Heitor Villa-Lobos
If you know the classical guitar repertoire, you know Villa-Lobos at least by name, and you probably recognize one or two of his études and preludios. But his most recognizable melodies are, no doubt the “Cantilena” from his Bachiana no. 5, and the Tocata from the 2nd Bachiana, also known as “O Trenzinho do Caipira” (roughly “Peasant’s Train“).
Yesterday, I decided to spend some time watching “Villa Lobos - A Life of Passion”, a biography of the composer, and a very good movie. I normally don’t like biographical movies on music-related characters, as they tend to reject the musical details and focus on the intrigues. However, this one is at almost perfect equilibrium. We can see Villa-Lobos perform as a young man, playing is cello, guitar, piano, conducting orchestras in front of raging crowds… “enough! enough of this horrible music!” The OST is wonderfully chosen amongst Villa-Lobos’ repertoire. And I bet that those who don’t know a lot about the “maestro” will definitely get surprised when they listen to his art. Should we call him the “tropical Stravinsky”? Or should Villa-Lobos be included, instead, in the same category as Bartók or the (somewhat younger) portuguese Lopes Graça, who, like Villa-Lobos, were excellent in the art of fusion between folklore and contemporary music? Maybe both (and his opera speak for themselves), with a twist of Tárrega.