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UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ 1 A STUDY OF NATIONALISTIC EXPRESSION OF THE CHORO IN HEITOR VILLA-LOBOS’S CHAMBER WORKS WITH BASSOON A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College Conservatory of Music 2005 by Sun Joo Lee B.M., Seoul National University, 1996 M.M., Mannes College of Music, 1998 2 Abstract The purpose of this document is to study how Heitor Villa-Lobos presented his nationalistic expression of the choro within selected chamber works for mixed instrumentation with bassoon. The use of folk and popular music was the utmost inspiration to Villa-Lobos. The choro (a specific form of urban popular music of Rio de Janeiro) was an especially prominent source for Villa-Lobos’s chamber works and for his development of a nationalistic style. The selected works are infused with characteristics of the choro, such as virtuosity, improvisation, rhapsodic form, syncopation, polyrhythm, contrapuntal texture, melodic and rhythmic ostinato, and wide melodic leaps. Although these works contain the elements of the choro genre, Villa-Lobos composed each work in a unique nationalistic style. Villa-Lobos mastered the lending of European musical styles based on the recognizable and appealing qualities of the choro, which resulted in a certain hybrid character. He absorbed musical elements from Bach, Romanticism, and French Impressionism, and used them with his own creative representation of Brazilian folk and popular music. For general information, chapter 2 provides a brief historical background of Brazilian music, primarily a historical and stylistic account of the choro, and the diversity of ethnic types. Chapter 3 focuses on how Villa-Lobos presented the characteristics of Brazilian music along 3 with other resources in creating his unique compositional style. I provide musical analyses that demonstrate the distinct elements of Villa-Lobos’s music (harmony, melody, rhythm, counterpoint, form texture/instrumentation, etc.). Thereafter, I summarize with comparative analysis of the main elements of the choro and their counterparts in Villa-Lobos’s works including Noneto, Choros No. 3, Quinteto em forma de choros, and Bachianas Brasileiras No. 6. Also a discography of these works is included. 4 5 Acknowledgements I would like to express my appreciation to my committee, family, and friends for the support throughout this project. My advisor, Professor Robert Zierolf made suggestions that were central to the revision process. Professor William Winstead, my bassoon teacher, his mentoring over the years has given me valuable achievements on my playing, as well as his insightful comments and suggestions were essential to my final revisions. I would like to thank Professor Martin James, my bassoon teacher who inspired me to start out this project and gave suggestions and guidance. I would like to thank Professor Rodney Winther for the guidance. I would like to thank my friends, Anna and Jee for support of the process of this project. I would like to express my deepest gratitude for my parents for supporting me throughout my life. Without their love and support, I would not have accomplished it through this point of my life. 1 TABLE OF CONTENTS 1. List of Musical Examples 2 2. Introduction 5 3 Villa-Lobos’s Compositional Style and Analyses 20 4. Summary and Conclusion 91 5. Discography 93 6. Bibliography 95 2 LIST OF MUSICAL EXAMPLES EXAMPLES PAGE 1. Villa-Lobos Noneto, mm. 1-12 32-34 2. Villa-Lobos Noneto, rehearsal no. 2: mm. 1-4 34 3. Villa-Lobos Quatour, first movement mm. 31-33 35 4. Villa-Lobos Noneto, rehearsal no. 8 36 5. Villa-Lobos Noneto, rehearsal no. 9: mm. 1-3 37 6. Villa-Lobos Noneto, rehearsal no. 13: mm. 1-6 37-38 7. Villa-Lobos Noneto, rehearsal no. 15: mm. 6-13 39 8. Villa-Lobos Noneto, rehearsal no. 16: mm. 1-8 40 9. Villa-Lobos Noneto, rehearsal no. 19 41 10. Villa-Lobos Noneto, rehearsal no. 20 42 11. Villa-Lobos Noneto, rehearsal no. 22; mm. 6-23: 4 43 12. Villa-Lobos Noneto, rehearsal no. 40: mm. 1- 6 45 13. Villa-Lobos Noneto, rehearsal no. 42: mm. 9-44: 3 46 14. Villa-Lobos Noneto, rehearsal no. 46: mm. 5-47: 3 47-48 15. Villa-Lobos Noneto, rehearsal no. 48: mm. 5-8 49 16. Villa-Lobos Noneto, rehearsal no. 51: mm. 1-4 50 17. Villa-Lobos Noneto, rehearsal no. 52 51-52 18. “Nozani-na” tune from Roquette Pinto’s Rondonia 55 19. Villa-Lobos Choros No. 3, mm. 1-12 55-56 3 20. Villa-Lobos Choros No. 3, mm. 17-24 57 21. Villa-Lobos Choros No. 3, mm. 33-35 58 22. Villa-Lobos Choros No. 3, mm. 39-45 60 23. Villa-Lobos Choros No. 3, mm. 77-86 61 24. Villa-Lobos Choros No. 3, mm. 100-14 63-64 25. Villa-Lobos Choros No. 3, mm. 129-33 65 26. Villa-Lobos Quinteto em Forma de Choros, mm. 1-14 67-68 27. Villa-Lobos Quinteto em Forma de Choros, mm. 40-45 69 28. Villa-Lobos Quinteto em Forma de Choros, mm. 46-56 70 29. Villa-Lobos Quinteto em forma de Choros, mm. 70-73 71 30. Villa-Lobos Quinteto em Forma de Choros, mm. 84-89 71 31. Stravinsky Rite of Spring, Dance of the Adolescent girls, mm. 1-8 and 35-42 72 32. Villa-Lobos Quinteto em Forma de Choros, mm. 96-105 73 33. Villa-Lobos Quinteto em Forma de Choros, mm. 129-31 74 34. Villa-Lobos Quinteto em Forma de Choros, mm. 163-69 75 35. Villa-Lobos Quinteto em Forma de Choros, mm. 177-81 76 36. Villa-Lobos Quinteto em Forma de Choros, mm. 200-203 77 37. Villa-Lobos Quinteto em Forma de Choros, mm. 210-15 78 38. Villa-Lobos Quinteto em Forma de Choros, mm. 248-58 79 39. Villa-Lobos Quinteto em Forma de Choros, mm. 303-308 80 40. Villa-Lobos Bachianas Brasileiras No. 6, first movement, mm. 3-4 82 41. Villa-Lobos Bachianas Brasileiras No. 6, first movement, mm. 7-8 82 42. Villa-Lobos Bachianas Brasileiras No. 6, first movement, mm. 15-16 83 4 43. Villa-Lobos Bachianas Brasileiras No. 6, first movement, mm. 29-30 83 44. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 1-5 84 45. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 16-19 85 46. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 28-34 86 47. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 61-69 87 48. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 100-101 88 49. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 122-23 89 50. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 129-32 90 5 Chapter 1 Introduction Heitor Villa-Lobos (1887-1959) wrote ten chamber works for mixed instrumentation with bassoon. Among these I have selected four that are infused with unique aspects of Villa-Lobos’s nationalistic expression. This selection of works reveals his distinct musical language and exhibits a blending of diverse musical styles of European and Brazilian popular music, particularly the choro. The Choro, a specific form of urban popular music of Rio de Janeiro, was a prominent basis for Villa-Lobos’s chamber works and for his development of a nationalistic style. The characteristics of the choro include virtuosity, improvisation, rhapsodic form, syncopation, polyrhythm, and contrapuntal texture. Many of Villa-Lobos’s works show stylistic diversity through the combination of recognizable and appealing qualities of the choro genre with other resources. Villa-Lobos was uniquely skilled in adapting folk and popular music; he used their melodies, rhythms, and traditional instruments, and occasionally composed melodies in the style of folk and popular music. Moreover, Villa-Lobos combined Brazilian and other Latin American dance rhythms in order to create his unique Brazilian style. His chamber works combine musical elements from J.S. Bach, Romanticism, and French Impressionism, all of which he had studied carefully, fuse into his own creative representation of Brazilian folk and popular music. 6 Villa-Lobos wrote about seven hundred works in various genres. Some compositions reflect his individuality, but others do not reveal the same strength and intensity.1 This explains a certain inconsistency and lack of natural development in some of his compositional output.2 Villa-Lobos’s compositions often show free forms, frequent shift of meters, unceasing ostinato, and lack of thematic development. Most of these elements resemble Brazilian folk and popular music. I have studied and analyzed four of the chamber works that include bassoon: Noneto, Choros No. 3, Quinteto em forma de choros, and Bachianas Brasileiras No. 6. All show the composer’s distinctive style based on the characteristics of the choro. I examined how Villa- Lobos expressed the characteristics of Brazilian music, especially the choro, along with other resources used in creating his unique nationalistic style. Methodology To determine how Villa-Lobos created his distinctive style in selected chamber works with bassoon, I performed musical analyses that demonstrate the distinct elements of Villa- Lobos’s music (harmony, melody, rhythm, counterpoint, form, texture/instrumentation, etc.). Rhythm is the most important element in these works. Villa-Lobos considered rhythm the most important aspect of his compositional principles along with sonority and his own personality.3 Several aspects of Villa-Lobos’s rhythmic practice include Afro-Brazilian syncopation, 1 Lisa M.
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