Marcelo Ferreira Gomes Melo E Silva
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VILLA-LOBOS’ CANÇÕES TÍPICAS BRASILEIRAS AND THE CREATION OF THE BRAZILIAN NATIONALIST STYLE by Marcelo Ferreira Gomes Melo e Silva Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2017 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Javier F. Leon, Research Director ______________________________________ Andreas Poulimenos, Chair ______________________________________ Carlos Montané ______________________________________ Timothy Noble November 30, 2017 ii Acknowledgements I would like to express my most sincere gratitude to the many people who have helped and inspired me throughout these last years. I am extremely thankful to all my teachers for their patience and generosity, and to all my students for making me realize over and over that what I know is not nearly enough. The completion of this study would not be possible without the expertise of Dr. Javier F. Leon of Indiana University, my research director who somehow managed to make sense of all of my precariously organized ideas, and helped me to express them in a coherent way. I pay my deepest sense of gratitude to Dr. Frieda Gebert, who helped immensely, not just with the producing of this paper, but also in so many other occasions. And above all, my heartful thanks for being such a wonderful friend. Last but not the least; I would like to thank my family, without whom nothing of this would be possible. iii Villa-Lobos’ Canções Típicas Brasileiras and the Creation of the Brazilian Nationalist Style The objective of this document is to investigate the development of Heitor Villa- Lobos’s nationalist style during the first three decades of the twentieth-century. The song set Canções Típicas Brasileiras, representative of the style, is used as a case study. It is important to understand the creation of this style because it was the first consolidated example of Brazilian nationalist art music, and especially because of the enormous influence and fame achieved by the composer. His “official” biography is riddled with inaccuracies, and this document is part of a larger process of clarifying the events surrounding the composer’s life. For this study, a comparative analysis of his published biographies was executed, and the sources and music in Canções Típicas Brasileiras were studied. The results of this investigation support the theory that Villa-Lobos’s nationalist style was developed as a consequence of his first trip to Paris in 1923 and that he misdated the composition of many of his earlier nationalist works, as seems to be the case with these songs. iv Table of Contents Acknowledgements ............................................................................................................ iii Villa-Lobos’ Canções Típicas Brasileiras and the Creation of the Brazilian Nationalist Style ................................................................................................................................... iv Table of Contents ................................................................................................................ v List of Examples ................................................................................................................ vi List of Tables ................................................................................................................... viii Introduction ......................................................................................................................... 1 Chapter 1 : Before a Nation ................................................................................................ 4 Chapter 2 : The First Nationalist Experiences .................................................................. 16 Chapter 3 : Heitor Villa-Lobos: Early Years .................................................................... 41 Chapter 4 : Heitor Villa-Lobos: Brazilian Composer ....................................................... 62 Chapter 5 : Canções Típicas Brasileiras: Dates and Sources ........................................... 90 Chapter 6 : Canções Típicas Brasileiras: Words and Music .......................................... 123 Conclusions ..................................................................................................................... 167 Bibliography ................................................................................................................... 169 v List of Examples Example 2-1 A Sertaneja, mm. 63-77. .............................................................................. 22 Example 2-2 A Sertaneja, mm. 112-121. .......................................................................... 23 Example 4-1 Uirapuru, mm. 15-18. ................................................................................. 74 Example 5-1 “Papae Curumiassú” – mm. 1–4................................................................ 104 Example 5-2 “Estrela é Lua Nova” (Canções Típicas Brasileiras), mm. 4-6. ............... 115 Example 5-3 “Na Paz do Outono” (Seréstas), mm. 12-14. ............................................ 115 Example 5-4 “Pálida Madona” (Canções Típicas Brasileiras), mm. 9-11. .................... 116 Example 5-5 “Saudades da Minha Vida” (Seréstas), mm. 18-19. .................................. 116 Example 5-6 “Xangô” (Canções Típicas Brasileiras), mm. 1-2. ................................... 117 Example 5-7 “Canção do Carreiro” (Seréstas), mm. 4-6. ............................................... 117 Example 5-8 Chôros No. 10, mm. 236-239. ................................................................... 120 Example 6-1 “Môkôcê cê-maká,” m. 3. .......................................................................... 125 Example 6-2 “Môkôcê cê-maká,” m. 1. .......................................................................... 125 Example 6-3 “Nozani-ná,” Transcription from Rondonia. ............................................. 127 Example 6-4 “Nozani-ná,” mm. 32-33. .......................................................................... 129 Example 6-5 “Nozani-ná,” ostinato, mm. 25-27............................................................. 130 Example 6-6 “Nozani-ná,” ostinato variation, mm. 5-7. ................................................ 130 Example 6-7 “Papai Curumiassú,” mm. 24-28. .............................................................. 133 Example 6-8 “Xangô,” original theme. ........................................................................... 136 Example 6-9 “Xangô” (Villa-Lobos), mm (1-5). ............................................................ 136 Example 6-10 “Estrela é Lua Nova,” beginning of A, mm. 4-6. .................................... 139 vi Example 6-11 “Estrela é Lua Nova,” beginning of A’, mm. 13-15. ............................... 139 Example 6-12 “Viola quebrada,” mm 1-2. ..................................................................... 143 Example 6-13 “Viola quebrada,” mm. 23-26. ................................................................ 144 Example 6-14 “Adeus ema,” end of section A. mm 8-11. .............................................. 147 Example 6-15 “Adeus ema,” mm. 1-2. ........................................................................... 148 Example 6-16 “Pálida Madona,” mm. 1-8. ..................................................................... 151 Example 6-17 “Tu passaste por este jardim,” m. 58. ...................................................... 158 Example 6-18 “Cabôca de Caxangá” Verse 3, mm. 38-41. ............................................ 165 Example 6-19 “Cabôca de Caxangá” Verse 4, mm. 52-55. ............................................ 166 vii List of Tables Table 5-1 Lyrics from “Ebomi la urê,” part of the ritual of candomblé Ketu, the largest of the candomblé nations............................................................................................. 101 Table 6-1 “Môkôcê cê-maká” ......................................................................................... 124 Table 6-2 “Nozani-ná” .................................................................................................... 128 Table 6-3 “Papai Curumiassú”........................................................................................ 132 Table 6-4 “Xangô” .......................................................................................................... 135 Table 6-5 “Estrela é Lua Nova” ...................................................................................... 138 Table 6-6 “Viola quebrada” ............................................................................................ 142 Table 6-7 “Adeus ema” ................................................................................................... 146 Table 6-8 “Pálida Madona” ............................................................................................ 150 Table 6-9 “Tu passaste por este jardim” – Rhyme Scheme. ........................................... 155 Table 6-10 “Tu passaste por este jardim” ....................................................................... 156 Table 6-11 “Cabôca de Caxangá” ................................................................................... 163 viii INTRODUCTION Brazilian art song after Villa-Lobos has been one of the main vehicles for