in Brazil with
his Ballets Russes. That year Villa-Lobos also met the
French composer Darius Milhaud, who was in Rio as
1.3 Vargas era
secretary to Paul Claudel at the French Legation. Milhaud brought the music of Claude Debussy, Erik Satie, In 1930, Villa-Lobos, who was in Brazil to conduct,
and possibly Igor Stravinsky; in return Villa-Lobos intro- planned to return to Paris. One of the consequences of
duced Milhaud to Brazilian street music. In 1918, he also the revolution of that year was that money could no longer
met the pianist Arthur Rubinstein, who became a lifelong be taken out of the country, and so he had no means of
friend and champion; this meeting prompted Villa-Lobos paying any rents abroad. Thus forced to stay in Brazil,
to write more piano music.[8]
he arranged concerts instead around So Paulo, and comThe music presented at these concerts shows his coming
to terms with the conicting elements in his experience,
and overcoming a crisis of identity, as to whether European or Brazilian music would dominate his style. This
was decided by 1916, the year in which he composed
the symphonic poems Amazonas and Uirapur (although
Amazonas was not performed until 1929, and Uirapur
was rst performed in 1935). These works drew from
native Brazilian legends and the use of primitive folk
material.[7]

In about 1918 Villa-Lobos abandoned the use of opus posed patriotic and educational music. In 1932, he be-

1.4

Composer in demand

came director of the Superintendncia de Educao Mu- 1.4

sical e Artstica (SEMA), and his duties included arranging concerts including the Brazilian premieres of Ludwig
van Beethovens Missa Solemnis and Johann Sebastian
Bachs Mass in B minor as well as Brazilian compositions.
His position at SEMA led him to compose mainly patriotic and propagandist works. His series of Bachianas
Brasileiras were a notable exception.

Composer in demand

In 1936, at the age of forty-nine, Villa-Lobos left his wife,

and became romantically involved with Arminda Neves
dAlmeida, who remained his companion until death. Arminda eventually took on the name Villa-Lobos, though
Villa-Lobos never divorced his rst wife. After VillaLobos death, Arminda became the Director of the Museu
Villa-Lobos in 1960, until her death in 1985. Arminda
was herself a musician and a signicant inuence on Heitor Villa-Lobos at the end of a concert in Tel Aviv, 1952
Villa-Lobos. He also dedicated a good number of works
to her, including the Ciclo brasileiro and many of the Vargas fell from power in 1945. Villa-Lobos was able, afChros.
ter the end of the war, to travel abroad again; he returned
Villa-Loboss writings of the Vargas era include to Paris, and also made regular visits to the United States
propaganda for Brazilian nationhood (brasilidade),[14] as well as travelling to Great Britain, and Israel. He reand teaching and theoretical works. His Guia Prtico ran ceived a huge number of commissions, and fullled many
to 11 volumes, Solfejos (two volumes, 1942 and 1946) of them despite failing health. He composed concertos
contained vocal exercises, and Canto Orfenico (1940 for piano, cello (the second one in 1953), classical guitar
and 1950) contained patriotic songs for schools and for (in 1951 for Segovia, who refused to play it until the com[18]
civic occasions. His music for the lm O Descobrimento poser provided a cadenza in 1956 ), harp (for Nicanor
do Brasil (The Discovery of Brazil) of 1936, which Zabaleta in 1953) and harmonica (for John Sebastian, Sr.
included versions of earlier compositions, was arranged in 19556). Other commissions included his Symphony
into orchestral suites, and includes a depiction of the rst No. 11 (for the Boston Symphony Orchestra in 1955),
and the opera Yerma (195556) based on the play by
mass in Brazil in a setting for double choir.
Federico Garca Lorca. His prolic output of this period
Villa-Lobos published A Msica Nacionalista no Govrno
prompted criticisms of note-spinning and banality: critGetlio Vargas c.1941, in which he characterised the naical reactions to his Piano Concerto No. 5 included the
tion as a sacred entity whose symbols (including its ag,
comments bankrupt and piano tuners orgy.[19]
motto and national anthem) were inviolable. Villa-Lobos
was the chair of a committee whose task was to dene a His music for the lm Green Mansions starring Audrey
Hepburn and Anthony Perkins, commissioned by MGM
denitive version of the Brazilian national anthem.[15]
in 1958, earned Villa-Lobos US$25,000, and he conAfter 1937, during the Estado Novo period when Varducted the soundtrack recording himself.[20] The lm was
gas seized power by decree, Villa-Lobos continued proin production for many years. Originally to be directed by
ducing patriotic works directly accessible to mass audiVincente Minnelli, it was taken over by Hepburns husences. Independence Day on September 7, 1939 involved
band Mel Ferrer.[21] MGM decided to use only part of
30,000 children singing the national anthem and items arVilla-Loboss music in the actual lm, turning instead to
ranged by Villa-Lobos. For the 1943 celebrations he also
Bronislau Kaper for the rest of the music.[22] From the
composed the ballet Dana da terra, which the authoriscore, Villa-Lobos compiled a work for soprano soloist,
ties deemed unsuitable until it was revised. The 1943 celmale chorus, and orchestra, which he titled Forest of the
ebrations did include Villa-Loboss hymn Invocao em
Amazon and recorded it in 1959 in stereo with Brazildefesa da ptria shortly after Brazils declaring war on
ian soprano Bidu Sayo, an unidentied male chorus, and
Germany and its allies.[16]
the Symphony of the Air for United Artists Records. The
Villa-Loboss demagogue status damaged his reputation spectacular recording was issued both on LP and reel-toamong certain schools of musicians, among them disci- reel tape.[23]
ples of new European trends such as serialismwhich
In June 1959, Villa-Lobos alienated many of his fellow
was eectively o limits in Brazil until the 1960s. This
musicians by expressing disillusionment, saying in an incrisis was, in part, due to some Brazilian composers ndterview that Brazil was dominated by mediocrity.[24] In
ing it necessary to reconcile Villa-Loboss own liberation
November he died in Rio; his state funeral was the of Brazilian music from European models in the 1920s
nal major civic event in that city before the capital transwith a style of music they felt to be more universal.[17]
ferred to Braslia.[25] He is buried in the Cemitrio So
Joo Batista in Rio de Janeiro.

2 MUSIC

Music

See also: List of compositions by Heitor Villa-Lobos

His earliest pieces originated in guitar improvisations,
for example Panqueca (Pancake) of 1900. The concert
series of 191521 included rst performances of pieces
demonstrating originality and virtuosic technique. Some
of these pieces are early examples of elements of importance throughout his uvre. His attachment to the Iberian
Peninsula is demonstrated in Cano Ibria of 1914 and
in orchestral transcriptions of some of Enrique Granados'
piano Goyescas (1918, now lost). Other themes that were
to recur in his later work include the anguish and despair
of the piece Desesperana Sonata Phantastica e Capricciosa no. 1 (1915), a violin sonata including histrionic and violently contrasting emotions,[26] the birds of
L'oiseau bless d'une che (1913), the motherchild relationship (not usually a happy one in Villa-Loboss music) in Les mres of 1914, and the owers of Sute oral
for piano of 191618 which reappeared in Distribuio
de ores for ute and guitar of 1937.
Reconciling European tradition and Brazilian inuences
was also an element that bore fruit more formally later.
His earliest published work Pequena sute for cello and
piano of 1913 shows a love for the cello, but is not notably Brazilian, although it contains elements that were
to resurface later.[27] His three-movement String Quartet
no. 1 (Sute graciosa) of 1915 (expanded to six movements ca. 1947[28] ) is inuenced by European opera,[29]
while Trs danas caractersticas (africanas e indgenas)
of 191416 for piano, later arranged for octet and subsequently orchestrated, is radically inuenced by the tribal
music of the Caripunas Indians of Mato Grosso.[30]
With his tone poems Amazonas (1917, rst performed
in Paris in 1929) and Uirapur (1917, rst performed
1935) he created works dominated by indigenous Brazilian inuences. The works use Brazilian folk tales and
characters, imitations of the sounds of the jungle and
its fauna, imitations of the sound of the nose-ute by
the violinophone, and not least imitations of the uirapuru
itself.[31]
His meeting with Artur Rubinstein in 1918 prompted
Villa-Lobos to compose piano music such as Simples coletnea of 1919which was possibly inuenced by Rubinsteins playing of Ravel and Scriabin on his South
American toursand Bailado infernal of 1920.[8] The
latter piece includes the tempi and expression markings
vertiginoso e frentico, infernal and mais vivo ainda
(faster still).

Facsimile of Villa-Loboss The Slaves of Job

linking passages and a new title, Momoprecoce. Navet

and innocence is also heard in the piano suites A Prole do
Beb (The Babys Family) of 191821.
Around this time he also fused urban Brazilian inuences and impressions, for example in his Quarteto simblico of 1921. He included the urban street music of the
chores, who were groups containing ute, clarinet and
cavaquinho (a Brazilian guitar), and often also including
ophicleide, trombones or percussion. Villa-Lobos occasionally joined such bands. Early works showing this inuence were incorporated into the Sute popular brasileira
of 190812 assembled by his publisher, and more mature works include the Sexteto mstico (c.1955, replacing
a lost and probably unnished one begun in 1917[32] ), and
Canes tpicas brasileiras of 1919. His guitar studies are
also inuenced by the music of the chores.[33]

All the elements mentioned so far are fused in VillaLoboss Nonet. Subtitled Impresso rpida do todo o
Brasil (A Brief Impression of the Whole of Brazil), the
title of the work denotes it as ostensibly chamber music, but it is scored for ute/piccolo, oboe, clarinet, saxCarnaval das crianas of 191920 saw Villa-Loboss ma- ophone, bassoon, celesta, harp, piano, a large percussion
ture style emerge; unconstrained by the use of traditional battery requiring at least two players, and a mixed chorus.
formulae or any requirement for dramatic tension, the In Paris, his musical vocabulary established, Villa-Lobos
piece at times imitates a mouth organ, childrens dances, solved the problem of his works form. It was perceived
a harlequinade, and ends with an impression of the carni- as an incongruity that his Brazilian impressionism should
val parade. This work was orchestrated in 1929 with new be expressed in the form of quartets and sonatas. He de-

5
veloped new forms to free his imagination from the constraints of conventional musical development such as that
required in sonata form.[34] The multi-sectional poema
form may be seen in the Suite for Voice and Violin, which
is somewhat like a triptych, and the Poema da criana
e sua mam for voice, ute, clarinet, and cello (1923).
The extended Rudepoema for piano, written for Rubinstein, is a multi-layered work, often requiring notation on
several staves, and is both experimental and demanding.
Wright calls it the most impressive result of this formal
development.[35] The Ciranda, or Cirandinha is a stylised
treatment of simple Brazilian folk melodies in a wide variety of moods. A ciranda is a childs singing game, but
Villa-Loboss treatment in the works he gave this title
are sophisticated. Another form was the Chros. VillaLobos composed more than a dozen works with this title
for various instruments, mostly in the years 19241929.
He described them as a new form of musical composition, a transformation of the Brazilian music and sounds
by the personality of the composer.[36]
After the revolution of 1930, Villa-Lobos became something of a demagogue. He composed more backwardlooking music such as the Missa So Sebastio of
1937, and published teaching pieces and ideological
writings.[37]
He also composed between 1930 and 1945 nine pieces he
called Bachianas Brasileiras (Brazilian Bachian pieces).
These take the forms and nationalism of the Chros, and
add the composers love of Bach. Villa-Loboss use of
archaisms was not new (an early example is his Pequena
sute for cello and piano of 1913). The pieces evolved
over the period rather than being conceived as a whole,
some of them being revised or added to. They contain
some of his most popular music, such as No. 5 for soprano and eight cellos (19381945), and No. 2 for orchestra of 1930 (the Tocata movement of which is O trenzinho do caipira, The little train of the Caipira). They
also show the composers love for the tonal qualities of
the cello, both No. 1 and No. 5 being scored for no
other instruments. In these works the often harsh dissonances of his earlier music are less evident: or, as Simon
Wright puts it, they are sweetened. The transformation of Chros into Bachianas Brasileiras is demonstrated
clearly by the comparison of No. 6 for ute and bassoon
with the earlier Chros No. 2 for ute and clarinet. The
dissonances of the later piece are more controlled, the
forward direction of the music easier to discern. Bachianas Brasileiras No. 9 takes the concept so far as to be
an abstract Prelude and Fugue, a complete distillation of
the composers national inuences.[38] Villa-Lobos eventually recorded all nine of these works for EMI in Paris,
mostly with the musicians of the French National Orchestra; these were originally issued on LPs and later reissued
on CDs.[39] He also recorded the rst section of Bachianas Brasileiras No. 5 with Bidu Sayo and a group of
cellists for Columbia.[40]
During his period at SEMA, Villa-Lobos composed ve

string quartets, nos. 5 to 9, which explored avenues

opened by his public music that dominated his output. He also wrote more music for Segovia, the Cinq
prludes, which also demonstrate a further formalisation
of his composition style. After the fall of the Vargas
government, Villa-Lobos returned full-time to composition, resuming a prolic rate of completing works. His
concertosparticularly those for the guitar, the harp, and
the harmonicaare examples of his earlier poema form.
The harp concerto is a large work, and shows a new
propensity to focus on a small detail, then to fade it and
bring another detail to the foreground. This technique
also occurs in his nal opera, Yerma, which contains a
series of scenes each of which establishes an atmosphere,
similarly to the earlier Momoprecoce.
Villa-Loboss nal major work was the music for the lm
Green Mansions (though in the end, most of his score
was replaced with music by Bronislaw Kaper[41] ) and its
arrangement as Floresta do Amazonas for orchestra, as
well as some short songs issued separately. In 1957, he
wrote a 17th String Quartet, whose austerity of technique
and emotional intensity provide a eulogy to his craft.[24]
His Benedita Sabedoria, a sequence of a cappella chorales
written in 1958, is a similarly simple setting of Latin biblical texts. These works lack the pictorialism of his more
public music.
Except for the lost works, the Nonetto, the two concerted
works for violin and orchestra, Suite for Piano and Orchestra, a number of the symphonic poems, most of his
choral music and all of the operas, his music is well represented on the worlds recital and concert stages and on
CD.

3 Legacy
When touring Europe with his music he 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. (Ich bin nicht gekommen, um zu lernen,
sondern um zu zeigen, was ich bisher gemacht habe.)[42]
showing that he was quite aware of his unique position
among classical composers, and he made good use of his
origins to publicise his own works.[43]

4 Recordings
Villa-Lobos plays Villa-Lobos (SCSH 010, SanCtuS
Recordings) (audio)
Villa-Lobos par lui-mme (EMI Classics
0077776722924) (archive from 26 September
2011, accessed 19 November 2015).
Villa-Lobos: Bachianas Brasileiras Nos. 1, 2, 5
& 9 Angel 0724356696426; EMI Classics CD

6 NOTES

[14] For example, Villa-Lobos [?1941]

[15] Wright 1992, 108.
[16] Wright 1992, 115.
[17] Wright 1992, 1178.
[18] Wright 1992, 123.
[19] The critic of Musical Opinion in 1955, quoted in Wright
1992, 12122.
[20] Wright 1992, 136.
[21] The MGM Story
[22] Heitor Villa-Lobos website.
[23] United Artists reel-to-reel tape, released 1959.
[24] Wright 1992, 139.
poster announcing appearance of Villa-Lobos in So Paulo (17
February 1922)

724356696457 (archive from 26 September 2011,

accessed 19 November 2015).[44] (EMI Classics)
A database of currently available Villa-Lobos
recordings

[25] Wright 1992, 138.

[26] Wright 1992, 6.
[27] Wright 1992, 89.
[28] Peppercorn 1991, 32.
[29] Villa-Lobos in Sua Obra (2), 229, quoted in Wright, 1992,
9.
[30] Wright 1992, 9.

Media

Notes

[31] Wright 1992, 1321.

[32] See Peppercorn 1991, 3839.
[33] Wright 1992, 59.

[1] Bhague 2001.

[34] Wright 1992, 41.

[2] Wright 1992,.

[35] Wright 1992, 48.
[3] Wright 1992, 2.
[4] Peppercorn 1972.
[5] Wright 1992, 3.
[6] Wright 1992, 4.

[36] Note in the score of Chros No. 3, quoted in Wright 1992,

62.
[37] Such as Villa-Lobos [1941?].

[7] Wright 1992, 1319.

[38] Wright, 1992, 8199 discusses the Bachianas Brasileiras

in some detail

[8] Wright 1992, 24.

[39] EMI catalogue.

[9] Wright, 1992, 2830.

[40] Sony Masterworks catalogue.

[10] Wright 1992, 38.

[11] Wright 1992, 3132.
[12] See, for example, the inuence of the brilliance of his orchestral palette on the young Olivier Messiaen, discussed
in Griths 1985,.
[13] Le Monde musical 12 (31 Dec. 1927) quoted in Wright
1992, 77.

[41] Green Mansions lm credits.

[42] Negwer 2008, 8.
[43] Negwer 2009, .
[44] "Great Recordings of the Century: Villa-Lobos: Bachianas Nos. 1, 2, 5 & 9". EMI Classics website (archive
from 26 September 2011, accessed 19 November 2015).

References and further reading

Appleby, David P. 1988. Heitor Villa-Lobos: A BioBibliography. New York: Greenwood Press. ISBN
0-313-25346-3
Bhague, Gerard. 1994. Villa-Lobos: The Search
for Brazils Musical Soul. Austin: Institute of Latin
American Studies, University of Texas at Austin,
1994. ISBN 0-292-70823-8
Bhague, Gerard. 2001. Villa-Lobos, Heitor.
The New Grove Dictionary of Music and Musicians,
edited by Stanley Sadie and John Tyrrell. London:
Macmillan.
Griths, Paul. 1985. Olivier Messiaen and the Music of Time. London: Faber and Faber. ISBN 08014-1813-5
Negwer, Manuel. 2008. Villa-Lobos: Der Aufbruch
der brasilianischen Musik. Mainz: Schott Music.
ISBN 3-7957-0168-6
Negwer, Manuel. 2009. Villa Lobos e o orescimento da msica brasileira. So Paulo: Martins
Fontes. ISBN 978-85-61635-40-4. [Portuguese
version of Negwer 2008.]
Napp, Cornelia. 2010. Personal representatives in
musikverlegerischen Kulturbeziehungen. Die Vertretung von Heitor Villa-Lobos in den USA. Mit Zeittafel
Villa-Lobos in den USA 19471961. Remagen:
Max Brockhaus Musikverlag. ISBN 978-3-92217304-5.
Peppercorn, Lisa. 1972. Villa-Loboss Brazilian
Excursions. Musical Times 113, no. 1549 (March):
26365.
Peppercorn, Lisa. 1985. H. Villa-Lobos in Paris.
Latin American music review / Revista de musica
Latinoamericana 6, no. 2 (Autumn): 23548
Peppercorn, Lisa M. 1989. Villa-Lobos. Edited
by Audrey Sampson. Illustrated Lives of the Great
Composers. London and New York: Omnibus.
ISBN 0-7119-1689-6
Peppercorn, Lisa M. 1991a. Villa-Lobos, the Music: An Analysis of His Style Translated by Stefan De
Haan. London: Kahn & Averill; White Plains, NY:
Pro/AM Music Resources. ISBN 1-871082-15-3
Peppercorn, Lisa M. 1991b. Villa-Lobos 'ben
trovato'. Tempo: A Quarterly Review of Modern
Music, no. 177 (June): 3239.
Peppercorn, Lisa M. 1996. The World of VillaLobos in Pictures and Documents. Aldershot,
Hants, England: Scolar Press; Brookeld, VT: Ashgate Publishers. ISBN 1-85928-261-X

Tarasti, Eero.
Heitor Villa-Lobos: The Life
and Works Jeerson, North Carolina: McFarland.
ISBN 0-7864-0013-7
Villa-Lobos, Heitor. [1941?]. A msica nacionalista no govrno Getulio Vargas. Rio de Janeiro:
D.I.P.
Villa-Lobos, Heitor. 1994. The Villa-Lobos Letters.
Edited, translated, and annotated by Lisa M. Peppercorn. Musicians in Letters, no. 1. Kingston upon
Thames: Toccata. ISBN 0-907689-28-0
Villa-Lobos, sua obra: Programa de Ao Cultural,
1972. 1974. Second edition. Rio de Janeiro:
MEC,DAC, Museu Villa-Lobos.
Wright, Simon. 1992. Villa-Lobos. Oxford and
New York: Oxford University Press. ISBN 0-19315475-7

8 External links
villalobos.iu.edu Villa-Lobos site at Indiana University: Maintained by the Latin American Music Center
Peermusic Classical: Heitor Villa-Lobos Composers Publisher and Bio
Free scores by Heitor Villa-Lobos at the
International Music Score Library Project
Classical Composers Database. Villa-Lobos: Biography.
"O acorde de Tristo em Villa-Lobos" by Paulo de
Tarso Salles. Violo Intercmbio 12, no. 8 (archive
from 7 March 2008, accessed 19 November 2015).
Heitor Villa-Lobos e o ambiente artstico parisiense:
convertendo-se em um msico brasileiro by Paulo Renato Gurios (Portuguese)
Heitor Villa-Lobos and the Parisian art scene: how
to become a Brazilian musician) by Paulo Renato
Gurios (English)
International Jose Guillermo Carrillo Foundation
(Spanish)
"Villa-Lobos Guitar Music: Alternative Sources
and Implications for Performance", by Stanley
Yates, reprinted from Soundboard, Journal of the
Guitar Foundation of America 24, no. 1 (Summer
1997): 720 (accessed 19 November 2015).

9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

9.1

Text

Heitor Villa-Lobos Source: https://en.wikipedia.org/wiki/Heitor_Villa-Lobos?oldid=691495431 Contributors: Mav, Tarquin, LA2, Deb,

Camembert, Someone else, Eric119, Deanfrey, Docu, BigFatBuddha, RodC, Hyacinth, Raul654, Mordomo, PuzzletChung, Bearcat, Robbot, Moriori, Stewartadcock, JesseW, JackofOz, Lzur, Kevin Sa, Henry Flower, CryptoDerk, Antandrus, Sam Hocevar, TonyW, Mike
Rosoft, D6, Reinthal, Discospinster, Guanabot, Thuresson, 23skidoo, Ranveig, Schissel, Civvi~enwiki, Bart133, Wtmitchell, Doagie,
Japanese Searobin, Stephen, Graham87, Magister Mathematicae, Buxtehude, Kbdank71, Ted Wilkes, Josh Parris, Rjwilmsi, Missmarple,
China Crisis, TBHecht, RobertG, DrG, Chobot, YurikBot, RussBot, Sentausa, Chick Bowen, Tony1, Silverhill, Barbutti, AlonsoAlfons,
Luna Whistler, SmackBot, Moeron, Serte, PeterSymonds, Seann, Ciacchi, Kleinzach, CSWarren, Da Vynci, OrphanBot, Mistico, Dantadd, Victor Lopes, Pkeets, Ser Amantio di Nicolao, Michelle, AmiDaniel, Homerdundas, Capmo, JHunterJ, Bottesini, Erik Kennedy,
Ken Gallager, Cydebot, Mato, Pgray@pgray.net, Ed Matthew, Epbr123, Tapir Terric, Dmitri Lytov, Dr. Blofeld, Tjmayerinsf, Rothorpe,
Philip.marshall, Jerome Kohl, Midgrid, Jonlin, Kraxler, Valerius Tygart, Ekotkie, J.delanoy, Sallyrob, Katalaveno, KylieTastic, LuizHenrique, VolkovBot, ABF, Hersfold, Aletucker, Tesscass, TXiKiBoT, Rnc000, Tumblingsky, Tomaxer, Jack Panama, Sfholiday, Ferstel,
Yone Fernandes, Merge9, Lulu Margarida, ClueBot, Icarusgeek, TypoBoy, TheRationalGuitarist, Gx9900gundam, Sun Creator, Tony
Holkham, Kakofonous, Versus22, Darkicebot, XLinkBot, Addbot, Baron D. Z., Opus88888, Download, LaaknorBot, Hellolobos, Daniel
G Rego, Andrevruas, , Cote d'Azur, Luckas-bot, Amirobot, Ulric1313, ArthurBot, Xqbot, Omnipaedista, UmmmOK lets go,
A.amitkumar, Thehelpfulbot, FrescoBot, Meiaponte, Gibblewhippoop, D'ohBot, Parsa021, Ptsalles, MorphismOfDoom, Dtaylor330,
SarahLR, Mishae, Encor3, Jfmantis, EmausBot, Dewritech, 4meter4, K6ka, Lee music, ZroBot, Checkingfax, Sjpavlova, Doddy Wuid,
Humbertoego, SporkBot, Zblumz, 28bot, ClueBot NG, Wdchk, Widr, Helpful Pixie Bot, BG19bot, Gabriel Yuji, Sy1958, Waren Beat,
Markjn, VIAFbot, TheBlinkster, KasparBot and Anonymous: 181

9.2

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File:'A'_(PSF).png Source: https://upload.wikimedia.org/wikipedia/commons/6/68/%27A%27_%28PSF%29.png License: Public domain Contributors: Archives of Pearson Scott Foresman, donated to the Wikimedia Foundation Original artist: Pearson Scott Foresman
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Contributors: The Al Goldstein collection in the Pandora Music repository at ibiblio.org. Original artist: Members of the Soni Ventorum
Wind Quintet: Rebecca Henderson, oboe; William McColl, clarinet; Arthur Grossman, bassoon.
File:Heitor_Villa-Lobos_-_Trio_for_Oboe,_Clarinet_and_Bassoon_-_2._Languissament.ogg Source: https://upload.wikimedia.
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9.3

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's le

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