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<title>Heitor Villa-Lobos</title>

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Heitor Villa-Lobos

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</style><table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:125%;"><div class="fn">Heitor Villa-Lobos</div></th></tr><tr><td colspan="2" class="infobox-image"><div class="infobox-caption">Heitor Villa-Lobos, <abbr title="circa">c.</abbr> 1922</div></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data"><div style="display:inline" class="nickname">Heitor Villa-Lobos</div> (1887-03-05)March 5, 1887 <div style="display:inline" class="birthplace">Rio de Janeiro, <a href="Empire_of_Brazil" title="Empire of Brazil">Empire of Brazil</a></div></td></tr><tr><th scope="row" class="infobox-label">Died</th><td class="infobox-data">November 17, 1959(1959-11-17) (aged 72) <div style="display:inline" class="deathplace">Rio de Janeiro, <a href="Fourth_Brazilian_Republic" title="Fourth Brazilian Republic">Brazil</a></div></td></tr><tr><th scope="row" class="infobox-label">Occupation</th><td class="infobox-data role">Composer</td></tr></tbody></table>

Heitor Villa-Lobos<a href="#cite_note-pronunciation-1">[a]</a> (March 5, 1887 – November 17, 1959) was a Brazilian composer, conductor, cellist, and classical guitarist described as "the single most significant creative figure in 20th-century Brazilian art music".<a href="#cite_note-FOOTNOTEBéhague2001-2">[1]</a> Villa-Lobos has globally become one of the most recognizable South American composers in music history.<a href="#cite_note-FOOTNOTEWright19924-3">[2]</a> A prolific composer, he wrote numerous orchestral, <a href="Chamber_music" title="Chamber music">chamber</a>, <a href="Instrumental" title="Instrumental">instrumental</a> and vocal works, totaling over 2,000 works by his death in 1959. His music was influenced by both Brazilian <a href="Folk_music" title="Folk music">folk music</a> and stylistic elements from the European <a href="Classical_period_(music)" title="Classical period (music)">classical</a> tradition, as exemplified by his <a href="Bachianas_Brasileiras" title="Bachianas Brasileiras">Bachianas Brasileiras</a> (Brazilian Bach-pieces) and his <a href="Ch%C3%B4ros" title="Chôros">Chôros</a>. His Etudes for classical guitar (1929) were dedicated to <a href="Andr%C3%A9s_Segovia" title="Andrés Segovia">Andrés Segovia</a>, while his 5 Preludes (1940) were dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha". Both are important works in the classical guitar repertory.

<div class="mw-heading mw-heading2"><h2 id="Biography">Biography</h2></div>

<div class="mw-heading mw-heading3"><h3 id="Youth_and_exploration">Youth and exploration</h3></div>

Villa-Lobos was born in <a href="Rio_de_Janeiro" title="Rio de Janeiro">Rio de Janeiro</a>. His father, Raúl, was a civil servant, an educated man of Spanish extraction, a librarian, and an amateur <a href="Astronomer" title="Astronomer">astronomer</a> and musician. In Villa-Lobos's early childhood, Brazil underwent a period of social revolution and modernisation, abolishing <a href="Slavery_in_Brazil" title="Slavery in Brazil">slavery</a> in 1888 and overthrowing the <a href="Empire_of_Brazil" title="Empire of Brazil">Empire of Brazil</a> in 1889. The changes in Brazil were reflected in its musical life: previously European music had been the dominant influence, and the courses at the Conservatório de Música were grounded in traditional <a href="Counterpoint" title="Counterpoint">counterpoint</a> and <a href="Harmony" title="Harmony">harmony</a>. 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, clarinet, and classical guitar. When his father died suddenly in 1899 he earned a living for his family by playing in cinema and theatre orchestras in Rio.<a href="#cite_note-4">[3]</a>

Around 1905 Villa-Lobos started explorations of Brazil's "dark interior", absorbing the native Brazilian musical culture. Serious doubt has been cast on some of Villa-Lobos's 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.<a href="#cite_note-FOOTNOTEPeppercorn1972passim-5">[4]</a> After this period, he gave up any idea of conventional training and instead absorbed the musical influences of Brazil's indigenous cultures, themselves based on Portuguese and African, as well as <a href="Indigenous_peoples_of_the_Americas" title="Indigenous peoples of the Americas">American Indian</a> elements. His earliest compositions were the result of <a href="Musical_improvisation" title="Musical improvisation">improvisations</a> on the classical guitar from this period.

Villa-Lobos played with many local Brazilian street-music bands; he was also influenced by the cinema and <a href="Ernesto_Nazareth" title="Ernesto Nazareth">Ernesto Nazareth's</a> improvised <a href="Tango_music" title="Tango music">tangos</a> and <a href="Polka" title="Polka">polkas</a>.<a href="#cite_note-FOOTNOTEWright19923-6">[5]</a> For a time Villa-Lobos became a cellist in a Rio opera company, and his early compositions include attempts at Grand Opera. Encouraged by <a href="Arthur_Napole%C3%A3o_dos_Santos" title="Arthur Napoleão dos Santos">Arthur Napoleão</a>, a pianist and music publisher, he decided to compose seriously.<a href="#cite_note-FOOTNOTEWright19924-3">[2]</a>

<div class="mw-heading mw-heading3"><h3 id="Brazilian_influences">Brazilian influences</h3></div>

On November 12, 1913, Villa-Lobos married the pianist Lucília Guimarães,<a href="#cite_note-7">[6]</a> ended his travels, and began his career as a serious musician. Up until his marriage, he had not learned to play the piano, so his wife taught him the rudiments of the instrument.<a href="#cite_note-FOOTNOTEGuimarães1972224-8">[7]</a> His music began to be published in 1913. He introduced some of his compositions in a series of occasional chamber concerts (later also orchestral concerts) from 1915–1921, mainly in Rio de Janeiro's Salão Nobre do Jornal do Comércio.

The music presented at these concerts shows his coming to terms with the conflicting 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 Tédio de alvorada, the first version of what would become <a href="Uirapuru_(Villa-Lobos)" title="Uirapuru (Villa-Lobos)">Uirapurú</a> (although Amazonas was not performed until 1929, and Uirapurú was only completed in 1934 and first performed in 1935). These works drew from native Brazilian legends and the use of "primitive" folk material.<a href="#cite_note-FOOTNOTEWright199213–19-9">[8]</a>

European influences did still inspire Villa-Lobos. In 1917 <a href="Sergei_Diaghilev" title="Sergei Diaghilev">Sergei Diaghilev</a> made an impact on tour in Brazil with his <a href="Ballets_Russes" title="Ballets Russes">Ballets Russes</a>. That year Villa-Lobos also met the French composer <a href="Darius_Milhaud" title="Darius Milhaud">Darius Milhaud</a>, who was in Rio as secretary to <a href="Paul_Claudel" title="Paul Claudel">Paul Claudel</a> at the French Legation. Milhaud brought the music of <a href="Claude_Debussy" title="Claude Debussy">Claude Debussy</a>, <a href="Erik_Satie" title="Erik Satie">Erik Satie</a>, and possibly <a href="Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a>; in return Villa-Lobos introduced Milhaud to Brazilian street music. In 1918, he also met the pianist <a href="Arthur_Rubinstein" title="Arthur Rubinstein">Arthur Rubinstein</a>, who became a lifelong friend and champion; this meeting prompted Villa-Lobos to write more piano music.<a href="#cite_note-Wright_1992,_24-10">[9]</a>

In about 1918 Villa-Lobos abandoned the use of <a href="Opus_number" title="Opus number">opus numbers</a> for his compositions as a constraint to his pioneering spirit. With the piano suite Carnaval das crianças (Children's carnival) of 1919–20, Villa-Lobos liberated his style altogether from European Romanticism:<a href="#cite_note-FOOTNOTEWright199228–30-11">[10]</a> the suite, in eight movements with the finale written for piano duet, depicts eight characters or scenes from Rio's Lenten Carnival.

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In February 1922, a festival of modern art took place in <a href="S%C3%A3o_Paulo" title="São Paulo">São Paulo</a> 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-Lobos's being forced by a foot infection to wear one carpet slipper.<a href="#cite_note-FOOTNOTEWright199238-12">[11]</a> The festival ended with Villa-Lobos's Quarteto simbólico, composed as an impression of Brazilian urban life.

In July 1922, Rubinstein gave the first performance of the piano suite A Prole do Bebê (The Baby's Family), composed in 1918. There had recently been an attempted military <a href="Coup_d'%C3%A9tat" title="Coup d'état">coup</a> on <a href="Copacabana%2C_Rio_de_Janeiro" title="Copacabana, Rio de Janeiro">Copacabana Beach</a>, 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 first enduring work of Brazilian modernism".<a href="#cite_note-FOOTNOTEWright199231–32-13">[12]</a>

Rubinstein suggested that Villa-Lobos tour abroad, and in 1923 he set out for Paris. His avowed aim was to exhibit his exotic sound world rather than to study. Just before he left he completed his <a href="Nonet_(Villa-Lobos)" title="Nonet (Villa-Lobos)">Nonet</a> (for ten players and chorus) which was first performed after his arrival in the French capital. He stayed in Paris in 1923–24 and 1927–30, and there he met influential residents including <a href="Edgard_Var%C3%A8se" title="Edgard Varèse">Edgard Varèse</a>, <a href="Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>, <a href="Leopold_Stokowski" title="Leopold Stokowski">Leopold Stokowski</a> and <a href="Aaron_Copland" title="Aaron Copland">Aaron Copland</a>. Parisian concerts of his music made a strong impression.<a href="#cite_note-14">[b]</a>

In the 1920s, Villa-Lobos would cross paths with one of the most well-known and influential classical guitar performers in history, <a href="Andr%C3%A9s_Segovia" title="Andrés Segovia">Andrés Segovia</a>, to work on a commissioned guitar composition. Villa-Lobos responded by writing a set of twelve such pieces, each based on a tiny detail or figure played by Brazilian itinerant street musicians (<a href="Chor%C3%B5es" class="mw-redirect" title="Chorões">chorões</a>), transformed into an <a href="%C3%89tude" title="Étude">étude</a> that is not merely <a href="Didacticism" title="Didacticism">didactic</a>. Over time, this collection of etudes has gone on to become one of the most integral sets in the modern classical guitar repertoire, seen as higher level studies guitarists will have to play at some point or another during their careers. The music of chorões also provided the initial inspiration for his <a href="Ch%C3%B4ros" title="Chôros">Chôros</a>, a series of compositions written between 1920 and 1929. The first European performance of <a href="Ch%C3%B4ros_No._10" title="Chôros No. 10">Chôros No. 10</a>, in Paris, caused a storm: L. Chevaillier wrote of it in Le Monde musical, "[it is] an art ... to which we must now give a new name."<a href="#cite_note-15">[13]</a> Though not as well known for his guitar compositions, everything he wrote for the instrument is considered standard repertoire and is regarded with utmost importance.

<div class="mw-heading mw-heading3"><h3 id="Vargas_era">Vargas era</h3></div>

In 1930, Villa-Lobos, who was in Brazil to conduct, planned to return to Paris. One of the consequences of <a href="Brazilian_Revolution_of_1930" title="Brazilian Revolution of 1930">the revolution of that year</a> was that money could no longer be taken out of the country, and so he had no means of paying any rents abroad. Thus forced to stay in Brazil, he arranged concerts instead around São Paulo, and composed patriotic and educational music. In 1932, he became director of the Superintendência de Educação Musical e Artística (SEMA), and his duties included arranging concerts including the Brazilian premieres of <a href="Ludwig_van_Beethoven" title="Ludwig van Beethoven">Ludwig van Beethoven's</a> <a href="Missa_Solemnis_(Beethoven)" class="mw-redirect" title="Missa Solemnis (Beethoven)">Missa Solemnis</a> and <a href="Johann_Sebastian_Bach" title="Johann Sebastian Bach">Johann Sebastian Bach's</a> <a href="Mass_in_B_minor" title="Mass in B minor">Mass in B minor</a> as well as Brazilian compositions. His position at SEMA led him to compose mainly patriotic and propagandist works. His series of <a href="Bachianas_Brasileiras" title="Bachianas Brasileiras">Bachianas Brasileiras</a> were a notable exception.

In 1936, at the age of forty-nine, Villa-Lobos left his wife, and became romantically involved with Arminda Neves d'Almeida, who remained his companion until death. Arminda eventually took on the name Villa-Lobos, though Villa-Lobos never divorced his first wife. After Villa-Lobos' death, Arminda became the Director of the <a href="Villa-Lobos_Museum" title="Villa-Lobos Museum">Museu Villa-Lobos</a> in 1960, until her death in 1985. Arminda was herself a musician and a significant influence on Villa-Lobos. He also dedicated a good number of works to her, including the Ciclo brasileiro and many of the Chôros.

Villa-Lobos's writings during the presidency of <a href="Get%C3%BAlio_Vargas" title="Getúlio Vargas">Getúlio Vargas</a> (1930–1945) include propaganda for Brazilian nationhood (brasilidade),<a href="#cite_note-16">[14]</a> and teaching and theoretical works. His Guia Prático ran to 11 volumes, Solfejos (two volumes, 1942 and 1946) contained vocal exercises, and Canto Orfeônico (1940 and 1950) contained patriotic songs for schools and for civic occasions. His music for the film O Descobrimento do Brasil (The Discovery of Brazil) of 1936, which included versions of earlier compositions, was arranged into orchestral <a href="Suite_(music)" title="Suite (music)">suites</a>, and includes a depiction of the first <a href="Mass_(liturgy)" title="Mass (liturgy)">mass</a> in Brazil in a setting for double choir.

Villa-Lobos published A Música Nacionalista no Govêrno Getúlio Vargas <abbr title="circa">c.</abbr>1941, in which he characterised the nation as a sacred entity whose symbols (including its flag, motto and national anthem) were <a href="Sanctity_of_life" title="Sanctity of life">inviolable</a>. Villa-Lobos was the chair of a committee whose task was to define a definitive version of the <a href="Brazilian_national_anthem" class="mw-redirect" title="Brazilian national anthem">Brazilian national anthem</a>.<a href="#cite_note-FOOTNOTEWright1992108-17">[15]</a>

After 1937, during the Estado Novo period when Vargas seized power by decree, Villa-Lobos continued producing patriotic works directly accessible to mass audiences. Independence Day on September 7, 1939, involved 30,000 children singing the national anthem and items arranged by Villa-Lobos. For the 1943 celebrations he also composed the ballet Dança da terra, which the authorities deemed unsuitable until it was revised. The 1943 celebrations did include Villa-Lobos's hymn Invocação em defesa da pátria shortly after Brazil's declaring war on Germany and its allies.<a href="#cite_note-FOOTNOTEWright1992115-18">[16]</a>

Villa-Lobos's status damaged his reputation among certain schools of musicians, among them disciples of new European trends such as <a href="Serialism" title="Serialism">serialism</a>‍—‌which was effectively off limits in Brazil until the 1960s. This crisis was, in part, due to some Brazilian composers finding it necessary to reconcile Villa-Lobos's own liberation of Brazilian music from European models in the 1920s with a style of music they felt to be more universal.<a href="#cite_note-FOOTNOTEWright1992117–118-19">[17]</a>

<div class="mw-heading mw-heading3"><h3 id="Composer_in_demand">Composer in demand</h3></div>

Vargas fell from power in 1945. Villa-Lobos was able, after the end of the war, to travel abroad again; he returned to Paris, and also made regular visits to the United States as well as travelling to Great Britain, and Israel. He received a huge number of commissions, and fulfilled many of them despite failing health. He composed <a href="Concertos" class="mw-redirect" title="Concertos">concertos</a> for piano, cello (the second one in 1953), classical guitar (in 1951 for Segovia, who refused to play it until the composer provided a <a href="Cadenza" title="Cadenza">cadenza</a> in 1956),<a href="#cite_note-FOOTNOTEWright1992123-20">[18]</a> <a href="Harp" title="Harp">harp</a> (for <a href="Nicanor_Zabaleta" title="Nicanor Zabaleta">Nicanor Zabaleta</a> in 1953) and harmonica (for <a href="John_Sebastian_(classical_harmonica_player)" title="John Sebastian (classical harmonica player)">John Sebastian, Sr.</a> in 1955–56). Other commissions included his Symphony No. 11 (for the <a href="Boston_Symphony_Orchestra" title="Boston Symphony Orchestra">Boston Symphony Orchestra</a> in 1955), and the opera <a href="Yerma_(opera)" title="Yerma (opera)">Yerma</a> (1955–56) based on the play by <a href="Federico_Garc%C3%ADa_Lorca" title="Federico García Lorca">Federico García Lorca</a>. His prolific output of this period prompted criticisms of note-spinning and banality: critical reactions to his <a href="Piano_Concerto_No._5_(Villa-Lobos)" title="Piano Concerto No. 5 (Villa-Lobos)">Piano Concerto No. 5</a> included the comments "bankrupt" and "piano tuners' orgy",<a href="#cite_note-21">[19]</a> "raked the very depths of banality", "nothing ... but soupy textures or a bedraggled romantic idea", and "truly the kind of music that should never get written, still less performed".<a href="#cite_note-FOOTNOTEMitchell1955378–380-22">[20]</a>

His music for the film <a href="Green_Mansions_(film)" title="Green Mansions (film)">Green Mansions</a> starring <a href="Audrey_Hepburn" title="Audrey Hepburn">Audrey Hepburn</a> and <a href="Anthony_Perkins" title="Anthony Perkins">Anthony Perkins</a>, commissioned by <a href="MGM" class="mw-redirect" title="MGM">MGM</a> in 1958, earned Villa-Lobos US$25,000, and he conducted the soundtrack recording himself.<a href="#cite_note-FOOTNOTEWright1992136-23">[21]</a> The film was in production for many years. Originally to be directed by <a href="Vincente_Minnelli" title="Vincente Minnelli">Vincente Minnelli</a>, it was taken over by Hepburn's husband <a href="Mel_Ferrer" title="Mel Ferrer">Mel Ferrer</a>.<a href="#cite_note-FOOTNOTEThe_MGM_Story-24">[22]</a> MGM decided to use only part of Villa-Lobos's music in the actual film, turning instead to <a href="Bronis%C5%82aw_Kaper" title="Bronisław Kaper">Bronisław Kaper</a> for the rest of the music.<a href="#cite_note-FOOTNOTEHeitor_Villa-Lobos_website-25">[23]</a> From the score, Villa-Lobos compiled a work for soprano soloist, male chorus, and orchestra, which he titled Forest of the Amazon and recorded it in 1959 in stereo with Brazilian soprano <a href="Bidu_Say%C3%A3o" title="Bidu Sayão">Bidu Sayão</a>, an unidentified male chorus, and the <a href="Symphony_of_the_Air" class="mw-redirect" title="Symphony of the Air">Symphony of the Air</a> for <a href="United_Artists_Records" title="United Artists Records">United Artists Records</a>. The recording was issued both on LP and reel-to-reel tape (United Artist UAC 8007, stereo 7 1/2 IPS).<a href="#cite_note-26">[24]</a>

In June 1959, Villa-Lobos alienated many of his fellow musicians by expressing disillusionment, saying in an interview that Brazil was "dominated by mediocrity".<a href="#cite_note-Wright_1992,_139-27">[25]</a> In November he died in Rio; his state funeral was the final major civic event in that city before the capital transferred to <a href="Bras%C3%ADlia" title="Brasília">Brasília</a>.<a href="#cite_note-FOOTNOTEWright1992138-28">[26]</a> He is buried in the <a href="Cemit%C3%A9rio_S%C3%A3o_Jo%C3%A3o_Batista" class="mw-redirect" title="Cemitério São João Batista">Cemitério São João Batista</a> in Rio de Janeiro.

<div class="mw-heading mw-heading2"><h2 id="Music">Music</h2></div>

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</style><div role="note" class="hatnote navigation-not-searchable">See also: <a href="List_of_compositions_by_Heitor_Villa-Lobos" title="List of compositions by Heitor Villa-Lobos">List of compositions by Heitor Villa-Lobos</a></div>

His earliest pieces originated in guitar improvisations, for example Panqueca (Pancake) of 1900. The concert series of 1915–21 included first performances of pieces demonstrating originality and virtuosic technique. Some of these pieces are early examples of elements of importance throughout his œuvre. His attachment to the <a href="Iberian_Peninsula" title="Iberian Peninsula">Iberian Peninsula</a> is demonstrated in Canção Ibéria of 1914 and in orchestral transcriptions of some of <a href="Enrique_Granados" title="Enrique Granados">Enrique Granados</a>' piano Goyescas (1918, now lost). Other themes that were to recur in his later work include the anguish and despair of the piece Desesperança – Sonata Phantastica e Capricciosa no. 1 (1915), a violin sonata including "histrionic and violently contrasting emotions",<a href="#cite_note-FOOTNOTEWright19926-29">[27]</a> the birds of L'oiseau blessé d'une flèche (1913), the mother–child relationship (not usually a happy one in Villa-Lobos's music) in Les mères of 1914, and the flowers of Suíte floral for piano of 1916–18 which reappeared in Distribuição de flores for flute and classical guitar of 1937.

Reconciling European tradition and Brazilian influences was also an element that bore fruit more formally later. His earliest published work Pequena suíte 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.<a href="#cite_note-FOOTNOTEWright19928–9-30">[28]</a> His three-movement <a href="String_Quartet_No._1_(Villa-Lobos)" title="String Quartet No. 1 (Villa-Lobos)">Suíte graciosa</a> of 1915 (expanded to six movements c. 1947 to become his String Quartet No. 1)<a href="#cite_note-FOOTNOTEPeppercorn1991b32-31">[29]</a> is influenced by European opera,<a href="#cite_note-32">[30]</a> while Três danças características (africanas e indígenas) of 1914–16 for piano, later arranged for octet and subsequently orchestrated, is radically influenced by the tribal music of the Caripunas Indians of <a href="Mato_Grosso" title="Mato Grosso">Mato Grosso</a>.<a href="#cite_note-FOOTNOTEWright19929-33">[31]</a>

With his tone poems Amazonas (1917, first performed in Paris in 1929) and Uirapurú (1917, first performed 1935) he created works dominated by indigenous Brazilian influences. 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-flute by the <a href="Stroh_violin" title="Stroh violin">violinophone</a>, and not least imitations of the <a href="Musician_wren" title="Musician wren">uirapuru</a> bird itself.<a href="#cite_note-FOOTNOTEWright199213–21-34">[32]</a>

His meeting with Arthur Rubinstein in 1918 prompted Villa-Lobos to compose piano music such as Simples coletânea of 1919—which was possibly influenced by Rubinstein's playing of Ravel and Scriabin on his South American tours—and Bailado infernal of 1920.<a href="#cite_note-Wright_1992,_24-10">[9]</a> The latter piece includes the tempi and expression markings "vertiginoso e frenético", "infernal" and "mais vivo ainda" (faster still).

Carnaval das crianças of 1919–20 saw Villa-Lobos's mature style emerge; unconstrained by the use of traditional formulae or any requirement for dramatic tension, the piece at times imitates a <a href="Mouth_organ" title="Mouth organ">mouth organ</a>, children's dances, a <a href="Harlequinade" title="Harlequinade">harlequinade</a>, and ends with an impression of the carnival parade. This work was orchestrated in 1929 with new linking passages and a new title, Momoprecoce. Naïveté and innocence is also heard in the piano suites A Prole do Bebê (The Baby's Family) of 1918–21.

Around this time he also fused urban Brazilian influences and impressions, for example in his Quarteto simbólico of 1921. He included the urban street music of the chorões, who were groups containing flute, clarinet and cavaquinho (a Brazilian guitar), and often also including <a href="Ophicleide" title="Ophicleide">ophicleide</a>, trombones or percussion. Villa-Lobos occasionally joined such bands. Early works showing this influence were incorporated into the <a href="Suite_populaire_br%C3%A9silienne" title="Suite populaire brésilienne">Suite populaire brésilienne</a> of 1908–12 assembled by his publisher, and more mature works include the Sexteto místico (<abbr title="circa">c.</abbr>1955, replacing a lost and probably unfinished one begun in 1917),<a href="#cite_note-FOOTNOTEPeppercorn1991b38–39-35">[33]</a> and his setting of the poetry of <a href="M%C3%A1rio_de_Andrade" title="Mário de Andrade">Mário de Andrade</a> and Catulo da Paxão Cearense in the Canções típicas brasileiras of 1919.<a href="#cite_note-FOOTNOTEAnon.2016-36">[34]</a> His classical guitar studies are also influenced by the music of the chorões.<a href="#cite_note-FOOTNOTEWright199259-37">[35]</a>

The 12 etudes for guitar commissioned by Andre Segovia during the 1920's serve as a testament to Villa-Lobos’s ability to create and compose meaningful music across a multitude of different instruments. Each piece focuses on the development of different core guitar skills while simultaneously representing the different sounds and techniques found amongst Brazilian street performers, blending both his own nationalistic composition style with a more technical, study first` approach. This is well-demonstrated in the first etude of his collection, presenting an almost exclusively arpeggiated piece with a unique right-hand pattern.

All the elements mentioned so far are fused in Villa-Lobos's Nonet. Subtitled Impressão rápida 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 flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, piano, a large percussion battery requiring at least two players, and a mixed chorus.

In Paris, his musical vocabulary established, Villa-Lobos solved the problem of his works' form. It was perceived as an incongruity that his Brazilian impressionism should be expressed in the form of quartets and sonatas. He developed new forms to free his imagination from the constraints of conventional musical development such as that required in sonata form.<a href="#cite_note-FOOTNOTEWright199241-38">[36]</a> 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 criança e sua mamã for voice, flute, clarinet, and cello (1923). The extended <a href="Rudepo%C3%AAma" title="Rudepoêma">Rudepoêma</a> 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.<a href="#cite_note-FOOTNOTEWright199248-39">[37]</a> The Ciranda, or Cirandinha is a stylised treatment of simple Brazilian folk melodies in a wide variety of moods. A ciranda is a child's singing game, but Villa-Lobos's treatment in the works he gave this title are sophisticated. Another form was the Chôros. Villa-Lobos composed more than a dozen works with this title for various instruments, mostly in the years 1924–1929. He described them as "a new form of musical composition", a transformation of the Brazilian music and sounds "by the personality of the composer".<a href="#cite_note-40">[38]</a>

He also composed between 1930 and 1945 nine pieces he called Bachianas Brasileiras (Brazilian Bachian pieces). These take the forms and nationalism of the Chôros, and add the composer's love of Bach. He incorporated <a href="Neoclassicism_(music)" title="Neoclassicism (music)">neoclassicism</a> in his nationalistic style.<a href="#cite_note-FOOTNOTEYang20076-41">[39]</a> Villa-Lobos's use of archaisms was not new (an early example is his Pequena suíte 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 (1938–1945), 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 composer's 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 <a href="Consonance_and_dissonance" title="Consonance and dissonance">dissonances</a> of his earlier music are less evident: or, as Simon Wright puts it, they are "sweetened". The transformation of Chôros into Bachianas Brasileiras is demonstrated clearly by the comparison of No. 6 for flute and bassoon with the earlier <a href="Ch%C3%B4ros_No._2" title="Chôros No. 2">Chôros No. 2</a> for flute 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 composer's national influences.<a href="#cite_note-42">[40]</a> Villa-Lobos eventually recorded all nine of these works for <a href="EMI" title="EMI">EMI</a> in Paris, mostly with the musicians of the French National Orchestra; these were originally issued on LPs and later reissued on CDs.<a href="#cite_note-FOOTNOTEEMI_catalogue-43">[41]</a> He also recorded the first section of Bachianas Brasileiras No. 5 with <a href="Bidu_Say%C3%A3o" title="Bidu Sayão">Bidu Sayão</a> and a group of cellists for <a href="Columbia_Records" title="Columbia Records">Columbia</a>.<a href="#cite_note-FOOTNOTESony_Masterworks_catalogue1972-44">[42]</a>

During his period at SEMA, Villa-Lobos composed five string quartets, nos. <a href="String_Quartet_No._5_(Villa-Lobos)" title="String Quartet No. 5 (Villa-Lobos)">5</a> to <a href="String_Quartet_No._9_(Villa-Lobos)" title="String Quartet No. 9 (Villa-Lobos)">9</a>, which explored avenues opened by his public music that dominated his output. He also wrote more music for Segovia, the Cinq préludes, 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 prolific rate of completing works. His concertos—particularly those for the classical guitar, the harp, and the harmonica—are 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 final opera, Yerma, which contains a series of scenes each of which establishes an atmosphere, similarly to the earlier Momoprecoce.

Villa-Lobos's final major work was the music for the film <a href="Green_Mansions_(film)" title="Green Mansions (film)">Green Mansions</a> (though in the end, most of his score was replaced with music by <a href="Bronis%C5%82aw_Kaper" title="Bronisław Kaper">Bronisław Kaper</a>) and its arrangement as Floresta do Amazonas for orchestra, as well as some short songs issued separately. In 1957, he wrote a <a href="String_Quartet_No._17_(Villa-Lobos)" title="String Quartet No. 17 (Villa-Lobos)">Seventeenth String Quartet</a>, whose austerity of technique and emotional intensity "provide a eulogy to his craft".<a href="#cite_note-Wright_1992,_139-27">[25]</a> His Bendita Sabedoria, a sequence of <a href="A_cappella" title="A cappella">a cappella</a> 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 Nonet, 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 world's recital and concert stages and on compact disc.

<div class="mw-heading mw-heading2"><h2 id="Recordings">Recordings</h2></div>

<ul><li>Villa-Lobos plays Villa-Lobos (SCSH 010, <a rel="nofollow" class="external text" href="https://www.sanctusrecordings.com/">SanCtuS Recordings</a>) (<a rel="nofollow" class="external text" href="https://web.archive.org/web/20080921190048/http://www.tar-radio.com/myapp/articles/view/130">audio</a>)</li>

<li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20110926225914/http://www.emiclassics.com/releasedetails.php?rid=7912">Villa-Lobos par lui-même</a> (<a href="EMI_Classics" title="EMI Classics">EMI Classics</a> 0077776722924) (archive from September 26, 2011, accessed November 19, 2015).</li>

<li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20110926225929/http://www.emiclassics.com/grocreleasedetails.php?rid=23228">Villa-Lobos: Bachianas Brasileiras Nos. 1, 2, 5 & 9</a> Angel 0724356696426; EMI Classics CD 724356696457 (archive from September 26, 2011, accessed November 19, 2015).<a href="#cite_note-45">[43]</a> (<a href="EMI_Classics" title="EMI Classics">EMI Classics</a>)</li>

<li>A database of available Villa-Lobos recordings (<a rel="nofollow" class="external text" href="https://web.archive.org/web/20151119235643/http://villalobos.iu.edu/recordings">archive</a>)</li></ul>

<div class="mw-heading mw-heading2"><h2 id="Notes_and_references">Notes and references</h2></div>

Notes

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</style><div class="reflist reflist-lower-alpha">

<li id="cite_note-pronunciation-1"><a href="#cite_ref-pronunciation_1-0">^</a> Pronunciation: <style data-mw-deduplicate="TemplateStyles:r1177148991">

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</style><a href="British_English" title="British English">UK</a>: /ˌvɪləˈloʊbɒs, ˌviːlɑːˈ-/,<a href="#cite_note-46">[44]</a> <a href="American_English" title="American English">US</a>: /ˌviːləˈloʊboʊs, -bəs, -boʊʃ, ˌviːlɑːˈlɔːbʊs/,<a href="#cite_note-47">[45]</a><a href="#cite_note-48">[46]</a><a href="#cite_note-49">[47]</a> Portuguese: [ejˈtoʁ ˌvilɐ ˈlobuʃ]

</li>

<li id="cite_note-14"><a href="#cite_ref-14">^</a> See, for example, the influence of the brilliance of his orchestral palette on the young <a href="Olivier_Messiaen" title="Olivier Messiaen">Olivier Messiaen</a>, discussed in <a href="#CITEREFGriffiths1985">Griffiths 1985</a>, 24.

</li>

</ol></div></div>

References

<li id="cite_note-FOOTNOTEBéhague2001-2"><a href="#cite_ref-FOOTNOTEBéhague2001_2-0">^</a> <a href="#CITEREFBéhague2001">Béhague 2001</a>.

</li>

<li id="cite_note-FOOTNOTEWright19924-3">^ <a href="#cite_ref-FOOTNOTEWright19924_3-0">a</a> <a href="#cite_ref-FOOTNOTEWright19924_3-1">b</a> <a href="#CITEREFWright1992">Wright 1992</a>, 4.

</li>

<li id="cite_note-4"><a href="#cite_ref-4">^</a> <a href="#CITEREFBéhague2001">Béhague 2001</a>; <a href="#CITEREFWright1992">Wright 1992</a>, 2

</li>

<li id="cite_note-FOOTNOTEPeppercorn1972passim-5"><a href="#cite_ref-FOOTNOTEPeppercorn1972passim_5-0">^</a> <a href="#CITEREFPeppercorn1972">Peppercorn 1972</a>, passim.

</li>

<li id="cite_note-FOOTNOTEWright19923-6"><a href="#cite_ref-FOOTNOTEWright19923_6-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 3.

</li>

<li id="cite_note-7"><a href="#cite_ref-7">^</a> <a href="#CITEREFBéhague2001">Béhague 2001</a>; <a href="#CITEREFTarasti1995">Tarasti 1995</a>, 40

</li>

<li id="cite_note-FOOTNOTEGuimarães1972224-8"><a href="#cite_ref-FOOTNOTEGuimarães1972224_8-0">^</a> <a href="#CITEREFGuimarães1972">Guimarães 1972</a>, 224.

</li>

<li id="cite_note-FOOTNOTEWright199213–19-9"><a href="#cite_ref-FOOTNOTEWright199213–19_9-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 13–19.

</li>

<li id="cite_note-Wright_1992,_24-10">^ <a href="#cite_ref-Wright_1992,_24_10-0">a</a> <a href="#cite_ref-Wright_1992,_24_10-1">b</a> <a href="#CITEREFWright1992">Wright 1992</a>, 24

</li>

<li id="cite_note-FOOTNOTEWright199228–30-11"><a href="#cite_ref-FOOTNOTEWright199228–30_11-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 28–30.

</li>

<li id="cite_note-FOOTNOTEWright199238-12"><a href="#cite_ref-FOOTNOTEWright199238_12-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 38.

</li>

<li id="cite_note-FOOTNOTEWright199231–32-13"><a href="#cite_ref-FOOTNOTEWright199231–32_13-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 31–32.

</li>

<li id="cite_note-15"><a href="#cite_ref-15">^</a> Le Monde musical 12 (December 31, 1927), quoted in <a href="#CITEREFWright1992">Wright 1992</a>, 77.

</li>

<li id="cite_note-16"><a href="#cite_ref-16">^</a> For example, <a href="#CITEREFVilla-Lobos1941">Villa-Lobos 1941</a>

</li>

<li id="cite_note-FOOTNOTEWright1992108-17"><a href="#cite_ref-FOOTNOTEWright1992108_17-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 108.

</li>

<li id="cite_note-FOOTNOTEWright1992115-18"><a href="#cite_ref-FOOTNOTEWright1992115_18-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 115.

</li>

<li id="cite_note-FOOTNOTEWright1992117–118-19"><a href="#cite_ref-FOOTNOTEWright1992117–118_19-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 117–118.

</li>

<li id="cite_note-FOOTNOTEWright1992123-20"><a href="#cite_ref-FOOTNOTEWright1992123_20-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 123.

</li>

<li id="cite_note-21"><a href="#cite_ref-21">^</a> The critic of <a href="Musical_Opinion" title="Musical Opinion">Musical Opinion</a> in 1955, quoted in <a href="#CITEREFWright1992">Wright 1992</a>, 121–122

</li>

<li id="cite_note-FOOTNOTEMitchell1955378–380-22"><a href="#cite_ref-FOOTNOTEMitchell1955378–380_22-0">^</a> <a href="#CITEREFMitchell1955">Mitchell 1955</a>, pp. 378–380.

</li>

<li id="cite_note-FOOTNOTEWright1992136-23"><a href="#cite_ref-FOOTNOTEWright1992136_23-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 136.

</li>

<li id="cite_note-FOOTNOTEThe_MGM_Story-24"><a href="#cite_ref-FOOTNOTEThe_MGM_Story_24-0">^</a> <a href="#CITEREFThe_MGM_Story">The MGM Story</a>.

</li>

<li id="cite_note-FOOTNOTEHeitor_Villa-Lobos_website-25"><a href="#cite_ref-FOOTNOTEHeitor_Villa-Lobos_website_25-0">^</a> <a href="#CITEREFHeitor_Villa-Lobos_website">Heitor Villa-Lobos website</a>.

</li>

<li id="cite_note-26"><a href="#cite_ref-26">^</a> Archived at <a rel="nofollow" class="external text" href="https://ghostarchive.org/varchive/youtube/20211211/LscWPBPKLhY">Ghostarchive</a> and the <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170406131312/https://www.youtube.com/watch?v=LscWPBPKLhY">Wayback Machine</a>: <style data-mw-deduplicate="TemplateStyles:r1238218222">

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</style><cite id="CITEREFgioiellidellamusica2013" class="citation web cs1">gioiellidellamusica (August 28, 2013). <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=LscWPBPKLhY">"Heitor Villa-Lobos "Floresta do Amazonas""</a> – via YouTube.</cite>

</li>

<li id="cite_note-Wright_1992,_139-27">^ <a href="#cite_ref-Wright_1992,_139_27-0">a</a> <a href="#cite_ref-Wright_1992,_139_27-1">b</a> <a href="#CITEREFWright1992">Wright 1992</a>, 139.

</li>

<li id="cite_note-FOOTNOTEWright1992138-28"><a href="#cite_ref-FOOTNOTEWright1992138_28-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 138.

</li>

<li id="cite_note-FOOTNOTEWright19926-29"><a href="#cite_ref-FOOTNOTEWright19926_29-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 6.

</li>

<li id="cite_note-FOOTNOTEWright19928–9-30"><a href="#cite_ref-FOOTNOTEWright19928–9_30-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 8–9.

</li>

<li id="cite_note-FOOTNOTEPeppercorn1991b32-31"><a href="#cite_ref-FOOTNOTEPeppercorn1991b32_31-0">^</a> <a href="#CITEREFPeppercorn1991b">Peppercorn 1991b</a>, 32.

</li>

<li id="cite_note-32"><a href="#cite_ref-32">^</a> <a href="#CITEREFVilla-Lobos,_sua_obra1972">Villa-Lobos, sua obra 1972</a>, (2), 229, quoted in <a href="#CITEREFWright1992">Wright 1992</a>, 9.

</li>

<li id="cite_note-FOOTNOTEWright19929-33"><a href="#cite_ref-FOOTNOTEWright19929_33-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 9.

</li>

<li id="cite_note-FOOTNOTEWright199213–21-34"><a href="#cite_ref-FOOTNOTEWright199213–21_34-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 13–21.

</li>

<li id="cite_note-FOOTNOTEPeppercorn1991b38–39-35"><a href="#cite_ref-FOOTNOTEPeppercorn1991b38–39_35-0">^</a> <a href="#CITEREFPeppercorn1991b">Peppercorn 1991b</a>, 38–39.

</li>

<li id="cite_note-FOOTNOTEAnon.2016-36"><a href="#cite_ref-FOOTNOTEAnon.2016_36-0">^</a> <a href="#CITEREFAnon.2016">Anon. 2016</a>.

</li>

<li id="cite_note-FOOTNOTEWright199259-37"><a href="#cite_ref-FOOTNOTEWright199259_37-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 59.

</li>

<li id="cite_note-FOOTNOTEWright199241-38"><a href="#cite_ref-FOOTNOTEWright199241_38-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 41.

</li>

<li id="cite_note-FOOTNOTEWright199248-39"><a href="#cite_ref-FOOTNOTEWright199248_39-0">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 48.

</li>

<li id="cite_note-40"><a href="#cite_ref-40">^</a> Note in the score of Chôros No. 3, quoted in <a href="#CITEREFWright1992">Wright 1992</a>, 62

</li>

<li id="cite_note-FOOTNOTEYang20076-41"><a href="#cite_ref-FOOTNOTEYang20076_41-0">^</a> <a href="#CITEREFYang2007">Yang 2007</a>, 6.

</li>

<li id="cite_note-42"><a href="#cite_ref-42">^</a> <a href="#CITEREFWright1992">Wright 1992</a>, 81–99 discusses the Bachianas Brasileiras in some detail

</li>

<li id="cite_note-FOOTNOTEEMI_catalogue-43"><a href="#cite_ref-FOOTNOTEEMI_catalogue_43-0">^</a> <a href="#CITEREFEMI_catalogue">EMI catalogue</a>.

</li>

<li id="cite_note-FOOTNOTESony_Masterworks_catalogue1972-44"><a href="#cite_ref-FOOTNOTESony_Masterworks_catalogue1972_44-0">^</a> <a href="#CITEREFSony_Masterworks_catalogue1972">Sony Masterworks catalogue 1972</a>.

</li>

<li id="cite_note-45"><a href="#cite_ref-45">^</a> "<a rel="nofollow" class="external text" href="https://web.archive.org/web/20110926225936/http://www.emiclassics.com/groc/releases1/villa.html">Great Recordings of the Century: Villa-Lobos: Bachianas Nos. 1, 2, 5 & 9</a>". EMI Classics website (archive from September 26, 2011, accessed November 19, 2015).

</li>

<li id="cite_note-46"><a href="#cite_ref-46">^</a> <cite class="citation encyclopaedia cs1"><a rel="nofollow" class="external text" href="http://www.lexico.com/definition/Villa-Lobos,+Heitor">"Villa-Lobos, Heitor"</a>. <a href="Lexico" title="Lexico">Lexico</a> UK English Dictionary. <a href="Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>.</cite>

</li>

<li id="cite_note-47"><a href="#cite_ref-47">^</a> <cite id="Reference-AHD-Villa-Lobos" class="citation encyclopaedia cs1"><a rel="nofollow" class="external text" href="https://www.ahdictionary.com/word/search.html?q=Villa-Lobos">"Villa-Lobos"</a>. <a href="The_American_Heritage_Dictionary_of_the_English_Language" title="The American Heritage Dictionary of the English Language">The American Heritage Dictionary of the English Language</a> (5th ed.). HarperCollins. Retrieved July 28, 2019.</cite>

</li>

<li id="cite_note-48"><a href="#cite_ref-48">^</a> <cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.collinsdictionary.com/dictionary/english/villa-lobos">"Villa-Lobos"</a>. <a href="Collins_English_Dictionary" title="Collins English Dictionary">Collins English Dictionary</a>. <a href="HarperCollins" title="HarperCollins">HarperCollins</a>. Retrieved July 28, 2019.</cite>

</li>

<li id="cite_note-49"><a href="#cite_ref-49">^</a> <cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.merriam-webster.com/dictionary/Villa-Lobos">"Villa-Lobos"</a>. <a href="Merriam-Webster" title="Merriam-Webster">Merriam-Webster.com Dictionary</a>. Merriam-Webster. Retrieved July 28, 2019.</cite>

</li>

</ol></div></div>

<div class="mw-heading mw-heading3"><h3 id="Sources">Sources</h3></div>

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</style><cite class="citation wikicite" id="CITEREFAnon.2016">Anon. 2016. "<a rel="nofollow" class="external text" href="http://villalobos.iu.edu/cancoes-tipicas-brasileiras">Canções típicas brasileiras = Chansons typiques brésiliennes</a>". Indiana University website (accessed March 20, 2016).</cite></li>

<li><cite class="citation wikicite" id="CITEREFBéhague2001"><a href="Gerard_B%C3%A9hague" title="Gerard Béhague">Béhague, Gerard</a>. 2001. "Villa-Lobos, Heitor". <a href="The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a>, edited by <a href="Stanley_Sadie" title="Stanley Sadie">Stanley Sadie</a> and <a href="John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">John Tyrrell</a>. London: Macmillan.</cite></li>

<li><cite class="citation wikicite" id="CITEREFEMI_catalogue">EMI catalogue.</cite></li>

<li><cite class="citation wikicite" id="CITEREFGriffiths1985">Griffiths, Paul. 1985. Olivier Messiaen and the Music of Time. London: Faber and Faber. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-8014-1813-5</bdi>.</cite></li>

<li><cite class="citation wikicite" id="CITEREFGuimarães1972">Guimarães, Luiz. 1972. Villa-Lobos visto da plateia e na intimidade (1912/1935). Rio de Janeiro: Grafica Editora Arte Moderna.</cite></li>

<li><cite class="citation wikicite" id="CITEREFHeitor_Villa-Lobos_website">Heitor Villa-Lobos website..</cite></li>

<li><cite id="CITEREFLopes2022" class="citation cs2">Lopes, Luiz Fernando (July 25, 2022), <a rel="nofollow" class="external text" href="https://doi.org/10.1093/omo/9781561592630.013.90000337933">"Villa-Lobos, Heitor"</a>, Oxford Music Online, Oxford University Press, <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-56159-263-0</bdi>, retrieved May 1, 2025</cite></li>

<li><cite class="citation wikicite" id="CITEREFThe_MGM_Story">The MGM Story.</cite></li>

<li><cite id="CITEREFMitchell1955" class="citation journal cs1"><a href="Donald_Mitchell_(writer)" title="Donald Mitchell (writer)">Mitchell, Donald</a> (July 1955). "London Music". <a href="The_Musical_Times" title="The Musical Times">The Musical Times</a>. 96 (1349): 378–380. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F937305">10.2307/937305</a>. <a href="JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/937305">937305</a>.</cite></li>

<li><cite class="citation wikicite" id="CITEREFNegwer2008">Negwer, Manuel. 2008. Villa-Lobos: Der Aufbruch der brasilianischen Musik. Mainz: Schott Music. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>3-7957-0168-6</bdi>.</cite></li>

<li><cite class="citation wikicite" id="CITEREFNegwer2009">Negwer, Manuel. 2009. Villa Lobos e o florescimento da música brasileira. São Paulo: Martins Fontes. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-85-61635-40-4</bdi>. [Portuguese version of Negwer 2008.]</cite></li>

<li><cite class="citation wikicite" id="CITEREFPeppercorn1972">Peppercorn, Lisa. 1972. "Villa-Lobos's Brazilian Excursions". <a href="The_Musical_Times" title="The Musical Times">The Musical Times</a> 113, no. 1549 (March): 263–265.</cite></li>

<li><cite class="citation wikicite" id="CITEREFPeppercorn1991b">Peppercorn, Lisa M. 1991b. "Villa-Lobos 'ben trovato'". <a href="Tempo_(journal)" title="Tempo (journal)">Tempo</a>, no. 177 (June): 32–39.</cite></li>

<li><cite class="citation wikicite" id="CITEREFSony_Masterworks_catalogue1972">Sony Masterworks catalogue. 1972.</cite></li>

<li><cite class="citation wikicite" id="CITEREFTarasti1995">Tarasti, Eero. 1995. Heitor Villa-Lobos: The Life and Works Jefferson, North Carolina: McFarland. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-7864-0013-7</bdi>.</cite></li>

<li><cite class="citation wikicite" id="CITEREFVilla-Lobos1941">Villa-Lobos, Heitor. [1941?]. A música nacionalista no govêrno Getulio Vargas. Rio de Janeiro: D.I.P.</cite></li>

<li><cite class="citation wikicite" id="CITEREFVilla-Lobos,_sua_obra1972">Villa-Lobos, sua obra: Programa de Ação Cultural, second edition, 1972. Rio de Janeiro: MEC, DAC, Museu Villa-Lobos.</cite></li>

<li><cite class="citation wikicite" id="CITEREFWright1992">Wright, Simon. 1992. Villa-Lobos. Oxford and New York: Oxford University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-19-315475-7</bdi>.</cite></li>

<li><cite class="citation wikicite" id="CITEREFYang2007">Yang, Shu-Ting. 2007. "<a rel="nofollow" class="external text" href="http://rave.ohiolink.edu/etdc/view?acc_num=ucin1201117626">Salute to Bach: Modern Treatments of Bach-Inspired Elements in Luigi Dallapiccola's Quaderno Musicale di Annalibera and Heitor Villa-Lobos' Bachianas Brasileiras No. 4</a>". DMA diss. Cincinnati: University of Cincinnati. Retrieved November 25, 2017.</cite></li></ul>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

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<ul><li>Appleby, David P. 1988. Heitor Villa-Lobos: A Bio-Bibliography. New York: Greenwood Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-313-25346-3</bdi>.</li>

<li><a href="Gerard_B%C3%A9hague" title="Gerard Béhague">Béhague, Gerard</a>. 1994. Villa-Lobos: The Search for Brazil's Musical Soul. Austin: Institute of Latin American Studies, University of Texas at Austin, 1994. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-292-70823-8</bdi>.</li>

<li>Napp, Cornelia. 2010. "Personal representatives" in musikverlegerischen Kulturbeziehungen. Die Vertretung von Heitor Villa-Lobos in den USA. Mit Zeittafel "Villa-Lobos in den USA 1947–1961". Remagen: Max Brockhaus Musikverlag. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-922173-04-5</bdi>.</li>

<li>Peppercorn, Lisa. 1985. "H. Villa-Lobos in Paris". Latin American music review / Revista de musica Latinoamericana 6, no. 2 (Autumn): 235–248.</li>

<li>Peppercorn, Lisa M. 1989. Villa-Lobos. Edited by Audrey Sampson. Illustrated Lives of the Great Composers. London and New York: Omnibus. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-7119-1689-6</bdi>.</li>

<li>Peppercorn, Lisa M. 1991a. Villa-Lobos, the Music: An Analysis of His Style Translated by Stefan De Haan. London: Kahn & Averill; White Plains, New York: Pro/AM Music Resources. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>1-871082-15-3</bdi>.</li>

<li>Peppercorn, Lisa M. 1996. The World of Villa-Lobos in Pictures and Documents. Aldershot, Hampshire, England: Scolar Press; Brookfield, Vermont: Ashgate Publishers. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>1-85928-261-X</bdi>.</li>

<li>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. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-907689-28-0</bdi>.</li></ul>

</div>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

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<div class="side-box-text plainlist">Wikimedia Commons has media related to <a href="https://commons.wikimedia.org/wiki/Category:Heitor_Villa-Lobos" class="extiw external" title="commons:Category:Heitor Villa-Lobos">Heitor Villa-Lobos</a>.</div></div>

</div>

<ul><li><a rel="nofollow" class="external text" href="https://museuvillalobos.museus.gov.br/">Villa-Lobos Museum</a> (in Portuguese, Spanish, and English)</li>

<li><a rel="nofollow" class="external text" href="https://www.imdb.com/name/nm0897660/">Heitor Villa-Lobos</a> at <a href="IMDb_(identifier)" class="mw-redirect" title="IMDb (identifier)">IMDb</a></li>

<li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20151119223700/http://villalobos.iu.edu/">villalobos.iu.edu</a> Villa-Lobos site at Indiana University: Maintained by the <a rel="nofollow" class="external text" href="http://music.indiana.edu/lamc">Latin American Music Center</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170815024803/http://music.indiana.edu/lamc/">Archived</a> August 15, 2017, at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li>

<li><a rel="nofollow" class="external text" href="https://villalobosproject.com/">villalobosproject.com</a> Villa-Lobos: Maintained by Minc</li>

<li><a rel="nofollow" class="external text" href="http://www.peermusicclassical.com/composer/composerdetail.cfm?detail=villa-lobos">Peermusic Classical: Heitor Villa-Lobos</a> Composer's Publisher and Bio</li>

<li><a href="https://imslp.org/wiki/Category:Villa-Lobos,_Heitor" class="extiw external" title="scores:Category:Villa-Lobos, Heitor">Free scores by Heitor Villa-Lobos</a> at the <a href="International_Music_Score_Library_Project" title="International Music Score Library Project">International Music Score Library Project</a> (IMSLP)</li>

<li>Classical Composers Database. <a rel="nofollow" class="external text" href="http://www.classical-composers.org/comp/villa">Villa-Lobos: Biography.</a></li>

<li>"<a rel="nofollow" class="external text" href="https://web.archive.org/web/20080307092915/http://paginas.terra.com.br/arte/violao_intercambio/Ultimaedicao/ultimaedicao08.htm">O acorde de Tristão em Villa-Lobos</a>" by Paulo de Tarso Salles. Violão Intercâmbio 12, no. 8 (archive from March 7, 2008, accessed November 19, 2015).</li>

<li><a rel="nofollow" class="external text" href="https://www.scielo.br/pdf/mana/v9n1/a05v09n1.pdf">Heitor Villa-Lobos e o ambiente artístico parisiense: convertendo-se em um músico brasileiro</a> by Paulo Renato Guérios (in Portuguese)</li>

<li><a rel="nofollow" class="external text" href="http://socialsciences.scielo.org/pdf/s_mana/v1nse/scs_a02.pdf">Heitor Villa-Lobos and the Parisian art scene: how to become a Brazilian musician</a> by Paulo Renato Guérios (in English)</li>

<li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20090215091332/http://www.fundacionjoseguillermocarrillo.com/sitio/musclasica_heitor_villa_lobos.php">International Jose Guillermo Carrillo Foundation</a> (in Spanish)</li>

<li>"<a rel="nofollow" class="external text" href="http://www.stanleyyates.com/articles/hvl/hvl.html">Villa-Lobos' Guitar Music: Alternative Sources and Implications for Performance</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20121012010508/http://www.stanleyyates.com/articles/hvl/hvl.html">Archived</a> October 12, 2012, at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a>", by Stanley Yates, reprinted from Soundboard, Journal of the Guitar Foundation of America 24, no. 1 (Summer 1997): 7–20 (accessed November 19, 2015).</li>

<li><a rel="nofollow" class="external text" href="https://villa-lobos.blogspot.com">The Villa-Lobos Magazine</a>: News about Heitor Villa-Lobos on the web and in the Real World.</li></ul>

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</style><div id="Heitor_Villa-Lobos345" style="font-size:114%;margin:0 4em"></div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="List_of_compositions_by_Heitor_Villa-Lobos" title="List of compositions by Heitor Villa-Lobos">List of compositions</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Opera</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Magdalena%3A_a_Musical_Adventure" title="Magdalena: a Musical Adventure">Magdalena: a Musical Adventure</a></li>

<li><a href="Yerma_(opera)" title="Yerma (opera)">Yerma</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Orchestral works</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Ch%C3%B4ros_No._6" title="Chôros No. 6">Chôros No. 6</a></li>

<li><a href="Ch%C3%B4ros_No._8" title="Chôros No. 8">Chôros No. 8</a></li>

<li><a href="Ch%C3%B4ros_No._9" title="Chôros No. 9">Chôros No. 9</a></li>

<li><a href="Ch%C3%B4ros_No._10" title="Chôros No. 10">Chôros No. 10</a></li>

<li><a href="Ch%C3%B4ros_No._11" title="Chôros No. 11">Chôros No. 11</a></li>

<li><a href="Ch%C3%B4ros_No._12" title="Chôros No. 12">Chôros No. 12</a></li>

<li><a href="Ch%C3%B4ros_No._13" title="Chôros No. 13">Chôros No. 13</a></li>

<li><a href="Ch%C3%B4ros_No._14" title="Chôros No. 14">Chôros No. 14</a></li>

<li><a href="Symphony_No._1_(Villa-Lobos)" title="Symphony No. 1 (Villa-Lobos)">Symphony No. 1 (The Unforeseen)</a></li>

<li><a href="Symphony_No._2_(Villa-Lobos)" title="Symphony No. 2 (Villa-Lobos)">Symphony No. 2 (Ascension)</a></li>

<li><a href="Symphony_No._3_(Villa-Lobos)" title="Symphony No. 3 (Villa-Lobos)">Symphony No. 3 (War)</a></li>

<li><a href="Symphony_No._4_(Villa-Lobos)" title="Symphony No. 4 (Villa-Lobos)">Symphony No. 4 (Victory)</a></li>

<li><a href="Symphony_No._5_(Villa-Lobos)" title="Symphony No. 5 (Villa-Lobos)">Symphony No. 5 (Peace)</a></li>

<li><a href="Symphony_No._6_(Villa-Lobos)" title="Symphony No. 6 (Villa-Lobos)">Symphony No. 6 (On the Outline of the Mountains of Brazil)</a></li>

<li><a href="Symphony_No._7_(Villa-Lobos)" title="Symphony No. 7 (Villa-Lobos)">Symphony No. 7 (Peace Odyssey)</a></li>

<li><a href="Symphony_No._8_(Villa-Lobos)" title="Symphony No. 8 (Villa-Lobos)">Symphony No. 8</a></li>

<li><a href="Symphony_No._9_(Villa-Lobos)" title="Symphony No. 9 (Villa-Lobos)">Symphony No. 9</a></li>

<li><a href="Symphony_No._10_(Villa-Lobos)" title="Symphony No. 10 (Villa-Lobos)">Symphony No. 10 (Sumé, Father of Fathers: Amerindian Symphony with Chorus)</a></li>

<li><a href="Symphony_No._11_(Villa-Lobos)" title="Symphony No. 11 (Villa-Lobos)">Symphony No. 11</a></li>

<li><a href="Symphony_No._12_(Villa-Lobos)" title="Symphony No. 12 (Villa-Lobos)">Symphony No. 12</a></li>

<li><a href="Uirapuru_(Villa-Lobos)" title="Uirapuru (Villa-Lobos)">Uirapuru</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Concertante</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Cello_Concerto_No._1_(Villa-Lobos)" title="Cello Concerto No. 1 (Villa-Lobos)">Cello Concerto No. 1</a></li>

<li><a href="Cello_Concerto_No._2_(Villa-Lobos)" title="Cello Concerto No. 2 (Villa-Lobos)">Cello Concerto No. 2</a></li>

<li><a href="Fantasia_for_saxophone%2C_three_horns%2C_and_strings" title="Fantasia for saxophone, three horns, and strings">Fantasia for saxophone, three horns, and strings</a></li>

<li><a href="Guitar_Concerto_(Villa-Lobos)" title="Guitar Concerto (Villa-Lobos)">Guitar Concerto</a></li>

<li><a href="Piano_Concerto_No._1_(Villa-Lobos)" title="Piano Concerto No. 1 (Villa-Lobos)">Piano Concerto No. 1</a></li>

<li><a href="Piano_Concerto_No._2_(Villa-Lobos)" title="Piano Concerto No. 2 (Villa-Lobos)">Piano Concerto No. 2</a></li>

<li><a href="Piano_Concerto_No._3_(Villa-Lobos)" title="Piano Concerto No. 3 (Villa-Lobos)">Piano Concerto No. 3</a></li>

<li><a href="Piano_Concerto_No._4_(Villa-Lobos)" title="Piano Concerto No. 4 (Villa-Lobos)">Piano Concerto No. 4</a></li>

<li><a href="Piano_Concerto_No._5_(Villa-Lobos)" title="Piano Concerto No. 5 (Villa-Lobos)">Piano Concerto No. 5</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Chamber music</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Nonet_(Villa-Lobos)" title="Nonet (Villa-Lobos)">Nonet</a></li>

<li><a href="String_Quartet_No._1_(Villa-Lobos)" title="String Quartet No. 1 (Villa-Lobos)">String Quartet No. 1</a></li>

<li><a href="String_Quartet_No._2_(Villa-Lobos)" title="String Quartet No. 2 (Villa-Lobos)">String Quartet No. 2</a></li>

<li><a href="String_Quartet_No._3_(Villa-Lobos)" title="String Quartet No. 3 (Villa-Lobos)">String Quartet No. 3</a></li>

<li><a href="String_Quartet_No._4_(Villa-Lobos)" title="String Quartet No. 4 (Villa-Lobos)">String Quartet No. 4</a></li>

<li><a href="String_Quartet_No._5_(Villa-Lobos)" title="String Quartet No. 5 (Villa-Lobos)">String Quartet No. 5</a></li>

<li><a href="String_Quartet_No._6_(Villa-Lobos)" title="String Quartet No. 6 (Villa-Lobos)">String Quartet No. 6</a></li>

<li><a href="String_Quartet_No._7_(Villa-Lobos)" title="String Quartet No. 7 (Villa-Lobos)">String Quartet No. 7</a></li>

<li><a href="String_Quartet_No._8_(Villa-Lobos)" title="String Quartet No. 8 (Villa-Lobos)">String Quartet No. 8</a></li>

<li><a href="String_Quartet_No._9_(Villa-Lobos)" title="String Quartet No. 9 (Villa-Lobos)">String Quartet No. 9</a></li>

<li><a href="String_Quartet_No._10_(Villa-Lobos)" title="String Quartet No. 10 (Villa-Lobos)">String Quartet No. 10</a></li>

<li><a href="String_Quartet_No._11_(Villa-Lobos)" title="String Quartet No. 11 (Villa-Lobos)">String Quartet No. 11</a></li>

<li><a href="String_Quartet_No._12_(Villa-Lobos)" title="String Quartet No. 12 (Villa-Lobos)">String Quartet No. 12</a></li>

<li><a href="String_Quartet_No._13_(Villa-Lobos)" title="String Quartet No. 13 (Villa-Lobos)">String Quartet No. 13</a></li>

<li><a href="String_Quartet_No._14_(Villa-Lobos)" title="String Quartet No. 14 (Villa-Lobos)">String Quartet No. 14</a></li>

<li><a href="String_Quartet_No._15_(Villa-Lobos)" title="String Quartet No. 15 (Villa-Lobos)">String Quartet No. 15</a></li>

<li><a href="String_Quartet_No._16_(Villa-Lobos)" title="String Quartet No. 16 (Villa-Lobos)">String Quartet No. 16</a></li>

<li><a href="String_Quartet_No._17_(Villa-Lobos)" title="String Quartet No. 17 (Villa-Lobos)">String Quartet No. 17</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Piano works</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="A_prole_do_bebe" title="A prole do bebe">A prole do bebe</a></li>

<li><a href="Rudepo%C3%AAma" title="Rudepoêma">Rudepoêma</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Works for guitar solo</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Ch%C3%B4ros_No._1" title="Chôros No. 1">Chôros No. 1</a></li>

<li><a href="%C3%89tude_No._1_(Villa-Lobos)" title="Étude No. 1 (Villa-Lobos)">Étude No. 1</a></li>

<li><a href="%C3%89tude_No._2_(Villa-Lobos)" title="Étude No. 2 (Villa-Lobos)">Étude No. 2</a></li>

<li><a href="%C3%89tude_No._3_(Villa-Lobos)" title="Étude No. 3 (Villa-Lobos)">Étude No. 3</a></li>

<li><a href="%C3%89tude_No._4_(Villa-Lobos)" title="Étude No. 4 (Villa-Lobos)">Étude No. 4</a></li>

<li><a href="%C3%89tude_No._5_(Villa-Lobos)" title="Étude No. 5 (Villa-Lobos)">Étude No. 5</a></li>

<li><a href="%C3%89tude_No._6_(Villa-Lobos)" title="Étude No. 6 (Villa-Lobos)">Étude No. 6</a></li>

<li><a href="%C3%89tude_No._7_(Villa-Lobos)" title="Étude No. 7 (Villa-Lobos)">Étude No. 7</a></li>

<li><a href="%C3%89tude_No._8_(Villa-Lobos)" title="Étude No. 8 (Villa-Lobos)">Étude No. 8</a></li>

<li><a href="%C3%89tude_No._9_(Villa-Lobos)" title="Étude No. 9 (Villa-Lobos)">Étude No. 9</a></li>

<li><a href="%C3%89tude_No._10_(Villa-Lobos)" title="Étude No. 10 (Villa-Lobos)">Étude No. 10</a></li>

<li><a href="%C3%89tude_No._11_(Villa-Lobos)" title="Étude No. 11 (Villa-Lobos)">Étude No. 11</a></li>

<li><a href="%C3%89tude_No._12_(Villa-Lobos)" title="Étude No. 12 (Villa-Lobos)">Étude No. 12</a></li>

<li><a href="Prelude_No._1_(Villa-Lobos)" title="Prelude No. 1 (Villa-Lobos)">Prelude No. 1</a> in E minor</li>

<li><a href="Prelude_No._2_(Villa-Lobos)" title="Prelude No. 2 (Villa-Lobos)">Prelude No. 2</a> in E major</li>

<li><a href="Prelude_No._3_(Villa-Lobos)" title="Prelude No. 3 (Villa-Lobos)">Prelude No. 3</a> in A minor</li>

<li><a href="Prelude_No._4_(Villa-Lobos)" title="Prelude No. 4 (Villa-Lobos)">Prelude No. 4</a> in E minor</li>

<li><a href="Prelude_No._5_(Villa-Lobos)" title="Prelude No. 5 (Villa-Lobos)">Prelude No. 5</a> in D major</li>

<li><a href="Suite_populaire_br%C3%A9silienne" title="Suite populaire brésilienne">Suite populaire brésilienne</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other compositions</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Bachianas_Brasileiras" title="Bachianas Brasileiras">Bachianas Brasileiras</a></li>

<li><a href="Introdu%C3%A7%C3%A3o_aos_Ch%C3%B4ros" title="Introdução aos Chôros">Introdução aos Chôros</a></li>

<li><a href="Ch%C3%B4ros_No._2" title="Chôros No. 2">Chôros No. 2</a></li>

<li><a href="Ch%C3%B4ros_No._3" title="Chôros No. 3">Chôros No. 3</a></li>

<li><a href="Ch%C3%B4ros_No._4" title="Chôros No. 4">Chôros No. 4</a></li>

<li><a href="Ch%C3%B4ros_No._5" title="Chôros No. 5">Chôros No. 5</a></li>

<li><a href="Ch%C3%B4ros_No._7" title="Chôros No. 7">Chôros No. 7</a></li>

<li><a href="Ch%C3%B4ros_bis" title="Chôros bis">Chôros bis</a></li>

<li><a href="Quinteto_(em_forma_de_ch%C3%B4ros)" title="Quinteto (em forma de chôros)">Quinteto (em forma de chôros)</a></li>

<li><a href="The_Little_Train_of_the_Caipira" title="The Little Train of the Caipira">The Little Train of the Caipira</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Film score</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Green_Mansions_(film)" title="Green Mansions (film)">Green Mansions</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Modern_classical_guitar" class="mw-redirect" title="Modern classical guitar">Modern classical guitar</a></li>

<li><a href="Music_of_Brazil" title="Music of Brazil">Music of Brazil</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div> Category</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Neoclassical_music77" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Neoclassical_music77" style="font-size:114%;margin:0 4em"><a href="Neoclassicism_(music)" title="Neoclassicism (music)">Neoclassical music</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Composers</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Georges_Auric" title="Georges Auric">Georges Auric</a></li>

<li><a href="B%C3%A9la_Bart%C3%B3k" title="Béla Bartók">Béla Bartók</a></li>

<li><a href="Alfredo_Casella" title="Alfredo Casella">Alfredo Casella</a></li>

<li><a href="Carlos_Ch%C3%A1vez" title="Carlos Chávez">Carlos Chávez</a></li>

<li><a href="Aaron_Copland" title="Aaron Copland">Aaron Copland</a></li>

<li><a href="Louis_Durey" title="Louis Durey">Louis Durey</a></li>

<li><a href="George_Enescu" title="George Enescu">George Enescu</a></li>

<li><a href="Manuel_de_Falla" title="Manuel de Falla">Manuel de Falla</a></li>

<li><a href="Radam%C3%A9s_Gnattali" title="Radamés Gnattali">Radamés Gnattali</a></li>

<li><a href="Camargo_Guarnieri" title="Camargo Guarnieri">Camargo Guarnieri</a></li>

<li><a href="Paul_Hindemith" title="Paul Hindemith">Paul Hindemith</a></li>

<li><a href="Vagn_Holmboe" title="Vagn Holmboe">Vagn Holmboe</a></li>

<li><a href="Arthur_Honegger" title="Arthur Honegger">Arthur Honegger</a></li>

<li><a href="Zolt%C3%A1n_Kod%C3%A1ly" title="Zoltán Kodály">Zoltán Kodály</a></li>

<li><a href="Bohuslav_Martin%C5%AF" title="Bohuslav Martinů">Bohuslav Martinů</a></li>

<li><a href="Darius_Milhaud" title="Darius Milhaud">Darius Milhaud</a></li>

<li><a href="Francis_Poulenc" title="Francis Poulenc">Francis Poulenc</a></li>

<li><a href="Sergei_Prokofiev" title="Sergei Prokofiev">Sergei Prokofiev</a></li>

<li><a href="Maurice_Ravel" title="Maurice Ravel">Maurice Ravel</a></li>

<li><a href="Joaqu%C3%ADn_Rodrigo" title="Joaquín Rodrigo">Joaquín Rodrigo</a></li>

<li><a href="Erik_Satie" title="Erik Satie">Erik Satie</a></li>

<li><a href="Richard_Strauss" title="Richard Strauss">Richard Strauss</a></li>

<li><a href="Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a></li>

<li><a href="Germaine_Tailleferre" title="Germaine Tailleferre">Germaine Tailleferre</a></li>

</ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Compositions</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Ancient_Airs_and_Dances" title="Ancient Airs and Dances">Antiche arie e danze</a></li>

<li><a href="Apollo_(ballet)" title="Apollo (ballet)">Apollo</a></li>

<li><a href="Le_baiser_de_la_f%C3%A9e" title="Le baiser de la fée">Le baiser de la fée</a></li>

<li><a href="Le_bourgeois_gentilhomme_(Strauss)" title="Le bourgeois gentilhomme (Strauss)">Le bourgeois gentilhomme</a></li>

<li><a href="Concert_champ%C3%AAtre" title="Concert champêtre">Concert champêtre</a></li>

<li><a href="Concerto_in_D_(Stravinsky)" title="Concerto in D (Stravinsky)">Concerto in D</a></li>

<li><a href="Concerto_in_E-flat_(Dumbarton_Oaks)" class="mw-redirect" title="Concerto in E-flat (Dumbarton Oaks)">Concerto in E-flat (Dumbarton Oaks)</a></li>

<li><a href="Divertimento_for_chamber_orchestra_after_keyboard_pieces_by_Couperin" class="mw-redirect" title="Divertimento for chamber orchestra after keyboard pieces by Couperin">Divertimento for chamber orchestra after keyboard pieces by Couperin</a></li>

<li><a href="Harpsichord_Concerto_(Falla)" title="Harpsichord Concerto (Falla)">Harpsichord Concerto</a></li>

<li><a href="Jeu_de_cartes_(Stravinsky)" title="Jeu de cartes (Stravinsky)">Jeu de cartes</a></li>

<li><a href="Mathis_der_Maler_(opera)" title="Mathis der Maler (opera)">Mathis der Maler</a></li>

<li><a href="Mavra" title="Mavra">Mavra</a></li>

<li><a href="Octet_(Stravinsky)" title="Octet (Stravinsky)">Octet for winds</a></li>

<li><a href="Oedipus_rex_(opera)" title="Oedipus rex (opera)">Oedipus rex</a></li>

<li><a href="Orpheus_(ballet)" title="Orpheus (ballet)">Orpheus</a></li>

<li><a href="Piano_Sonata_No._1_(Enescu)" title="Piano Sonata No. 1 (Enescu)">Piano Sonata No. 1 (Enescu)</a></li>

<li><a href="Piano_Sonata_No._3_(Ch%C3%A1vez)" title="Piano Sonata No. 3 (Chávez)">Piano Sonata No. 3 (Chávez)</a></li>

<li><a href="Piano_Sonata_No._3_(Enescu)" title="Piano Sonata No. 3 (Enescu)">Piano Sonata No. 3 (Enescu)</a></li>

<li><a href="Piano_Suite_No._2_(Enescu)" title="Piano Suite No. 2 (Enescu)">Piano Suite No. 2 (Enescu)</a></li>

<li><a href="Premier_Menuet" title="Premier Menuet">Premier Menuet</a></li>

<li><a href="Pulcinella_(ballet)" title="Pulcinella (ballet)">Pulcinella</a></li>

<li><a href="The_Rake's_Progress" title="The Rake's Progress">The Rake's Progress</a></li>

<li><a href="El_retablo_de_maese_Pedro" title="El retablo de maese Pedro">El retablo de maese Pedro</a></li>

<li><a href="Sonatine_bureaucratique" title="Sonatine bureaucratique">Sonatine bureaucratique</a></li>

<li><a href="Symphony_No._1_(Prokofiev)" title="Symphony No. 1 (Prokofiev)">Symphony No. 1</a></li>

<li><a href="Symphony_in_C_(Stravinsky)" title="Symphony in C (Stravinsky)">Symphony in C</a></li>

<li><a href="Symphony_in_Three_Movements_(Stravinsky)" class="mw-redirect" title="Symphony in Three Movements (Stravinsky)">Symphony in Three Movements</a></li>

<li><a href="Symphony_of_Psalms" title="Symphony of Psalms">Symphony of Psalms</a></li>

<li><a href="Tanzsuite_aus_Klavierst%C3%BCcken_von_Fran%C3%A7ois_Couperin%2C_TrV_245" class="mw-redirect" title="Tanzsuite aus Klavierstücken von François Couperin, TrV 245">Tanzsuite aus Klavierstücken von François Couperin</a></li>

<li><a href="Le_Tombeau_de_Couperin" title="Le Tombeau de Couperin">Le Tombeau de Couperin</a></li>

<li><a href="The_Birds_(Respighi)" title="The Birds (Respighi)">Gli uccelli</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other topics</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Neoclassical_ballet" title="Neoclassical ballet">Neoclassical ballet</a></li>

<li><a href="Neoromanticism_(music)" title="Neoromanticism (music)">Neoromanticism (music)</a></li>

<li><a href="Neotonality" title="Neotonality">Neotonality</a></li>

<li><a href="Modernism_(music)" title="Modernism (music)">Modernism (music)</a></li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Musical_nationalism37" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Musical_nationalism37" style="font-size:114%;margin:0 4em"><a href="Musical_nationalism" title="Musical nationalism">Musical nationalism</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Europe</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li>Czech Republic

<ul><li><a href="Bed%C5%99ich_Smetana" title="Bedřich Smetana">Bedřich Smetana</a></li>

<li><a href="Anton%C3%ADn_Dvo%C5%99%C3%A1k" title="Antonín Dvořák">Antonín Dvořák</a></li>

<li><a href="Leo%C5%A1_Jan%C3%A1%C4%8Dek" title="Leoš Janáček">Leoš Janáček</a></li>

<li><a href="Bohuslav_Martin%C5%AF" title="Bohuslav Martinů">Bohuslav Martinů</a></li></ul></li>

<li>Denmark

<ul><li><a href="Niels_Gade" title="Niels Gade">Niels Gade</a></li>

<li><a href="Carl_Nielsen" title="Carl Nielsen">Carl Nielsen</a></li></ul></li>

<li>Estonia

<ul><li><a href="Rudolf_Tobias" title="Rudolf Tobias">Rudolf Tobias</a></li></ul></li>

<li>Finland

<ul><li><a href="Leevi_Madetoja" title="Leevi Madetoja">Leevi Madetoja</a></li>

<li><a href="Jean_Sibelius" title="Jean Sibelius">Jean Sibelius</a></li></ul></li>

<li>France

<ul><li><a href="Camille_Saint-Sa%C3%ABns" title="Camille Saint-Saëns">Camille Saint-Saëns</a></li>

<li><a href="Romain_Bussine" title="Romain Bussine">Romain Bussine</a></li></ul></li>

<li>Germany

<ul><li><a href="Carl_Maria_von_Weber" title="Carl Maria von Weber">Carl Maria von Weber</a></li>

<li><a href="Richard_Wagner" title="Richard Wagner">Richard Wagner</a></li></ul></li>

<li>Hungary

<ul><li><a href="B%C3%A9la_Bart%C3%B3k" title="Béla Bartók">Béla Bartók</a></li>

<li><a href="Zolt%C3%A1n_Kod%C3%A1ly" title="Zoltán Kodály">Zoltán Kodály</a></li></ul></li>

<li>Italy

<ul><li><a href="Giuseppe_Verdi" title="Giuseppe Verdi">Giuseppe Verdi</a></li></ul></li>

<li>Netherlands

<ul><li><a href="Bernard_Zweers" title="Bernard Zweers">Bernard Zweers</a></li></ul></li>

<li>Norway

<ul><li><a href="Edvard_Grieg" title="Edvard Grieg">Edvard Grieg</a></li></ul></li>

<li>Poland

<ul><li><a href="Fr%C3%A9d%C3%A9ric_Chopin" title="Frédéric Chopin">Frédéric Chopin</a></li>

<li><a href="Stanis%C5%82aw_Moniuszko" title="Stanisław Moniuszko">Stanisław Moniuszko</a></li>

<li><a href="Henryk_Wieniawski" title="Henryk Wieniawski">Henryk Wieniawski</a></li></ul></li>

<li>Romania

<ul><li><a href="George_Enescu" title="George Enescu">George Enescu</a></li></ul></li>

<li>Russia

<ul><li><a href="Mikhail_Glinka" title="Mikhail Glinka">Mikhail Glinka</a></li>

<li><a href="Alexander_Dargomyzhsky" title="Alexander Dargomyzhsky">Alexander Dargomyzhsky</a></li>

<ul><li><a href="Mily_Balakirev" title="Mily Balakirev">Mily Balakirev</a></li>

<li><a href="C%C3%A9sar_Cui" title="César Cui">César Cui</a></li>

<li><a href="Modest_Mussorgsky" title="Modest Mussorgsky">Modest Mussorgsky</a></li>

<li><a href="Nikolai_Rimsky-Korsakov" title="Nikolai Rimsky-Korsakov">Nikolai Rimsky-Korsakov</a></li>

<li><a href="Alexander_Borodin" title="Alexander Borodin">Alexander Borodin</a></li></ul></li></ul></li>

<li>Slovakia

<ul><li><a href="J%C3%A1n_Cikker" title="Ján Cikker">Ján Cikker</a></li>

<li><a href="Alexander_Moyzes" title="Alexander Moyzes">Alexander Moyzes</a></li>

<li><a href="Eugen_Sucho%C5%88" title="Eugen Suchoň">Eugen Suchoň</a></li></ul></li>

<li>Spain

<ul><li><a href="Felip_Pedrell" title="Felip Pedrell">Felip Pedrell</a></li>

<li><a href="Isaac_Alb%C3%A9niz" title="Isaac Albéniz">Isaac Albéniz</a></li>

<li><a href="Manuel_de_Falla" title="Manuel de Falla">Manuel de Falla</a></li>

<li><a href="Enrique_Granados" title="Enrique Granados">Enrique Granados</a></li>

<li><a href="Joaqu%C3%ADn_Rodrigo" title="Joaquín Rodrigo">Joaquín Rodrigo</a></li>

<li><a href="Joaqu%C3%ADn_Turina" title="Joaquín Turina">Joaquín Turina</a></li></ul></li>

<li>Sweden

<ul><li><a href="Hugo_Alfv%C3%A9n" title="Hugo Alfvén">Hugo Alfvén</a></li></ul></li>

<li>United Kingdom

<ul><li><a href="Joseph_Parry" title="Joseph Parry">Joseph Parry</a></li>

<li><a href="Edward_Elgar" title="Edward Elgar">Edward Elgar</a></li>

<li><a href="Charles_Villiers_Stanford" title="Charles Villiers Stanford">Charles Villiers Stanford</a></li>

<li><a href="Alexander_Mackenzie_(composer)" title="Alexander Mackenzie (composer)">Alexander Mackenzie</a></li>

<li><a href="Ralph_Vaughan_Williams" title="Ralph Vaughan Williams">Ralph Vaughan Williams</a></li></ul></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Americas</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li>Argentina

<ul><li><a href="Alberto_Ginastera" title="Alberto Ginastera">Alberto Ginastera</a></li></ul></li>

<li>Brazil

<ul><li><a href="Ant%C3%B4nio_Carlos_Gomes" title="Antônio Carlos Gomes">Antônio Carlos Gomes</a></li>

<li><a href="Francisco_Mignone" title="Francisco Mignone">Francisco Mignone</a></li>

</ul></li>

<li>Canada

<ul><li><a href="Claude_Vivier" title="Claude Vivier">Claude Vivier</a></li></ul></li>

<li>Mexico

<ul><li><a href="Manuel_Ponce" title="Manuel Ponce">Manuel Ponce</a></li>

<li><a href="Carlos_Ch%C3%A1vez" title="Carlos Chávez">Carlos Chávez</a></li>

<li><a href="Silvestre_Revueltas" title="Silvestre Revueltas">Silvestre Revueltas</a></li></ul></li>

<li>United States

<ul><li><a href="Aaron_Copland" title="Aaron Copland">Aaron Copland</a></li>

<li><a href="Henry_Cowell" title="Henry Cowell">Henry Cowell</a></li>

<li><a href="Horatio_Parker" title="Horatio Parker">Horatio Parker</a></li>

<li><a href="Edward_MacDowell" title="Edward MacDowell">Edward MacDowell</a></li>

<li><a href="Charles_Ives" title="Charles Ives">Charles Ives</a></li></ul></li></ul>

</div></td></tr></tbody></table></div>

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href="https://ci.nii.ac.jp/author/DA07250130?l=en">CiNii</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://musicbrainz.org/artist/a8dbf22f-9788-4cf6-a0df-c9244384f295">MusicBrainz</a></li><li><a rel="nofollow" class="external text" href="https://adp.library.ucsb.edu/names/102678">Discography of American Historical Recordings</a></li><li><a rel="nofollow" class="external text" href="https://www.grammy.com/artists/heitor-villa-lobos/12730">Grammy Awards</a></li><li><a rel="nofollow" class="external text" href="https://www.performing-arts.eu/discovery/agent/gnd_118768476">FID</a></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div 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href="https://rism.online/people/41012968">RISM</a></li><li><a rel="nofollow" class="external text" href="https://lux.collections.yale.edu/view/person/e1e743af-acf6-49d3-897b-1c091348ad95">Yale LUX</a></li></ul></div></td></tr></tbody></table></div></div><div><div class="zim-footer">

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