Eithertor Villa Lobos is the brightest representative of Brazil's musical culture. Eitor Vile Lobos, Biography Brazilian composers

Write music to me the need ... I am writing because I can't not write.

E. Villa Lobos

The first essays of the Villa Lobos - Songs and Dance Pieces of the Twelve-year-old self-taught musician - marked 1899 in the next 60 years of creative activity (Villa Lobos died on November 17, 1959. At the 73rd year of life), the composer created over thousands (some Researchers are up to 1500!) Works in a wide variety of genres. Its Peru owns 9 operas, 15 ballets, 12 symphonies, 10 instrumental concerts, more than 60 chamber essays of a large form (Sonatas, Trio, Quartets); songs, romances, choirs, plays for individual tools in the Heritage of Villa Lobosa are calculated by hundreds, like folk melodies collected and treated with a composer; His music for children written with training objectives for musical and general education schools, for amateur choirs, includes more than 500 titles.

Villa Lobos combined in one face of the composer, conductor, teacher, collector and researchers of folklore, musical criticism and writer, administrator, for many years he headed the leading musical institutions of the country (among which a lot created on his initiative and his personal participation), a member Government on public education, delegate of the Brazilian National Committee of UNESCO, an active figure of the International Music Council. Active member of the Academies of Fine Arts of Paris and New York, Honorary Member of the Roman Academy "Santa Chechchili", Corresponding Member of the National Academy of Fine Arts Buenos Aires, Member of the International Music Festival in Salzburg, Commander of the Order of the Honorary Legion of France, Dr. Honoris Causa many foreign institutions - signs of international recognition of the outstanding merit of the Brazilian composer. Three, on four full-fledged, worthy of respect for human life with an excessive enough of the Villa Lobosom for one - amazing, performed supernatural energy, purposeful, mobility - the life of the artist, who became, according to Pablo Kazals, "the greatest pride of the country, which It spawned it. "

The colossal heritage of Villa Lobos is difficult to find a "one-time" overview. It is huge and varied, like Brazil itself. It has a virgin sulfur and sun-scorched certificates, the greatest course of mighty rivers and low-spirited waterfalls; It is heard the noise of the ocean surf, the restlessness of Rio, the soft speech of Creoles and the Mountain Tong of Indians. Like Brazil, it is different and one at the same time, and you need to listen to it in order to feel in this multi-partie element the feature of a single appearance is that it bears the same characteristic, unique printing of common (Brazilian) and individual (artist's personality).

Most researchers who wrote about Villa Lobos are noted by a certain evolution of his artistic style. "Villa-Lobos started as a postroman," says Carlton Smith, "then came to impressionism and folklore, later turned to the classicism in the style of Baha and today it synthesizes all these styles.

Oscar Lorens Fernandis, composer, compatriot and friend Villa Lobos, especially emphasizes the influence of Debussy and French school on the formation of a musical language of the Brazilian master. "At first, Villa Lobos experienced a strong effect of Debussy," he writes, like very many composers of the beginning of the 20th century, and the influence is not so much Debussy, how many musical atmosphere of his era. It is more correct to talk about the influence of the French school dominated in those years. "

Not so unconditionally solves this question Arnalda Estrare. In one of the articles of the 40s, he wrote the following: "In his youth, Villa Lobos was a bold" modernist ". He fought for a long time for recognizing himself in his homeland and beyond. Today it is already possible to say that he did not join any course. He followed not fashion, but only his fashion. In his early writings, the influences that no brilliant artist can be avoided. Some traces of romanticism, later - the features of impressionism. Nevertheless, there are few in the history of music composers with such an individual face as Villa Lobos. "

The modern composer and musical critic Aurelio de la Vega considers it at all impossible to allocate any permanent stylistic signs in the work of Villa Lobos. "The style of Villa Lobosa," he says, is eclectic to the material used and individual with regard to how this material is used; His style is abundant-luxurious and economically calculating at the same time, it is primitive in some cases and severly sophisticated in others. The composer is us then a sophisticated impressionist, the primitive barbarian rhythmic element; Neoclassicist in Brazilian Bakhiaans and a fierce nationalist in "Shoros"; Creator of melodies of incredible historical significance and the author of unbearable banalities; A musician who is not capable of criticizing its own musical ideas, and an artist with amazing creative intuition. "

In each of the above statements, there are, in our opinion, a large proportion of truth. It is right that in many works of Villa Lobos, we can easily find post-stunt, impressionistic or neoclassicist traits. It is true that Villa Lobos has not passed the influence of the French school. Rights (if you mitigate some extremes of expression) and Aurelio de la Vega, noting the outer stylistic motion of the heritage of the Brazilian composer, the famous eclecticism of his style. The closer to all to the truth, as it seems to us, Arnalda Estrere, who claims that Villa Lobos did not join any European flow that he followed only "his fashion." However, this statement is too categorically, and therefore one-sided.

Indeed, the huge heritage of Villa Lobosa does not fit into the framework of any directions, and the style of it for more than half a century of creative path was not united. The composer wrote all his life extremely easy, in a wide variety of genres, for the most varying audience, for certain performers and performing teams. In his youth, he composed continuously, without thinking about "style", but obeying only a strong creative impulse. In mature years, he had to constantly fulfill a huge number of orders for any kind and style of music that came to him from all sides, from numerous Brazilian and foreign societies, institutions, publishers, from the North American film industry, from various orchestras and individuals. ("I had a new quartet in my head for a long time, which was transferred to paper only because orders will take away all the time," such complaints have repeatedly heard people close to him.) "Target installation", naturally, played in Every case a considerable role. It is not surprising, therefore, that in the heritage of Villa Lobosa, not all artistically equivalent, not all equally carries the seal of his artistic personality, signs only to his characteristic composer handwriting. Villa Lobos is often adjacent to the composition written in the same time, various not only in the artistic level, according to the formal signs of the style. This kind of "eclecticism" has nothing to do, say, with extremely intelligent "styling eclecticism" of Stravinsky as a consciously elected method. "Eclecticism" of the Brazilian Wizard is a spontaneous, spontaneous, stemming not from poverty, but from creative abundance and generosity.

At the beginning of his creative path of Villa Lobos, under the influence of the Italian opera, reigning in Brazil until the beginning of the 20th century, was passionate, however, for a while, the ideals of Verism. Inherent to believes, the features of melodramaticism, affecting, melodic lines with obvious traces of Melosa Puccini is not difficult to detect in the early composer operations. His period and the period of "Vagneryania", who, more in the addictions to the Wagne Orchestra and Harmonies, rather than in the aesthetic principles of the author "Tristan" in consequences. (Villa-Lobos himself has repeatedly spoke about such hobbies: "As soon as I feel that I have been inflicted for someone's influence, I shake and frees from him"? 0;.) At one time, Villa-Lobos gave tribute and modernist hobbies The expression in such, for example, writings, such as Trio No. 3 for Violin, Cello and Piano (1918) or Trio for Oboy, Clarinet and Fagota (1921) - grotesque plays, replete with sharp polyton effects. (Later, Villa Lobos took quite a clear position of the rejection of modernism, but at the end of the 10th - early 20s, the composer was not offended, if you make a sensation with my "extreme" aspirations.) In general, if you proceed from the prevailing figurative sphere , the dominant circle of sentiment, in his early writings, Villa Lobos appears by a composer who continues the romantic tradition of his braga teachers and donkeys and at the same time adhered to national orientation of Nepomussen and Nazare.

Of incomparably, the effect on the Villa Lobosion Impressionism, whose characteristic stylistic features were reflected in many composer compositions: a magnificent multicolor harmony with an abundant use of chromatism and alternated consonance; Typically "Impressionist" piano texture, extremely detailed, sometimes exquisite; Slim flavor of orchestration, often with unexpected, on always artistic justified comparisons of distant in their acoustic nature of the timbres and the preference of small instrumental compositions. (It is worth bringing some examples of typical instrumental compounds at Villa Lobosa: Flute, Oboe, Saxophone, Harp, Chelesta and Guitar - "Mystical Sextet", 1917; Flute, Oboe, Clarinet, Saxophone, Baby, Chest, Harp, Impact and Choir - Nonet, 1923; Flute, guitar, female choir-- ballet "Greek motifs", 1937; Saxophone, two French horn and string group - "Fantasy", 1948.) Impressionism attracted Villa Lobosa, undoubtedly, and the fact that It was closely connected in the work of such, for example, highly appreciated composers as Maurice Ravel or Manuel de Falla, with national folk traditions. This inherited from late romanticism Side of impressionism (although not typical of European musical impressionism in business) was particularly close to the artistic principles of Villa Lobosa himself. It is characteristic that the creativity of the expressionists of the Novovenic school, and in particular representatives of the atonal and serial music, which had a noticeable resonance in Latin America, on the contrary, was (except for individual purely technical techniques) alien to the Brazilian composer of precisely their national alien. The music of the altational, "cosmopolitan" Villa Lobos did not recognize. He himself is always - and in a small play for the guitar, and in a large symphonic canvase - remained a truly Brazilian artist.

The most fully, the features of the Impressionistic letter were reflected in such works of Villa Lobos, as now well-known and executed by the largest pianists of the world (starting with Arthur Rubinstein) Piano Suite "The World of the Child" (1918--1926), which is fairly considered one of the peaks of the piano art of the composer, in which colorful harmony, bright sound image, elegance of form, filigree decoration of parts and brilliant pianistic techniques are combined with melody and rhythm typical of Brazilian music; As no less well-known, also the piano cycle "Sorads" - 16 musical genre sketches on popular folk topics, successfully called by Pianist Juan Crowing Lima "Brazilian" pictures from the exhibition "; As further, "small stories" for voice accompanied by Piano (1920), a quartet with a female choir (1921), Nonet (1923), "Dedication to Chopin" (1949); Impressionistic in style fragments are found in the ballets of Villa Lobosa, in some "Shoros" and a number of other writings.

For the creativity of Villa Lobos of a later period (30-- 40s), the tendencies of neoclassicism are characterized by the expression in his peculiar "unreachaded", in circulation to the style of the classical polyphony of the XVIII century., Invariably attracting the composer. The most bright and consistently neoclassicism Villa Lobosa manifested itself in his famous "Brazilian Bakhiaans" (Bachianas Brasileiras, 1930--1945) - cycle from nine suits written for different compositions. Brazilian Bahiaans are not an external stylization of Baha music. Villa Lobos does not copy Bakhovsky techniques ("Bakhizms with fakeivisms", as a metotea noticed about the one-sided stylized "bug" of the Stravinsky Prokofiev) and, taking advantage of the expression of Prokofiev, "does not accept the tongue of Baha as his". Bahukhovskaya began here in more general aspects: In the principle of deploying the thematic material of large breathing melodies, expressive cantilers, "germinating" from the initial intonation nucleus (an excellent example of such "germination", a cello "prelude" from "Bakhiana" No. 1); In the richness of polyphonic tissue, combining the natural and independent movement of votes with a clear harmonic vertical (even in such a "bakhiane", as No. 6 written for flute and fagot - l beloved and often used by the composer with the form of the instrumental duet); In the interpretation of the Fugue is not as an abstract-constructive scheme, but as a kind of "musical genre", which can embody any modern images (a magnificent sample can serve as a fugue from Bakhiana No. 1, entitled "Conversa" - "Conversa": it has all the attributes Academic Fugue and at the same time quite modern in language and national style); Finally, in the use of instrumental and vocal forms typical of the art of the Bach and its time, such as a fugue, prelude, I choral, Toccata, Aria, Algered.

It is necessary, however, to emphasize the following: Despite all the Impressionism and Neoclassicism of Villa Lobos, a composer never in the above writings, nor in any other periods of creativity - was not an impressionist nor neoclassicist in the European meaning of these concepts . The aesthetics of impressionism, with its cold intellectualism, refined, contemplation, by admiring the self-adhesive beauty of color, with its excursions in exoticism and stylized archaic, the desire for the dematerialization of the real world ("Otzvuki and the reflections of the operationalities of the real world", by definition of V. Karatygin) was organically Alien to the mighty, temperamental, "earthly" nature of the Brazilian composer. In Impressionism, Villa Lobosa attracted the novelty of artistic expressive means free from academic conventions, and these funds he really used. However, all impressionist means and techniques mean nothing if they express something not impressionistic in the method of their use. Alone only the genre nature of the "child's world" or "Sirand", not to mention the full-blooded, "tangible" materiality of their images, about them is emphasized by the bright national flavor, makes these works by antipodes of "Estams" or "Nokturnov" of the founder and the classics of European musical impressionism .

No less distant was Villa Lobos and from the aesthetic ideal of neoclassicism - flows, artificial in nature and rationalistic according to the method, elitar-closed, openly declared her indifference to real life and modern people. Anyone who heard the "Brazilian Bahiaans" of Villa Lobosa, can not not feel in them completely different, alive, strain, transfusing the world with all colors than in the form perfect, but the soulless, "dehumanized" structures of neoclassicists. Neoclassicism "Brazilian Bakhis" was not for Villa Lobos in advance of the elected method and even less - in itself; It naturally emerged from the artistic intention of the composer to transform some typical sides of the Brazilian Music Folklore in the strict forms of the Bakhakh Polyphony (this conscious installation on the national already in itself strongly separates "Bakhianes" from the aesthetics of neoclassicism, for which, on the contrary, it was characterized by no less conscious ignoring the national Subjects). Seeing the Universal Musical Start in the art of Bach, Villa Lobos argued that the forms and laws of this art apply to any national music ?? (It should be clarified: to any national music of the European tradition or genetically associated with it, like Brazilian). The experience of "Brazilian Bakhis" brilliantly confirmed this thesis. Villa Lobos finds unexpected, but every time artistically convincing compliance between the classic structures and forms of Brazilian music. So, the "preludes" from "Bakhiana" No. 1 it gives the characteristic features of the most popular Brazilian lyrical song of Modigny; In the style of Modian, and "Aria" from the 3rd and 8th "Bakhis" are constructed. The rapid "introduction" from Bakhiana No. 1 Composer writes in the form of embolde - a comic song-invertor of the northeastern states, and to "Ziga" from Bakhiana No. 7 puts the subtitle "Rural Kadril". The rest of the subtitles are not less characteristic: "Defihu" (competition of two singers) - to "Tokkate" from "Bakhiana" number 7, "Peasant Song" ("Prelude" from "Bakhiana" No. 2), "Song of Certhan" ("Choral" from "Bakhiana" No. 4), "Rural train" ("Toccata" from "Bakhiana" No. 2) - charming, superbly orchestrated play, depicting the movement of a small train of a narrow scene in the depths of the country. This bright national flavor of the Brazilian Bakhis combined with consistently speaking through the entire series of the principle of classical forms of European music is their main distinguishing feature and makes the "Bakhian" by the work of a kind of unique not only in Brazilian ,; but n in world musical literature. Neoclassicism "Brazilian Bakhis", therefore, do not have care from modernity: to the past, which is so characteristic of representatives of this direction. On the contrary, it is the national service that serves in this case by the Mostkom, which connects the past with the present. All this makes "Brazilian Bahiaans" by the work equally to national and internationally, and it is not by chance that it is the "Brazilian Bakhiatan" remain the most popular essay of Villa Lobosa both in Brazil and beyond.

If the influence of the beliefs and wagner on the young Villa Lobosa was superficial, and its modernist hobbies are cut, if on impressionism and neoclassicism, as stylistic directions in the work of the composer, it is possible to speak only sufficiently conditionally, then with a much greater reason, you can determine the art of Villa Lobosa Romantic. The national and distinctive characterity of his music, "local color", appeal to national history and folklore; angry nature; legends, fairy tales, legends as plots; The absolute prevalence of software music over the "clean" (even in the symphones of the Villa Lobos seeks plot-genre concreteness, in particular by placing characteristic program headlines on the scores; so, its first symphony is called "surprise", the second - "Ascension", the third , The fourth and fifth constitute something like trilogies and are called the "war", "victory", "world", the sixth symphony has a title of "Mountains of Brazil", the seventh, composed in 1945, is named by the composer "Odyssey of the world", and the tenth; with soloists and chorus, written on literary text); a tendency to one-piece "free" forms that combine the features of Sonata Allegro and variationalities (symphonic poems, fantasies, orchestral and chamber miniatures); trend towards cyclic associations (abundance of Site); In harmony - a noticeable increase in the role of palogarmonic colorfulness; In the melody - the desire for continuity of development, to the "non-affordability" of melodic lines (classical example - "Aria" from Bakhiana No. 5); In the orchestra - the brightness of the flavor, the individualization and the dramatic expressiveness of pure timbres - all these characteristic features of the art of Villa Lobosa are simultaneously the cornerstone of musical romanticism.

But not only the specified features make the music of the Brazilian Masters of Romantic. There is something in it that lies deeper external, formal will take a romantic style. Romanticism as a course in Western European art belonged to the history of the birth of Villa Lobos, but there is an eternal romanticism of art, romanticism as a special "form of feeling", as a "way of experience of life", according to A. Block's expression. This is the elevation of the spirit, filled with a greedy desire for life, the emotion of the tone, the poetic elevation of speech, the heartfelt lyrism of statements, a special ability to communicate with his art, to be sociable with listeners - the skill inherent in romantic artists, which appears not to the mind, but to the feeling - All these are the properties of the romantic perception of the world, and all this is not just present in the music of Villa Lobos, but it is its soul itself. Such romanticism is inherent in young nations and young cultures, and he is not at all identical to the romanticism of the "old" peoples of Western Europe, which has already reached the thousand-year-old turn of their cultural history, - romanticism, facing past, with his "world sorrow" and nostalgia, discharging with reality And leaving the world of fabulous fiction, with his already uncomfortable idea of \u200b\u200b"return to nature" and La Rousseau, to a simple life and popular custom. On the contrary, romanticism is young, only a beginner of the conscious of himself and seeking his culture expression, which is the culture of Latin America, it is not for the "breaking with reality", but its approval; not "world grief", but calling on active operations optimism; Do not admire distant past, and the look as directed to the future. This romanticism is filled with that "joyful redundancy", which Alejo Carpenteer sees in the reality of Latin American life, with its redundancy, painfulness, bizarre mixing of different historical eras, different cultural styles, upgrade impressions every time new for the artist experiencing them. Art designed to reflect this "wonderful reality" of Latin America, Carpentener calls the art of Baroque, and if we adopt the concept of a Cuban writer, then we have the right to attribute the term "baroque" and to the art of Villa Lobos. In fact, it is his fourteen "Shoros", this giant-scale sound panorama of Brazil, a panorama, in which the same bizarre, as in the most "wonderful reality" of the continent, stirred the stone age with a twentieth century, the primordial chaos with the ordering of modern civilization, sophisticated The art of Trubadurov with primitive "barbaric" rhythms, where Europe, Africa and America sing one plan for the accompaniment of Indian Marak, African Tamborov and Creole Guitar, - Is this not the most powerful-luxurious, "excessive" baroque, which Karpenteer says?

In the past ten - twelve years of life, Villa Lobos created many symphonic and chamber instrumental music - symphony, concerts, string quartets. Some researchers (Vaska Marim one of them) consider this period to a creative decline caused by the composer's disease and the lack of normal conditions for work due to continuous foreign tour. Although we talk about the decline of creative energy before the fact of that unprecedented for the XX century. Productivity, which has always distinguished Villa Lobos, is hardly appropriate, but it is true that, with the exception of some quartets, his writings of recent years have not had that unconditional success that has accompanied the preceding creatures of the composer. It is possible to explain this by the well-known stylistic irregularity of the works of Villa Lobosa of the second half of the 40s - 50s. Some of them show a tendency to excessive verbose, heavyness (as, for example, in the eleventh symphony, the thematic material of which, according to one criticism, would have enough for three or four symphonies) or, on the contrary, to just as extreme compression, the lapidarity of the statement. These essays are more academic in shape, more subordinate to the solution of formal-constructive tasks, their texture is sometimes overcome, and the national flavor is far from being so distinctly, as in "Shoros" or "Brazilian Bakhiaans". Unless the musical language of the works of Villa Lobosa of the last period of creativity more consistent, speaking by the words of Vaska Marisa, the urbanized Brazil of the 40--50s, rather than behind Brazil the time of the composer's youth, then, on the other hand, it is impossible not to admit that the former freshness , immediacy, the emotionality of musical speech to some extent turned out to be lost. The desire for the universalism, especially the Villa Lobos (Trio No. 5, 1945; Duet for Violin and Viola, 1946; String Quarters No. 9 - 17, 1945 - 1957), the desire to keep up with the latest aesthetic plants of modern music, which did not always coincide with the aesthetic position of the composer himself, inevitably demanded famous victims. Junior contemporary Villa Lobos, who survived him for 20 years, another largest composer of America Mexican Carlos Chavez, putting on the path of modernist conformism, sacrificed in the name of some universal artistic concept by national appearance, and ultimately - the high social significance of his art (about The creativeness of Chavez's late period is also said, and his numerous statements about music and art, and the biography of the composer, almost completely removed from the musical and public life of his country, after he headed and led it for a quarter of a century). Villa Lobos did not believe in the possibility of "clean universal art", rightly arguing that on any genuinely high work of art will always be more or less noticeable printing of the personality of the artist, its nationality, his time surrounding his artistic atmosphere and that the work devoid of these qualities is not universal, but cosmopolitan. The composer himself never mixed these categories. As in the writings of the early period of creativity, he did not close in a narrow, provincial nationalism, so in the works of the late years he did not break off completely from the national soil and remained invariably. Certificate of this is his last quartets (which Villa Lobos Himself considered its highest creative achievement), and in particular Adagio and Scherzo of most of them, belonging to Arnalda Estrela, "to the number of the most peculiar, live and sharp, Sorrow or fascinating and passionate, creations of our great composer. " In the same place, Estrare rightly indicates that it is impossible to see the national flavor only in those works of Villa Lobos, where folk melodies and rhythms are directly used.

To summarize the creativity of the great composer Villa-Lobos, I would like to be the words of Arnalda Estrelu: "Deeply national, truly popular character of the music of Villa Lobos," he writes, "manifests itself in the deepest essence, in the transfer of the worldview and national aesthetics of the Brazilian people."

Thus, it should be noted that, only underpirements the influence of various cultures and eras, the culture of Brazil acquired its originality and uniqueness, its paintness and saturation. And all this extravagancing of feelings and paints, emotions and visions finds its complete incarnation in the famous Brazilian carnivals, which can not be better given to us the brightest palette of the shades of Brazil's musical art.

Eithertor Vila Lobos (1887-1959) is considered to be one of the brightest representatives of the Brazilian national musical culture. Its importance for world art is associated with the opening of Brazilian folklore and connecting it with a classic European musical tradition, a kind of "opening" of Brazil for Europe. In his writings, the composer managed to recreate the generalized colorful and poetic image of his country.

Creative heritage Vila Lobosa is huge. It is written 9 operas, 15 ballets, 20 symphony, 18 symphonic poems, 9 concerts, 17 string quartets; 14 "Shoros" (1920-29), "Brazilian Bahiaans" (1944) for instrumental ensembles, a variety of choirs, songs, works for children, processing folklore material - just over thousands of a wide variety of essays. Researchers are about 1500, since a number of its works are still unpublished and not cataloged. One of his best creations is the cycle "Brazilian Bahiaans", in which the national-Brazilian musical basis and the classical form of European art are unusually organically intertwined.

Interest in the work of E. Vila Lobos was shown not so many domestic researchers. Basically, the materials about this composer, information from the biography, documents and analyzes of works are contained in the works of European researchers, especially "countrymen" Vila Lobos - Brazilian researchers. Already the "classic" was the work of Vasco Marisa "Eitor Vila Lobos. Life and art". Also valuable is a great article P.A. Pichugina "Eitor Villa Lobos and Brazilian National Musical Culture", which contains excerpts from foreign authors research and gives an idea of \u200b\u200bE. Vila Lobos in a wide cultural context. In 1983, the dissertation Fedotova V.N. was defended. "The creativity of the Eitator Vila Lobosa as a representative of Brazilian musical culture" (State Institute of Art Studies, Moscow).

Creativity Vila Lobosa is heterogeneously in style, throughout the creative path of the composer experienced the influence of various directions and styles, but impressionism had the strongest influence on his music. In the best writings, a national flavor was transferred through the implementation of the lade, harmonic, rhythmic, genre features of Brazilian folklore. The composer himself spoke of himself: "I'm not a folklorist. Folklore does not care me. My music is like that, for it is that way I feel it. I won't hunt the themes. I write my works as pure music. I am going to the will of his temperament. My music find too Brazilian! This is primarily because it reflects Brazilian globility. This is my worldwork; I could not have anything else ... Almost all of my musical themes - my own essay. " The writings of Vila Lobos still have won wide popularity in his native Brazil, but also for its borders.

Briefly denote the main events of the life and creative path of this E. Vila Lobosa.

The Father of the composer was a widely educated person and instilled his son's love for music, giving him the basic lessons of the game on clarinet and cello. The initial musical education Either came by visiting music classes in college sv. Peter in Rio de Janeiro, and then continued his studies at the National Music Institute. However, the full complete musical formation of Vila Lobos could not be obtained, since he had to think about earnings in connection with the difficult financial situation of his family. After the death of his father, Vila Lobos earned a living by working as an accompaniment in a cinema, played in street orchestras, and then was a violinist in the Opera Theater.

Its musical future was predetermined. As a child, Vila Lobos communicated a lot with folk musicians, playing in small street ensembles - Shoro. Thanks to this, he manifested a deep interest in the National Folklore, which he subsequently suffered into his music. In order to collect and explore the musical folklore, folk rites, fairy tales, legends Vila Lobos took part in the folklore expedition in 1904-1905, and then in 1910-1912.

The influence of Brazilian folk music was clearly affected on the first major work of Vila Lobos - "Songs of Coldan" for chamber orchestra (1909). A significant for the musician became acquaintance with the composer D. Miyo and Pianist Arthur Rubinstein. With Rubinstein Vila Lobosa tied a long-term creative friendship, for this pianist composer composed a number of piano works ("Rough Poem", some rooms from the first suite "Kid family").

In 1912, Vila Lobos took the wife of Pianist Lusilia Himarainsh, who became his companion for the whole further life. In the same period, he deliberately began his composer career. In 1913, his first essays were published.

In 1923, Vila Lobos moved to eight years to Paris, where communicated with the outstanding musicians-contemporaries: M. Raven, M. De Fali, V. D "Andy, S. Prokofiev. By this time, Vila Lobos was already a formulated composer. With a bright distinctive style, his works have already received wide fame not only in Brazil, but also in Europe. In Paris, a huge instrumental cycle "Shoros" was completed in Paris, who reflected the author's refraction of the National Brazilian Folklore. Also during this period there were such writings as the third suite cycle "Family of the kid", the piano cycle "Sorads" (1926).

In the early 1930s, Vila Lobos returned to Brazil and began to actively develop the musical culture of the country. He gave concerts as a conductor in cities and provinces, promoted national art. Glory and recognition came to Vila Lobosu still in life. He also worked on the instructions of the government over the organization of musical education. National Conservatory, dozens of music schools and choral groups - the result of huge work Vila Lobosa. The "Practical Guide to Studying Folklore" created by him is considered to be the encyclopedia of the Music and Poetic Folklore Brazil, there are songs on two or three voices a Cappella or accompanied by piano. In 1945, at the initiative of Vila Lobos in 1945, the Brazilian Academy of Music was opened in Rio de Janeiro, which the composer headed until the last days of life.

The life of Eito Vila Lobos was in Brazilian motley and rich, his activity was different: composer, conductor, teacher, folkloride researcher, musical critic and writer, administrator, who has led the leading musical institutions of the country for many years (among which many created His initiative and with his personal participation), a member of the government on public education, a delegate of the Brazilian National Committee of UNESCO, a leader of the International Music Council. According to the researcher P. Kazals, Vila Lobos became the "the greatest pride of the country that gave rise to it." The largest hall of the National Theater in Rio de Janeiro is the name of this outstanding musician.

Nine Brazilian Bakhis is a series of works inspired by the works of Baha, in which Vila Lobos saw the universal folklore source and the musical principle, uniting all nations. Although the essay of the bakhnan is some departure to the work of someone who wrote a shore, they represent a valuable and sometimes very successful experience due to the counterpunctual compound in the style of the Bach of different harmonic spheres and the melodies of some areas of Brazil.
Brazilian Bakhian No. 1 (1930) for the ensemble of cello begins with "Introductions of embolla" (folk melodies in a very fast pace). The first tacts discover the combination of Brazilian began with classical harmony. In the seventh clutch, there is an extensive and harsh melody in the spirit of the Bach, but at the same time the initial rhythm is saved. The second part of this ba-chiana, the prelude, or modian (melody), begins the slow and languid main topic built on the sample of the Bahhovsky Aria with a wide and melody: Next, the PIU MOSSO, which is a march built on Marcato chords interrupted by light and acute rhythmic figures. This part ends with the repetition of the main topic performed by the Pianissimo Cello Solo, which produces a great effect. The fugue ("conversation"), according to the author, was written in the manner of Satiro Billar, the old hetero from Rio, the friend of Vila Lobosa. Composer wanted to portray a conversation of four Shoro musicians, whose tools dispute the thematic championship, consistently asking questions and responding to them in a dynamic Creschendo.

Bakhian No. 2 for the chamber orchestra was composed in 1930 and for the first time successfully fulfilled in Venice eight years later. In the foreplay from the very beginning, we have a very successful portrait of Capadocio (resident of common quarters of Rio at the end of the last century), it seems to be moving, slightly swaying, in the winding lines ADAGIO. Aria ("The Song of Our Territory"), from which Kandomble and Maku fes<мбами — ритуальными сценами в негритянском духе, — и Танец («Воспоминание о Сертане») с его речитативной мелодией, порученной тромбону, довольно сильно отдаляются от Баха, несмотря на модулирующее секвентное движение басов в этой последней части. Финальная Токката, более известная под названием «Prenqiuio Caipira» («Глубинная кукушка» — так назывались поезда узкоколейки) — очаровательная пьеса, описывающая впечатления путешественника в глубинных районах Бразилии. Вила Лобос в этой музыкальной жемчужине не ограничился изображением движущегося паровоза, но сумел создать чисто бразильское произведение с нежной мелодией. За пределами Бразилии эта пьеса, пожалуй, наиболее часто исполняемое оркестровое произведение композитора.

Brazilian Bakhian No. 3 for piano and orchestra begins with a wide adagio phrase, a cleaner character, performed by piano. At the same time in the bass of the orchestra, a singery melody is charged, a counter-piano, which creates an atmosphere, may be too close to Bahu. The second part is "fantasy," although it was filed in the nature of Reverie (musical meditation), it has the features of Aria, interrupted by dry chords up to the PIU MOSSO section, from which the second episode begins, lively and cheerful, with the brilliantly virtuoso piano Solo. "Aria" is written on an excellent Brazilian theme in a simple counterpoint, and Toccata recreates the atmosphere of folk dances of the Nordic states of Brazil, while not too removing from the teachings of the development and style of Baha.
The next product of this series was composed from 1930 to 1036 years and exists in two versions: for Solo piano and for a large orchestra. In this Bakhian, attention should be paid to the second part - a calm and concentrated chorated, as well as the same success of Miaudiño. Dance character is expressed in a melodic figure with sixteenth with asymmetric rhythm. In figure 1, the piercing and pathetic melody appears in a purely popular Brazilian spirit, entrusted with trombone. A weathered pedal in bass resembles the sound of a large organ in the Bach manner.
Brazilian Bakhian number 5 for soprano and the ensemble of cello consists of only two parts: Aria (Cantilena), composed in 1938 for the text Ruth Valla Dares Correa, and dance ("Molot"), written in 1945. The first is undoubtedly one of the masterpieces Vila Lo Bosa. Two intrafacing clints (Pizzicato quints) immediately transmit the atmosphere of guitar accompaniment of the performers serenade. Then there is a languid lyrical melody, soaring over the pizzicato counterpoint, the interlacing of the voices of which is based on the slow dimension in the spirit of the Bach. A new melody in the style of vintage songs appears from the figure 7 in a more busy pace, which leads to the return of the thematism of the beginning in the form of a new exposure and ends with repetition of the main topic. This play, which was recorded all outstanding soprano, is a true miracle of orchestration. What a variety of sounds managed to remove the composer from the ensemble of cello! The second part is the "hammer" - also luck is Lobosa, which, through the characteristic urban rhythm, creates an idea of \u200b\u200bthe curious type of songs of the Northeast of Brazil. The main melody of this part is built on the music version of the points and chirping some birds of this area.

The only bakhian, not coming out of the chamber music frame, is the sixth, - written for flute and fagoth. The play begins with the melancholic paddle flutes, to which, in the second tact, there is a Fagot that sets out a Brazilian theme, thus exercising an amazing alloy of a shore with the style of Baha. Next is deployed large, full of inspired ingenuity duet; The first part of the beautiful phrase of the flute with the Fagot corresponding to it ends. The second part is "fantasy" - richer and in shape, and thought. It begins a calm expressive topic, further developing to the Agitato pace is technically diverse and multiple. Allegro should be noted, which achieves high strength within the audio capabilities of the duet. Wonderful modulation brilliantly completes the work, once again detecting the wealth of the composer's imagination.

Brazilian Bakhian No. 7 for the orchestra, composed in 1942, consists of four parts: Preludes, Zhigi ("Kadril from the Depths of Brazil"), Tokkati ("Music Competition") and Fugue ("Conversation"). Especially interesting for the last two parts. In Tokkate, the main topic appears surrounded by funny sounds, light rhythms, sharp dissonant harmonies as a challenge abandoned by the singer Cartan to his opponent. This motive, filled with a vengeted cornet-a-piston, is also replied by the Vassed Tromboon. The musical letter of this part is truly great, both its composer equipment and pictorial. This is the work of a four-voice fugue on a Brazilian theme, somewhat deviating from school rules; On music is one of the brightest pieces in the Bakhis series.
In Bakhiane No. 8 for the orchestra, it should be noted the third part of Toccatu. In it, from the second tact, the gobi outlines the main theme of a scherpiece, resembling Kazida Batida, a dance with singing from Central Brazil. The first statement of the topic, rather rhythmic, rather than melodic, continues from the figure 1 to the figure 4. Part of this somewhat unexpectedly ends with the code in four Prestissimo tact.

Finally, we reached the ninth Bahiaan written for the "Orchestra of Votes", the last play of the series. This bakhian, extremely difficult for execution, is the top of Vocal skill Vila Lobosa. Very original effects, first tried in v symphonies, improved in Nonet, in "Shoro No. 10" and in "Mand (2 Sarara", achieve amazing virtuosity here. Prelude, languid and mystical, written for b-voice mixed choir. Starting from Figures 91, a polyton harmonic letter is applied to the farm ending this part. The hexagless fugus develops to the appearance of a solemn powerful ringtone in the form of a haloge, ongoing to the figure 14. New episodes with other rhythmic, harmonic and counter-compact combinations appear. However, the thematic unity is preserved to the new Exposure. In the final Cadans, all performers sing on the vowel "O". This bhahian, strikingly rich in various sounds achieved by the amazing use of exclamations with sound-resistant syllables and vowels, Vila Lobos ends a series of works that enjoy universal recognition and love.

Eitor Vila LobosRegarding EITS VILLA LOBUSH (Port. Heitor Villa-Lobos; March 5, 1887, Rio de Janeiro - November 17, 1959) - Brazilian composer. One of the most famous Latin American composers, Vila Lobos became famous for the synthesis of style features of Brazilian folk and European academic music.

Biography

Born in Rio de Janeiro on March 5, 1887. He studied at the conservatory, where the entire training course was fully based on the European tradition, but then left the study. After the death of his father (with which she was engaged in Brazilian music) earned a living, speaking by the accompanion of the cinema in him, as well as playing in street orchestras. Later became a violinist in the Opera Theater.

In 1912, he married a pianist Luclia Guimares and began a composer career. For the first time, his works were published in 1913. Some of their new works, he first presented in public during his orchestral speeches from 1915 to 1921. In these works, the "identity crisis" is still noticeable, an attempt to choose between European and Brazil traditions. He later relied on the latter.

The first essays of Vila Lobos - Songs and Dance Pieces of the Twelve-year-old self-taught musician - labeled 1899 in the next 60 years of creative activities (Vila Lobos died on November 17, 1959. At the 73rd year of life), the composer created over thousands (some researchers numbered Up to 1500!) Works in a wide variety of genres. Its Peru owns 9 operas, 15 ballets, 12 symphonies, 10 instrumental concerts, more than 60 chamber essays of a large form (Sonatas, Trio, Quartets); songs, romances, choirs, plays for individual tools in the Heritage of Vila Lobosa are calculated by hundreds, like folk melodies collected and treated with a composer; His music for children written with training objectives for musical and general education schools, for amateur choirs, includes more than 500 titles. (It should be borne in mind that a certain part of the Heritage of Vila Lobosa remains not published and not recorded in the catalogs.) Vila Lobos combined in one face of the composer, conductor, teacher, collector and explorer folklore, musical criticism and writer, administrator, Over the years, which has led the leading music institutions of the country (among whom a lot created on his initiative and with his personal participation), a member of the government on public education, delegate to the Brazilian National Committee of the UNESCO, an active figure of the International Music Council. Active member of the Academies of Fine Arts of Paris and New York, Honorary Member of the Roman Academy "Santa Chechchili", Corresponding Member of the National Academy of Fine Arts Buenos Aires, Member of the International Music Festival in Salzburg, Commander of the Order of the Honorary Legion of France, Dr. Honoris Causa many foreign institutions - signs of international recognition of the outstanding merit of the Brazilian composer. Three, on four full-fledged, worthy of respect for human life with an excessive enough of the Vila Lobosoma for one - amazing, performed supernatural energy, purposeful, Motograms - the life of the artist, who became, according to Pablo Kazals, "the greatest pride of the country that gave rise to him "

• In the National Theater in the capital of Brazil, the largest hall is named after Vila Lobosa.
• The grand-nephew of the composer Dad Vila Lobos was the Legio Urbana guitarist, one of the most successful rock bands in the history of Brazilian music.
• On September 25, 2015, his name was called Villa-Lobos crater on Mercury.

Works (sample)

• Brazilian boat. One of the most famous writings of Vila Lobos - Aria from Brazilian Bahiaan No. 5.
• Sonata No. 2 for Cello
• Piano Trio №2.
• Concerts for harp with orchestra
• Opening of Brazil. Orchestral suite №№1-4
• Guitar concert
• Rudepoema Dancas.
• Symphony №№1-12 (№5 - wound)
• String quartets
• Five piano concerts
• Ciranda Das Sete Notas for Bassoon and String Orchestra
• 14 Shoro.
• Brazilian folk suite for guitar (five shore)
• Foresta Do Amazonas (Symphonic version of music for the film Chalk Ferrer "Green Manor", 1959)

Literature

• • Fedotova V.N. The creativity of the Eyator Vila Lobosa as a representative of Brazilian musical culture. Dissertation thesis on the degree of candidate of art history. State Institute of Art Consciousness, Moscow, 1983.
  • Fedotova V.N. Sounds for the first time. / Music life. M., 1974, No. 15.
  • Fedotova V.N. From a distant country. / Music life. M., 1976, № 11.
  • Fedotova V.N. Brazilian Bahian Eitator Vila Lobosa. // Some topical problems of art and artificial knowledge. M., 1981.
  • Fedotova V.N. About folk art and modern primitivism. / Latin America. M., 1983, № 6.
  • Fedotova V.N. To the question of the thematism of the "Brazilian Bakhi'an" Aitor Vila Lobosa. // Music of Latin America countries. M., 1983.
  • Fedotova V.N. Introductory essay "Composers of Latin America" \u200b\u200bin the collective monograph "Music of the twentieth century". Essays. Part 2, 1917-1945, Book V, M., 1983.
  • Fedotova V.N. "Eitor Villa Lobos." - In the collective monograph "Music of the twentieth century". Essays. Part 2, 1917-1945, Book V, M., 1983.
  • Fedotova V.N. Creativity E. Vila Lobosa and People's Brazilian music. // Art of Latin America countries. M., 1986.
  • Fedotova V.N. Music earth and elevated. By the century of Eitator Vila Lobosa / Soviet culture, 1987.
  • Fedotova V.N. By the century E. Vila Lobosa. / Bulletin APN, published in Brazil, 1987.
  • Fedotova V.N. To the problem of contacts and influences of European and non-European crops. // Geography and Art. Institute of Cultural Heritage. D. Lihachev. M., 2002.
  • Appleby, David P. 1988. Heitor Villa-Lobos: A Bio-Bibliography. NEW YORK: Greenwood Press. ISBN 0-313-25346-3.

Eitor Villa Lobos (1887 - 1959)

Villa Lobos remains one of the great figures of modern music and the greatest pride of the country that spawned it.
P. Kazals.

Brazilian composer, conductor, folklorist, teacher and music and public figure Villa Lobos belongs to the number of the largest and most distinctive composers of the XX century.

"Villa Lobos has created national Brazilian music, he awakened a passionate interest in folklore in contemporaries and laid a strong foundation on which young Brazilian composers had to erect the majestic temple"

V. Maris.

The first musical impressions of the future composer received from the Father, passionate music lovers and a good amateur cellist. He taught the young Either a note literacy and a cello game. Then the future composer mastered the independently several orchestral instruments. From 16 years old Vila Lobos began the life of a wandering musician. One or with a group of stray artists, with a constant companion - guitar, he traveled around the country, played in restaurants and cinema, studied folk life, customs, collected and recorded folk songs and naigry. That is why among the great many compositions of the composer a significant place occupy the folk songs and dancing.

Without the opportunity to get an education in a music educational institution, without meeting support for their musical aspirations in the family, Villa Lobos mastered the foundations of professional composer skills mainly due to enormous talent, perseverance, purposefulness, and even short-term classes with F. Braga and E. Oswald.

Paris played a big role in the life and work of Villa Lobos. Here since 1923 he was improved as a composer. Meetings with the Raveme, M de Fali, Prokofiev and other prominent musicians had a certain influence on the formation of the creative individuality of the composer. In the 20s, he composes a lot, concerts, necessarily speaking every season in his homeland as a conductor with the execution of its own writings and works of modern European composers.

Villa Lobos was the largest musical and public figure of Brazil, in everywhere contributed to the development of her musical culture. Since 1931, the composer has become governmental authorized on musical education issues. In many cities of the country, he founded music schools and choral teams, developed a well-thought-out system of musical education of children in which a great place was given to choral singing. Later, Villa Lobos organized the national conservatory of choral singing (1942). On his own initiative in 1945, the Brazilian Academy of Music was opened in Rio de Janeiro, which the composer headed to the end of his days. Villa Lobos made a significant contribution to the study of the Music and Poetic Folklore of Brazil, creating a sixtime "practical guide to study the folklore", which has encyclopedic significance.

The composer worked almost in all musical genres - from the opera to music for children. In the huge heritage of Villa Lobos, with over 1000 works, presented symphonies (12), symphonic poems and suite, operas, ballets, instrumental concerts, quartets (17), piano plays, romances. In his work, he passed through a number of hobbies and influences, among which the impact of impressionism was particularly strong. However, the best compositions of the composer wear a pronounced national character. They are generalized typical features of Brazilian folk art: lads, harmonic, genre; Often the foundation of works becomes folk songs and dances.

Among many works of Villa Lobos, "14 Shoro" (1920-29) and the Brazilian Bakhian cycle (1930-44) deserve special attention.

"Shoro", according to the composer, "represents a new form of a musical composition that synthesizes the various types of Brazilian, Negro and Indian music, reflecting the rhythmic and genre peculiarity of folk art." Villa Lobos embodied here not only the form of folk muscy, but also the composition of the performers. In essence, "14 Shoro" is a peculiar musical picture of Brazil, in which the types of folk songs and dances are recreated, the sound of folk instruments.

The Brazilian Bakhian cycle belongs to the number of the most popular works of Villa Lobosa. The originality of the idea of \u200b\u200ball 9 suits of this cycle, inspired by a sense of adherence to the genius I. S. Baha, is that there is no stylization of the music of the Great German composer. This is typical Brazilian music, one of the vivid manifestations of the national style.

The works of the composer in his life have gained wide popularity in Brazil and beyond. Nowadays, the competition is systematically held in the homeland of the composer, who has his name. This musical event, becoming a genuine national holiday, attracts artist musicians from many countries.

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