From the guy who brought you The Villa-Lobos Website and The Villa-Lobos Magazine.
Focus, Dean, focus!
Tumbling since April 2007.
He earned a lot of money, and spent a lot too. He lived luxuriously, he was quite generous.
-Rémi Jacobs has lots of interesting things to say about Villa-Lobos the man & the composer in this interview. He rightly emphasizes the importance of Villa’s contract with Max Eschig in Paris, which was due to the advocacy of Arthur Rubinstein and Vera Janacópulos.
Ciranda das sete notas (Round of the Seven Notes),
for bassoon and string orchestra
Frank Morelli, bassoon
Orpheus Chamber Orchestra
This charming 1933 concertino by Heitor Villa-Lobos is too seldom heard. A genre-crossing, folk-tinged fantasia on the C major scale, it remains a staple of the modern bassoon repertoire and is heard here in a frequently recommended recording.
At a 2010 performance in San Francisco, conductor Michael Tilson-Thomas famously knocked the soloist’s music off his stand on accident during the poignant closing moments of the piece—thankfully, the piece continued uninterrupted.
(photo by Darwin Bell)
Down there in Brazil nobody knows what they are racially. I met the foremost Brazilian composer, Heitor Villa-Lobos. He’s not real black complexioned, but who knows what. His ancestry is African, Portuguese, and Indian. Brazilians recognize racial strains, but not like in the United States. Here it’s clearly racism, but down in South America, they didn’t have an official policy of racism against blacks.
-Dizzy Gillespie with Al Fraser, To be or not to bop; Memoirs, Doubleday, 1979, p. 429.