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Th e or y 5 2 1

Dr. M. Rolf

Orlando Fraga

Project for Lecture Reci tal

Idio m a t ic Is su es in H. Vill a Lo! o s" #i$ e Prel u d es for

%uitar

Introduction

Since its fir st publica tion in 1940, the Five Preludes for gui tar by H.

illa!"obos has suffered all sor ts of #isreading, #is interpret at ion, and

#is concep ti on . $hat is i nt er es ti ng , to s ay the leas t, if one consi der s

t ha t illa! "obos %as deep ly a&ua ti n t ed %ith t he ins tr u#en t . He %as

a ble to co #p os e dire ctly on th e instru # e nt a nd %as surro un d e d by

the #ost e'p eri en ce d virtuo so s of his ti#e a#o ng the #, (ndre s

Segovi a and (bel )arl eva ro . *ra+ilian popul a r #us ic and *ach %er e

t%o ins pir a ti ons not only for his gui ta r #us ic but als o his %or a s a

%hol e. -esp it e the reduced nu#ber of %ors for gui ta r, illa! "obos

ac hi ev e d suc h origin ality th at it be ca # e ba sic re pe rt or y ta ug ht ,

perf or#ed , and rec orded all ov er th e %orld. (ll so rts of unhappy

coincid en c es con trib ut e d for th e lac of acc ur ac y reg ar di ng th e

perf or#an ce of th e Preludes first ly, and above all, a disastrous edi tion

by /ditio ns a' /schi g full of #ispri nts secondly, a lac of no%l edge

of *ra+ilia n rh yt h #s a nd fol # usi c, a stro n g ch ar a ct e ri sti c of th e

Preludes finally, an absolute absence of ade&uate analysi s avail able .

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$his stu dy inte nd s to ev alu at e as pe ct s so dive rs e as au th e nti cit y

agains t s tyli+at ion and part icular affects of this #usic. $he analys is %ill

r efer to orig ina l setches by the co#poser , %hen avail able , as %ell the

a' /schig edi tion . $he analys is %ill focus on Schenerian , for#al,

h ar #o n ic , a nd ph ra s e ol og ic al pro ce d ur e s , as %ell a s ref er e nc e s to

fol #usic, %hen applicable.

Vil la Lo!os %uitar &ac'(roun d

( shor t inves ti ga ti on on illa! "obos guit ar bacgr ound in or de r to

es tabli sh the genesi s and evolution of h is #usical thining.

)ditorial Pro!lem s

(nalys is of notat ional #ethod and #isprints , as %ell.

Mu sic al *ff e c t s o n t h e Pr elu d e s

/ac h Prelu de is b as e d in on e a sp e ct of *ra+ilia n cult ur e a nd is th e

co#pose r2s response to i t. 3ndividual descript ion and analys is %ill help

to unfold it ob ec tiv el y. Oth er a na ly ti ca l as pe c ts involv e te # po ,

dyna#ic , and agogic . 5enera lly speaing, they are

Prelude 1 ! Ho#age to the )ount ry#an

Prelude 6 ! Ho#age to the )h7ro

Prelude 8 ! Ho#age to *ach

Prelude 4 ! Ho#age to the 3ndian

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Prelude ! Ho#age to the Social "ife

&i!lio(ra+hy

Ophee , an tanya . The premiere performance of Villa-Lobos Preludes .

5uitar :evie% ;Fall , pp. 49!1.

?vengro%s i, St even . S tr uc tura l Patt er ns found in Prelude Number 4

by Hector Villa-Lobos . 5uitar :evie% ;Spring, pp. =A!=9.

Hodel, *rian. Villa-Lobos and the Guitar. 5ui tar :evie% ;Binter ,

pp. 61! 6@.

)arlevaro, (bel. Guitar Master lass , ol. 33. CD )hanter elle erlag,

19=@.