#VILLA LOBOS BACHIANAS BRASILEIRAS 5 SERIES#

#VILLA LOBOS BACHIANAS BRASILEIRAS 5 SERIES#

The way was opened for the creation of huge national encyclopedias, dictionaries, series of cheap books which explored every aspect of the national heritage, Brazilian-made films, the foundation of orchestras and choirs, theatre, and scientific research. The pioneering and fevered activity and ferment of Modernism in Brazil during the 1920s, which resulted in the development of a vibrant intellectual ambience, a lingua franca, gave way in the 1930s to a more ordered, more classical, though no less enthusiastic exploration of everything Brazilian. Throughout the 1930s the public was not only able to hear the best (and other) compositions of Villa-Lobos and his contemporaries in concert series sponsored by the government, but also to attend Villa-LobosвЂ™s proudly presented Brazilian premiere performances of BeethovenвЂ™s Missa Solemnis (1933), PalestrinaвЂ™s Missa Papae Marcelli (1933), BachвЂ™s B minor Mass (1935), and other standard works. The showcase for his compositions increasingly became the political arena, either in the form of choral rallies (concentraГ§Гµes civicas) held on significant national days under blazing tropical sun, or as вЂartistic educationвЂ™ concerts in which musical culture was fed to the people in an informed and organized way, unknown in the capital until this time. In many cases this all amounted to the same thing.Дespite his activity in SГЈo Paulo state it was an offer from the administration of the Federal District in February 1932 to become head of a specially created department, the Superintendencia de EducaГ§ГЈo Musical e Artistica, which meant that Villa-Lobos was able to return finally to his home, Rio de Janeiro, to work. Most of his compositions were, directly or indirectly, aimed at public artistic education and tacitly requesting instant approval, or were plainly and unashamedly patriotic, carrying clear political messages. These two projects were the stunning prototypes of much similar activity by Villa-Lobos during the following fifteen years. This nine-month tour was only interrupted by the organization in May 1931 of a large choral rally, the вЂExhortaГ§ГЈo Civica Villa-LobosвЂ™, in which 10,400 paulistas sang patriotic songs and hymns (mainly in arrangements by Villa-Lobos) in the open air. Even before the revolution Villa-Lobos was initiating musical activity in SГЈo Paulo city, and soon after the coup he was planning an extensive tour of the state with several colleagues, the вЂExcursГЈo Musical Villa-LobosвЂ™, with the avowed aim of elevating the musical consciousness of the people by bringing to them recitals of erudite compositions. Perhaps he already had an inkling that his heady Parisian days were over. Villa-Lobos was unable to pay the rent on his Paris apartment and he was evicted in absentia together with various belongings, including the now lost autograph scores of ChГґros Nos 13 and 14. The October 1930 revolution which brought wily gaГєcho GetГєlio Vargas to power, overthrowing the crumbling and self-satisfied Old Republic and initiating fifteen years of autocratic though benign dictatorial constitutions for Brazil, meant that it was temporarily impossible to export currency from the country. Political circumstance, however, forced a change of plan. When Villa-Lobos alighted at the north Brazilian port of Recife in June 1930 from France his intention was to leave Brazil and return to Paris as soon as he had fulfilled a series of conducting engagements.

Villa lobos bachianas brasileiras 5