Heitor Villa-Lobos - String Quartet No. 9 (1945) скачать в хорошем качестве

Heitor Villa-Lobos - String Quartet No. 9 (1945)

Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has become the best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber, instrumental and vocal works, totaling over 2000 works by his death in 1959. His music was influenced by both Brazilian folk music and by stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bachian-pieces). His Etudes for guitar (1929) were dedicated to Andrés Segovia, while his 5 Preludes (1940) were dedicated to Arminda Neves d’Almeida, a.k.a. "Mindinha." Both are important works in the guitar repertory. String Quartet No. 9 (1945) Dedicated to Mindinha 1. Allegro 2. Andantino vagaroso (6:04) 3. Allegro moderato (con bravura) (16:48) 4. Molto allegro (23:31) Cuarteto Latinoamericano (Mexico City) Villa-Lobos composed his Ninth Quartet in Rio de Janeiro in 1945. It was first performed in London in 1947, but the exact date, place, and performers are not known. The first performance in the composer's native country took place at the Auditório do MEC in Rio de Janeiro on 25 April 1960, as part of the Festival Villa-Lobos. The performers on this occasion were the Quarteto de Cordas da Rádio MEC. The score is dedicated to Mindinha (Arminda Neves d'Almeida), the composer's companion for the last 23 years of his life (Villa-Lobos, sua obra 2009, 104–105). The first movement is cast in the traditional sonata-allegro form, with a particularly strong influence from Joseph Haydn. This is seen especially in the use of mirroring that recalls the al rovescio counterpoint of the fugue in Haydn's Op. 20, No. 2 (Salles 2013, 686–87). The second theme group contains four subjects, the second of which uses the octatonic scale, suggesting the possible influence of Stravinsky (Salles 2013, 691). The second movement, on the other hand, shows remarkable similarities to Alban Berg's Lyric Suite and to Béla Bartók's Sixth Quartet (Salles 2013, 692).