COLLECTED WORKS FOR WITH AN INTRODUCTION BY FREDERICK NOAD EDITIONS MAX ESCHIGContents Introduction Preface to the Twelve Erudes ‘ChOros—No. 1 (1920) Suite Populaire Brésilienne (1908-1912). 1. Mazurka—chéo. 2-Schottish—chéro 3. Valsa—cho. 4 Gavora—chiro 5. Chérinho... Douze Etudes (1929) 1. Etude des apéges. 2 Des arpeges 5. Allegro moder 4. Des accord pes 5. Andantino 6 Poco allegso 3. Tres anime. 8 Modere 9. Tees peu animé 10. Tres anime. 11 Lent 12. Anime ‘Cing Préludes (1940) In E minor 2.1 C minor 3in A minor in E minor 5. In D major ‘Notes on the Harmonics. ery az 17 18 24 28 35. 40 ag a 30 53 56 a ‘oe 74 75 a 6 ouIntroduction ‘The musi inthis collection has probably been more studied, peformed and recorded than any other gui compositions of the twentieth century, The reason lies inthe fact that HestorVila-Lobos was an extremely able guitarist as well a5 being Brazi's most distinguished and respected composer. Vila-Lobos was not a vituoso performer, and the guitar works represent only small percentage of his total work; but the guitar pieces show an intimate understanding of the technique ofthis instrument and a desire to use sto the full und to expand ie with innovative challenges, In his youth, Vill-Lobos enjoyed paricipating in the “chdeo" groups, the popular music Of Rio atthe tn of the century. The Stlte epulaine Brosienne comprises varied examples ofthe choro writen between 1908 and 1912 characterized by melodies of great chm. And. when ia 1920 as an established eompener he initiated the Well-known series of seventeen chores for combinations of | Instruments, i interesting thatthe first of these was for gitar solo the *Choros—No, 1 reprinted here ‘The meeting of Vilu-Lobos with Andrés Segovia in Paris in 1924 ensured a forum for future guitar works, Segovia was urgenty seeking new repertoire at this time, and. in spite of some initial misgivings about Villa-Lobos unconventiondl guitar styl, he encouraged him to wre further forthe instrument The two Became friends, and the 12 Bnudes completed in 1929 were dedicated to Segovia Whose introduction tothe original publication ts ceprinted here “The Ging Prétdes. published in 1950, represent a contribution huge in proportion {o their miniature size. The names given to them hy the composer have not Appeared in printed eltions, so perhaps were not intended for general publication. However, players in search of extel insight into the prehides will Undoubtedly appreciate knowing these descriptive ties, They were as follows: 1. Lyrical Melody: Homage to the Brian Country Dweller. 2. Melodia capadocia* 3. Homage to Bach 4. Homage to the travian tnd 5. Homage 10 Social Lie ‘Some comment is necessary on Vil-Lohos's gut notation, Unlike the Spanish ‘composers, he does noc refer to strings by number, hut rather by letter. The fist ‘sting is thus the E sring or ‘the second sting the B string or ‘B), ete. A line ‘drawn from one note to another is used variously for an arvastre (sie), PPortamento, or slur. In context the meaning is usually unambiguous, but not Siwaye “The composer's treatment of harmonics has created much confusion. Almest all ‘composers now follow the system: used by Frincisco Tarrega which is clear and ‘easy 0 comprehend. A natural harmonic wee isentfed by Tacrepa a8 an open ‘String with a number to indicate over which Fret the left hand should touch Thus, ‘the natural harmonic atthe seventh fret ofthe second string Would be indicated ‘hussims Villa-Lobos would indicate the same thing by showing the note that would be produced by the left hand at the seventh fret; the requirement for a harmonic ‘would be shown by a diamond-shaped note, or sometimes by an ordinary note ‘with an open-string sign ©; 8: 2 ‘The disadvantage ofthis notation is that it sometimes gives a misleading finpression of aineloule Iie. For istic, Ia die "Pdlade NU. he eau “There is no real objection to this system provided that ts usage is totally Consistent. Unfortunately this is not s0, and individual problem passages are tlscussed in the notes atthe end of this book. No changes have been made to the notation and fingering except the correction of ‘obvious typogsaphical errors, For assistance in tis area T should like ro express ‘my thanks to Laurindo Almeida, Ronald Purcell, and Peter Pickow: also to Brian Hodel to whose article "Vil-Lobos and the Guitar (Guitar Review, Wieter 1988 1.26) frequent reference has been made. Mainly, the purpove has been to {ssemble into a convenient single collection the rich treasures of Vll-Lobos's ‘output for the guitar. sn ths on he ti iw, 1B He qe ibe or pega Se pee aaPreface to the Twelve Etudes Here are twelve "Btudes" writen with love for the guitar by the genial Brazilian composer Heitor Villa-Lobos. They contain atthe same time formulae of surprising effectiveness for the development of technique for both hands and “disinterested” musical beauties, without didactic purpose, which have the permanent aesthetic value of concer works. In the history ofthe instruments there are few master composers who have ‘managed to combine both virtues in thelr “Etudes” The names of Searlat and Chopin come immediately to mind. Both fulfilled their cidactic purposes without hint of dryness or monotony: and ifthe diligent pianist observes with gratitude the Feasibility, vigour and independence that these works bring to his fingers, the aistic soul who plays or listens (o them admires the nobility, the ingenuity and the poetic emotion that breathe so generously from them. Villa-Lobos has given to the history ofthe guitar Fu of his talent ae luxuriant and savoury as thase of Searlatl and Chopin, {have not wished to change any ofthe fingesings that Villa-Lobos himself Indicated forthe performance ofthese pieces. He understood the guitar perfectly, and if he chose a certain sring or fingering to give effect to Particular phrases, we have the suit obligation to observe his wish, though ‘tbe atthe expense of greater technical effort. | would not wish 10 conclude this brief note without publicly chanking the ilustious Mzestro for the honour that he has bestowed by dedicating these “Erudes" to me Andrés SEGOVIA New York, January 1953,He aqul doce *Paudios" csritos con amor puts le Guitars por el genial ‘composior brasleno Heitor Villa-Lobos. Contienen, al mismo timp, formulas de somprendente eficacia para el desarollo de la técnica de amis tao y helless ‘musicales "desineresadas,” sin fin pedagogico, valores eneticos permanentes de ‘bras de concierto. -Pocos son, en la historia de los insrumentes, los Maestros que lograron reunit en sus “Estudios” ambas virudes. Acuden enseguida 4 la mem los nombres de Scarlat y de Chopin. ambos “cumplen” sus propositosclidacticos sin asomo de aridez ni de monotonta, y si el pianstaaplicado observ, con gratitud, la Aexibllidad, el vigor y la Independencia que esas obras inprinen 2 sus dedbos, el anita que las descifa 0 escucha admira la nobleza, el ingenc, le geaciay la, ‘emocion poetica que trascienden generosamente de ella: Vill Lobos ha tegalado ala historia de la gular frutos de su talento tan lozanos y sabrosos como los de Scarlat los de Chopin No he querido vararninguno de los “doigtrs” que el mismo Villa-Lobos ha senalado para la ejecucion de sus obras. El conde pesfectamente ia oltre y si hha elegid> tal cuerda y tal digiacion para hacer eesatardeterminadas frases, ‘debemos esiricta obediencia a su deseo, aun a costa de sometsnos a mayores ‘esfuerzos de orden técnica, "No quiero conclir esta breve nota sin agradecer publicamente al preclaro Maestro la honra que me ha conferido dedicdndome estos "Estudios Andrés SEGOVIA New:vYork, Janvier 19538 Ernesto NAZAI CHOROS—No., 1ua ant (= 86 Hetor vi tobos co : A, —_ at e eee. 3 r? snimando cre.7s SS :le as [et 7 aesSuITE POPULAIRE BRESILIENNE4 Marla Teresa Teran 1. Mazurka—Chéro “eitor Villa-Lobes a) ve : SS aS re re =e F Epa é = r 3} Jig G === pes ce = 7 $=Me. 93332. Schottish—Chéro Heir Villa-Lobost 74 Hektor VillatnbosME 93532 tempo4. Gavotta—Chéro Allegretto moderato Hekor Villa-Lobos “fe fit 4]ME. 9333Me 92582 4 Madeleine RECLUS 5. Chérinho Heitor VilasLobee 4 -Andrés SEGOVIA Douze ErTubesBtude N°1 one tes anpeges Heo VitstbosMe. 9338Etude N°2 we = Steer cee ry on ae ono a oEtude N°3 Allegro moderato “Holtor Villn-icbosMe OnsEtude N°4 es uzun ropes Hetor Villa-Lobos {Un pou mode (Povo modeato) = Pen EO TEtad at sponge 3 Td Abe =Etude N°5 Andantino Helios Viltabos abuso threes Se Sa a 7 r ftSS Sasa . i ad £ ih ) we gf % 4] 4 Ka ¥ I [ie f ee) ak | \ U ‘ | ca a ot | | i i Hh i oA t . : 3 RL TBR, 46ME. 933Etude N°7 Tres animé Hektor Villa LobosME. o38Modteé (4 = 80) ty aaa M6. 9533pee ed te ep aap aE pRB EEE EEE, ee tat mm Te =e pl ESE SE,Etude N°10 Tres animé Heitor Villa Lobos Sees SS te eco coe ME 9333MEMS= CFEreter CitPerer Grrr erty .Etude N°11 oa Heitor Villa-Lobos Lent ° 8 Pa mowo of Bien ch exprenif dons le corde @ | mm lento € <1 —F bp bh = eee ees = & wee wep fp = ‘ ae ep PP PP soya Beg ce uae “iat NE ostoot Fis mosso Pi mosoEtude N°12 ‘nine Hektor Vil-Lo bes. fdE9333— USES ETES Ee prererrecarcrerirrrs cirrerceeercerceers: Ma. 0338eoME. 9333CINQ PRELUDESPrélude N°1 in E minorall ——F Mn. 9338Heitor Villa-LobosMolto adagioe (dlorido) DeOe ge fietietietet tl 4 ietete tat see DS 4 oh Code — Coie ae ME 9333Prélude N°4 in E minor Heitor Vila Lobosee eee =e @ rar Cem ME 938Prélude N°5 in D major Heitor Villa-LobosME 9335Notes on the Harmonics Chéros—No. 1 Line 2, final measure Ta spite of the sutement (hich appears on the cover ofthe sheet music editions) “Soule edison corrigce et canforme 2 mon manus orignal” the hamoales seem {0 lly logclinerpetion. The 1920 edition of Arthur Napolezo Lids. shows the harmonic tthe filth fret ofthe fist andl second Strings. However, tis edton as revised and Rngred by Pav Barrios and i theelore nots reliable source, The furent edition does nt fellow Vil Loboe's customary notation (Le, uses), and {Gi nther than ©, @, ©, ec). So appying his asa oles yields a meaningless esl, “The eacrecion which leas alters what appears in the score iso change the (0 Gr Seventivfret harmonies dane on the fourth and Mt sings yield the notes shown— fe, Band Awand ths prestmably the steion, Suite Populaire Brésilienne No. 1: Mazurka—Chéro Line 15, measure 2 The 8 harm. may he tken to mean the falar armontcos otavados of Targa; Le, afi harmonies done with the ght hand. Altermavely the intention may be Pave been simpy thatthe harmonies should sound an octave higher. The may be achieved by Paying atival harmonic athe fit feta somewhat more predcable method. No. 2: Schottish—Chéro Line 5, measure 1. ‘The intention is leary for harmonics onthe fist wo strings atthe seventh et followed bythe ih Line 21, measure 2 fn Targa’ soution the harmonies would be drawn ths:No. 3: Valsa—Cbéro ine 21, measure 7 “Terega's notation forthe harmonies would be: No. 4: Gavotta—Chéro Line 23, measures 3 and 4. “Herega's notation forthe harmonics would be Cing Préludes Prélude No.1 Line 14, measure 1. ‘The chord on the second half ofthe frst beat i almost cenainly intended to be played using harmonics at de twelfth fet as inthe next line, Prétude No. 4 Lines 9 through 11. The harmonics in Térega's notation would be;93 Douze Etudes Etude No.1 Line 16 “The harmonics in Tirega's notation would be Buude No. 2 Line 13, measures 2 and 3. "The indiestion med. fr righthand (main drole, meg or let hand (mae gauche). The double harmonics canbe played by doing natural harmonics withthe let Fad and octave (efi) harmonics with the Fight wie ss e a Buude No. 3 Line 13, final measure, ‘A meaningless A3 has heen comected to AS. The presumed intention i ar elBuude No. 5 Line 21, final measure. ‘The harmonics in Tirrega's notion would be: ss Etude No. 8 Line 19, final measure, Probably‘in EDITIONS MAX ESCHIG.