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Certain oboe techniques and ensemble pedagogy in selected woodwind chamber music of Heitor Villa-Lobos

Munger-MacKay, Ailene Annette, D.M.A.

The Ohio State University, 1993

UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106

Certain Oboe Techniques and Ensemble Pedagogy in Selected Woodwind Chamber Music of Heitor Villa-Lobos

D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University

by Ailene Annette Munger-MacKay, B.M., M.M.

*****

The Ohio State University 1993

Dissertation Committee: ApprovedToy William P. Baker James M. Pyne Craig Kirchhoff CoTAgvisers, S'chttodT ojg^usic Copyright by Ailene Annette Munger-MacKay 1993 ACKNOWLEDGEMENTS I express my sincere appreciation to Mr. William P. Baker for his guidance, insight and patience throughout the research. Thanks also go to the other members of my advisory committee. Professor James Pyne and Professor Craig Kirchhoff for their suggestions and comments. I would also like to thank Joao Carlos Junqueina for his help in Portuguese translations. I offer sincere thanks to my husband, Tom, and to my parents, Donna and Bryce for their patience, assistance, and suggestions throughout this entire process.

11 VITA

April 21, 1962...... Born - St. Louis, Missouri 1984...... B.M., University of Washington, Seattle, Washington 1986 ...... M.M., University of Washington, Seattle, Washington 1987 to present...... The Ohio State University Columbus, Ohio

FIELDS OF STUDY

Major Field: Music Specialty: Oboe Performance Professor William P. Baker Professor Laila Storch Mr. Stevens Hewitt Bassoon: Professor Christopher Weait Professor Arthur Grossman Conducting: Professor Criag Kirchhoff Professor Richard Byrnes Piano: Professor Neil O'Doan

111 RECITAL DATES

Graduate Recital Series Wednesday, June 3, 1987, 8:oo p.m. Hughes Auditorium Ailene Hunger, Oboe Deborah Emery, Piano/Harpsichord This recital is presented in partial fulfillment for the degree of Doctorate of Musical Arts

PROGRAM Sonata in C minor Amconio Vivaldi Adagio Allegro Andante Allegro Constance Barrett, Continue

Suite Française Marcel Bitsch Pavane Gaillarde Gigue Rigaudon

Intermission Capriccio Macques Murgier

Pavane José Bergmans

Impromptu Georges Auric

Fantaisie Pastorale, Opus 37 Eugene Bozza

IV Graduate Recital Series Monday, July 20, 1987, 8:00 p.m. Weigel Auditorium Ailene Munger, Oboe Deborah Emery, Harpsichord This recital is presented in partial fulfillment for the degree of Doctorate of Musical Arts

PROGRAM Die Kleine Kammermusik G.P. Telemann Partita No. 1 in B Flat Major Con Affetto Presto Dolce Vivace Aria Allegro Christopher Weait, continue

Variations on the Theme "Là ci darem la Mano" from Mozart's "Don Giovanni" for two oboes and English horn Ludwig van Beethoven John Yount, oboe William Baker, English horn Intermission Trio Sonata, No. 2 in d minor G.E. Handel for two oboes Adagio Allegro Affettuoso Allegro John Yount, oboe Christopher Weait, continue Two Little Serious Pieces Silvestre Revueltas Tim Maurer, piccolo Kim Ellis, clarinet Thomas MacKay, trumpet Stacy Dilts, baritone saxophone Graduate Recital Series Friday, April 29, 1988, 8:00 p.m. Hughes Hall Auditorium Ailene Munger, Oboe, Oboe d'amore Deborah Emery, Piano/Harpsichord This recital is presented in partial fulfillment for the degree of Doctorate of Musical Arts

PROGRAM Concerto for Oboe d'amore in A Major G.P. Telemann Siciliano Allegro Largo Vivace Joan Grumpier, continue

Le Tombeau de Mireille Henri Tcanasi John Evans, tambourine

Intermission

Three Songs Without Words P. Ben-Haim Molto Moderato Ballad Sephardic Melody

Sonata Henri Dutilleux Aria Scherzo Final

VI Graduate Recital Series Sunday, May 22, 1988, 3:00 p.m. Weigel Auditorium Ailene Munger, Oboe Deborah Emery, Piano This recital is presented in partial fulfillment for the degree of Doctorate of Musical Arts

PR0GR2Ü1 Trio IV for two Oboes and English Horn Henk Badings Allegro giocoso Canto amoroso Rondino scherzando assisted by William Baker, Oboe John Yount, English Horn Sonata Francis Poulenc Élégie Scherzo Déploration Intermission Obsession Makoto Shinohara Concertante E. Paladilhe

Vll ta bl e o f contents

ACKNOWLEDGMENTS...... 11

VITA/FIELDS OF STUDY...... Ill

LIST OF FIGURES...... Ix

PREFACE...... xl

CHAPTER PAGE

I. INTRODUCTION...... 1 Importance of Study...... 4 Research Approach...... 5 Limitations of the Study...... 6 II. BIOGRAPHICAL SKETCH OF HEITOR VILLA-LOBOS...... 8 III. MUSIC OF HEITOR VILLA-LOBOS...... 19 IV. SELECTED TECHNICAL PROBLEMS FOR THE OBOE AND PEDAGOGICAL PROBLEMS FOR THE ENSEMBLE...... 26 Sextour Mystique...... 28 Trio...... 42 Quarter...... 55 Quintet in Form of a Chores...... 68 Duo...... 84 V. CONCLUSION...... 95 APPENDIX CD Discography...... 97 BIBLIOGRAPHY...... 98

Vlll LIST OF FIGURES

FIGURES PAGE 1. Villa-Lobos Sextour Mystique, Allegro non troppo...30 measure 3 2. Villa-Lobos Sextour Mystique, Allegro non troppo, measures 65-76...... 31 3. Villa-Lobos Sextour Mystique, Allegro non troppo, measures 90-112...... 35 4. Villa-Lobos Trio, Animé, measures 1-29...... 45 5. Villa-Lobos Trio, Animé, measures 40-58...... 47 6. Villa-Lobos Trio, Animé, measures 112-141...... 48 7. Villa-Lobos Trio, Animé, measures 146-163...... 50 8. Villa-Lobos Trio, Animé, measures 178-187...... 51 9. Villa-Lobos Trio, Animé, measure 234...... 52 10. Villa-Lobos Trio, Animé, measures 39-58...... 53 11. Villa-Lobos Trio, Languisamente, measures 69-87....53 12. Villa-Lobos Quartor, Allegro non troppo, measures 13-14...... 56 13. Villa-Lobos Quartor, Allegro non troppo, measures 69-77...... 57 14. Villa-Lobos Quartor, Lent, measures 10-21...... 59 15. Villa-Lobos Quartor, Allegro Molto Vivace, measures 42-44...... 61 16. Villa-Lobos Quartor, Allegro non troppo, measure 1 ...... 62 17. Villa-Lobos Quartor, Allegro Molto Vivace, measure 1 ...... 63

ix LIST OF FIGURES CONTINUED 18. Villa-Lobos Quartor, Lento, measures 49-80...... 64 19. Villa-Lobos Quintet, measure 11...... 70 20. Villa-Lobos Quintet, measures 61-92...... 72 21. Villa-Lobos Quintet, measures 108-125...... 74 22. Villa-Lobos Quintet, measures 263-273...... 76 23. Villa-Lobos Quintet, measure 9 ...... 77 24. Villa-Lobos Quintet, measures 17-22...... 78 25. Villa-Lobos Quintet, measures 92-129...... 78 26. Villa-Lobos Quintet, measure 164...... 81 27. Villa-Lobos Quintet, measures 192-200...... 82 28. Villa-Lobos Quintet, measures 201-210...... 83 29. Villa-Lobos Duo, Allegro, measures 82-95...... 86 30. Villa-Lobos Duo, Allegro vivace, measures 28-29....87 31. Villa-Lobos Duo, Allegro, measures 135-138...... 88 32. Villa-Lobos Duo, Allegro vivace, measures 95-103... 89 33. Villa-Lobos Duo, Lento, measures 65-71...... 91 34. Villa-Lobos Duo, Lento, measures 77-84...... 91 35. Villa-Lobos Duo, Lento, measures 49-51...... 92 36. Villa-Lobos Duo, Lento, measures 59-61...... 93 37. Villa-Lobos Duo, Allegro, measures 1-8...... 93 PREFACE

The intended audience for this study ranges from the amateur to the college musician. The pedagogical content can be used by a musical coach or by an ensemble to aid in the rehearsal and performance of selected woodwind chamber compositions by Heitor Villa-Lobos.

XI CHAPTER I

INTRODUCTION

Modern oboists are faced with many challenges in teaching, coaching, and performing woodwind chamber music on college, university, community, and professional levels. To gain audiences both on the amateur and professional levels, oboists must not only be able to perform chamber music, but also to communicate its values. Since the quality of performance and the level of understanding of typical music students has improved over the past several decades, chamber music that was once thought accessible only to the professional is now becoming a viable pedagogical tool on the college and community levels. The oboist should take advantage of these phenomena and use this music as a teaching tool. Chamber music is important to the intellectual and musical development of students as well as to the musical education of the public. One of the roles of chamber music is to contribute to an understanding of the nature of the art of music. Chamber music shares the insights into the real and imaginary levels that the music contains. The aesthetic values and performance of chamber music contribute to an 2 individual understanding of one of the greatest disciplines of human thought and experience. The chamber musician must communicate the essence of the composition in such a way that the audience will experience the aesthetic intent of the composer. Every aspect of teaching and performing music is similarly influenced by the perception of certain basic elements common to all music, that is: melody, harmony, rhythm and counterpoint. These basic elements assist both the musician and the nonprofessional audience to understand the expressiveness and aesthetic value of the music contained within the composition. The chamber musician should be the catalyst in the process of the overall aesthetic experience perceived by the listener by intertwining the basic elements to form a satisfactory whole. Melody, harmony, and rhythm play very important roles in the teaching and performing of chamber music. The chamber musician should be able to demonstrate, through performance, the contour of the melody, the relationship of the melody to its harmony, the rhythmic structure, the tone color of the composition, and the essential harmonic color changes that take place. Although successful ensemble performance is achieved through the skillful synthesis of all the basic elements, counterpoint is especially important in chamber music. Each separate voice is a distinct component of the whole and the 3 music should be performed in such a way that this phenomenon is recognizable by the astute listener. The performer must portray the changing roles of each voice character to achieve a synthesis of the various voices. Each player has their own personal style which needs to be blended within a chamber ensemble to successfully form a homogeneous whole. However, there are other times that the player must be able to perform in a soloistic manner. Working to achieve good balance requires careful listening within the chamber ensemble and an ability to differentiate between these two contrasting stylistic levels. Clearly, the importance of mastering melody, harmony, rhythm, and counterpoint and the ability to form and perform in chamber music ensembles places chamber music in the strong position of being relevant for all levels of musical development. These elements of melody, harmony, rhythm and counterpoint are objective and can definitely be measured, studied, isolated, and discussed within a chamber music setting. The importance of mastering these elements brings the listener and performer ever closer to one of the central goals of music education that is to communicate the aesthetic value and understanding of one of the great disciplines of human thought. Chamber music at the end of the twentieth century and into the twenty-first century should be taught in a manner that is challenging and representative of the quality, level, 4 and knowledge of well-trained amateur chamber music groups. Therefore the teaching of chamber music must be incorporated into the mainstream of all levels of education. The formation of amateur chamber music societies attests to the international importance of chamber music in contemporary artistic culture. Every civilized country with an active musical culture contains amateur music organizations which satisfy social and musical functions within communities.

Importance of the Study Despite the important role of chamber music within the larger realm of musical artistry, the existing literature evidences a distinct shortage of information about certain renowned twentieth century composers and their compositions for chamber music. One of these outstanding musicians is Heitor Villa-Lobos. Little is known about many of his superb compositions, and his approaches to working with their melody, harmony, rhythm, and counterpoint have never been examined. Critical analysis of these compositions will show that many of Villa-Lobos' compositions formerly thought to have been out of reach for student or community chamber music ensembles actually include accessible elements of counterpoint, melody, harmony, and rhythm which are vital in the proper teaching and performing of chamber music. 5 This study seeks to provide a systematic approach to potential problems faced by the oboist as musician, performer, and teacher and offers some solutions to these problems using the music of Heitor Villa-Lobos as the illustrative medium. The study will also contribute to expanding our understanding of the role of the oboist in small chamber music ensembles with emphasis on the importance of the contributions that Heitor Villa-Lobos has made to the literature of woodwind chamber music. Oboists are often presented with unique challenges when performing in a chamber music ensemble. Some of these challenges include: 1) both uniform and diverse concepts of musical style within the group, 2) knowledge of stylistic concepts and compatibilities of each work, 3) intonation and rhythmical problems, 4) blend and balance difficulties, and 5) various seating arrangements that complicate the ability of the performer to blend and adjust intonation within the ensemble.

Research Approach Specific problems that this study examines are divided into two major categories, technical and pedagogical. Due to the interrelated nature of these two categories, the following discussion will illustrate various technical problems and discuss their solutions and pedagogical implications. Technical problems will include nontraditional meters and 6 rhythmic accuracy, nontraditional melodic patterns, patterns of extreme tessitura and problems of endurance. Pedagogical problems will include how to arrive at a group consensus regarding the portrayal of differing musical styles that best reflect the intentions of the composer and the musicality of the composition; how to choose a leader based upon the musical considerations; choice of tempi; and proper blend, balance, intonation and clarity within the ensemble. The discussion of technical problems for the oboist will be limited to five of Villa-Lobos' woodwind chamber composition. These compositions present great difficultly for the oboist and meet the criteria of the overall focus of this study. Each composition will be discussed in chronological order.

Limitations of the Study The chamber music of Heitor Villa-Lobos was selected as the illustrative medium for this study for three reasons: 1. The impact of the contributions Heitor Villa-Lobos made to the repertoire of twentieth century chamber music. 2. The complex musical quality of the compositions Heitor Villa-Lobos produced presents challenging performance and pedagogical problems for the oboist and teacher. 3. There is a lack of research and information available to woodwind performers and teachers 7 regarding the performance of Villa-Lobos' woodwind chamber music. The woodwind chamber works were selected for this study on the basis of the following criteria; 1. Prominent use of the oboe in all works. 2. To illustrate a representation of the various sizes and mediums of chamber music ensembles available to woodwind performers and teachers. 3. Works composed by Heitor Villa-Lobos. 4. Works that can be rehearsed and performed without a conductor. 5. The current availability of published music The following representative works met all of the above criteria: A. Sextour Mystique - 1917 flute, oboe, alto sax, guitar, celesta, harp B. Trio - 1921 oboe, clarinet, bassoon C. Quartor - 1928 flute, oboe, clarinet, bassoon D. Quintet in Form of a Choros - 1928 flute, oboe, clarinet, English horn or French horn, bassoon E. Duo - 1957 oboe, bassoon CHAPTER II

BIOGRAPHICAL SKETCH OF HEITOR VILLA-LOBOS

Born in Brazil on March 5, 1887, Heitor Villa-Lobos' lifetime spanned the formative years of the twentieth century. He died on November 17, 1959. At an early age, Heitor Villa- Lobos began to study cello, and the cello continued as his main instrument throughout his life. Instructed by his father, Paul Villa-Lobos, who was himself a cellist, the young Villa-Lobos was performing publicly by age twelve. As a teen he went on to study cello with Benno Niederberger, professor of cello at the National Music Institute of Rio de Janeiro.^ Heitor Villa-Lobos was one of the most prolific, illustrious and vital figures in Latin American and the Western world during the twentieth century. He was also a most important representative of his country both culturally and educationally. Heitor Villa-Lobos composed successfully in nearly all styles and for various combinations of instruments. His compositions became recognized both on the national and international levels. His works can be

^Stanley Sadie, ed. The New Grove Dictionarv of Music and Musicians (Washington, B.C.: Macmillan Publishers, 1980), s.v. "Heitor Villa-Lobos," by Heitor Correa de Azevedo, 763. 8 9 summarized as extremely unique, highly original and creative for his time. During Villa-Lobos' lifetime, he was known as one of the most vital and dynamic musical figures of the western hemisphere. Heitor Villa-Lobos contributed to and worked in many fields of music, both compositionally and educationally. His career remained a remarkable one, highlighted by his ability to bring national recognition to Latin American styles and new musical concepts to an era that was devoted largely to classical European style. His works for instrumental combinations have proven to be innovative, distinctive, and of lasting significance among contemporary instrumental literature. Villa-Lobos' chamber music compositions combine unusual instrumental timbres not seen previously in early twentieth century woodwind chamber music. These instrumental timbres and tonal combinations bring about a continually changing sound canvas. Villa-Lobos contributed to new instrumental techniques by exploring new registers, sounds and playing devices. Some of these devices for winds include flutter-tongue, use of pedal tones, and persistent changes of timbre in the middle of a melodic phrase became a common feature of his orchestration. He continually interchanged the instrumentation of the melodic line and constructed mixtures of differing sonorous instruments. 10 Yearning for a bit of excitement in his musical life, young Villa-Lobos also took up guitar. He practiced and performed with some of Rio de Janeiro's most popular street musicians. Many of the improvised melodies he played were songs that he had learned as a child. Using these simple melodies of native children's songs, he became quite accomplished in the art of improvising guitar accompaniments. Eventually Villa-Lobos became a popular street musician himself, and was able to contribute to his family's financial support on the donations he received. Thus, his musical curiosity and his economic necessity led to his thorough familiarity with the popular vernacular style of his country. In addition, he was also quite familiar with Italian opera and theater orchestras in which he was a performing member. With his almost innate grasp of Brazilian native music, Heitor Villa-Lobos added a significant dimension to European classical and Italian opera styles. Although Villa- Lobos did not have the opportunity to formally study music in Europe, he worked with the some of the best romantic composers Brazil had to offer; Francisco Braga (1868-1945) and Henrique Oswald (1852-1931), both of whom had studied in Europe. Braga and Oswald composed music that generally reflected the aesthetic ideals of European Romanticism. During Villa-Lobos' studies with Braga and Oswald, Villa-Lobos became fascinated with the compositions of Bach, Wagner, Puccini, and the 11 lyrical style yerisino£. Heitor Villa-Lobos also studied music with Frederico Nascimento, professor at the National Music Institute of Rio de Janeiro. Villa-Lobos' own music education continued to expand as he became interested in Vincent d'Indy's Cours de composition musicale. A treatise that provided guiding compositional principles to Villa-Lobos. D'Indy divided the theory of composition into three essential parts, rhythm, melody, and harmony, with rhythm being the foremost important consideration.^ Similar to Bartok, Kodâly, Grainger and others, Heitor Villa-Lobos toured his native country collecting its sounds. He was particularly attracted to the cries and calls of the animals in the Amazon jungle and the songs, sounds and dances of people of the rural areas. He was the first Brazilian composer to study the rich musical folklore of his country, including the heritage of the Brazilian Indians, Brazilian

^"Verismo was an artistic movement originating in the late nineteenth century which aimed at vivid and realistic representation of contemporary life. In opera this resulted in a melodramatic treatment which tended to exploit individual moments at the expense of development or structural unity." Collins Encyclopedia of Music. 1987 ed., s.v. "Verismo." ^Vasco Mariz, Villa-Lobos; Life and Works (Washington, D.C.: Brazilian American Cultural Institute, 1970), 10. 12 Africans and native Brazilians. He collected over 5,000 musical folk songs and rhythms/* At the same time Belâ Bartok was undertaking field studies in Hungary and the Balkans, Villa-Lobos was busily and creatively incorporating native melodies, harmonies, and rhythms into his own classically influenced compositions. The resulting counterpoint presented an ensemble of tones unfamiliar to the ear. Villa-Lobos was breaking new ground. Performances of Heitor Villa-Lobos' compositions began in 1915. At first, his nonconformity to the standard European style met with strong resistance from his fellow Brazilians because his compositions exhibited a series of musical innovations still unfamiliar to Brazilian listeners and performers. Soon the importation of the European avant-garde trends overcame this conservative Brazilian approach. Continuing to study European musical styles, Villa-Lobos was introduced to compositions of several additional European composers including Piotr Tchaikovsky, Igor Stravinsky, Claude Debussy, and the Russian five: Mily Balakirev, Alexander Borodin, César Cui, Modest Mussorgsky, and Nikolai Rimsky-Korsakov. With the arrival of European and Russian operas and ballets to Brazil in 1917, Villa-Lobos was introduced to yet more new techniques.

*Gerrit de Jong, "Music in Brazil," International American Music Bulletin 31 (Sept 1962): 14. 13 Thanks to a cultural exchange program between Brazil and France during World War I, Villa Lobos was introduced to Darius Milhaud. Milhaud had recently arrived from France as Secretary to Paul Claudel at the French Legion in Rio de Janeiro. Milhaud introduced Villa-Lobos and other Brazilians to the compositions of Claude Debussy, Erik Satie and other contemporary French composers. A French influence can clearly be seen in the works Villa-Lobos composed in 1917. As one music historian termed it, Villa-Lobos had created "a style of composition designed to create descriptive impressions by evoking moods through rich and varied harmonies and timbres."5 This French influence style of composition can be found in Villa-Lobos' Sextour Mystique and Quarter. At the end of World War I in 1918, Villa-Lobos' music had expanded beyond the borders of Brazil. All the South American countries were severing their ties with Europe and seeking political and cultural independence. Villa-Lobos' unique Brazilian compositions for keyboard, strings, and winds provided a fresh and independent approach to the use of melody, harmony and rhythm. They were composed in a distinctively South American style that neighboring nations could identify as their own. Brazilian Nationalism had arrived.

^Donald Jay Grout, A Historv of Western Music (New York; W.W. Norton, 1980), 673. 14 The 1920*s represented an intense period of creative output for Heitor Villa-Lobos, a period of time during which he devoted his efforts to both modernism and nationalism. Brazilian modernism soon broke ties with the European past and established a future direction that only the new Brazilian intellectuals could follow. Villa-Lobos played a central role in the development of modernism as one of its pivotal leaders. The exploitation of Brazil's African and native South American ethnic cultures helped to establish the country's new direction in modern art and music and the eventual result was the development of Brazilian modernism. To spur the movement on, the Brazilian government organized a week in February, 1922 devoted to modern art and music. Under the public relations rubric of a "Week of Modern Art", the event was staged in Sao Paulo because that city had a more progressive outlook than Rio de Janeiro. Participation by many talented art-music composers including Mario de Andrade, Oswald de Andrade, Ronald de Carvalho and Heitor Villa-Lobos added to the emphasis on modernism and nationalism. A huge success, this "Week of Modern Art" led to the formation of concert associations, orchestras, ballet groups and similar organizations. Villa-Lobos was one of the principal organizers upon whom the Brazilian Government relied during this "Week of Modern Art." 15 tTom this week long cultural event, a significant movement toward a national artistic renewal had begun, called "modernisme" by the artistic intellectuals; the movement incorporated avant-garde European techniques mixed with enthusiastic promotion of Brazilian folk topics. The ideas of Villa-Lobos were well on their way to international acceptance. With his reputation on the rise, and with a grant from the Brazilian government and financial backing from some of Brazil's elite class, Villa-Lobos was able to travel to Europe for the first time. Encouraged by his friends Arthur Rubinstein and Vera Janacopulos, the well-known lieder singer, Villa-Lobos packed his compositions in the summer of 1923 and left his Brazilian homeland. Rubenstein and Janacopulos hoped Villa-Lobos would show the Europeans what he had accomplished. Sadly, on this trip "the only compositions he had to show were the ones in the usual forms, styles, and titles."® Nevertheless, during his stay in Paris, Villa-Lobos became closely associated with members of Les Six and their artistic circle including Georges Auric (1899-1983), Louis Durey (1888- 1979), Arthur Honegger (1892-1955), Darius Milhaud (1892- 1974), Francis Poulenc (1899-1963) and Germaine Tailleferre (1892-1983). The neoclassical, polyrhythmic, individual style

®Lisa Peppercorn, "Foreign Influences in Villa-Lobos' Music," Ibero-Amerikanisches Archiv III (1977); 38. 16 of the Les Six was opposed to the traditional lush, emotional, romantic style and it persuaded Villa-Lobos to become more independent in his own compositional style. Upon arriving home in Brazil "he renounced his past, took leave of traditions, and broke almost completely with everything to which he adhered previously.His compositional patterns changed from traditional European forms and styles to the more native styles. Between mid 1923 and 1924 his compositional patterns changed from traditional forms and styles to the more native Brazilian patterns he had found in his country. He began to "breach the wall between art music and popular styles, writing music that discernibly expresses the collective voice of the nation".® It was the popular and folk music of his country that Villa-Lobos turned to. He became knowledgeable in both urban and rural traditions and incorporated these elements of this music into his compositional style. Back in Paris, in May 1924 under the sponsorship of Max Eschig, a French music publisher, Villa-Lobos presented his new Brazilian compositions in concert. Unfortunately, the French general public found him too daring for the times, and the concert was not a great success. However, "his works did become the subject of enthusiastic interest in Parisian avant-

?Ibid., 37. ®David Appleby, The Music of Brazil (Austin, Texas: University of Texas Press, 1983), 94. 17 garde circles.For the first time, Villa-Lobos was able to show Europe what he had accomplished by combining different traditions of melody, harmony, rhythm and counterpoint. Recognizing the remarkable contributions of a native son, in 1931, the government of Brazil appointed Villa-Lobos Director of Music Education. As a result, Villa-Lobos became one of the most influential leaders of the new nationalist regime of President Getulio Vargas (1930-1954). As Director of Music Education, Villa-Lobos became the advisor on all musical matters for Sao Paulo and Rio de Janeiro. During this time he completely changed the focus of the arts from European to Brazilian. He developed a bold diverse coherent educational program that spanned the primary and technical schools to symphony concert organizations. While he served as the Director of the Ministry of Education, Villa-Lobos established a network of conservatories for students all over Brazil. This was, by his own description, his greatest accomplishment. Most North Americans, however, knew little of Villa-Lobos until after World War II. On November 26, 1944, he made his United States debut in Los Angeles with the Janssen Symphony

^Stanley Sadie, ed. The New Grove Dictionarv of Music and Musicians (Washington, D.C.; Macmillan Publishers, 1980), s.v. "Heitor Villa-Lobos," by Heitor Correa de Azevedo Luiz. 18 Orchestra.He followed this with appearances both as composer and conductor in Boston, Chicago, and New York City. The legacy of his music prompted the International Music Council to declare 1987 a "Villa-Lobos year." This honor indicates that his impact as a composer is still felt throughout the world today.

lOjanssen Symphony Orchestra in Los Angeles, 1940-1952 was founded by Werner Janssen an American composer and conductor. The Janssen Symphony Orchestra performed many compositional debuts including compositions by Schoenberg, Stravinsky and Villa-Lobos. Arthur Jacobs. The Penguin Dictionarv of Musical Performers (New York: Penguin Group, 1990), 104. CHAPTER III

The Music of Heitor Villa-Lobos

Heitor Villa-Lobos dominated Brazilian music for a generation. His nonconformity to standard European compositional styles helped him to achieve strength, originality and success with his total contributions reaching over 3,000 compositions. The emergence of Heitor Villa-Lobos as an influential Latin American composer created a new modern Brazilian style and conservative European values were finally left behind. Villa-Lobos used the compositional technique of continually changing the instrumentation in the middle of a phrase to create an ever changing position of the leading part. "Musical nationalism in Latin America found in Villa- Lobos its strongest supporter and one of its most original creators."Villa-Lobos not only tried to compose in a manner that would accurately reflect the 'soul' of Brazil, but he also tried to give Brazilian names and Brazilian forms to his m u s i c ."12 For example, Villa-Lobos used the term

iiQerard Behague, Music in Latin American (Englewood Cliffs, N.J.: Prentice-Hall, 1979), 204. i^David Vassberg, "Villa-Lobos: Music as a Tool of Nationalism," Luo-Brazilian Review VI/2 (Dec 1969): 55.

19 20 "Choros" for a composition in one movement composed for small groups of chamber musicians that reflected the improvisational form, melodies and character of the street wandering serenading minstrels of Brazil. Villa-Lobos composed fourteen Chores' each expressing the pulsating spirit of Brazil by using contrapuntal rhythmic patterns, long melodic lines, use of unusual instrumental combinations (as found in the Sextour Mystique), and multiple sections within one composition. "Chores is a term which originally denoted a popular instrumental street ensemble which emphasized flute, clarinet and cavaauinho (a Brazilian guitar, that is equivalent to an European mandolin). It also could include other instruments such as ophicleide, trombone, and percussion. It was largely constructed on an ad hoc basis but never included the human voice. The music was often rhapsodic, improvisational, and sometimes dissonant and other times lyrical. The comprehensive range of Villa-Lobos' works includes virtually every type of musical style. He liberally borrowed folk-melodies and harmonized them within his compositions. His success in creating a complete work from folklore elements included both rhythmic and melodic fragments. The ancestry of Villa-Lobos' folk music is characterized by three different ethnic lines: Brazilian Indian, African-Negro, and

^^Simon Wright, "Villa-Lobos: the Formation of His Style," Soundings 9 (1979-80); 57-58. 21 Portuguese. These three cultures helped to form the foundation upon which Villa-Lobos built and developed his musical style. These additions were one of the greatest changes in art music furthering the cause towards a Brazilian nationalism. "Instead of correcting the tunes and rhythms according to Western canons of taste, he absorbed the native material - as Bartok, Vaughan Williams, and De Falla did in their respective countries."^'* Villa-Lobos once said of himself, "I am folklore; my melodies are just as authentic as those which originate from the souls of the people. The Portuguese brought European characteristics to Brazilian music; melodic line, harmonic tonality and concepts of classical form. Ultimately all that is basic in the structure of "Brazilian" music really came froii Portugal. Brazil derived its religion, language, educational system, and customs from Portugal. "Villa-Lobos' style was polychromatic, luxuriant, lush at times, polyrhythmic — by way of contrast, cross accents, and syncopated sections, sometimes worldly on

^^Joseph Machlis, Introduction to Contemoorarv Music (New York: W.W. Norton and Company, 1961), 495. i^Gerard Behague, Music in Latin America (Englewood Cliffs, N.J.: Prentice-Hall, 1979), 184. 22 other occasions naive as a primitive."The sound of his instruments was unusual and personal and full of rhythmic excitement."17 Villa-Lobos, himself, stated that -'I compose in the folk style. I utilize the themes and idioms in my own way and subject to my own development. An artist must do this. He must select and transmit the material given him by his people."!® This folk style that Villa-Lobos referred to is difficult to characterize. There is great spontaneity in all of his compositions. He produced a musical style through color, rhythmic energy, simple beauty of its melodies, and almost magical sonorities. "He gave his chamber works the impression of an orchestral brilliance. Singing lines, generally marked by Brazilian popular music, were always absolutely characteristic."!®

!® C . Sprague Smith, "Heitor Villa-Lobos," Inter- American Music Bulletin 15 (1960): 3. !?Ibid., 3. !®Joseph Machlis, Introduction to Contemoorarv Music (New York: W.W. Norton and Company, 1961), 494. !®Stanley Sadie, ed. The New Grove Dictionarv of Music and Musicians (Washington, D.C.: Macmillan Publishers, 1980), s.v. "Heitor Villa-Lobos," by Heitor Correa de Azevedo Luiz. 23 Villa-Lobos placed a great importance on collecting folklore from his country. He incorporated the complex rhythms and chants of the native Indians into his musio. "The Brazilian Indians were not as highly developed as other South American Indians, as they added more sadness to the blend, with chants and laments."^® Villa-Lobos asserted that more modern composers of Europe were unknown to him until he had composed many works that were considerable more modern than their respected compositions. "Many of my compositions made use of Indian melodies which I collected on trips throughout northern Brazil. Most of the traditional music of Indian tribes has virtually disappeared and is unknown to natives today."21

2°Gerrit de Jong, "Music in Brazil," International American Music Bulletin 9 (1962): 2. 2ioavid Appleby and Martha Appleby, "Thti Legend of Villa-Lobos," Clavier 26 (1987): 20. 24 Influence from the African-Brazilians encouraged him to incorporate rhythm and dance elements into his compositions. "Religious, funeral, hunting, war and love dances were deep- rooted among the black people from whom the slaves for the Brazilian trade were drawn.Numerous and varied rhythmic patterns became a rich treasure for the African-Brazilian art music. African-Brazilian music was almost exclusively dance music, accompanied by the polyrhythms of a large number and variety of percussion instruments. String instruments were rarely used and winds were used even less. Melancholy marked one of the major African contributions to Villa-Lobos' compositions. During the first two decades of the twentieth century most Brazilian composers continued to write music in various European traditional styles with sporadic efforts to incorporate nationalistic elements into their works. But, the more famous composers of Brazilian art music during the period adhered to a musically nationalistic style. One apparent reason for this was the influence of the political dictatorships of Getûlio Vargas (1930 - 1945) in Brazil and Juan Peron (1943 - 1955) in Argentina. Both dictators favored a completely nationalist climate and offered favors to those who followed their lead.

^^Laurence Morton, "Villa-Lobos, Brazilian Pioneer," Clavier 16 (January 1977): 29. 25 Villa-Lobos gradually developed his own international style which was representative of all Latin American styles using some modern European compositional techniques. He was able to create his own unique, artistic style with the help of the popular folk culture offered by his country. Many of these mediums and national expressions had never before been made available to the North American and European countries. The establishment of cultural centers, organizations and learning facilities in Latin America also helped to create a forward momentum that was felt by the entire North American and European communities. Chapter IV

Selected Technical Problems for the Oboe and

Selected Pedagogical Problems for the Ensemble

The compositions which Villa-Lobos wrote for woodwind chamber ensemble had similarities in construction and orchestration. They all have in common a very dense musical fabric incorporating unpredictable combinations of instruments. They also demand a certain level of technical dexterity and musical ability from the performers. Villa- Lobos would frequently write abrupt contrasts between the textures and use the element of surprise as a compositional device. By layering the textures Villa-Lobos also created new ensemble sounds. Five of his woodwind chamber works were selected as the basis for this study for several reasons: 1) the prominent use of the oboe in all works, 2) to illustrate the various sizes and mediums of chamber music ensembles available to woodwind performers and teachers, 3) the relative importance of the compositions composed by Heitor Villa-Lobos, 4) works that can be rehearsed and performed without a conductor and, 5) the current availability of the published music. These five woodwind chamber music compositions are:

26 27 A. SBxtour Mystique - 1917 flute, oboe, alto sax, guitar, celesta, harp B. Trio - 1921 oboe, clarinet, bassoon C. Ouartor - 1928 flute, oboe, clarinet, bassoon D. Quintet in Form of a Choros - 1928 flute, oboe, clarinet, English horn or French horn, bassoon E. Duo - 1957 oboe, bassoon This study addresses several technical problems in Villa- Lobos ' compositions with focus upon nontraditional meters, rhythmic accuracy, nontraditional harmonic and melodic patterns, patterns of extreme tessitura, and problems of endurance. The pedagogical problems examined by this study include: the arrival of a group consensus regarding the portrayal of differing musical styles that best reflect the ideas of the composer and the musical intent of the composition, the process of choosing a leader based upon the musical considerations, choice of tempi, rhythmic accuracy, and blend, balance, intonation, and clarity within the ensemble. A number of technical and pedagogical problems to be discussed in this study will have certain collective educational objectives in common. It is the intent of the author, by reiterating many of these problems characteristic 28 in all five of Villa-Lobos' works, to stress the importance of studying these compositions not only for performance but also for pedagogical uses. Although similar comments can be made about all five of these chamber works, they are examined individually in their own unique contexts. Some of the comments may appear to be obvious in nature to the seasoned performer, but often these are the very ones that need to be stressed and reviewed when concerning the amateur and student musician. The works are discussed below in chronological order. The discussion of each composition will be divided into two sections; technical problems and pedagogical problems.

Sextour Mystique In 1917, Villa-Lobos composed Sextour Mystique, written for flute, oboe, alto saxophone, celesta, and harp. First performed publicly after his death in 1962, this composition combines unique and unusual instrumental timbres not previously seen before in early twentieth century woodwind chamber music. Exemplifying a French impressionistic style as found in the compositions of Claude Debussy, the Sextour Mystique creates a mystical illusion for the listener by evoking moods and sounds through rich and varied rhythms, precise counterpoint, flowing melodies, attractive harmonies, and blending of timbres. Composed as one continuous piece with four sections varying in style and mood, this composition 29 is approximately seven and half minutes long. After studying the Sextour Mystique, the oboist will be able to demonstrate several performance and educational objectives. The oboist will demonstrate a better understanding of when to use the cross-fingering combinations between the right and left sided keys. The oboist will develop an ability to gauge endurance accordingly when faced with challenging physical demands in the music and will also choose logical locations for breathing at various points in the music. The oboist and ensemble will listen and adjust to changing pitch variations within the ensemble based upon melodic or harmonic considerations. Finally, the oboist and ensemble will become familiar with polyrhythms and their correct interpretation on a fundamental level. The performance objectives that the chamber ensemble will achieve after studying the Sextour Mystique is the ability to optimize blend and balance of the ensemble for peak performance. Optimal blend and balance will first be facilitated by the logical choice of a proper seating arrangement when using unusual instrumentations. These above mentioned educational performance objectives are achieved by studying the following areas outlined below within the Sextour Mystique. 30

Selected Technical Problems for the Oboist In measure 33 the sixteenth note passage can be played more cleanly and clearly by using a cross-fingering. Technically, the oboist must be ready to play the low F as forked F with the left side E flat key in order to continue the melodic scale passage to the low D flat and E flat notes.

Htb.

Cross fingerings alternating between the left and right hand side keys should also be used in measures 65 - 76 in order to facilitate technical ease. Villa-Lobos' use of dense chromatism and the appearance of many accidentals require the oboist to practice unusual scale patterns that include cross fingerings. The oboist must carefully monitor intonation and be prepared to adjust accordingly depending upon their respective pitch position melodically or harmonically and with what other instruments the oboist is playing. This entire phrase in measure 65 - 76 is played in unison with the flute. Accurate counting is important because of the polyrhythm; the duple in 31 the flute and oboe and the triplets of the guitar, celesta, and harp must each reflect their respective rhythmic contexts. One of the greatest rhythmic difficulties presented in this piece is the duple versus triple meters occurring simultaneously in measures 65-74. In measure 75, the oboe has a unison sixteenth note ascending passage with the flute and saxophone. This passage must be practiced slowly and carefully both individually and with the other members of the ensemble. The oboist must be constantly aware of the pitch especially as it ascends into the high register to high F.

lu inortSQ

Guit

Guic.

^ ; '1....f - - B f ^ Pp.. FI. — ^ ? ......

Htb

h^-*------r-j Sax.

Guit.. Ky : *— 1%

rp.. . 1 4 = S = ■ . ■ . g» > ' ' 3 3 " —i------» * ' d d M — Cél.

^------^"*" '*--- Lh______:------

Hpc —

^ -----k m c - ^ Æ . Æ ’ C * • * 33 Figure 2 (continued)

Htb,B

Sax.

Guic.

«I. — ^ ^ - --- k# a p —. t------—

Hpe

Htb.

Sax.

Hpe 34 Measures 90 - 112 require a great deal of stamina on the part of the oboist. The player should try to stay as relaxed as possible to encourage naturally supported breathing. Since this solo passage lasts for 22 measures proper breathing placement is essential. Breathing locations are indicated in Figure 3. Besides proper breathing, measures 90 - 112 contain usual melodic intervals including leaps of minor sevenths and minor sixths. During the measures 90- 112, the oboist has minimal harp accompaniment, although the harp does continue an ostinato pattern of repeating sixteen notes. The only other accompaniment is the guitar and saxophone in measures 97 - 99. Consequently, the oboist must be able to effortlessly execute this passage as if there were no technical difficulties present and musically produce a "mysterioso" char&cter in the solo passage. 35

Htb.

m il.

Cêl.

m il.

Hpc

I I

Figure 3 (Villa-Lobos Sextour Mvs-fcimie. Allegro non troppo, measures 90-112) ® 1957 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Pressor Company 36 Figure 3 (continued)

Htb■p L$'r L^-

G utt

Hpe ^ ^

i _ '^_ ^ '#më#g. Htb, 95 ' ® (----- f ------^ T ' ' ^ — Ouit,

4:: -- V - - '-.1------p------

Hpe ^ « |[% w f ! — ' V . ‘ ■ 1,"*7^ ;• -• ^— I—'.'.-y— :, .-^"T" ".

r T > T ‘'r 37 Figure 3 (continued)

jiâSüt Hth Tï rrfCi j ...

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M ------f Hth. 3 .7 3 3

Hpc 1

K 1 W- 3

Htb.

Hpc 38 Figure 3 (continued)

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Figure 3 (continued)

Htb.

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t g e t j T i : I FI. $

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Hpe 40 Figure 3 (continued)

Htb.

Sax.

Gtiit.

Cél.

Hpe

Selected Pedagogical Problems An ensemble preparing to rehearse must first address the issue of seating. The relative position of the players to one another is crucial to the successful performance of the composition. For a satisfactory blending of sound the logical positioning for the ensemble is to place the celesta in the center with the harp and guitar on either side. The flute and oboe should be placed on the ends facing each other and the saxophone should be placed between the oboe and guitar due to the timbre similarities with the oboe. If there is a problem with balance due to the oboe and saxophone over blowing the 41 guitar, one possible way to correct this situation is to position the guitar on the outside. The second consideration to address for the ensemble is tuning. Since Villa-Lobos wrote the sextet for an unusual combination of instruments, the tuning standard must be taken from the instrument that has the most difficulty changing its own relative pitch. The celesta would be the first logical choice. Although the harp may have some difficulty, all of the other instruments are able to adjust to the pitch of the celesta. A group consensus on the relative universal dynamic levels must also be recognized. This issue must be discussed and agreed upon when the ensemble first rehearses, since the composition uses the celesta, guitar, and harp (three instruments that are limited dynamically), the flute, oboe, and saxophone must adapt to their dynamic levels. To minimize any potential balance problems, the oboist must pay particular attention to contextual dynamic levels. One option is for someone to listen from the back of the rehearsal area for ensemble balance and blend. If balance and blend are not rigorously adhered to throughout the composition, many of the exquisite nuances of Villa-Lobos will be lost in the performance and never understood by the listener. The members of the ensemble must also consider the quality of tone of the various instruments. Since the length of this composition is relatively short, and its difficulty not too extreme, this 42 work is an excellent selection for players who may not have much experience in playing twentieth century chamber music. The sextet also offers an opportunity to the players of the harp, guitar, and saxophone that they may not have very often, that is, to experience performing in an ensemble playing woodwind chamber music.

Trio for Oboe, Bassoon and Clarinet Villa-Lobos composed the Trio for Oboe, Bassoon and Clarinet in 1921 and it is one of his more difficult compositions to rehearse and perform. Approximately 20 minutes long, the composition is in three movements; Animé, Languissant, and Vif. The movements are a fascinating study of the use of rhythm and meter and an exciting challenge for any ensemble. Although it appears complex, performers should not be intimidated upon the first reading. One twentieth century musical technique Heitor Villa- Lobos frequently incorporated into his compositions was the use of polyrhythms. Representative of Villa-Lobos' use of polyrhythms, the Trio uses different meters and rhythms simultaneously often making the different musical parts seem as if they were proceeding in two or more different directions at the same time. Villa-Lobos further complicated the rhythmic structure by placing the three different parts of the musical texture into different meters creating non-uniform metric units. The Trio is also an excellent study in the use 43 of twentieth century tonality which is built upon combined linear and horizontal melodic motives. Villa-Lobos' intent in using this tonality was to create harsh and daring new sounds and timbres from familiar instruments such as the oboe, clarinet, and bassoon which are used to help evoke a spirit and image of the Brazilian jungle. These melodic fragments are of variable length, corresponding to expansions or contractions in the rhythmical lines. In the Trio these fragmented motives used by Villa-Lobos placed stress on rhythmic elements as well as rests, accents, and articulations. Continual changes in the rhythmic motives keep the Trio continually moving forward in an ever increasing motion of rhythmic audacity. After studying the Trio, the oboist and ensemble will exhibit an increased understanding of twentieth century polyrhythms. Compared to the sextet, the trio contains a much more complicated use of polyrhythms demanding that the ensemble show competence in the ability to immediately shift meters. By studying and understanding the other two parts, the overall structure of the piece will be more focused to produce a more successful performance. Finally, it is the oboist in part, with the consensus of the group, who helps to determine the best way to reflect the musical intentions of the composition. 44 These above mentioned educational performance objectives are achieved by studying the following areas outlined below within the Trio.

Selected Technical Problems for the Oboist The first movement of the Trio begins with an ostinato rhythmic pattern in the bassoon and clarinet that continues through measures 1-29. With the entrance of the oboe in the fifth measure, the grace notes require careful attention. The grace notes should be played short and before the beat without losing the rhythm established by the ostinato pattern. If they are not, a faulty ensemble will result. Accurate rhythm and counting throughout this section is essential with the presence of the ostinato pattern. The oboist must also exhibit adequate control and support to continually maintain a soloistic like sound. A group consensus on how the accents should be performed is necessary throughout this passage and the entire first movement in order to achieve the maximum musical effect. A heavy wind and tongue attack with as dark a sound as possible is the recommended type of style to achieve the most authentic "sound of the jungle". 45 (D

IJjiiuHIr

ïf =—

V '^' Tp RI --. _ .._ «f»'* .iJ— ? S = ^ M ^ U ^ 10 îjpfff" : v w n - [

flp V 25

^ ^ f ^ Y * _ i p •

Eye contact must be used between the clarinet and oboe during the transition into measure 40 (first movement) to establish the pulse before the bassoon entrance in measure 44. This transition from 5/4 to 3/4 (measure 40) the oboe and clarinet must make a transition from 5/4 to 3/4 (in one). A few bars later (measure 45) advance to a pattern alternating between two and three. It is extremely important to follow the exact musical markings set by Villa-Lobos. Accurate playing of the accents and staccato articulations are essential in creating the feel of a syncopated pattern. For example, in measures 44 - 58 of the first movement, the bassoon, then clarinet, are given a staccato melodic and rhythmic motif. 47

III,

111,1

Figure 5 (Villa-Lobos, Trio, Animé, measures 40-58) © 1954 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Presser Company The melodic and rhythmic motif found in measures 40-58 of the first movement are repeated again in measures 112 - 141 in the oboe part. The second time this melodic and rhythmic motive appears, Villa-Lobos changes the passage to be played with accents and legato tongueing. The oboist should portray 48 this stylistic change by employing a more legato tongue stroke using the "d" syllable. The notes should be as long as possible without stopping the sound. Keep the embouchure solid at the corners and the jaw relaxed so that the low register will clearly sound.

m" ^ — . ''I-

I lk . fP 120 I'j.

125 II.

Ilk. 130 n.

Beginning in measure 146 - 163 of the first movement the clarinet and bassoon establish a new rhythmic and melodic motive. The oboe, in measure 153, must duplicate the accents of the clarinet to effectively portray the transition between the barring of the three and four grouped eighth-note figures respectively. The bassoon begins as the leader during this section because it is the only part that is clearly presented in 6/4. This is an excellent example of Villa-Lobos' use of polyrhythm. It is also one of the more difficult sections of the Trio since it requires rhythmic discipline of all three players. Since the melody is in the bassoon, the clarinet and oboe must accurately fit their part around the melodic line. 50

Ilk. 146 If»— fl-V i?r Iff

150 t J .

Ilk . . 155

'— 160------f , . ; ■ . ^ . ». - iiii'Tinn

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Figure 7 (Villa-Lobos Trio, Animé, measures 146-163) © 1954 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Presser Company 51 In measures 178 - 187 the oboist must produce the continuing repetitive triplet pattern evenly and maintain an equal dynamic level between the higher and lower pitched notes without slowing down the tempo.

Ilk « « » «

S e lp 178 180 Vi.

All three players can end the first movement together with proper eye contact. One player can be selected by group consensus, to end the final sixteenth notes on cue. 52

234 jr—

Selected Pedagogical Problems As mentioned above, when an ensemble begins to study the Trio, it is extremely helpful to mark in the individual parts other players corresponding rhythmic or melodic entrances and to indicate to oneself who is leading at any given point in the Trio. If this is accomplished at the onset the ensemble will have an easier time in rehearsal and performance. For example, part marking should be used in measure 39 - 58 in the first movement. Either the oboe or clarinet can give the cue that is required in measures 39 - 40 but this should be mutually decided upon and noted in the music. The oboe and clarinet might also want to mark the bassoon cue above their own respective parts in order to accurately play the combined polyrhythms. 53

(#1 MoUo Allegro (en un) 7 b n / / / X m i

H- 'M - '#«

/// ^//y' /// f m d m i ! L f

11- 7 J - q /// /// > / / / / //'

Another example of cuing and marking parts should be used in measures 69 - 87 in the second movement. With the presence of a polyrhythmic structure at this point, the oboist may want to indicate the downbeat at the beginning of each measure with a physical cue. This will especially help the clarinet play three against four.

J J 1 &me) Mouv* (poarsJ)Mouv* (pcürJ)

69 iffp

a I m ¥ sflSP

^ C J * - ^ aQg» fffp ^ f&p . E M ? y 4 W ||[ti^# V n t i4nDyy r>/>-.bviig||J)>Miiic_p

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m p m

• * -k---— A — p # p. P = ^ i v . . = # y t r y - y 55 For endurance purposes, make certain that plenty of time is taken between movements to ensure a bit of rest as well as proper mental preparation for the next movement. The ensemble might also want to consider forming pictures or imagery in their minds of the jungle, which will be helpful in portraying the musical intentions of the composer.

Quartor The Quartor for flute, oboe, clarinet and bassoon is sectioned in three movements; Allegro non troppo. Lento, and Allegro molto vivace. Composed in 1928, the piece takes approximately 15 minutes to perform. This composition, along with the Sextour Mystique, illustrates Villa-Lobos' use of the French impressionistic style. In the Quartor, the ensemble should attempt to create a mysterious and alluring atmosphere for the audience by evoking moods and sounds reminiscent of Debussy's music. The oboist will meet several performance and educational objectives by studying the Quartor. They include a demonstration of appropriate low and high register fingerings for the oboe; the use of flutter tongueing as an unusual compositional technigue, how to determine an appropriate tempi, and the ability to use good support and control of breathing throughout a composition. 56 Educational performance objectives are achieved by studying the following areas outlined below within the Quartor.

Several Technical Problems for the Oboist Throughout the Quartor, the oboist is faced with many problematic passages that require the ability to play in the extreme low and the extreme high register (from low B flat to high F above the staff). This requires calm and controlled breathing throughout any of these difficult passages. For these passages to sound effortless, the oboist must not over blow, pinch, or bite the reed. Well supported, deep breaths should be taken at all opportunities offered within the phrase. These breaths should never seem hurried or rushed, but relaxed in order to completely fill the lungs with air. For example, proper breath control in measures 13 to 14 of the first movement is suggested so that the oboe can enter on a low C and ascend to a high E flat to F trill. Since the scale passage begins on low C, the low F must be played on the left hand side in order to flawlessly execute this sixteenth note passage. 57

|8-- 'Ir'

f r .

In measures 69 - 77 the oboe is playing in the lower range of the instrument. Again, good breath support and open throat will assist in producing the lower range.

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r ./.,.]]] Ai,

t nf

In the second movement, from measures 10 - 21, an extended solo passage is located in the upper range of the instrument. Precise control and endurance on the part of the oboist as well as constant monitoring of the pitch is necessary to prevent the intonation from rising. Focusing on the tone being produced and proper breath support will help make this passage seem simple to the audience. 59

P C i r c # f L . ..ill TjTT j L T # — # =

A 0 M Æ ^ ^ ^ ^ 0 ' w #, m ■ — *■ • F n i [:?::. »'r!rrrrl

ITt —n — H — rf~i

f i ^ * ■ * ■ . # = =

Villa-Lobos incorporated one unique example of flutter tongueing into the Quarter. Of the five pieces examined herein, the Quarter is the only work which contains flutter tongueing. This is a twentieth century technique that consists of rolling the tongue rapidly while blowing with a good deal of force through the instrument. Quite a startling effect is created. For most oboists this requires some work, especially when it is needed in the lower range of the instrument. In measures 42 and 44 of the third movement, the oboist flutter tongues on a low D flat and A Flat respectively as the rest of the ensemble also flutter tongues. An extremely relaxed embouchure, light reed, and generous air flow through the reed will enable the oboist to produce this flutter tongue technique effectively. 61

^li PP n ii 44 , i

Several Pedagogical Problems since there are no tempo indications in the first and third movements, the ensemble must arrive at the choice of tempo by mutual agreement. The ensemble should check the fastest passages of the composition to determine the pace for these movements. Rushing the first eighth notes of the first measure would be problematic to the entire first phrase of the first movement. When executing the initial down beat of the first movement, the clarinetist must internally measure the tempo for the sixteenth notes which later follow before 62 actually moving to give the down beat. This might take some practice for the ensemble to play with accurate attacks.

All^nun truppii b.

u f k f S m

Q; sif

i»u r p i r

The ensemble's execution in the third movement is crucial. Preparation and signalling of the downbeat must be clear. Taking a tempo that is too fast will undoubtedly hamper the ensemble at a later point in the movement. A decision as to how to tongue the staccato notes in the third movement is also necessary. The notes should be full and round without sounding too short. Pinching or sagging of the notes is remedied by a clear "t" at the beginning of each note. This will help to produce a more uniform staccato. 63 Airinolt» vivace

The tempo of the second movement (Lento) is marked as 70 equals the quarter note. The movement should not be played too slowly. To play at the proper pace is especially difficult since the movement begins piano and legato. Evenness of the melodic motives, wind support, anc singing of the notes when required will help to keep this movement compelling and interesting to the audience. There should be no finger accents, spaces between the notes, or diaphragm attacks when playing. The second movement is also an exercise and study in legato playing and correct placement of breath marks. Beginning in measures 49 - 80 the melodic lines are moving in both contrary and similar motion to one another. There should be an ensemble evenness and effortlessness to each group of notes. This can be achieved by opening the throats, proper 64 support and a solid embouchure while the players remain relaxed. The power of sustaining the air through the notes and infrequent, full breaths will assist in portraying the legato style. If these ideas are kept in mind by the players when performing this passage and they exercise appropriate listening skills, then a balance and a blend of tonal sound will be the result. Suggested breath marks are indicated in Figure 18.

L e n t

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1 ___ i

r--- = - r ^ =f W —

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| Î = ^ = 5 ^ ^ : p = _ r ^ 67 Figure 18 (continued)

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R a i l .

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R a i l .

PPP The third movement is a study in contrapuntal textures. Solid rhythm will certainly help to execute this movement well. Clear attacks and accurate duple meter presentation will bring out the entrances of the individual melodic and rhythmic motives. Light playing of the staccato notes and attention to the accented notes will help move this movement ahead. Careful awareness of ensemble dynamics is vital for the successful appearance of successive contrapuntal lines. Accents and staccato notes should be played in the same fashion throughout the ensemble.

Quintet in Form of a Choros Villa-Lobos composed his Quintet in Form of a Choros for flute, oboe, clarinet, bassoon, and English horn in 1928, the same year as his Quartor. Twenty-five years later in 1953, Villa-Lobos revised the Quintet from English horn to make it suitable for French horn. Even though the Quintet and the Quartor were composed in the same year, they were written in 69 entirely different styles. The Quintet was composed in Villa-Lobos* Brazilian style that evokes sentimental moods and rhythms of his country. In fact, the use of the word "choros," in the title describes a composition in one movement based upon those same sentimental moods In approximately 11 minutes, the Quintet in Form of a Choros summons the harsh, grieving sounds of the jungle and beating rhythms found in Brazil. This composition is definitely not in a French impressionistic style like the Quartor. The Quintet is composed in multi-sectional parts as is the Sextet, with the instrumental lines treated in a soloistic fashion. Each section provides the listener with completely different material of diverse sounds. This was one of Villa-Lobos' principle compositional characteristics. Studying the Quintet will enable the oboist to demonstrate several performance and educational objectives. Meters that are based on the eighth note basic duration (5/8, 7/8, and 9/8) give the oboist ample opportunity to study new meters that may not be as familiar as common meters such as 2/4, 3/4, and 4/4. Since each instrument is given a solo passage accompanied by the other instruments, the oboist will demonstrate listening skills in adjusting balance and blend within the ensemble. As with Villa-Lobos' other woodwind compositions, the oboist will strengthen the ability to gauge endurance when faced with challenging physical demands in rhe music. 70 The oboist and the ensemble will acquire an increased understanding of twentieth century polyrhythms and their interpretation. The ensembles' visual communication skills will be improved by consistent awareness of the changing rhythmic canvas between players. Each individual in the ensemble will also be able to perform in a soloistic style. Educational performance objectives are achieved by studying the following areas outlined below within the Quintet.

Several Technical Problems for the oboist An initial problem for the oboist in the Quintet is in measure 11. The thirty-second chromatic motive necessitates clear execution. Careful practice of the accidentals is necessary if the passage is to be played smoothly. To facilitate ease of performing this passage, alternating cross fingerings should be used when going from the E flat (left handed) to D flat (right handed).

Figure 19 (Villa-Lobos Quintet, measure 11) © 1971 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Presser Company 71 In measures 61 - 92 the oboist is faced with an extended solo passage. This passage is extremely exposed for the oboist because of its nontraditional melodic nature, accidentals must be played accurately. The eighth notes must not be played as triplets and the triplets need to be played with equal weight rhythmically. Additional grace notes add another element of difficulty to the already complicated rhythm of this passage. The grace notes should be played immediately before the beat. The second eighth of the third beat triplet in measure 64 should not be held into the eighth note rest and the grace notes that follow must precede the first beat in measure 65. Therefore, articulations of the eighth notes must be short throughout the passage. Observance of the sforzando pianos will effectively assist in correctly placing the grace notes. In measures 69-71 there are chromatic sixteenth note passages made up of repetitive descending sequences of major thirds and perfect fourths. Careful practice with a metronome and finger pattern practice will help facilitate ease in this passage. Villa-Lobos added another problem to this passage by placing the oboe and French horn in a three against four pattern in measures 72 - 75. The tendency in these measures is for the oboist to slow the tempo down by dragging the triplets. The original tempo set by the oboe at the beginning of its solo (i.e., measure 61, the tempo of the 72 triplets), should be used as a standard for the horn in interpreting the same triplet passages later since these triplet figures are passed directly between the oboe and horn.

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f _ t i J 1 U « r f - i f e = = ^ = — ^ = - = ------

. 00

r 75 3 [-— ■ -=-=y

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-4 ,.rrm [IT-,---- 92 | J - ^ ---- ■ = # = 74 In measures 108 - 125, the repetitive staccato tongueing of the notes and descending nature of the lines compel the player to continually attack the notes in the same consistent style. As the "ppp" melodic line descends to low B flat and low B natural, the repetitive staccato tongueing becomes more difficult. Using a light tongue stroke with proper breath support will assist the oboist in playing these repetitive eighth notes. In addition, a firm attack is needed for the lower notes to speak and since they are marked with a sforzando accent, this should be easily accomplished.

110 L u U UJ u u T J

r — h m

m m - n i=iu i # #

...... ■ XE-C — —— 125 ^ ------rrr , / t ” ■ jy f

In measures 263 - 273, the oboist is faced with the technical challenge of making the group of six sixteenth notes distinctly recognizable instead of sounding like a glissando. Compounding this challenge is the extreme high range into 76 Which the oboe must ascend. Subdividing this section with a metronome set to the eighth note and making sure that the entrance is not late (to avoid rushing the sixteenth notes) will help in practice.

J f..— ' J j -

7 ( 2 6 3 lam— ' “ I" — •------3------

V ------^ J ^ i —

t-r r — f ■■ 3 r F •------3------1J ., — =4 -51.

Several Pedagogical Problems For the ensemble, the Quintet presents a formidable challenge in the ability to play together. Often the parts are combined in vertical rhythmic groups of twos and threes. Visual communication is a first performance objective for the ensemble and is essential in order for these vertical rhythms to be played in unison. The grace note in measure 9, (which should be placed before the beat) occurs in the bassoon. The bassoonist, therefore, must give a strong downbeat for the ensemble in that measure. The flute, oboe, and horn will then know where to place the second note of the triplet of the first beat.

A second performance objective for the ensemble is to carefully match the other player's intonation levels. Particular attention should be paid to ensemble intonation in measures 17 - 22. The oboist's "D" in measure 17 should not 78 be pitched too high, so that the clarinet, bassoon, and flute can easily match the intonation.

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V = rp 17 ' Utm ^ --^

nrt t r sa* ------y>-ivy==3 nr UX9 _

Figure 24 (Villa-Lobos Quintet, measures 17-22) © 1971 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Presser Company A third performance objective is uniform articulation. In measures 92 - 129, unison articulation as an ensemble is extremely important to the overall musical effect produced. In this section, the overall effect is of a rather percussive nature so the instruments should portray a "drum-like" quality in their interpretation of the articulation.

T r è s

ÿ - -- , w ■ ...... hki*■frr p--^ _L— — ^ 92 95 Anid?\:Élï-=^ - 1 ■ I; -■ = lîïT îT l r* - - - = nr

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105

. T ■^110

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. J f r r r r ‘-Cfj‘f f e

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^i_^Y'y y*7' 80 Figure 25 (continued)

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•/'a-p =*— fip — j r a m J> !)P / 3Enu.ai-i^^=ir%-- ki-l~ 81 A fourth performance objective is the proper cuing of all entrances. In measure 164, the oboist begins a solo passage on the second beat of a triplet. Since the horn and bassoon play on the downbeat, the oboist must cue the downbeat to properly play the second beat of the triplet with the correct rhythm. Taking a breath before the first beat will help with the onset of this new section for the oboist.

l«nl(S2.Jj|

Another performance objective for the ensemble is the ability to study varying metric changes and to execute rhythmic accuracy within the ensemble. As mentioned above, score study and study of the other parts is extremely important and helpful to the overall ensemble performance. Each player should have a score in order to understand the integral nature of their own part and how it fits with the rest of the whole ensemble. This should be studied optimally during the initial rehearsals. 82 An example of when part notation should be used here is in measures 192 - 200. The oboe, clarinet, bassoon, and horn should notate the flute solo in their own respective parts. This will help the ensemble read the flute part as cues in their own parts and be prepared for unison movement with the solo flute. Part notation can be used liberally by all members of the ensemble to ease transitions as well as especially difficult rhythmical sections.

nnn)>*na te nn'nw mouy*(»0 J)

■ • 200

Figure 27 (Villa-Lobos Quintet, measures 192-200) © 1971 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Presser Company 83 It is the responsibility of the bassoon to set the tempo in measure 201 for a very difficult and rhythmically scattered six measures beginning in measure 205. This section requires very strict counting as all of the parts are grouped vertically from lowest to highest voice in patterns of two successive sixteenth notes. Rehearsal of these measures should begin at a very slow tempo with a metronome and the players cannot wait for the previous notes to sound. They must rely on proper counting and not just listening because they will be late on their own entrances. Starting at a tempo of eighth note equals 80 and gradually increasing the speed to quarter note equals 108 should provide a rhythmically accurate ensemble.

201

Duo for Oboe and Bassoon The Duo for Oboe and Bassoon was composed two years before Heitor Villa-Lobos' death in Paris in 1957. It is an excellent study in endurance for both the oboist and bassoonist. There are three movements: Allegro, Lento, and Allegro Vivace. Since there are only two performers, this composition requires a very soloistic approach. There is an extraordinary amount of difficult passage work required of both players with an abundance of contrapuntal texture, requiring note-against-note movement. Allowing ample time between the movements is highly suggested when performing this work to help endurance pacing in the entire work. Also, when performing this composition on a recital, one must carefully plan the other works to be performed as well. Placing this work too late in a performance could be extremely detrimental to the performance. 85 As seen in the previous four woodwind chamber compositions studied, the Duo lacks one element usually found in Villa-Lobos' compositions. There is no use of odd or nontraditional meters. The first movement is in 2/4, the second and fourth movements in 4/4. Villa-Lobos creates rhythmic interest through the use of ties over the bar lines, displaced durations, use of rests, and syncopation. Studying the Duo will enable the oboist to demonstrate several performance and educational objectives. The oboist and bassoonist will demonstrate a finer understanding of how to gage endurance and breathing when faced with challenging physical demands. The oboist will cultivate the technical proficiency necessary to perform the work by practicing similar studies and etudes which stress such items as extreme skips, chromatic scale patterns, unusual intervals, clean single and double tongueing, high range, and triplet patterns. The oboist and bassoonist will also establish an understanding of syncopation with standard meters. The oboist and bassoonist will be able to create musical interest within a texturally austere environment (i.e. a duet). Educational performance objectives are achieved by studying the following areas outlined below within the Duo. 86

Selected Technical Problems for the Oboist Proper legato slurring between wide intervals without breaking the sound and air flow is crucial throughout the entire Duo. This can be accomplished with breath support and continuous air flow through the reed. Wide intervals, especially slurred ones, are extremely difficult and must be practiced slowly. Slow practice as half note durations, until the player is able to hear the intervals is recommended. Tongueing these intervals at the onset of practice will also help the player learn these difficult passages. Gradually increasing speed and then adding the slurs should be augmented with similar studies and etudes of the same nature. For example, measures 82 - 95 in the first movement should be played without any breaks between the intervals.

g — , r _ f •*

82 *85 ' ■ n # 1K ■ Lr Li Lr

Extreme skips of wide, slurred intervals are also found in measures 28 - 29 in the third movement.

tr i -J-Ur-'d - - -- T- . X— s f .,ria 4 i lJ Figure 30 (Villa-Lobos Duo, Allegro vivace, measures 28-29) © 1958 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Presser Company

In measures 135 - 138 of the first movement, the ties over the bar line connecting the triplets should be not be held too long. This type of figure appears often throughout 88 the Duo, and proper releases of the tied figures will prevent the oboist from falling behind.

' 1 ' ' 1 . ...

* ^ 3 5 ------r — ------f t -- RS. \ z x l -- « 3 ^ # T r - - - = j p = = p = ^

Measures 95 - 103 in the third movement dictate the use of clean single and double tongueing. Since the oboe and bassoon are in rhythmic unison, the sixteenth notes must sound together and not drag. To increase the facility of the double tongue, practice the syllable "tah" and "kah” at a slow tempo without the oboe. If there is difficulty pronouncing the "kah", practice only the "k" syllable and try to produce this syllable as clearly as possible, towards the front of the mouth. Then combine the two syllables and increase the speed gradually until it is executed with ease. Repeat the process on the oboe and strive for the same consistency. 89

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TP— ' r r-fl 1— -ff ■rf i'.Tr 1' mf

rail.

Selected Pedagogical Problems One performance objective for the oboist and bassoonist is to create musical interest for the audience. Since there are only two performers in the Duo, there is a certain musical 90 austerity to this work that requires the ability to successfully execute all musical elements. Musical exaggeration of dynamics, articulations, accents, and phrasing are important not only to convey the musical intentions of the composer but also to capture the attention and interest of the audience. All of the combined musical elements, such as dynamic markings, articulations, and phrasings should be played with the utmost confidence. Since the contrapuntal rhythmic movement of the Duo is continuous, it is necessary to try to employ fresh vigor and meticulous dynamics to any thematic material for the purpose of bringing out the melodic lines. For example, in the second movement, measures 65-71 (oboe) and then later at measures 77 - 84 (bassoon) each player has the same melody and need to play it in a style that is soloistic and legato. Consistencies of the tempi are important because the two parts are so interdependent at many times throughout the piece. For example in measures 65 - 71 of the second movement, the oboist cannot take too many liberties with the melody because of the exacting nature of the rhythm in the bassoon that is acting as an accompaniment. 91

...... j a i ' J P u ..... 65

Figure 33 (Villa-Lobos Duo, Lento, measures 65-71) ® 1958 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Presser Company

Figure 34 (Villa-Lobos Duo, Lento, measures 77-84) © 1958 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Presser Company 92 A second performance objective is that the oboist and bassoonist should play measures 49 - 51 in the second movement evenly, in a legato style, and without slowing down. Since the oboe and bassoon are playing alternating parts, both should be careful not to take too much time on the eighth rests. These measures should sound as if only one player was continuously playing all of the sixteenth notes in the melodic line. This passage is repeated again in measure 59 - 61. Notes of a slightly longer duration and tasteful legato playing will facilitate an improved passage.

® a, Te m p o

@ a Te m p o

Figure 36 (Villa-Lobos Duo, Lento, measures 59-61) ® 1958 Editions Max Eschig Used By Permission Sole Representative U.S.A. Theodore Presser Company

A third performance objective is the ability to imitate the style of the other player. There are numerous times in the Duo when an imitative style of playing is required on the part of the oboe and bassoon because of the contrapuntal texture. For example, in the first four notes of the first movement, the bassoon's answering eighth notes should be attacked in the same style as the oboe's. In measures 3-8, the oboe should imitate the style played by the bassoon.

AJlegrro (tax : J)

Since this composition requires a great deal of endurance and technical ability on part of the performers, one movement at a time can be independently studied. One movement of the Duo could augment the study of advanced duets or be used in a performance situation. CHAPTER V Conclusion

This study has examined select examples of nontraditional meters and rhythmic accuracy, nontraditional melodic patterns, patterns of extreme tessitura and problems of endurance in each of the five compositions by Villa-Lobos. This study has also validated the genuine importance of the woodwind chamber music of Heitor Villa-Lobos not only for the professional musician but also for the amateur performer as well. The oboist will primarily benefit in a technical and pedagogical sense by studying and performing these five woodwind chamber compositions. In a technical sense, the oboist will exhibit an improved understanding of specific problem areas and possible solutions. After studying and rehearsing these compositions thoroughly, the oboist will also have an improved comprehension of possible methods in pedagogical instruction. Some of the pedagogical issues addressed included: the process of arriving at a group consensus regarding musical styles and ideas, choice of a leader based on musical considerations, choice of tempi, and proper blend, balance, intonation, and clarity within the chamber ensemble.

95 96 Examining the many characteristic challenges and problems within the music of Heitor Villa-Lobos, the oboist is offered an unique perspective on a relatively unfamiliar but highly valuable repertoire in woodwind chamber music. The musical value of Villa-Lobos' woodwind chamber compositions is of such high caliber and importance to twentieth century chamber music that it should be regarded as accessible to any musician studying and performing woodwind chamber music. If the entire composition could not be performed or mastered at least the amateur college chamber musician is given other possibilities in alternatives to the standard woodwind chamber repertoire. The compositions of Villa-Lobos should be used both for educational purposes as well as for performance. The experience of performing these works will encourage musical growth and aesthetic sensitivity in the musicians who study these compositions. The collaborative effort between the oboist and the other chamber musicians, if successful, will reflect to the listener the musical intentions of the composer through an aesthetic musical experience which the ensemble creates during a performance. APPENDIX CD DISCOGRAPHY

Duo for Oboe and Bassoon ETC 1144-2 Members of the Villa-Lobos Society Chamber Players 1992

Quartor for Flute, Oboe, Clarinet and Bassoon ADDA 581074-2 Trio D'Anches Ozi 1987

Quintet in the Form of a Choros for Flute, Oboe, Clarinet, Bassoon, and Horn Le Chant du Monde LCD 278 835-2 Orchesre de Chambre Brésilien 1977/1986

Sextour Mystique Le Chant du Monde LDC 178 869/70-2 Orchesre de Chambre Brésilien 1986

Trio for Oboe, Clarinet, Bassoon ADDA 581074-2 Trio D'Anches Ozi 1987

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"Villa-Lobos: the Formation of His Style." Soundings IX (1979-80): 55-70. ______. "Villa-Lobos: Moderism in the Tropics." Musical Times 128 (March 1987): 132-135.