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Technical Notice
| Classical Composer: | Villa-Lobos, Heitor |
|---|---|
| Work: | Chôros No. 1, "Chôro tipico" |
| Year Composed: | 1920 |
| Instrumentation: | gtr |
| Publishers: |
Max Eschig Éditions Max Eschig |
| Duration: | 00:05:00 |
| Period: | 20th Century |
| Work Category: | Instrumental |
Work Information
Available Recording(s)
Many explanations of the term "Chôros" have been given. Villa-Lobos explained that the Brazilian is "very sentimental, not romantic, and that the term in question came from the Portuguese verb "chorar", meaning "to cry". For Turibio Santos, this crying may also be found in vibrato on the upper strings of the instrument. The "Chôros No 1" from 1920 forms the portico of a series of fourteen compositions employing the same title (always in the plural). Conceived for different groups, they culminate with orchestra and choir. The first in the series is symbolic. Dedicated to Ernesto Nazareth, it is inspired by the melodic formulations of these musicians, and its rondo form is in the same spirit.
As cultivated by Villa-Lobos in his own compositions, however, the genre broke all the boundaries of its models. Chôros No. 1, originally written for guitar in 1920 and transcribed for piano by Odmar Amaral Gurgel, is still very close to the urban model. It is written as a five-part rondo, suffused with a rhythmic suppleness that recalls the works of Ernesto Nazareth. The work's swinging character is emphasized by tempo rubato and the strategic use of fermatas.
Writer: James Melo
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