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101-442: Originally choro was played by a trio of flute , guitar and cavaquinho (a small chordophone with four strings). Other instruments commonly played in choro are the mandolin , clarinet , saxophone , trumpet and trombone . These melody instruments are backed by a rhythm section composed of 6-string guitar, seven-string guitar (playing bass lines) and light percussion, such as a pandeiro . The cavaquinho appears sometimes as

202-488: A Seventeenth String Quartet , whose austerity of technique and emotional intensity "provide a eulogy to his craft". His Bendita Sabedoria , a sequence of a cappella chorales written in 1958, is a similarly simple setting of Latin biblical texts. These works lack the pictorialism of his more public music. Except for the lost works, the Nonet, the two concerted works for violin and orchestra, Suite for Piano and Orchestra ,

303-427: A crisis of identity, as to whether European or Brazilian music would dominate his style. This was decided by 1916, the year in which he composed the symphonic poems Amazonas and Tédio de alvorada , the first version of what would become Uirapurú (although Amazonas was not performed until 1929, and Uirapurú was only completed in 1934 and first performed in 1935). These works drew from native Brazilian legends and

404-404: A flute is also called Pavo. Some people can also play pair of flutes (Jodiyo Pavo) simultaneously. In China there are many varieties of dizi (笛子), or Chinese flute, with different sizes, structures (with or without a resonance membrane) and number of holes (from 6 to 11) and intonations (different keys). Most are made of bamboo, but can come in wood, jade, bone, and iron. One peculiar feature of

505-482: A flute is from a Sumerian -language cuneiform tablet dated to c. 2600–2700 BC. Flutes are mentioned in a recently translated tablet of the Epic of Gilgamesh , an epic poem whose development spanned the period from about 2100–600 BC. A set of cuneiform tablets knows as the " musical texts " provide precise tuning instructions for seven scales of a stringed instrument (assumed to be a Babylonian lyre ). One of those scales

606-535: A juvenile cave bear 's femur , with two to four holes, was found at Divje Babe in Slovenia and dated to about 43,000 years ago. It may be the oldest flute discovered, but this has been disputed. In 2008, a flute dated to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm , Germany . It is a five-holed flute with a V-shaped mouthpiece and was made from a vulture wing bone. The discovery

707-578: A living for his family by playing in cinema and theatre orchestras in Rio. Around 1905 Villa-Lobos started explorations of Brazil's "dark interior", absorbing the native Brazilian musical culture. Serious doubt has been cast on some of Villa-Lobos's tales of the decade or so he spent on these expeditions, and about his capture and near escape from cannibals, with some believing them to be fabrications or wildly embellished romanticism. After this period, he gave up any idea of conventional training and instead absorbed

808-585: A long history with the instrument. A playable bone flute discovered in China is dated to about 9,000 years ago. The Americas also had an ancient flute culture, with instruments found in Caral , Peru , dating back 5,000 years and in Labrador dating back about 7,500 years. The bamboo flute has a long history, especially in China and India. Flutes have been discovered in historical records and artworks starting in

909-513: A lost and probably unfinished one begun in 1917), and his setting of the poetry of Mário de Andrade and Catulo da Paxão Cearense in the Canções típicas brasileiras of 1919. His classical guitar studies are also influenced by the music of the chorões . All the elements mentioned so far are fused in Villa-Lobos's Nonet. Subtitled Impressão rápida do todo o Brasil (A Brief Impression of

1010-402: A love for the cello, but is not notably Brazilian, although it contains elements that were to resurface later. His three-movement Suíte graciosa of 1915 (expanded to six movements c. 1947 to become his String Quartet No. 1) is influenced by European opera, while Três danças características (africanas e indígenas) of 1914–16 for piano, later arranged for octet and subsequently orchestrated,

1111-595: A melody instrument, other times as part of the rhythm. Structurally, a choro composition usually has three parts, played in a rondo form: AABBACCA, with each section typically in a different key (usually the tonal sequence is: principal key->relative mode->sub-dominant key). There are a variety of choros in both major and minor keys. In the 19th century, choro resulted from the style of playing several musical genres ( polka , schottische , waltz , mazurka and habanera ) by carioca musicians, who were already strongly influenced by afro-brazilian rhythms, principally

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1212-564: A new propensity to focus on a small detail, then to fade it and bring another detail to the foreground. This technique also occurs in his final opera, Yerma , which contains a series of scenes each of which establishes an atmosphere, similarly to the earlier Momoprecoce . Villa-Lobos's final major work was the music for the film Green Mansions (though in the end, most of his score was replaced with music by Bronisław Kaper ) and its arrangement as Floresta do Amazonas for orchestra, as well as some short songs issued separately. In 1957, he wrote

1313-680: A new, younger generation of professional musicians and listeners. Thanks in great part to these efforts, choro music remains strong in Brazil. More recently, choro has attracted the attention of musicians in the United States, such as Anat Cohen , Mike Marshall and Maurita Murphy Mead , who have brought this kind of music to a new audience. Most Brazilian classical composers recognize the sophistication of choro and its major importance in Brazilian instrumental music. Radamés Gnattali said it

1414-602: A particular shape. Acoustic impedance of the embouchure hole appears the most critical parameter. Critical variables affecting this acoustic impedance include: the length of the chimney (the hole between the lip-plate and the head tube), chimney diameter, and radii or curvature of the ends of the chimney and any designed restriction in the "throat" of the instrument, such as that in the Japanese Nohkan flute. A study in which professional flutists were blindfolded could find no significant differences between flutes made from

1515-477: A side-blown flute uses a hole on the side of the tube to produce a tone, instead of blowing on an end of the tube. End-blown flutes should not be confused with fipple flutes such as the recorder , which are also played vertically but have an internal duct to direct the air flow across the edge of the tone hole. Flutes may be open at one or both ends. The ocarina , xun , pan pipes , police whistle , and bosun's whistle are closed-ended. Open-ended flutes such as

1616-455: A strong impression. In the 1920s, Villa-Lobos also met the Spanish classical guitarist Andrés Segovia , who commissioned a guitar study: the composer responded by writing a set of twelve such pieces, each based on a tiny detail or figure played by Brazilian itinerant street musicians ( chorões ), transformed into an étude that is not merely didactic . The music of chorões also provided

1717-459: A time (as is typical with double flutes). Flutes can be played with several different air sources. Conventional flutes are blown with the mouth, although some cultures use nose flutes . The flue pipes of organs , which are acoustically similar to duct flutes, are blown by bellows or fans. Usually in D, wooden transverse flutes were played in European classical music mainly in the period from

1818-406: A time Villa-Lobos became a cellist in a Rio opera company, and his early compositions include attempts at Grand Opera. Encouraged by Arthur Napoleão , a pianist and music publisher, he decided to compose seriously. On November 12, 1913, Villa-Lobos married the pianist Lucília Guimarães, ended his travels, and began his career as a serious musician. Up until his marriage, he had not learned to play

1919-540: A variety of metals. In two different sets of blind listening, no flute was correctly identified in a first listening, and in a second, only the silver flute was identified. The study concluded that there was "no evidence that the wall material has any appreciable effect on the sound color or dynamic range". Historically, flutes were most commonly made of reed , bamboo, wood, or other organic materials. They were also made of glass, bone, and nephrite . Most modern flutes are made of metal, primarily silver and nickel . Silver

2020-467: Is O   trenzinho do caipira , "The little train of the Caipira"). They also show the composer's love for the tonal qualities of the cello, both No.   1 and No.   5 being scored for no other instruments. In these works the often harsh dissonances of his earlier music are less evident: or, as Simon Wright puts it, they are "sweetened". The transformation of Chôros into Bachianas Brasileiras

2121-531: Is a chi ( 篪 ) flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China , dating from 433 BC, during the later Zhou dynasty . It is fashioned of lacquered bamboo with closed ends and has five stops on the flute's side instead of the top. Shi Jing , traditionally said to have been compiled and edited by Confucius , mentions chi flutes. The earliest written reference to

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2222-430: Is a multi-layered work, often requiring notation on several staves, and is both experimental and demanding. Wright calls it "the most impressive result" of this formal development. The Ciranda , or Cirandinha is a stylised treatment of simple Brazilian folk melodies in a wide variety of moods. A ciranda is a child's singing game, but Villa-Lobos's treatment in the works he gave this title are sophisticated. Another form

2323-508: Is classical music played with bare feet and callus on the hands” Flute Plucked The flute is a member of a family of musical instruments in the woodwind group. Like all woodwinds, flutes are aerophones , producing sound with a vibrating column of air. Flutes produce sound when the player's air flows across an opening. In the Hornbostel–Sachs classification system, flutes are edge-blown aerophones . A musician who plays

2424-399: Is closed at the top. An embouchure hole is positioned near the top, and the flutist blows across it. The flute has circular tone holes larger than the finger holes of its baroque predecessors. The size and placement of tone holes, key mechanism, and fingering system used to produce the notes in the flute's range were evolved from 1832 to 1847 by Theobald Boehm , who helped greatly improve

2525-555: Is demonstrated clearly by the comparison of No.   6 for flute and bassoon with the earlier Chôros No. 2 for flute and clarinet. The dissonances of the later piece are more controlled, the forward direction of the music easier to discern. Bachianas Brasileiras No.   9 takes the concept so far as to be an abstract Prelude and Fugue , a complete distillation of the composer's national influences. Villa-Lobos eventually recorded all nine of these works for EMI in Paris, mostly with

2626-423: Is less common than silver alloys. Other materials used for flutes include gold, platinum, grenadilla and copper. In its most basic form, a flute is an open tube which is blown into. After focused study and training, players use controlled air-direction to create an airstream in which the air is aimed downward into the tone hole of the flute's headjoint. There are several broad classes of flutes. With most flutes,

2727-477: Is made of wood or cane, usually with seven finger holes and one thumb hole, producing a diatonic scale. One Armenian musicologist believes the sring to be the most characteristic of national Armenian instruments. The Ọjà // is a traditional musical instrument utilized by the Igbo people , who are indigenous to Nigeria . The ọjà (flute) is used during cultural activities or events where Igbo music

2828-547: Is named " embūbum ", which is an Akkadian word for "flute". The Bible , in Genesis 4:21, cites Jubal as being the "father of all those who play the ugab and the kinnor ". The former Hebrew term is believed by some to refer to a wind instrument, or wind instruments in general, the latter to a stringed instrument, or stringed instruments in general. As such, Jubal is regarded in the Judeo-Christian tradition as

2929-411: Is played. It is skillfully carved from wood/bamboo or metal and is played by blowing air into one end while covering and uncovering holes along the body to create different notes. There are several means by which flautists breathe to blow air through the instrument and produce sound. They include diaphragmatic breathing and circular breathing . Diaphragmatic breathing optimizes inhalation, minimizing

3030-468: Is radically influenced by the tribal music of the Caripunas Indians of Mato Grosso . With his tone poems Amazonas (1917, first performed in Paris in 1929) and Uirapurú (1917, first performed 1935) he created works dominated by indigenous Brazilian influences. The works use Brazilian folk tales and characters, imitations of the sounds of the jungle and its fauna, imitations of the sound of

3131-413: Is usually African Blackwood . The standard concert flute is pitched in C and has a range of three octaves starting from middle C or one half step lower when a B foot is attached. This means that the concert flute is one of the highest-pitched common orchestra and concert band instruments. The piccolo plays an octave higher than the regular treble flute. Lower members of the flute family include

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3232-495: The suling , suggesting the predecessor to the sodina was carried to Madagascar in outrigger canoes by the island's original settlers emigrating from Borneo. An image of the most celebrated contemporary sodina flutist, Rakoto Frah (d. 2001), was featured on the local currency . The sring (also called blul ) is a relatively small, end-blown flute with a nasal tone quality found in the Caucasus region of Eastern Armenia. It

3333-506: The Boston Symphony Orchestra in 1955), and the opera Yerma (1955–56) based on the play by Federico García Lorca . His prolific output of this period prompted criticisms of note-spinning and banality: critical reactions to his Piano Concerto No. 5 included the comments "bankrupt" and "piano tuners' orgy", "raked the very depths of banality", "nothing ... but soupy textures or a bedraggled romantic idea", and "truly

3434-504: The Cinq préludes , which also demonstrate a further formalisation of his composition style. After the fall of the Vargas government, Villa-Lobos returned full-time to composition, resuming a prolific rate of completing works. His concertos—particularly those for the classical guitar, the harp, and the harmonica—are examples of his earlier poema form. The Harp Concerto is a large work, and shows

3535-404: The G alto and C bass flutes that are used occasionally, and are pitched a perfect fourth and an octave below the concert flute, respectively. The contra-alto , contrabass , subcontrabass , double contrabass , and hyperbass flutes are other rare forms of the flute pitched up to four octaves below middle C. Other sizes of flutes and piccolos are used from time to time. A rarer instrument of

3636-528: The Iberian Peninsula is demonstrated in Canção Ibéria of 1914 and in orchestral transcriptions of some of Enrique Granados ' piano Goyescas (1918, now lost). Other themes that were to recur in his later work include the anguish and despair of the piece Desesperança – Sonata Phantastica e Capricciosa no. 1 (1915), a violin sonata including "histrionic and violently contrasting emotions",

3737-653: The Venu or Pullanguzhal, has eight finger holes, and is played predominantly in the Carnatic music of Southern India. Presently, the eight-holed flute with cross-fingering technique is common among many Carnatic flutists. Prior to this, the South Indian flute had only seven finger holes, with the fingering standard developed by Sharaba Shastri, of the Palladam school, at the beginning of the 20th century. The quality of

3838-520: The Zhou dynasty ( c. 1046–256 BC). The oldest written sources reveal the Chinese were using the kuan (a reed instrument) and hsio (or xiao, an end-blown flute , often of bamboo) in the 12th–11th centuries BC, followed by the chi (or ch'ih) in the 9th century BC and the yüeh in the 8th century BC. Of these, the bamboo chi is the oldest documented transverse flute . Musicologist Curt Sachs called

3939-493: The lundu and the batuque . The term “choro” was used informally at first to refer to the style of playing, or a particular instrumental ensemble, (e.g. in the 1870s flutist Joaquim Antônio da Silva Calado formed an ensemble called "Choro Carioca", with flute, two guitars and cavaquinho), and later the term referred to the music genre of these ensembles. The accompanying music of the Maxixe (dance) (also called "tango brasileiro")

4040-432: The xiao (簫), which is a different category of wind instrument in China. The Korean flute, called the daegeum , 대금, is a large bamboo transverse flute used in traditional Korean music. It has a buzzing membrane that gives it a unique timbre. The Japanese flute, called the fue , 笛 ( hiragana : ふえ ) , encompasses a large number of musical flutes from Japan, include the end-blown shakuhachi and hotchiku , as well as

4141-408: The 1910s, many of the first Brazilian phonograph records were choros. Much of the mainstream success (by the 1930s to 1940s) of this style of music came from the early days of radio, when bands performed live on the air. By the 1950s and 1960s, it was replaced with urban samba on the radio, but it was still alive in amateur circles called "rodas de choro" (choro gatherings in residences and botecos ),

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4242-587: The 2nd–4th centuries AD. According to historian Alexander Buchner, there were flutes in Europe in prehistoric times, but they disappeared from the continent until flutes arrived from Asia by way of "North Africa, Hungary, and Bohemia". The end-blown flute began to be seen in illustration in the 11th century. Transverse flutes entered Europe through Byzantium and were depicted in Greek art about 800 AD. The transverse flute had spread into Europe by way of Germany, and

4343-496: The Brazilian premieres of Ludwig van Beethoven's Missa Solemnis and Johann Sebastian Bach's Mass in B minor as well as Brazilian compositions. His position at SEMA led him to compose mainly patriotic and propagandist works. His series of Bachianas Brasileiras were a notable exception. In 1936, at the age of forty-nine, Villa-Lobos left his wife, and became romantically involved with Arminda Neves d'Almeida, who remained his companion until death. Arminda eventually took on

4444-408: The Chinese flute is the use of a resonance membrane mounted on one of the holes that vibrates with the air column inside the tube. This membrane is called a di mo , which is usually a thin tissue paper. It gives the flute a bright sound. Commonly seen flutes in the modern Chinese orchestra are the bangdi (梆笛), qudi (曲笛), xindi (新笛), and dadi (大笛). The bamboo flute played vertically is called

4545-488: The United States as well as travelling to Great Britain, and Israel. He received a huge number of commissions, and fulfilled many of them despite failing health. He composed concertos for piano, cello (the second one in 1953), classical guitar (in 1951 for Segovia, who refused to play it until the composer provided a cadenza in 1956), harp (for Nicanor Zabaleta in 1953) and harmonica (for John Sebastian, Sr. in 1955–56). Other commissions included his Symphony No. 11 (for

4646-613: The Western flute. The Hindu God Lord Krishna is traditionally considered a master of the bamboo flute. The Indian flutes are very simple compared to the Western counterparts; they are made of bamboo and are keyless. Two main varieties of Indian flutes are currently used. The first, the Bansuri (बांसुरी), has six finger holes and one embouchure hole, and is used predominantly in the Hindustani music of Northern India. The second,

4747-498: The Whole of Brazil), the title of the work denotes it as ostensibly chamber music, but it is scored for flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, piano, a large percussion battery requiring at least two players, and a mixed chorus. In Paris, his musical vocabulary established, Villa-Lobos solved the problem of his works' form. It was perceived as an incongruity that his Brazilian impressionism should be expressed in

4848-768: The actual film, turning instead to Bronisław Kaper for the rest of the music. From the score, Villa-Lobos compiled a work for soprano soloist, male chorus, and orchestra, which he titled Forest of the Amazon and recorded it in 1959 in stereo with Brazilian soprano Bidu Sayão , an unidentified male chorus, and the Symphony of the Air for United Artists Records . The recording was issued both on LP and reel-to-reel tape (United Artist UAC 8007, stereo 7 1/2 IPS). In June 1959, Villa-Lobos alienated many of his fellow musicians by expressing disillusionment, saying in an interview that Brazil

4949-400: The ballet Dança da terra , which the authorities deemed unsuitable until it was revised. The 1943 celebrations did include Villa-Lobos's hymn Invocação em defesa da pátria shortly after Brazil's declaring war on Germany and its allies. Villa-Lobos's status damaged his reputation among certain schools of musicians, among them disciples of new European trends such as serialism ‍—‌which

5050-435: The beginning (by the 1880s to 1920s), the success of choro came from informal groups of friends (principally composed of workers from the postal, railway and telegraphic services) which played at parties, pubs ( botecos ), streets and home balls (forrobodós). The mainstay of the repertoire was made of the big hits of Ernesto Nazareth , Chiquinha Gonzaga and other pianists, whose musical scores were published by print houses. By

5151-610: The best-known South American composer of all time. A prolific composer, he wrote numerous orchestral, chamber , instrumental and vocal works, totaling over 2,000 works by his death in 1959. His music was influenced by both Brazilian folk music and stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bach-pieces) and his Chôros . His Etudes for classical guitar (1929) were dedicated to Andrés Segovia , while his 5 Preludes (1940) were dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha". Both are important works in

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5252-595: The birds of L'oiseau blessé d'une flèche (1913), the mother–child relationship (not usually a happy one in Villa-Lobos's music) in Les mères of 1914, and the flowers of Suíte floral for piano of 1916–18 which reappeared in Distribuição de flores for flute and classical guitar of 1937. Reconciling European tradition and Brazilian influences was also an element that bore fruit more formally later. His earliest published work Pequena suíte for cello and piano of 1913 shows

5353-580: The classical guitar repertory. Villa-Lobos was born in Rio de Janeiro . His father, Raúl, was a civil servant, an educated man of Spanish extraction, a librarian, and an amateur astronomer and musician. In Villa-Lobos's early childhood, Brazil underwent a period of social revolution and modernisation, abolishing slavery in 1888 and overthrowing the Empire of Brazil in 1889. The changes in Brazil were reflected in its musical life: previously European music had been

5454-404: The concert flute and the recorder have more harmonics, and thus more flexibility for the player, and brighter timbres. An organ pipe may be either open or closed, depending on the sound desired. Flutes may have any number of pipes or tubes, though one is the most common number. Flutes with multiple resonators may be played one resonator at a time (as is typical with pan pipes) or more than one at

5555-488: The cross flute (Sanskrit: vāṃśī) "the outstanding wind instrument of ancient India", and said that religious artwork depicting "celestial music" instruments was linked to music with an "aristocratic character". The Indian bamboo cross flute, Bansuri , was sacred to Krishna , who is depicted with the instrument in Hindu art. In India, the cross flute appeared in reliefs from the 1st century AD at Sanchi and Amaravati from

5656-417: The cross flute. A flute produces sound when a stream of air directed across a hole in the instrument creates a vibration of air at the hole. The airstream creates a Bernoulli or siphon. This excites the air contained in the resonant cavity (usually cylindrical) within the flute. The flutist changes the pitch of the sound produced by opening and closing holes in the body of the instrument, thus changing

5757-449: The discovery, scientists suggested that the "finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe". Scientists have also suggested that this flute's discovery may help to explain "the probable behavioural and cognitive gulf between" Neanderthals and early modern human . An 18.7 cm flute with three holes, made from a mammoth tusk and dated to 30,000–37,000 years ago,

5858-531: The dominant influence, and the courses at the Conservatório de Música were grounded in traditional counterpoint and harmony . Villa-Lobos underwent very little of this formal training. After a few abortive harmony lessons, he learnt music by illicit observation from the top of the stairs of the regular musical evenings at his house arranged by his father. He learned to play cello, clarinet, and classical guitar. When his father died suddenly in 1899 he earned

5959-414: The early 18th century to the early 19th century. As such, the instrument is often indicated as baroque flute . Gradually marginalized by the Western concert flute in the 19th century, baroque flutes were again played from the late 20th century as part of the historically informed performance practice. The Western concert flute , a descendant of the medieval German flute, is a transverse treble flute that

6060-436: The effective length of the resonator and its corresponding resonant frequency . By varying the air pressure, a flutist can also change the pitch by causing the air in the flute to resonate at a harmonic rather than the fundamental frequency without opening or closing any of the holes. Head joint geometry appears particularly critical to acoustic performance and tone, but there is no clear consensus among manufacturers on

6161-627: The first performance of the piano suite A Prole do Bebê (The Baby's Family), composed in 1918. There had recently been an attempted military coup on Copacabana Beach , and places of entertainment had been closed for days; the public possibly wanted something less intellectually demanding, and the piece was booed. Villa-Lobos was philosophical about it, and Rubinstein later reminisced that the composer said, "I am still too good for them." The piece has been called "the first enduring work of Brazilian modernism". Rubinstein suggested that Villa-Lobos tour abroad, and in 1923 he set out for Paris. His avowed aim

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6262-821: The flute family can be called a flutist, flautist, or flute player. Flutist dates back to at least 1603, the earliest quotation cited by the Oxford English Dictionary . Flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun , after being adopted during the 18th century from Italy ( flautista , itself from flauto ), like many musical terms in England since the Italian Renaissance . Other English terms, now virtually obsolete, are fluter (15th–19th centuries) and flutenist (17th and 18th centuries). A fragment of

6363-575: The flute is called a flautist or flutist . Paleolithic flutes with hand-bored holes are the earliest known identifiable musical instruments. A number of flutes dating to about 53,000 to 45,000 years ago have been found in the Swabian Jura region of present-day Germany , indicating a developed musical tradition from the earliest period of modern human presence in Europe . While the oldest flutes currently known were found in Europe, Asia also has

6464-551: The flute's sound depends somewhat on the specific bamboo used to make it, and it is generally agreed that the best bamboo grows in the Nagercoil area of South India. In 1998 Bharata Natya Shastra Sarana Chatushtai , Avinash Balkrishna Patwardhan developed a methodology to produce perfectly tuned flutes for the ten 'thatas' currently present in Indian Classical Music. In a regional dialect of Gujarati,

6565-541: The form of quartets and sonatas. He developed new forms to free his imagination from the constraints of conventional musical development such as that required in sonata form. The multi-sectional poema form may be seen in the Suite for Voice and Violin , which is somewhat like a triptych, and the Poema da criança e sua mamã for voice, flute, clarinet, and cello (1923). The extended Rudepoêma for piano, written for Rubinstein,

6666-652: The forms and nationalism of the Chôros , and add the composer's love of Bach. He incorporated neoclassicism in his nationalistic style. Villa-Lobos's use of archaisms was not new (an early example is his Pequena suíte for cello and piano of 1913). The pieces evolved over the period rather than being conceived as a whole, some of them being revised or added to. They contain some of his most popular music, such as No.   5 for soprano and eight cellos (1938–1945), and No.   2 for orchestra of 1930 (the Tocata movement of which

6767-464: The initial inspiration for his Chôros , a series of compositions written between 1920 and 1929. The first European performance of Chôros No. 10 , in Paris, caused a storm: L.   Chevaillier wrote of it in Le Monde musical , "[it is] an art ... to which we must now give a new name." In 1930, Villa-Lobos, who was in Brazil to conduct, planned to return to Paris. One of the consequences of

6868-440: The instrument a distinct timbre which is different from non-fipple flutes and makes the instrument easier to play, but takes a degree of control away from the musician. Another division is between side-blown (or transverse ) flutes, such as the Western concert flute, piccolo , fife , dizi and bansuri ; and end-blown flutes , such as the ney , xiao , kaval , danso , shakuhachi , Anasazi flute and quena . The player of

6969-621: The instrument's dynamic range and intonation over its predecessors. With some refinements (and the rare exception of the Kingma system and other custom adapted fingering systems), Western concert flutes typically conform to Boehm's design, known as the Boehm system . Beginner's flutes are made of nickel, silver, or brass that is silver-plated, while professionals use solid silver, gold, and sometimes even platinum flutes. There are also modern wooden-bodied flutes usually with silver or gold keywork. The wood

7070-630: The inventor of the flute (a word used in some translations of this biblical passage). In other sections of the Bible (1 Samuel 10:5, 1 Kings 1:40, Isaiah 5:12 and 30:29, and Jeremiah 48:36) the flute is referred to as " chalil ", from the root word for "hollow". Archeological digs in the Holy Land have discovered flutes from the Bronze Age ( c. 4000–1200 BC) and the Iron Age (1200–586 BC),

7171-482: The kind of music that should never get written, still less performed". His music for the film Green Mansions starring Audrey Hepburn and Anthony Perkins , commissioned by MGM in 1958, earned Villa-Lobos US$ 25,000 , and he conducted the soundtrack recording himself. The film was in production for many years. Originally to be directed by Vincente Minnelli , it was taken over by Hepburn's husband Mel Ferrer . MGM decided to use only part of Villa-Lobos's music in

7272-507: The latter era "witness[ing] the creation of the Israelite kingdom and its separation into the two kingdoms of Israel and Judea." Some early flutes were made out of tibias (shin bones). The flute has also always been an essential part of Indian culture , and the cross flute believed by several accounts to originate in India as Indian literature from 1500 BC has made vague references to

7373-548: The modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare (to blow, inflate) have been called "phonologically impossible" or "inadmissable". The first known use of the word flute was in the 14th century. According to the Oxford English Dictionary , this was in Geoffrey Chaucer 's The Hous of Fame , c.  1380 . A musician who plays any instrument in

7474-453: The modern pitching system is the G treble flute . Instruments made according to an older pitch standard, used principally in wind-band music, include D ♭ piccolo, E ♭ soprano flute (Keyed a minor 3rd above the standard C flute), F alto flute, and B ♭ bass flute. The bamboo flute is an important instrument in Indian classical music , and developed independently of

7575-539: The most famous ones being the roda de choro in the house of composer and musician Jacob do Bandolim , in the Jacarepaguá neighborhood in Rio; and the "roda de choro" in the pub "Suvaco de Cobra" (Snake's Armpit) in the Penha neighborhood in the same town. In the late 1970s there was a successful effort to revitalize the genre in the mainstream, through TV-sponsored nationwide festivals in 1977 and 1978, which attracted

7676-410: The musical influences of Brazil's indigenous cultures, themselves based on Portuguese and African, as well as American Indian elements. His earliest compositions were the result of improvisations on the classical guitar from this period. Villa-Lobos played with many local Brazilian street-music bands; he was also influenced by the cinema and Ernesto Nazareth's improvised tangos and polkas . For

7777-401: The musician blows directly across the edge of the mouthpiece, with 1/4 of their bottom lip covering the embouchure hole. However, some flutes, such as the whistle , gemshorn , flageolet , recorder , tin whistle , tonette , fujara , and ocarina have a duct that directs the air onto the edge (an arrangement that is termed a " fipple "). These are known as fipple flutes . The fipple gives

7878-542: The musicians of the French National Orchestra; these were originally issued on LPs and later reissued on CDs. He also recorded the first section of Bachianas Brasileiras No.   5 with Bidu Sayão and a group of cellists for Columbia . During his period at SEMA, Villa-Lobos composed five string quartets, nos. 5   to   9 , which explored avenues opened by his public music that dominated his output. He also wrote more music for Segovia,

7979-576: The name Villa-Lobos, though Villa-Lobos never divorced his first wife. After Villa-Lobos' death, Arminda became the Director of the Museu Villa-Lobos in 1960, until her death in 1985. Arminda was herself a musician and a significant influence on Villa-Lobos. He also dedicated a good number of works to her, including the Ciclo brasileiro and many of the Chôros . Villa-Lobos's writings during

8080-585: The nose-flute by the violinophone , and not least imitations of the uirapuru bird itself. His meeting with Arthur Rubinstein in 1918 prompted Villa-Lobos to compose piano music such as Simples coletânea of 1919—which was possibly influenced by Rubinstein's playing of Ravel and Scriabin on his South American tours—and Bailado infernal of 1920. The latter piece includes the tempi and expression markings "vertiginoso e frenético", "infernal" and "mais vivo ainda" (faster still). Carnaval das crianças of 1919–20 saw Villa-Lobos's mature style emerge; unconstrained by

8181-425: The number of breaths. Circular breathing brings air in through the nose and out through the mouth, enabling a continuous sound. Heitor Villa-Lobos Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, conductor, cellist, and classical guitarist described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has become

8282-413: The pianist Arthur Rubinstein , who became a lifelong friend and champion; this meeting prompted Villa-Lobos to write more piano music. In about 1918 Villa-Lobos abandoned the use of opus numbers for his compositions as a constraint to his pioneering spirit. With the piano suite Carnaval das crianças (Children's carnival) of 1919–20, Villa-Lobos liberated his style altogether from European Romanticism:

8383-433: The piano, so his wife taught him the rudiments of the instrument. His music began to be published in 1913. He introduced some of his compositions in a series of occasional chamber concerts (later also orchestral concerts) from 1915–1921, mainly in Rio de Janeiro's Salão Nobre do Jornal do Comércio . The music presented at these concerts shows his coming to terms with the conflicting elements in his experience, and overcoming

8484-492: The presidency of Getúlio Vargas (1930–1945) include propaganda for Brazilian nationhood ( brasilidade ), and teaching and theoretical works. His Guia Prático ran to 11   volumes, Solfejos (two volumes, 1942 and 1946) contained vocal exercises, and Canto Orfeônico (1940 and 1950) contained patriotic songs for schools and for civic occasions. His music for the film O Descobrimento do Brasil (The Discovery of Brazil) of 1936, which included versions of earlier compositions,

8585-475: The revolution of that year was that money could no longer be taken out of the country, and so he had no means of paying any rents abroad. Thus forced to stay in Brazil, he arranged concerts instead around São Paulo, and composed patriotic and educational music. In 1932, he became director of the Superintendência de Educação Musical e Artística (SEMA), and his duties included arranging concerts including

8686-638: The suite, in eight movements with the finale written for piano duet, depicts eight characters or scenes from Rio's Lenten Carnival. In February 1922, a festival of modern art took place in São Paulo and Villa-Lobos contributed performances of his own works. The press were unsympathetic and the audience were not appreciative; their mockery was encouraged by Villa-Lobos's being forced by a foot infection to wear one carpet slipper. The festival ended with Villa-Lobos's Quarteto simbólico , composed as an impression of Brazilian urban life. In July 1922, Rubinstein gave

8787-526: The transverse gakubue , komabue , ryūteki , nōkan , shinobue , kagurabue and minteki . The sodina is an end-blown flute found throughout the island state of Madagascar , located in the Indian Ocean off southeastern Africa. One of the oldest instruments on the island, it bears close resemblance to end-blown flutes found in Southeast Asia and particularly Indonesia, where it is known as

8888-540: The urban street music of the chorões , who were groups containing flute, clarinet and cavaquinho (a Brazilian guitar), and often also including ophicleide , trombones or percussion. Villa-Lobos occasionally joined such bands. Early works showing this influence were incorporated into the Suite populaire brésilienne of 1908–12 assembled by his publisher, and more mature works include the Sexteto místico ( c. 1955, replacing

8989-617: The use of "primitive" folk material. European influences did still inspire Villa-Lobos. In 1917 Sergei Diaghilev made an impact on tour in Brazil with his Ballets Russes . That year Villa-Lobos also met the French composer Darius Milhaud , who was in Rio as secretary to Paul Claudel at the French Legation. Milhaud brought the music of Claude Debussy , Erik Satie , and possibly Igor Stravinsky ; in return Villa-Lobos introduced Milhaud to Brazilian street music. In 1918, he also met

9090-543: The use of traditional formulae or any requirement for dramatic tension, the piece at times imitates a mouth organ , children's dances, a harlequinade , and ends with an impression of the carnival parade. This work was orchestrated in 1929 with new linking passages and a new title, Momoprecoce . Naïveté and innocence is also heard in the piano suites A Prole do Bebê (The Baby's Family) of 1918–21. Around this time he also fused urban Brazilian influences and impressions, for example in his Quarteto simbólico of 1921. He included

9191-643: Was "dominated by mediocrity". In November he died in Rio; his state funeral was the final major civic event in that city before the capital transferred to Brasília . He is buried in the Cemitério São João Batista in Rio de Janeiro. His earliest pieces originated in guitar improvisations, for example Panqueca (Pancake) of 1900. The concert series of 1915–21 included first performances of pieces demonstrating originality and virtuosic technique. Some of these pieces are early examples of elements of importance throughout his œuvre. His attachment to

9292-399: Was arranged into orchestral suites , and includes a depiction of the first mass in Brazil in a setting for double choir. Villa-Lobos published A Música Nacionalista no Govêrno Getúlio Vargas c. 1941, in which he characterised the nation as a sacred entity whose symbols (including its flag, motto and national anthem) were inviolable . Villa-Lobos was the chair of a committee whose task

9393-442: Was effectively off limits in Brazil until the 1960s. This crisis was, in part, due to some Brazilian composers finding it necessary to reconcile Villa-Lobos's own liberation of Brazilian music from European models in the 1920s with a style of music they felt to be more universal. Vargas fell from power in 1945. Villa-Lobos was able, after the end of the war, to travel abroad again; he returned to Paris, and also made regular visits to

9494-610: Was found in 2004 in the Geißenklösterle cave near Ulm, in the southern German Swabian Alb . Two flutes made from swan bones were excavated a decade earlier from the same cave and dated to about 36,000 years ago. A playable 9,000-year-old Chinese Gudi (literally, "bone flute") was excavated from a tomb in Jiahu along with 29 similar specimens. They were made from the wing bones of red-crowned cranes and each has five to eight holes. The earliest extant Chinese transverse flute

9595-573: Was known as the German flute. The word flute first appeared in the English language during the Middle English period, as floute , flowte , or flo(y)te , possibly from Old French flaute and Old Provençal flaüt , or possibly from Old French fleüte , flaüte , flahute via Middle High German floite or Dutch fluit . The English verb flout has the same linguistic root, and

9696-558: Was played by these choro ensembles. Various genres were incorporated as subgenres of choro such as "choro-polca", "choro-lundu", "choro-xote" (from schottische), "choro-mazurca", "choro-valsa" (waltz), "choro-maxixe", " samba -choro", "choro baião ". Just like ragtime in the United States, tango in Argentina and habanera in Cuba, choro springs up as a result of influences of musical styles and rhythms coming from Europe and Africa. In

9797-518: Was published in the journal Nature , in August 2009. This was the oldest confirmed musical instrument ever found, until a redating of flutes found in Geißenklösterle cave revealed them to be older, at 42,000 to 43,000 years. The Hohle Fels flute is one of several found in the Hohle Fels cavern next to the Venus of Hohle Fels and a short distance from the oldest known human carving. On announcing

9898-408: Was the Chôros . Villa-Lobos composed more than a dozen works with this title for various instruments, mostly in the years 1924–1929. He described them as "a new form of musical composition", a transformation of the Brazilian music and sounds "by the personality of the composer". He also composed between 1930 and 1945 nine pieces he called Bachianas Brasileiras (Brazilian Bachian pieces). These take

9999-508: Was the most sophisticated instrumental popular music in the world. Heitor Villa-Lobos defined choro as the true incarnation of Brazilian soul. Notably, both composers had some of their music inspired by choro, dressing it with classical tradition. The French composer Darius Milhaud was enchanted by choro when he lived in Brazil (in 1917) and he composed the ballet Le Bœuf sur le toit , in which he quotes close to 30 Brazilian tunes. According to Aquiles Rique Reis (a Brazilian singer), ”Choro

10100-525: Was to define a definitive version of the Brazilian national anthem . After 1937, during the Estado Novo period when Vargas seized power by decree, Villa-Lobos continued producing patriotic works directly accessible to mass audiences. Independence Day on September 7, 1939, involved 30,000 children singing the national anthem and items arranged by Villa-Lobos. For the 1943 celebrations he also composed

10201-403: Was to exhibit his exotic sound world rather than to study. Just before he left he completed his Nonet (for ten players and chorus) which was first performed after his arrival in the French capital. He stayed in Paris in 1923–24 and 1927–30, and there he met influential residents including Edgard Varèse , Pablo Picasso , Leopold Stokowski and Aaron Copland . Parisian concerts of his music made

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