A Study of Three Works of Villa-Lobos - Part II

Research in Performance Practices of the Twentieth Century:
A Study of Three Neo-Classic Works for Solo Guitar
by Heitor Villa-Lobos
by
Richard Kevin DeVinck

Chôro No. 1

Written in Rio de Janeiro in 1920, Chôro No. 1 became the first of 14 pieces in the Chôro cycle, it being the only one written for solo guitar. The piece is dedicated to Ernesto Nazareth, a Brazilian pianist who stylized traditional dances (Tango, Waltz, Fado, etc.) using the rhythms of the samba and chôro. Villa-Lobos used a similar practice in the Suite Populaire Bréesilienne [7] which contains a Mazurka-chôro, Scottisch-chôro, Valsa-chôro, Gavota-chôro, and Chôrinho. This stylizing of traditional dances became popular around the turn of the century. Prior to the turn of the century the chôro did not exist as a separate musical form. It was the Brazilian way of playing the popular musical styles of the day -- most of which were imported from Europe.

According to Brazilian guitarist Laurindo Almeida, "the very title Chôros, which is used by many guitarists, is incorrect. The correct spelling, which is used in the Arthur Napoleão Ltda. edition [8] is the singular form -- Chôro." [9] This might seem overly fastidious to some, and perhaps it is, but it reflects a general misunderstanding of what the term refers to. Perhaps the reason for many guitarists using the plural form of the word when referring to this piece lies in its appearance in the Max Eschig edition as Chôros [No. 1]. It should be understood, however, that in this case the editor is indicating this piece is the first of a cycle of Chôros: it is not meant as a title of a single piece.

The term 'Chôro' has many usages. As with the term 'blues', which can refer to an emotion, a type of music, etc., the definitions for 'chôro' are abundant. One of the more encompassing definitions for the term comes from Oneyda Alvarenga:

To add to this definition musicologist Nicolas Slonimsky writes,

After one learns the few discernible elements that are characteristic of the chôro, it is not difficult to identify a typical chôro, hearing it for the first time. One of its most recognizable features is the bouncy 2/4 rhythm and intricate melodies, found in most chôros.

The rhythmic figures and as well as the three-layer construction are also trademarks of most chôros.

All of these elements are present in Chôro No. 1 and earn the piece the Napoleão subtitle "Chôro Tipico" or "Typical Chôro" -- the only chôro of the cycle that is deemed as such. (Example 1.)

Example 1. Villa-Lobos, Chôro No. 1, meas. 1-4 and 25-29.

An Analysis

Chôro No. 1, like most of Villa-Lobos's guitar solos, has a classic tri-partite structure in which the sections are harmonically sectionalized, clarified by tonal contrast between closely related keys. A rondo, the Chôro reinforces sectional alternation with tonal contrast -- E minor, C major, E minor, E major, E minor -- providing the "A" section is repeated.

Measures 5-13 of the Chôro (Example 2.) exemplify a somewhat sophisticated use of the V/V - V7 - I progression, an insistence of which seems at times to suggest a parody of Brazilian folk music, in which that progression appears as a distinguishing feature. In the Chôro, Villa-Lobos creates a veritable chain of these progressions, with a decidedly cumulative effect.

Example 2. Ibid., meas. 5-13.

Meas.:

5

6

7

8

9

10

11

12

13

Chord:

F#

B+

E9

A7

A9

D13

G9

C13

F9

B13

Key:

B:

V

I

E:

V

I

D:

V

- -

- -

-

I

G:

V

I

C:

V

I

F:

V

I

B:

V

I

The upward progression of fourths, illustrated in the summary diagram, suits the tuning of the guitar perfectly.

Another 'dominating' feature of Villa-Lobos's compositional style is his extensive use of the
dominant seventh (ninth, eleventh, and thirteenth) chord. In view of Villa-Lobos's lifelong interest in Brazilian folk music, it would not seem unreasonable to ascribe his fondness for the dominant seventh chord to that source. Such an influence seems probable, for in many Brazilian folk tunes the appearance of the flatted seventh (which implies dominant seventh harmony) is a distinguishing feature.

As in Prelude 1 and Etude 11, the Chôro is in the key of E minor. This in and of itself is nothing of importance, however it does attest to the logic of a guitarist such as Villa-Lobos. Many guitarists who are not as well-versed in jazz will usually avoid playing pieces written in flat keys. The natural disposition of the guitar created by its tuning -- E A d g b e' -- does not warrant the use of open strings when playing in flatted keys. Open strings are essential for a sustained bass line. Villa-Lobos knew this all too well and, with the exception of those works in C major and A minor, wrote all of his guitar works in sharp keys.


Editions

One of the most disturbing quotes found in reference to editions of the Chôro comes from Villa-Lobos himself. It reads, "[This is] the only corrected edition that conforms to my original manuscript." [13] Unfortunately very few have seen the original manuscripts of this or any of Villa-Lobos's guitar works. (Turibio Santos, Laurindo Almeida, and Abel Carlevaro are some of the few who have.) As stated earlier, such material has been housed in an archive, yet to be divulged to the public.

When recollecting his viewing the manuscript of the Chôro for the first time, Laurindo Almeida insists, "I only remember seeing a tenuto (fermata) marking above the g of the anacrusis -- that was all there was on the score." [14]

The Eschig and Napoleão editions are almost identical to one another, with the exception of the former containing fingerings. If seeing is believing, then these two editions, along with Villa-Lobos's quote, would no doubt serve as the final word against an unseen manuscript or an elderly guitarist's distant recollections.

There are a few questions, concerning the validity of the editions, which have arisen in the course of research. One of these questions concerns the tempo indications found on both editions.


Tempo

Upon hearing Villa-Lobos's own version of Chôro No. 1 in 1979, played on an original 78 owned by Brazilian music researcher Paulo Tapajós, guitarist and scholar Brian Hodel recalls,

Choice of tempo is one of the more outstanding issues of performance practice in the Chôro. The Eschig and Napoleão editions are almost identical but differ somewhat in their choice of tempo indications at the very beginning of the Chôro. Napoleão indicates 'Pouco animado' (a bit animated); whereas Eschig uses 'Quasi andante', complete with metronome marking = 88. Both are similar in aspect if one uses 'animado' to qualify allegro (a tempo) or spirited (an expression).

The 'spirited' quality of the piece does indeed warrant a crisp tempo -- or at best a crisp feel. However, = 88 is a bit too fast for any guitarist and one will soon find that clarity has been sacrificed. Brian Hodel recalls Villa-Lobos's choice of tempo to be about = 69. In a recording of the Chôro by Turibio Santos the tempo of about = 84, [16] which by the way does not seem to hinder Señor Santos' technique in any way, still seems too fast.

A tempo of about = 69 is about right for the first section of the Chôro. Yet the performer's attention must focus on the feel or mood of the piece. As Mr. Hodel states, part of that mood lies in the interplay of rubato and steady pulse. The interplay is more subtle than the editions lead the guitarist to believe.

The first page alone is covered with 'rallentando' and 'allargetto' markings (the difference between the two is unknown to the author), followed by 'a tempo' indications. Every phrase ends with a rallentando, and then returns to the original tempo at the beginning of each new phrase. If played too literally, this gives the piece an annoying 'starting up and slowing down' effect for the entire piece. It is questionable whether the composer would have desired such an effect.

Any use of rubato must be done without sacrificing the steadiness of the quarter-note pulse -- or at least the first quarter-note of every measure.

A change in both mood and tempo occurs at the E major section -- 'Moderato un poco'. The change of character in this section definitely calls for a slower tempo and different mood. The mood changes although the rhythms remain the same. Instead of the spirited chôro mood of the previous section, the E major section takes on the character of a "Callejera" from Costa Rica. (Examples 3 & 4)

Example 3. Callejera, from Guanacaste, Costa Rica.

Example 4. Heitor Villa-Lobos, Chôro No. 1, meas. 1-4 of E major section.

The key to this change in mood has much to do with the change from E minor to E major: it lies in the change in articulation of the rhythmic patterns.


Articulation

Although the rhythmic figure continues in the E major section, it may be articulated differently to change the mood to that of a Callejera. The legato (-) as well as accent () articulations found in the scores verify this change.

The figure, played legato, comes across as a triplet figure with a little rubato: thus giving this section a feel. Furthermore, the reiteration of notes in the melody of the E major section is similar to the style of many Callejeras. This reiteration of notes differs from the busy quality of the two previous melodies.

The accent mark () plays an important role in pointing out the importance of feeling the quarter-note pulse of each measure: put under consecutive bass notes, it drives the music toward a sense of arrival at the cadence. (Example 5.)

Example 5. Villa-Lobos, Chôro, meas. 27-32.

Although it may be tempting for the guitarist (or the analyst) to rush the tempo at such a spot, it is advisable to keep the pulse as steady as a rock and let the articulated bass notes do the work of propelling the music to a cadence. The accent mark is also used to signal an occasional pick-up note or chord as in measure 4. (Example 6.)

Example 6. Villa-Lobos, Chôro, meas. 4.

Laurindo Almeida is quite familiar with the chôro. Born and raised in Brazil, Señor Almeida knew Villa-Lobos personally: on one occasion he was treated to a private performance of Villa-Lobos playing Chôro No. 1. According to Señor Almeida,

"Although the rhythm is characteristic on many chôros, it is not advisable to play such a rhythm too literally all the time. This rhythm sounds 'pedestrian' to a chorao if played too literally. This is especially the case when a series of such rhythms exists, as in measures 25-29. Perhaps [the use of] a bit more rubato in such a passage is called for -- but not at the sake of the steady pulse." [17]

It is interesting to listen to a recording of Turibio Santos playing the Chôro. [18] Turibio Santos, now director of the Villa-Lobos Museum in Rio, is as much an authority on the chôro and Villa-Lobos as Señor Almeida. Yet Mr. Santos's recorded interpretation of Chôro No. 1 not only contradicts Almeida in regards to the forementioned rhythmic figure, but he does not change tempo when arriving at the E major section of the piece. He does, however, keep a steady pulse throughout the Chôro, briefly lingering on an occasional fermata. Fermatas or no fermatas, it is best not to linger too long on such notes as the D in measure 9, the C in measure 11, or the G in the upper voice of measure 30. Holding such notes too long and too often evokes the sense of going over the summit of an amusement park ride. However, the three notes of the anacrusis (and their return in measure 16), which functions as a "slyish" lead-in, may be held as long as desired by the performer.

It is important to observe the portamenti which are written into the score. Sliding up a 4th or a 3rd was a favorite compositional device that Villa-Lobos learned through playing the cello. This device is used especially in Prelude No. 1 and Etude 11.

Part I of this series, in the September 2004 issue of the Carmel Classic Guitar Society Journal, included a general discussion of Heitor Villa-Lobos and the guitar, and the compositions of Villa-Lobos. Part III of this series (to appear in the next issue of the Carmel Classic Guitar Society Journal) will focus on the Villa-Lobos work Prelude No. 1.

Mr. DeVinck is a classically trained guitarist and board member of the Carmel Classic Guitar Society who has transcribed guitar songbooks for publishers Hal Leonard, Warner Bros., and Creative Concepts.