Villa-Lobos: Five Preludes for Guitar

Introduction

Five Preludes (1940)

1. Prelude No. 1 in E minor ("Melodia lírica"): Andantino espressivo Più mosso
2. Prelude No. 2 in E major ("Melodia capadócia"): Andantino—Più mosso
3. Prelude No. 3 in A minor ("Homenagem a Bach"): Andante—Molto adagio e dolorido
4. Prelude No. 4 in E minor ("Homenagem ao índio brasileiro"): Lento—Animato—Moderato
5. Prelude No. 5 in D major ("Homenagem à Vida Social"): Poco animato—Meno—Più mosso
6. Prelude No. 6 (Lost)

Prelude No. 1 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

The piece is subtitled "Melodia lírica" (Lyrical Melody), is in E minor, and is the first of the Five Preludes, written in 1940. The others are in E major, A minor, E minor, and D major. It was first performed, together with its four companions, by Abel Carlevaro in Montevideo on 11 December 1942 (Villa-Lobos, sua obra 2009, 153).

Prelude No. 2 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

The piece is subtitled "Melodia capadócia" (Capadocian Melody), is in the key of E major, and is the second of the Five Preludes, written in 1940. The others are in E minor, A minor, E minor, and D major. It was first performed, together with its four companions, by Abel Carlevaro in Montevideo on 11 December 1942 (Villa-Lobos, sua obra 2009, 153).

The subtitle refers to the capadócio, also called malandro carioca: a rascally character of the Rio de Janeiro Carnival (Santos 1985, 32; Wright 1992, 105).

This prelude relies on the musical genre of the choro, similar to the composer's Chôros No. 1, also for solo guitar. This is especially evident in the systematic rubato and harmonic structure of the first section, and in the rhythms and melody in parallel fifths for the central section, which recalls the berimbau (musical bow) and the stylized capadócio dance-game called capoeira (Béhague 1994, 142).

Prelude No. 3 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

The piece is subtitled "Homenagem a Bach" (Homage to Bach), is in the key of A minor, and is the third of the Five Preludes, written in 1940. The others are in E minor, E major, E minor, and D major. It was first performed, together with its four companions, by Abel Carlevaro in Montevideo on 11 December 1942 (Villa-Lobos, sua obra 2009, 153).

The distinctive sound quality of this prelude relies on the open strings of the guitar. The connection to Johann Sebastian Bach is found principally in the second main section, with its patterns of descending melodic sequences and clear tonal harmonies (Béhague 1994, 142).

Prelude No. 4 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

The piece is subtitled "Homenagem ao índio brasileiro" (Homage to the Brazilian indian), is in the key of E minor, and is the fourth of the Five Preludes, written in 1940. The others are in E minor, E major, A minor, and D major. It was first performed, together with its four companions, by Abel Carlevaro in Montevideo on 11 December 1942 (Villa-Lobos, sua obra 2009, 153).

Prelude No. 5 is a guitar piece written by Brazilian composer Heitor Villa-Lobos.

The piece is subtitled "Homenagem à vida social" (Homage to Social Life), is in the key of D major, and is the second of the Five Preludes, written in 1940. The others are in E minor, E major, A minor, and E minor. It was first performed, together with its four companions, by Abel Carlevaro in Montevideo on 11 December 1942 (Villa-Lobos, sua obra 2009, 153).

Written in 6/4 meter, this prelude evokes the waltzes danced by the upper classes of Rio de Janeiro in a bygone age (Béhague).