40:
141:, instead letting the themes "take their course through the instruments exactly as they were originally conceived". Paulo Salles, however, contests this view. According to his analysis, both of the main themes of the first movement are taken from the same germ motive, which permeates not only the exposition but the entire first movement of the quartet, "in a process of continuous variation", and compares this high thematic density to the music of
51:, by a quartet consisting of Pery Machado and Mario Ronchini, violins, Orlando Frederico, viola, and Newton Pádua, cello. The first North American performance took place on 16 January 1933 in Hollywood, performed by Samuel Albert and Doris Cheney, violins, Raymond Menhennick, viola, and Lysbeth LeFevre, cello. The UK premiere was given by the
207:(Gyöngyvér Oláh , Judit Tóth and Adél Miklós, violins; Cecilia Bodolai, viola; Ilona Ribli, cello). Recorded at the Rottenbiller Street Studio in Budapest, 15–19 June and 1–2 July 1992. CD recording, 1 disc: digital, 12 cm, stereo. Marco Polo 8.223393. A co-production with Records International. Germany: HH International, Ltd., 1993.
523:
bass part. New York: Mills, 1957. Heitor Villa-Lobos: String
Quartets, Nos. 4, 7, and 12. New York: Associated Music Publishers, 1956; Ernest Gold: String Quartet No. 1. (Society for the Publication of American Music, 37th Season, 1956.) New York: Society for the Publication of American Music; distr.: Carl Fischer, 1957".
522:
Kraehenbuehl, David. 1957. "George
Rochberg: String Quartet, 1952. (Society for the Publication of American Music, 37th Season, 1956.) New York: Society for the Publication of American Music; distr.: Carl Fischer, 1957; Toch, Ernst. Dedication. For string quartet or string orchestra, with optional
136:
Lisa
Peppercorn agrees with Tarasti's assessment, stating that Villa-Lobos rarely develops his musical ideas, but instead merely uses them as stereotyped, repeated formulas, in contrast to composers who relate their different themes, or have evolved them all from a common germ cell. With specific
148:
Villa-Lobos emphasizes the beginning of the recapitulation in the first movement with a sudden change of register of the accompanying triplets. At bar 153 (rehearsal-number 12), over an augmentation of the first cyclic theme, he introduces for the first time a figuration evoking the call of a
115:
initially tend toward monotony and inexpressiveness, but the ostinatos give way to a more plastic and lively treatment later in the movement. The second movement, Molto vivo, was listed in the programme for the premiere performance as "Scherzo satirico". Like the first movement, it is largely
214:(Saúl Bitrán, Arón Bitrán, violins; Javier Montiel, viola; Alvaro Bitrán, cello). Recorded at the Troy Savings Bank Music Hall in Troy, NY, March 1995. Music of Latin American Masters. CD recording, 1 disc: digital, 12 cm, stereo. Dorian DOR-90220. Troy, NY: Dorian Recordings, 1996.
459:, edited by Alberto José Vieira Pacheco, 225–60. Lisbon: Linha de investigação "Estudos Luso- Brasileiras" & Caravelas—Núcleo de Estudos da História da Música Luso-Brasileira, CESEM, FCSH-UNL; CESEM, Grupo de Pesquisa "Estudos Interdisciplinares em Ciências Musicais" (EICM).
191:, Michel Bessler, violins; Marie-Christine Springuel, viola; Alceu Reis, cello). Recorded at Studios Master in Rio de Janeiro, July 1988 and September –December 1989. CD recording, 1 disc: digital, 12 cm, stereo. Le Chant du Monde LDC 278 1052. : , 1991.
132:
formal closure. However, despite this motivic cross-referencing, Villa-Lobos does not take advantage of the possibilities this offers for the kind of rich thematic development found in the
Viennese classical masters.
198:. Quarteto Bessler-Reis and Quarteto AmazĂ´nia. CD recording, 6 sound discs: digital, 12 cm, stereo. Kuarup Discos KCX-1001 (KCD 045, M-KCD-034, KCD 080/1, KCD-051, KCD 042). Rio de Janeiro: Kuarup Discos, 1996.
137:
reference to the Third
Quartet, she finds the thematic material is "clearly stated and is obviously suitable for development", but that Villa-Lobos fails to provide this development, which is essential to
409:
221:. 6 CDs + 1 DVD with a performance of Quartet No. 1 and interview with the Cuarteto Latinoamericano. Dorian Sono Luminus. DSL-90904. Winchester, VA: Sono Luminus, 2009.
512:
Farmer, Virginia. 1973. "An
Analytical Study of the Seventeen String Quartets of Heitor Villa-Lobos". DMA diss. Urbana: University of Illinois at Urbana-Champaign.
567:
17:
455:
Aoki, Denise Hiromi. 2013. "O primeiro movimento do quarteto de cordas no. 3 de Heitor Villa-Lobos: aproximações estilĂsticas com o perĂodo clássico".
464:
441:
436:, vol. 1: Debussy to Villa-Lobos, edited by Evan Jones, 223–55. Eastman Studies in Music 70. Rochester, NY: University of Rochester Press.
95:
The opening of the first movement establishes a motive that recurs throughout the quartet in various transformations. At first, it recalls
534:, edited by Marisa Rezende and Mário Nogueira, 71–76. Rio de Janeiro: Universidade Federal do Rio de Janeiro (UFRJ) (Escola de Música).
252:
162:
158:
400:
392:
48:
239:. Quarteto Radamés Gnattali (Carla Rincón, Francisco Roa, violins; Fernando Thebaldi, viola; Hugo Pilger, cello); presented by
128:. The finale restates motives from all of the preceding parts, especially the main subject of the first movement, to produce a
70:, alliterative nickname "pipocas e potĂłcas" (popcorn and tall tales), and this nickname is also applied to the entire quartet.
47:
Villa-Lobos composed his Third
Quartet in Rio de Janeiro in March 1916. It was first performed on 2 November 1919 at the
417:
572:
27:("Quarteto de pipocas"—"Popcorn" Quartet) is the third of seventeen works in the medium by the Brazilian composer
211:
66:
Because of the persistent percussive pizzicato patter in the second, scherzo movement, Villa-Lobos gave it the
530:
Macedo
Ribeiro, Roberto. 2000. "A escrita contrapontĂstica nos quartetos de cordas de Heitor Villa-Lobos". In
387:, translated by Stefan de Haan. London: Kahn & Averill; White Plains, NY: Pro/Am Music Resources Inc.
248:
167:
78:
The quartet, like all but the first of Villa-Lobos's works in the medium, consists of four movements:
100:
16:
28:
175:
names the bird. This is the only moment in this quartet where there is any hint of nationalism.
548:. 2009. Version 1.0. MinC / IBRAM, and the Museu Villa-Lobos. Based on the third edition, 1989.
116:
dependent on ostinatos, but in place of pentatonic melodies its thematic material utilizes the
470:
460:
437:
396:
388:
39:
544:
255:, Rio de Janeiro. DVD and Blu-ray (VIBD11111), 3 discs. Rio de Janeiro: Visom Digital, 2012.
204:
188:
117:
108:
96:
52:
457:
Atas do
Congresso Internacional "A música no espaço luso-brasileiro: um panorama histórico"
172:
487:
BĂ©hague, Gerard. 2003. Villa-Lobos, Heitor: String
Quartets, Cuarteto Latinoamericano.
412:. IV Encontro de Musicologia de Ribeirão Preto: Intersecções da Teoria e Análise. 81–95.
240:
509:, second edition. Rio de Janeiro: Museu Villa-Lobos, Ministério da Educação e Cultura.
561:
244:
104:
56:
429:
154:
142:
67:
60:
31:, and was written in 1916. A performance lasts approximately twenty-three minutes.
515:
Gilman, Bruce. 1999. "Enigma de vanguardia", translated by Juan Arturo Brennan.
554:. 1989. Third edition. Rio de Janeiro: MinC-SPHAN/PrĂł-MemĂłria, Museu Villa-Lobos
138:
129:
484:. Austin: Institute of Latin American Studies, University of Texas at Austin.
121:
157:). This call occurs in several of Villa-Lobos's later works, including the
112:
43:
Theatro Municipal, Rio de Janeiro, venue for the Third Quartet's premiere
540:. 1972. Second edition. Rio de Janeiro: MEC, DAC, Museu Villa-Lobos.
165:, but most notably in the second movement (Dança: Martelo) of the
38:
15:
187:
Villa-Lobos: Quatuors a Cordes Nos. 1–2–3. Quatuor Bessler-Reis (
210:
Villa-Lobos: String Quartets, Volume 2. Quartets Nos. 3, 8, 14.
196:
Villa-Lobos: Os 17 quartetos de cordas / The 17 String Quartets
224:
Also reissued (without the DVD) on Brilliant Classics 6634.
342:
340:
482:
Heitor Villa-Lobos: The Search for Brazil's Musical Soul
203:
Heitor Villa-Lobos: String Quartets Nos. 3, 10 and 15.
124:
into something resembling the theme of the piano piece
59:, viola; John Moore, cello) on 9 January 1934, at the
434:
Intimate Voices: The Twentieth-Century String Quartet
374:
Jones, Isabel Morse. 1933. "Two Concerts Win Favor".
243:. Recorded from June 2010 to September 2011 at the
103:, but later is given a context more suggestive of
538:Villa-Lobos, sua obra: Programa de Ação Cultural
532:Anais do I Colóquio de Pesquisa de Pós-Graduação
385:Villa-Lobos: The Music: An Analysis of His Style
219:Heitor Villa-Lobos: The Complete String Quartets
237:Villa-Lobos: A integral dos quartetos de cordas
8:
517:Pauta: Cuadernos de teorĂa y crĂtica musical
432:. 2009. "Villa-Lobos's String Quartets". In
422:The Musical Times and Singing-Class Circular
120:. The third, slow movement, transforms the
55:(George Stratton and Carl Taylor, violins;
410:Villa-Lobos: Desafiando a teoria e análise
331:
319:
498:Demarquez, Suzanne. 1929. "Villa-Lobos".
475:Music in Latin America: An Introduction
307:
264:
358:
346:
295:
568:String quartets by Heitor Villa-Lobos
507:Os quartetos de cordas de Villa-Lobos
283:
271:
183:Chronological, by date of recording.
7:
519:17, no. 69 (January–March): 29–34.
495:24, no. 2 (Autumn–Winter): 293–94.
14:
493:Revista de MĂşsica Latinoamericana
49:Theatro Municipal, Rio de Janeiro
424:75, no. 1092 (February): 173–74.
408:Salles, Paulo de Tarso. 2012.
1:
502:10, no. 10 (November): 1–22.
477:. New Jersey: Prentice-Hall.
489:Latin American Music Review
168:Bachianas Brasileiras No. 5
589:
527:15, no. 1 (December): 147.
383:Peppercorn, Lisa M. 1991.
111:melodic contours and long
505:Estrella, Arnaldo. 1978.
420:. 1934. "Chamber Music".
212:Cuarteto Latinoamericano
480:BĂ©haque, Gerard. 1994.
249:Palácio das Laranjeiras
194:Also issued as part of
53:Stratton String Quartet
395:(Kahn & Averill);
163:Eighth String Quartets
149:Brazilian bird called
44:
21:
552:Villa-Lobos, sua obra
545:Villa-Lobos, sua obra
42:
19:
217:Reissued as part of
25:String Quartet No. 3
310:, pp. 231–32.
82:Allegro non troppo
45:
29:Heitor Villa-Lobos
22:
20:Heitor Villa-Lobos
573:1916 compositions
465:978-989-97732-4-0
442:978-1-58046-322-5
378:(17 January): A7.
376:Los Angeles Times
349:, pp. 85–86.
253:Theatro Municipal
245:Palácio do Catete
91:Allegro con fuoco
580:
445:
425:
413:
404:
379:
362:
356:
350:
344:
335:
329:
323:
317:
311:
305:
299:
293:
287:
281:
275:
269:
205:Danubius Quartet
189:Bernardo Bessler
171:, where text by
126:Lenda do caboclo
118:whole-tone scale
107:. The generally
588:
587:
583:
582:
581:
579:
578:
577:
558:
557:
471:BĂ©hague, Gerard
452:
450:Further reading
428:
416:
407:
382:
373:
370:
365:
357:
353:
345:
338:
332:Peppercorn 1991
330:
326:
320:Peppercorn 1991
318:
314:
306:
302:
294:
290:
282:
278:
270:
266:
262:
233:
181:
173:Manuel Bandeira
153:(English name:
76:
37:
12:
11:
5:
586:
584:
576:
575:
570:
560:
559:
556:
555:
549:
541:
535:
528:
520:
513:
510:
503:
500:Revue Musicale
496:
485:
478:
468:
451:
448:
447:
446:
426:
414:
405:
380:
369:
366:
364:
363:
351:
336:
324:
312:
300:
288:
286:, p. 174.
276:
263:
261:
258:
257:
256:
241:Turibio Santos
232:
229:
228:
227:
226:
225:
222:
208:
201:
200:
199:
180:
177:
93:
92:
89:
86:
83:
75:
72:
36:
33:
13:
10:
9:
6:
4:
3:
2:
585:
574:
571:
569:
566:
565:
563:
553:
550:
547:
546:
542:
539:
536:
533:
529:
526:
521:
518:
514:
511:
508:
504:
501:
497:
494:
490:
486:
483:
479:
476:
472:
469:
466:
462:
458:
454:
453:
449:
443:
439:
435:
431:
430:Tarasti, Eero
427:
423:
419:
415:
411:
406:
402:
401:0-912483-36-9
398:
394:
393:1-871082-15-3
390:
386:
381:
377:
372:
371:
368:Cited sources
367:
361:, p. 87.
360:
355:
352:
348:
343:
341:
337:
334:, p. 39.
333:
328:
325:
322:, p. 36.
321:
316:
313:
309:
304:
301:
298:, p. 88.
297:
292:
289:
285:
280:
277:
273:
268:
265:
259:
254:
250:
246:
242:
238:
235:
234:
230:
223:
220:
216:
215:
213:
209:
206:
202:
197:
193:
192:
190:
186:
185:
184:
178:
176:
174:
170:
169:
164:
160:
156:
152:
151:sabiá da mata
146:
144:
140:
134:
131:
127:
123:
119:
114:
110:
106:
102:
98:
90:
87:
84:
81:
80:
79:
73:
71:
69:
64:
62:
58:
57:Watson Forbes
54:
50:
41:
34:
32:
30:
26:
18:
551:
543:
537:
531:
524:
516:
506:
499:
492:
488:
481:
474:
456:
433:
421:
384:
375:
354:
327:
315:
308:Tarasti 2009
303:
291:
279:
267:
236:
218:
195:
182:
166:
155:cocoa thrush
150:
147:
143:Joseph Haydn
135:
125:
101:Shostakovich
94:
88:Molto Adagio
77:
68:onomatopoeic
65:
61:Wigmore Hall
46:
24:
23:
359:Salles 2012
347:Salles 2012
296:Salles 2012
231:Filmography
179:Discography
139:sonata form
562:Categories
284:Scott 1934
272:Jones 1933
260:References
251:, and the
109:pentatonic
85:Molto Vivo
63:, London.
122:leitmotif
113:ostinatos
97:Prokofiev
473:. 1979.
74:Analysis
35:History
463:
440:
418:S, M M
399:
391:
159:Fourth
130:cyclic
525:Notes
105:Ravel
461:ISBN
438:ISBN
397:ISBN
389:ISBN
161:and
99:or
564::
491:/
339:^
247:,
145:.
467:.
444:.
403:.
274:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
