VILLA-LOBOS, H. - Douze Études pour guitare seule.pdf

Heitor Villa-Lobos ,

ouze pour guitare seule per chitarra sola - for solo guitar

édition critique de edizione critica di/ critical edition by Frédéric Zigante

Heitor Villa-Lobos ,

ouze

es

pour guitare seule per chitarra sola - for solo guitar

édition critique de edizione critica di/ critical edition by

Frédéri c Zigante

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Heitor Villa-Lobos ,

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DURAND SALABERT ESCHIG

TABLE

Préface (français)

/ lNDlCE / CONTENTS

------

Prefazione (italiano)

__ __ _________

Preface (English)

__ __ _

_______

I

XI

XXI

'

Etude n°1 des arpèges

2

'

Etude n°2 des arpèges

4 6

'

Etude n°3 des arpèges

8

'

Etude n° 4 des accords répétés Etude n° 5

14

Etude n° 6

18

'

'

,

Etude n° 7

20

'

Etude n°8

24

I

Etude n° 9 des ornements

27

I

Etude n°10 (ME-1953)

30

I

Etude n°11

34 39

I

Etude n°12

I

Appendice/Appendix: Etude n°10 (Ms-1928)

_ _______

Commentaire critique, variantes et observations (français) Commento critico, varianti ed osservazioni (italiano)

•

_ _ _ _

____ _

Critical commentary, variants and observations (English)

45

____

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xxvi

à

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Preface

Genesis 1. Villa-Lobos and Segovia Published for the first time by Éditions Max Eschig in 1953, with a preface by Andrés Segovia to whom it was dedicated, the

Douze Études by Heitor Villa-Lobos were begun in Paris a number of years previously, probably in 1924, to be completed in 1928. There were several circumstances that favoured the appearance of this collection, considered today as one of the most significant works in the repertoire for guitar of the first half of the 2Qth century. Heitor Villa-Lobos, already an able guitarist and lover of the instrument since childhood, found him­ self spending a long period in Paris between 1923 and 1930, when the French capital was a crossroads of meetings between the most renowned guitarists and musicians. Andrés Segovia, who had made his historical début in the

Ville-Lumière on

7 April

1924, visited the town regulary and did not miss an

opportunity to ask composers to write music for the guitar. There were also musicians sejouming in the city who were particularly sensitive to the instrument, such as Joaquin Turina, Joaquin Rodrigo, Georges Migot and Manuel Maria Ponce. lt was in those very years that Emilio Pujol began his editorial career with Max Eschig with the prestigious Bibliothèque de

Musique Ancienne et Moderne pour guitare and the publisher Herny Lemoine printed the two treatises by Jacques Tessarech entitled respectively L'Évolution de la Guitare in 1923 and La Guitare Polyphonique in 1926. These are only some of the manifestations of interest i n the instrument that were probably never altogether extinguished from the time when, at the beginning of the 19th century, Paris played host to the most prestigious names in the world of European guitar: Fernando Sor, Ferdinando Carulli, Napoléon Coste, Matteo Carcassi and Dionisio Aguado. lt was therefore natural in this context that Villa-Lobos decided to exploit bis guitar-playing ability which he taught himself when, as he did not have a piano, he turned to the guitar for its special qualities as a polyphonie instrument. Villa-Lobos himself, in testimony collected by Heminio Bello de Carvalho and reported by Turibio Santos, tells us of how the

Douze Études came to exist:

"Encontrei o Seg6via em 1923 ou 24, niio me lembro bem, na casa da Olga Moraes Sarmento No­ bre. Havia uma princesada lâ. Vi um moço de vasta cabeleira, rodeado de mulheres. Acheio-o besta, pretencioso, apesar de simpâtico. 0 violinista português Costa, perguntou ao Segovia se conhecia o Villa-Lobos, mas sem dizer que eu estava ali. 0 Segovia disse que o Llobet, Miguel Llobet, violonista espanhol, havia falado de mim e lhe mostrado algumas obras. Eu havia escrito uma Valsa-Concerto para Llobet {por sinal a partitura esta perdida). Segovia falou que achava minhas nobras anti-vio­ lonisticas e que eu tinha usado uns recursos que nâo eram do instrumento. 0 Costa falou: "Pois é, Segovia, o Villa-Lobos estâ aqui." Eu fui logo me chegando e logo dizendo: "Porque é que você acha minhas obras anti-violonisticas?': Segovia, meio supreso -claro que ele nem poderia supor que eu estivesse ali- explicou que, por exemplo, o dedo minimo direito nao era usado no violào cltissico. Eu perguntei: "Ah! Nao se usa? Entào corta .fora, corta _fora''. Segovia ainda tentou rebater, mas eu avancei e pedi: "Me da aqui seu violao, me dti!" 0 Seg6via nào empresta seu violao a ninguém, e fez força. Mas nao adiantou. Eu sentei, toquei e acabei corn a festa. Seg6via depois veio me perguntar onde eu tinha aprendido. Eu lhe disse que nâo era violonista mas sabia toda a técnica de Carulli, Sor, Aguado, Carcassi, etc. Seg6via disfarçou, guardou o violâo e -ptichiu- deu o fora. No dia seguinte ele apareceu la em casa com o Tomas Terdn. Eu disse que nao podia atendêlo, nâo podia mesmo, pois tinha que sair para jantar e voltaria tarde. Ele saiu também. Voltou depois e revezamos no violao até OF 15851

XXII

às 4 da manhâ. Ele me encomendou um Estudo para violâo, e foi tâo grande a amizade que nasceu entre nos, que em vez de um eu fiz doze: Doze Estudos para violào. "1 Moreover, Andrés Segovia, in a document of 19582, confumed this story recounted by Villa-Lobos, with a few negligible discrepancies in the details; however, he did not place the Paris meeting of 1924 in direct relation with the composing of the

Douze Études.

This fact is not without its importance. If, in fact, it is

possible to pinpoint in Segovia's request for "a Study" the occasion marking the genesis of the project, no support can be found for Segovia not subsequently following up this work. There is also no evidence that

-i.e. ten years Villa-Lobos concluded the cycle- when the concert performer played the Chôros No.1 Segovia included a piece by Villa-Lobos in bis repertory before 1938

from the time when at the Wigmore Hall

in London, it was at the time the only work for guitar published by the Brazilian musician.3 The soloist was in the habit of not allowing too much time to pass between the first reading of a new piece and its inclusion in his concert programme. If Segovia had had the

Études

at his disposa} back in 1928, it is difficult to

understand why he would have waited until the forties to include it in his concert programmes.4

2. The first draft (1928) lt was presumably between 1924 and 1928 that Villa-Lobos compiled what is identified today as the "Guimarâes" manuscript (Ms-Gui; the code, like the following ones, refers to the list of sources), so called because it was donated to the Museu Villa-Lobos by the heirs of the composer's first wife, Lucilia Guimarâes. This was the first draft of the Études, scribbled in pencil several times over on scattered pieces of paper in summary handwriting and destined, in all probability, for persona! use. This collection of sheets constituted the basis of all subsequent drafts of the

Douze Études.

Although Segovia remained in substance unconnected with the creation of the Études, it was probably the Spanish pianist Tomas Terân, friend of Villa-Lobos, who followed the gestation of this cycle in close­ up; he was also the first performer of the

Études, even

if through one of his persona! transcriptions for

piano (Ms-Teran)5. It was not by chance that Tomas Teran was present at the composer's side, not only on the occasion of the latter's first meeting with Segovia by whom, as we have seen, the study was origi­ nally commissioned, but also during the summer of 1928 when, during a holiday at Lussac-les-Châteaux, the author dedicated himself to the drafting of a fair copy of the

Études manuscript dated "Paris, 1928"

(Ms-1928); it was this manuscript itself that was then delivered to Éditions Max Eschig in October 1928. Further suggestions corne from correspondence with the publisher. In a letter dated

"Lussac-les-Châteaux, 28 Juillet 1928" and addressed to Eugène Cools,

the new head

of Éditions Max Eschig after the death of its founder, Villa-Lobos affirmed:

"(...]je suis ici sans aucun document musical et très occupé avec mes cerfvolants. "6 Turibio Santos, Heitor Villa-Lobos e o Violào, Museu Villa-Lobos, Rio de Janeiro, 1975, p. 11.

"l met Segovia in 1923 or '24, l don 't quite remember, in the house of Olga Moraes Sarmento Nobre. The crème de la crème of society was there. 1 saw a boy with a lot of hair, surrou.nded by women. He seemed not very bright, presumptuous even, but also quite friendly. The Portuguese guitarist Costa asked Segovia if lu: knew Villa-Lobos, but without telli11g him that l was there. Segovia answered that Llobet (Mi.gues Llobet, a Spanish guita­ rist) had mentioned me to him and had shown him some of my work. ! had written a Waltz-concerto for Llobet (which, by the by, was lost). Segovia sa id that he thought my works were anti-guitar and that I had used resources that were not for the guitar. Costa then said: "Weil, Segovia, I have to tell you that Villa-Lobos is here". I immediately moved over to them and asked Segovia: "Why do you think my works are anti-guitar?". Segovia, a bit surprised (obviously he cou.Id not have imagined I was there) explained that, for example, my right pinky finger was not used in c/assical guitar. So l said to him: "Ah, so it is not used? Weil then, just eut it off, eut il off." Segovia tried l'o make a rebuttal but I went straight ahead and said to him: ··Give me your guitar, come on, give it to me!". Segovia never lent it to a11yo11e, anyone at ail, and tried to resist. But to no a11ail. So J sat down, played and ruined the party. Segovia asked me where I had learnt to play. l told him that l was not a guitarist but that I had complete knowledge of the techniques of Carulli, Sor, Aguado, Carcassi, etc. Segovia looked unconccrned, took Iris guitar and -Poofl- le.ft. The next day, Ize arrived at my house with Tomas Teran. I told him that I could not ask him in because I had to go out to di1111er and would 11ot be back until late. He came back later and we played the guitar one after the otl1er until four in the moming. He ccmmissioned a Study for guitar and our friendship became so all-encompassing that instead of the one he had askedfor, I composed twelve: Twelve Studies for the guitar." 2 Andrés Segovia,"! met Villa-Lobos", Guitar Review n. 22, New York 1958 , p.22-23. 3

4

H.Villa-Lobos Chôro n. l (Typico), digitado por D. Prat, Ed. AS. Arista, Buenos Aires-Montevideo, undated, before1934.

The archives of the Fundaci6n Andrés Segovia ofLinares (Spain) comain many, but not al!, of the gultarist's concert programmes: the Etudes

only appear in1942 but it cannot be exduded that he might have played them in public some yeaIS before.

5 Tomas Gutiérrez Terân (Valencia 1895 - Rio de Janeiro 1964} was the first performer of Chôro n.8 of Villa-Lobos and he played for of the Douze Études pour guitare, transcribed by himself, in public in 1929. Once again, it was Tomâs Ter.in who, in 1943, supported Heitor Villa-Lobos by playi ng the Douze Études on the piano when the composer wanred (O presen1 d:e roL'ection to the young Abel Carlevaro. Cfr. Abel Carlevaro My Guitar and My World, Chanterelle, Heidelberg 2006, p.26 and 27.

6 Eschig

is

"Jam here wirlzout any musical document and am verv &usv unm 1!n' tires-. The corre:.}}Ondence ofHeitor Villa-Lobos with the editor Max today preserved in the archives of

Éditions Max Eschig

in PariS- C fr"'-mT'r"5 = IJy Villa-Lobos.

XXIlI However, a few days later, on 5 August 1928, he wrote to his publisher again, in his somewhat pic­ turesque French, asking him:

"( ... ) au même temps vous serez vraimenr très aimable mon cher ami de me faire envoyer le plus vite possible des cordes pour la guitarre ou je travaille maintenant etje suis resté en panne pour man­ que d'elles. Voulez-vous envoyer quequ'un pour acheter dans n'importe quel magasin de luthier de la rue de Rome une carrure complet de guitarre avec en plus deux chanterelles et deux segondes, et me les faire parvenir? (Marque Diapason). "7 During his holiday at Lussac-les-Châteaux, Villa-Lobos devoted himself, therefore, not only to his kites (one of his favourite pastimes) but also ta the guitar and apparently to the drafting of two man­ uscripts that he was soon ta deliver to his editor: the

Douze Études (Ms-1928) and the Suite populaire brésilienne. The two works are, in fact, mentioned together in a single contract dated 1 October 1928. These two cycles are then once again mentioned in a further contract dated 5 January1929 that also included Francette et Pia for the piano, Chansons typiques brésiliennes and the 4 Sonate for violin and piano. Together with the two manuscripts for guitar, Villa-Lobos also delivered a transcription for piano by Tomas Teran {Ms-Teran) of four of the guitar studies, numbers 3, 5, 10 and 12.8 At this point, the affair of the two manuscripts became complicated, intertwining with an unexpected circumstance. Having retumed home on 15 June 1930 for some concerts, Villa-Lobos was surprised by a

coup d'état in which the dictator Getûlio Vargas gained power.9 The desire of Villa-Lobos was to return to Paris but that proved impossible until 1948, three years after the end of the Second World War. These years of 'exile' enfeebled the relationship between the composer and his publisher, making it difficult to work on new publications, in particular the reading of proofs that Villa-Lobos had always corrected on site during his long sojoums in France. For some time, Villa-Lobos did not seem aware of the fact that his manuscripts for guitar had not been published: in fact, in a letter written from Sâo Paulo on

1 8 December 1930, he asked his editor to send llim some free copies of his works, also including in the list the Suite populaire brésilienne that should have been published in the interim in the Emilio Pujol collection under the number 1220.10 Why had Max Eschig not published the two collections for guitar received in 1928? We do not have any precise information that could enable us to answer this question. For the

'

Douze Etudes, it is highly

likely that, given the size of the cycle (46 manuscript pages), the technical difficulty and newnf'ss of the musical language, the commercial prospects appeared rather limited even to a publisher that had,

in any case, devoted himself to a significant business in guitar music. Of course, the publisher could not imagine the enormous recognition that the guitar and its repertoire would have enjoyed in just a few years time and the fact that he was obliged to act with the maximum caution should also be taken into account: it is sufficient to mention, as an example, that in Emilio Pujol's

Bibliothèque de Musique

Ancienne et Moderne pour guitare, the pieces 'vere published one at a time in booklets of just a few pages and were never published in collections. The Suite populaire brésilienne and the Douze Études were not easy or short works and therefore the publisher could not hope for a resounding commercial success among guitar-lovers; on the other hand, those who, in1929 in Europe, were devoting themselves professionally to the guitar and were able to play the

Douze Études could be counted on the fingers of

one band. It was only in 1937 that the figure of Andrés Segovia reappeared in the affair of the guitar com­ positions of Heitor Villa-Lobos. In fact, Segovia, escaping from the horrors of the Spanish Civil War 7

(...) at the same time, you would be most kind, my dear friend, if you could have sent to me as soo11 as possible some guitar strings for the

"

guitar Jam working with at the moment and Jam stuck because Jdo11 't have any. Please send someone to buy, from any of the musical instrument e tfor guitar with, in addition, two trcble strings and two second strings and send them to me? (Diapason shops in the Rue de Rome, aco111plete s brand)." In a letter to his publisher dated 23 November 1936, Villa-Lobos declared his intention of completing the transcription of the Douze Études 8

pour guitare himself, originally begun by Tomas Ter.in but never fini5hed.

9

10

Getlllio Vargas (1882-1954) retained power up until bis d eatlt in 1954.

Cfr. the lists of the various nu.mbers of the Bibliothèque de Musique Ancienne et Moderne pour guitare directed by Emilio Pujol that appear

on the back cover of the Corranda by Agusti Grau published in 1929.

DF 15851

XXN

(1936-1939), had taken refuge in Montevideo and the Uruguayan capital was to remain the epicentre of his musical activity up to the end of the Second World War. During bis Uruguay years, Segovia vis­ ited Brazil several times, where he had occasion to meet Villa-Lobos and intensify his relationship with the composer, as is witnessed by, among others, a letter dated 22 October 1940 from Montevideo to his friend, the composer Manuel Maria Ponce:

"Villa-Lobos [...] vino a casa provisto de seis preludios para guitarra, dedicados a mi, y que unidos a los doce estudios anteriores, jorman diez y seis [sic] obras. "11 It was natural that Segovia should show great interest for the guitar compositions of Villa-Lobos, an interest that the Andalusian performer propagated with meticulous conscientiousness in interviews and concert programmes. In an interview published in Italy in 1937, he declared upon his return from Brazil where he had given five concerts, that he had had two wonderful surprises: the magnificence of the natural beauties of Rio and the collection of the

Douze Études that

Villa-Lobos had shown him; Segovia

added that he had selected three studies to be presented in his concerts.12 In a concert programme of 9 July 1939, probably for a concert held in C6rdoba in Argentina, the gui­

Chôro -No. 1: "Choros {de u n grupo de obras escritas para guitarra doce de las quales estan dedicadas a A.Segovia)·: 13

tarist defined the

3. The second draft (1947-48) and publication (1953)

Once the Second World War had drawn to a close, Heitor Villa-Lobos gradually resumed his contacts

with Éditions Max Eschig and once again took up the idea of publishing his works for guitar, starting with the

Douze Études themselves.

In the beginning, he personally prepared new copies of some of the

studies (Ms- l940c) but ended up by entrusting the job of copying them in their entirety to his compan­ ion Arminda Neves de Almeida: from 1947 to 1948, a copy was made based on the old drafts, or rather the so-called "Guimaraes" manuscript (Ms-Gui), or from a possible copy of this, and on the few studies already copied by the author {Ms-1940c).14 At this time, Villa-Lobos made a limited number of modifica­ tions to his drafts, the most important of which were the cutting of 33 bars in changes made in

Étude No. 10 and

several

Étude No.11.

For the new 1953 edition (ME-1953), the publisher did not prepare another contract: however, a singular fact was that in the relevant correspondence with the musician, no mention was made of

the existence of the manuscript delivered to the publisher in 1928. Neither Villa-Lobos nor the brot­

hers Philippe and Jean Marietti (who had succeeded Eugène Cools after the latter's death in 1936) seemed concerned about the fate of the manuscripts dating back to 1928. Villa-Lobos nevertheless remembered the

Suite populaire brésilienne.

Indeed, in a letter dated 18 February 1954, he wrote in

his increasingly clumsy French:

"(... )Concernant la Suite Popular Brasileira pour guitare qui je suis sur j'ai laissé à Paris et qui je sais Mr Pujol doit avoir une copie, je n 'ai pas encore trouvé la suite chez moi. J'ai laissé avec vous Mazurka- Chôro, Schottish-Chôro et Gavotte. L'unique [mouvement] que manque c'est la Valse-Chôro, dont j 'ai trouvé chez moi quelque mesures15 et naturellement ·incomplète. Si vous pouvez écrire à Mr Pujol pour lui demander une copie, je serait très reconnaissant. "1t. "Villa-Lobos (...) came home with six preludes for guira r, dedica� :o IW}��".. d-.=; � ro die previous twelve studies make sixteen (sic) works." The Segovia-Ponce Letters, edited by Miguel Alcazar, translated b�-Pm!T � rr!î::io!lS Orphée. Columbus, 1989, p 211. 12 Pedro Duval, "Andrés Segovia nell'America del Sud-. in la clri:arra. -�-,., :i.:�\o.S. Sqlitt!lhcr 1937, p.67 13 "Choro 11. I, from a group of works for guirar of which ncdrr arë -'..:.-:::;;a;;;;;)_..ts"°:rc �-ïa-_ This programme is conserved in the archives 11

of the Fundaci6n Andrés Segovia in Linares (Spain).

prepared by Villa-Lobos himself, � œi:sau:·.: «::: � lrl= ".�I.oOOs in Rio

r �;;:._ -,..,. (marked: mu 93.21.732), Étude No.5 (mu 93.21.734), Étude No.!O !=33

=� � 53-21.741) and Étude No.12 (mu 93.21.743). Ali of - ;i;-�::-::::sie: ;;> ideui:fythe definitive version of a piece destined to be copied and distributed according to an Italian rraditioo b::. ' author's.

In conclusion, it is our duty to add that information, advice and assistance of various kinds, but ail important, were offered by Sergio Abreu, Emilita Corral de Segovia, Alfredo Escande, Eduardo Femandez,

Angelo Gilardino, Thomas Hammje, Gérald Hugon, Francine Lajoumade-Bosc Vani Leal de Carlevaro, ,

Alberto Lôpez Poveda, Maria Cristina Mendes, Lorenzo Micheli, Maria Isabella Mininni, Luca Glebb Miroglio, David Trad Neto, Matanya Ophee, François Nicolas, Raffaele Pisano, Stefano Procaccioli, Arrigo Quattrocchi, Marcelo Rodolfo, Antonio Rugolo, Diana Sangaré, Jukka Savijoki, Turibio Santos, Mario Torta and Stanley Yates. Please accept the heartfelt gratitude of the curator of this edition.

Frédéric Zigante

Rome, 5 January 2008

translated by Susan Gastaldi

31

The original fingering instructions of Heitor Villa-Lobos in the musical score are run literai but are n i any case faithful t o the substance of

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Critical commentary, variants and observations Notation of the bars and tempo: 26, 27, 32: bars 26, 27 and 32 26- 32: from bar 26 to bar 32 26.3: bar 26, 3rd beat indicated by the tempo denominator indicated for the piece. 26.3- 28.2: from the 3rd beat of bar 26 to the 2nd beat of bar 28 26.3 and 28.3: on the 3rd beat of bar 26 and on the 3rd beat of bar 28

Etude No. 1 ,

1 Ms-1928: Animé and dynamic 11if'. This piece is subtitled Prélude and has no repeat signs. The bass has the value of a minim with dot and has a long slur that lengthens its value. The bass from bar 27 to bar 31 becomes a whole note. Ms-Car: All0 non troppo. This is an indication that was presumably added by Villa-Lobos himself to a copy written by a collaborator. ME-1953: Allegro moderato and dynamic p. The dynamic indication p is an error since i n Ms-1948e the letter "p" refers to the thumb of the right hand. Ms-1 948e and ME-1953: The bass has the value of a minim with dot but the bar is not polyphonically complete. We have opted for a value of semibreve for the whole piece. 5-6 Ms-1928: The fingering of the E on the fourth string and the B on the fifth string are 2 and 3 respectively. 9 ME-1953: simile, from here to bar 19, the double value on the bass disappears. The double value is reintroduced in bar 20. 13 Ms-1928: The D � is replaced by C � in the whole bar. 14 Ms-1928: The E � is replaced by D � in the whole bar. 23.3 Ms-Gui: Indication of position on G with the Roman numeral VII without zero on E. Ms-Car: Zero on free string on the first B. Ms-1 948e and ME-1953: The 3rd E semiquaver is indicated with the zero on the open string. Ms-1928: Fingering different from the indication in Ms-1948e and ME-1953. Etude No. 7, bars 23 and 24, Ms-1928 vu

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Ms-1 948e and ME-1953: Bichord in natural harmonies in 4t1> am:I �

string on fifth fret. lt is possible that Villa-Lobos had opted for tr.e double harmonie only when Ms-1948e was being written, however

ME-1 953 there are still traces of the old Ms-Gui and Ms-1928 lesso

that make the text incomprehensible.

ts-1948e and ME-1953: E-natural and G-sharp.

8.4

1s-1948e: Natural sign next to the E and sharp sign next to the f

Étude No.4, bar 8, Ms-194Be

apparently without reason.

Etude No.4 ,

1

Ms-Gui: No agogic indication. No indication of dynamics Ms-1928: Un peu modéré. Dynamics and position of the ritenuto

deformed compared to Ms-1948e and ME-1 953. We opted for the lesson in Ms-1948e.

From a comparison of sources, it emerges clearly that at the end of the

Ms-Car:

Andante. Next to the title N.4 and the dedication A Andrés Segovia, there is an indication Aproveitando sempre as cordas soltas

forties the Author chose to alter the harmony of bar 8. However, Ms-

[Always using the free strings]. Roman numeral Ill for position, ex­

1948e and ME-1953 present inconsistencies, probably due to modi­ fications made several times over by the Author himself. We have

tending throughout the first bar. '"'if. Same distribution of crescendo

chosen bar 8 in ME-1953 in the score, noting here our assumption

and diminuendo signs in Ms-1948e and ME-1953 but without the rit

that the intention of Villa-Lobos was to make a version perfectly sym­

in centre position.

metrical with the following bar:

Ms-1 948e and MEl 953: Double indication in ltalian and French:

--� 1Sj jp

Un

peu modéré - Poco moderato Étude No.4,

Étude No.4, bars 8-9.

bars 1-5, Ms-1928

A tempo

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For this introduction, we opted for the dynamic of Ms-1928 since the score of Ms-Gui, Ms-1948e and ME-1953 is almost free of indications. The only aspect of Ms-1928 that was not maintained is the rhythm of the bichords in the first movement of bars 1, 3 and 4, that in Ms-1928 was the third note (preceded by a crotchet pause) of a triplet while in all other sources it was a second note (preceded by a quaver pause) of a pair of notes of equal length. The difference in the presence of glissandos between the various sources can be attributable to copying oversights. Ms-1928: The Da Capo at bar 14 is, in this source, written out in full. 1 7 .1 Ms-Gui: Un peu Modéré, with the meaning of a slight acceleration compared to the initial movement. 29.1 Ms-Gui and Ms-1928: Bass C without a chord is contained in the other sources. 32.1 Ms-1928: The Bass C has no corona. 33.2 Ms-1928: molto stringendo 35.1 Ms-1928: a tempo 37.2 Ms-1928:f 38.1-39.1 Ms-Gui: The two bass D's are tied and there is an accent on the high G nf 39.1.

Ms-1928: The two bass D's are tied and that in bar 39 has no accent. Accent on the high G. Ms-1948e and ME-1953: The two bass D's are not tied and that of bar 39. 1 has an accent. There is no accent on the treble G. 45.2 Ms-1 948 and ME-1953: The A is omitted. 45-47 Ms-1928: A different lesson that also involved different fingering. Étude No.8, bar 45-48, Ms-1928 vu

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Ms-1928: roll. 33.3 Ms-1928: rit. 38 Ms-1928: The accents are replaced by a dash. 42-50 Ms-1928: The first note in each group of demisemiquavers has a dash. Ms-1948e and ME-1953: The accent on the first note of each group of demisemiquavers is omitted, probably due to an oversight We opted for the use of the accent, and not dashes for consistency with Ms-1948e and ME-1953. 45.1 Ms-1928: allarg. 47.1 Ms-1928: a tempo and p 50 Ms-1928: different lesson Étude No.9, bar 50, Ms-1928

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1 Ms-Gui: No agogic indication. The title is "Estudo de ornamentos" Ms-1928: Un peu animé. Ms-1948e: Très peu animé. The title is "Estudo de ornamentas" 4.3 Ms-1928: rit. 5.1 Ms-1928: a tempo which we felt was logical to bring forward to 4.4 10 Ms-1928: Phrase mark between the first note in the bar and the A in the last sextuplet. 1 7.4 Ms-Gui: Return sign Ms-1928: No return sign. Ms-1948e and ME-1953: Return sign 18.1 Ms-1928: a tempo 21.3 Ms-1928: rit. 22.1 Ms-1928: a tempo which we felt was logical to bring forward to 21.4 26.1 Ms-1928: The bass is F# but it seems to be an error. 30 Ms-1928: Moins

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51-53 ln all the sources, the bass E of the sixth string has the value crotchet with dot. 59.1 Ms-1 928: 17{f'

of

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51.4 Ms-1928: cresc. 52.1 Ms-1928: allarg. 54 Ms-1928 and Ms-1 948e: a tempo 58.3 Ms-1948e and ME-1953: Arpeggio sign omitted. Ms-Gui and Ms-1928: Arpeggio sign.

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Érude No. 1 1 -English

XXXV

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Etude No. 1 O c�1E-1953J 1 Ms-Gui, Ms-1 940c. Ms-Car. Ms-1 948e and ME-1953: Très animé. The at the quaver indication is in Ms-1940c and Ms-Car. Ms-1928 : Animé next to the cancelled-out indication Très animé. Ms-Terân: Animé 1.1 (at the quaver) Ms-1 940c, Ms-1 948e and ME-1953: The F# in the fourth string, found in the gemel bar 3 and in Ms-Gui, is missing. 2.3 (at the quaver) ln almost all sources, every time this figuration appears, the slur un­ derneath encompasses four semidemiquavers, leaving out the slur before the E bass. Ms-1928 and in Ms-Car: The slurs include the E bass almost systema­ tically. The five notes should therefore be played with a single gesture of the left hand without playing the E bass again with the right hand. 13.2 (at the crotchet) Ms-Gui and Ms-1928: The last chord is G #-B-C #. ln all the other sources, it is G #-C #-D #. 20-21 Ms-Gui, Ms-1928 and Ms-Terân: Between these two bars in these sources, there are 33 bars that the Author eliminated in all subse­ quent versions. 21.1 Ms-Gui and Ms-Terân: Très animé. Ms-1928: Très animé. The Très was added on top of the cancelled Un peu. Ms-Car, Ms-1 940c, Ms-1 948e and ME-1953: Un peu animé 28.1 Ms-Gui, Ms-1928 and Ms-1 940c: The G and B of the third and sec­ ond string are within round brackets. 28.2 Ms-Gui, Ms-1928, Ms-1 940c and Ms-Car: G # Ms-1948e and ME-1953: Natural G. 33.4 Ms-Gui, Ms-1928, Ms-Car, Ms-1 948e and ME-1953: fingering of the left hand 2420. 43.4, 45.4 and 47.4 Ms-1928: A stretch of Gliss between the last B and the harmonie D in the next bar. 46.1 and 48.1 Ms-1 940c: The E bass is only found in this source. 49.4 Ms-1928 and Ms-Terân: A-B-A-E instead of the G-A-G-E in the other sources. Probably an error. 63.2 (at the minim) Ms-1 940c: The slur encompasses three semiquavers instead of only two semiquavers as in the other sources. 64.2 Ms-1948e and ME-1953: The slur encompasses three notes instead of only two semiquavers as in the other sources. Ms-Car: The slur encompasses three notes but we can glimpse a slur on two subsequent notes that was later cancelled. Ms-Gui, Ms-1928 and Ms-1 940c: The slur encompasses two notes. 63.2-64.2 Ms-Gui and Ms-1928: The two semiquavers are F-E instead of F-G as in the other sources. 66-69 Ali of the sources present the last three quavers of every bar with an accent. ln Ms-1 928, bar 69, the author emphasises that the accent refers respectively to the notes E-B-G, written in slightly larger characters and separated from the rest of the chord. ln bars 66-68, it seems that there is the beginning of an annotation in

a different size of note for B-E-B, but the writing is incomplete. Analogously with bar 69, we can deduce that in the last three quavers of bars 66-68, the notes to be emphasised are B-E-B, as noted also in Ms-Terân where these notes are reinforced by a doubled note on the octave. The semiquaver pauses introduced in 68.3 do not seem to have a practical explanation. 69.1 Ms-1 928, Ms-Car, Ms-1 940c and Ms-1948e: Très Vif Ms-1 948e and ME-1953: No agogic indication. 69-71 ln al! sources (except for bars 69 and 71 in Ms.1928), the writing is sim­ plified and is inconsistent with that of the preceding bars. We felt it was opportune to harmonise this with the outline presented for bars 69-70. 69

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For this Étude, we have an extremely precious source: Ms-1940c (mu 93.21 .740). Written by Villa-Lobos, undated, it has above the title a dedication to Andrés Segovia and besides this, added in pencil, the word Original, certainly written by the author himself. This manu­ script, that presents Étude No. 10 as it was published in M E-1953, allows us to affirm with certainty that the eut of 33 bars made by Heitor Villa-Lobos on the older versions, Ms-Gui, Ms-1928 and Ms-Te­ rân, was specifically intended by the author and was not attributable to others (copyists or publishers) or to an error. The manuscript Ms-Car given by Villa-Lobos to the Uruguayan gui­ tarist Abel Carlevaro at the end of 1 943, confirms that the decision to eut 33 bars was made some years prior to preparation of the published version of 1953. '

Etude No. 1 1 1.2, 2.2, 8.2 and 9.2 Ms-1928: The value of the second movement is crotchet with ex­ tension slurs on three notes in the chord, followed by a minim pause. 2.1 The obvious necessity of maintaining the thumb of the right hand in melody function sometimes involves the use of an anticipated tech­ nical E bass that would seem indispensible in this passage, also be­ cause of the fifth string jump. Villa-Lobos rarely annotated this type of technique in the score, for example in Prélude No 1. Prélude No. 1, bars 129- 130

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3.3, 4.3, 5.3, 6.3, 7.3, 1 0.3, 11.3 and 12.3 Ms-1928: The value of the third movement is crotchet with extension slurs on the three notes in the chord, followed by a crotchet pause. 4.3, 5.3, 11.3, 12.3, 1 3.3, 88.3, 89.3 and 90.3 Ms-1 948 and ME-1953: The value is crotchet followed by a crotchet pause. 7.4 Ms-1928: Portamento (siide) between the F # and the A first beat of the following bar. 11 Ms-1928: Plus Vite 13.1 Ms-Gui: accelerando

DF 15851

XXXVI

Étude No. 11, Étude No. 12 -English

15 Ms-1928: A section that in Ms-Gui, Ms-1948e and ME-1953 is formed of 33 bars while in Ms-1928 it is 39 bars, begins at bar 15.

throughout the piece were deduced in Ms-1928 and were absent in the other sources, with the exception of the signs in bars 35 and 37 (see the relative note).

Villa-Lobos, during writing of Ms 1 928, rearranged his notes and in­ serted new materials that broke the dramatic tension created by the obstinate G-B of the third and second free strings. The entire section in the Ms-1928 version is proposed page xxxviii.

4.1 Ms-1928: cresc. 5.2 Ms-1948e and ME-1953: A#. This is a misprint 8-9 Ms-Gui: These two bars are written with the repeat sign between the beginning of bar 8 and end of bar 9. 10.3 Ms-1928: The second A bass is not tied to the previous bass and

17 Ms-1928: Original fingering for left hand 32. 19.3-5 Ms-1928: l n this source, the author had grouped the notes together with slurs referring to the fingering of the right hand while in ME1953 the grouping was based on the rhythm. (cfr. the text indicated in the preceding point). This difference occurs every time that this arpeggio appears.

20.1 Ms-1928: p, E bass tied to the previous bar. ME-1953: The bar does not have an E bass tied. Both with regard to the extension of the bass and to the dynamic, we opted for the lesson in Ms-1928 i n this and in all analogous situations in the piece.

24.1 Ms.1928:p 27.4 and 3 1 .4 Ms.1928:pp 51.3 and 78.1 Ms-1928:p 82.1 and 83.1 Ms-1928: sft and p 84 Ms-1928: mf on the last F # 85.2, 86.2, 92.2 and 93.2 Ms-1928: The value of the second movement is crotchet with ex tension slurs on the three notes of the chord followed by a minim pause. 87.3, 88.3, 89.3, 94.3, 95.3, 96.3 and 97.3 Ms-1 928: The value of the third movement is crotchet with extension slurs on the three notes of the chord, followed by a crotchet pa use 88 Ms-1928: Plus Vite 90 Ms-1928: This bar is identical to bar 6. 95 Ms-1928: Plus Vite 95.2 Ms-1928: rai/ et dim. poco a poco 98.4 Ms-1928: Before the double-bar at the end of the bar, there is a similar sign and a 'v' probably indicating a rest.

­

.

95

carries an accent. Ms-Gui: This bar is written with a repeat sign. This would also explain the absence of the repeated bass and with accent in Ms-1928. Ms-1 940c, Ms-1948e and ME-1953: The two A bass are tied.

13-2 Ms-Teran: A # Ms-Gui, Ms-1928, Ms-1940c, Ms-1948e and ME-1953: A natu ral (without natural sign). We opted for the A# in the Ms-Teran version. ln order to play the A natural one would have to use the following fingering. Étude No. 7 2, bar 13, ME- 1953 ,

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1 5.3, 1 7.3, 84.3 and 86.3 ln all manuscript sources, the third movement does not have slurs or glissando. However, in the proof correction phase, Villa-Lobos added a double slur and triple glissando in bars 84 and 86 of ME-1953 as ad opted in all analogous situations.

19.1 Ms-1928: cresc. 21.2 Ms-1928: sforzando on the last G. Ms-Terân: sforzando and rit. on the last G. Ms-1 948e and ME-1953: The + sign above the G is a commonly used sign in scores for the cello, i ndicati ng a note to be plucked pizzicato with the left hand. Villa-Lobos also used it in the manus­

cript m u 94.21.754 of Prélude No.5 (at the Villa-Lobos' s Museum, Rio de Janeiro).

22.1 Ms-1 928: 'l1ff Ms-Teran : a tempo subito

26.1 Ms-Gui, Ms-1 948e and ME-1953: Accent on th e first B. Ms-1928, Ms-1 940c and Ms-Teran: Staccato dot. 33.1 Ms-1928:1ef 35-38 Ms-Gui, Ms-1948e and ME-1953: The dynamic of these four bars is identical.

99.1 Ms-1928:pp

Étude No. 1 2

1 Ms-1928 and Ms-Teran: Un peu animé Ms-Gui, Ms-1 948e and ME-1953: Animé. The dynamic signs

Ms-1928 and Ms-Terân: The dynamic of the same bars is more variegated.

DF 15851

xxxvii

Étude No. 12, Étude _ - Iü J.!s-1928)-English � mf

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Étude No.10 is presented in this form in three sources:

.

Ms-Gui, Ms-1928 and Ms-Terân. 1 Ms-Gui, Ms-1 940c, Ms-1948e and ME-1953: Très animé Ms-1928: Animé next to the crossed-out indication Très animé Ms-Terân: Animé 46-47 Ms-Gui. Ms-1928 and Ms-Terân: The harmony appears to be sli­ ghtly modified with the expected G replaced by an F#. We felt it was opportune to reinstate the G since this would have been the only exception to the harmonie treatment reserved at the beginning of the piece. Moreover, the F # would imply a change of fingering of the left hand which would be rather unlikely in a context in which the harmony seems to be dictated by the shift of the same position along the fretboard.

..

35.1-36.1 Ms-Gui, Ms- 1 928, Ms-1 940c and Ms-1948e: The empty B string (third line) in the first chord is written unaligned with the other notes of the chord and with a crotchet value. 38.2 Ms-Terân: rai/. 39 Ms-1928: The im fingering is only indicated in this source. 40 Ms-1928: The fingering of the right hand is intended for the bichord, i.e. one single finger playing two strings simultaneously. 60-61 Ms-1928 and Ms-Terân: These two bars have been omitted. 79.3 Ms-1928: The second A bass is not tied to the previous bass and carried an accent. Ms-1 940c, Ms-1 948e and ME-1953: The two A bass are tied. 88 Ms-1928: cresc. 91.1 Ms-1928: mf Ms-Terân: a tempo subito 95.1 Ms-Gui, Ms-1 948e and ME-1953: Accent on the first B Ms-1928, Ms-1 940c and Ms-Terân: staccato dot 100 Ms-Gui, Ms-1928, Ms-Terân and Ms-1 940c: The second A bass is not tied to the previous bass and carries an accent Ms-1 948e and ME-1953: The two A bass are tied and the second carries the accent. The slur is a misprint.

Étude No.10, bars 46-47, Ms-1928 46

54 Ms-Gui, Ms-1940c, Ms-1948e and ME-1953: Un peu animé Ms-1928: Très animé. The Très was added above the crossed-out Un peu.

Ms-Terân: Très Animé 82.4 Ms-1928 and Ms-Terân: A-B-A-E instead of the G-A-G-E in the other sources. Probably an error. 103-104 Ms-1 928: ln thisversion, as in ail the other sources, the writing of these two bars seems simplified and inconsistent with the model proposed from bar 99. We felt it opportune, as in the case of the 1953 version, to even out the writing of these bars, aligning them with the struc­ ture of bar 99.

Étude No. 10, version 1928, bars 99-106, Ms-1928

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DF 15851

première fois par les Editions Max Eschig en 1953, avec une préface du dédi­

::i. -=

� G'::.�· a

:a:.;;

·e ��z;·es Segovia, les

Do uze Études d'Heitor Villa-Lobos ont en réalité vu le jour à Paris,

� er :::es a·1ées plus tôt, probablement e n 1924, pour être achevées en octobre 1928.

J5

sa

SO't;e, le recueil fut reconnu comme l'un des chefs-d'œuvre de son auteur et plus

Etudes

argerne11t dJ rép�rtoire pour la guitare d u vingtième siècle. Bien que souvent interprétées ont été conçues comme un tout cohérent, et chacune d'elles est s.éoarément. ces

é:roi�ement liée à celle qui la précède ou la suit par une logique tonale. les

Douze Études montrent toute

la richesse polyédrique des m u l t pies influences cultu­

rel:es de Vil la- Lobos, q u i s'étend de la musique de Bach au lyrisme romantique de Chopin, en passant par la musique traditionnelle brésilienne, présente aussi bien dans sa forme uroaine que dans ses ascendances africaines et amazoniennes pour les dernières études.

La présente édition critique est née d'une étude attentive de toutes les sources manuscri­

:es, laquelle a permis une nouvelle et pertinente reconstruction des :Jifférentes facettes de la

genèse du recueil. Enfin, le volume comporte un certain nombre de variantes proposées

en annexe ainsi qu'un min utieux commentaire critique. Pubblicate per la prima volta dalle Éditions Max Eschig nel 1953, c:in una prefazione del

dedicatario And rés Segovia, le

Douze Études di

Heitor Villa-Lobos ve 'rnero in rea ltà iniziate

a Parigi moiti anni prima, probabilmente nel 1924, e terminate nell'o:tobre del 1928.

la raccolta venne immediatamente riconosciuta al suo apparire corne uno dei capolavori

Études furono concepite corne un corpo u nit.aria, e ciascuna di esse

di Villa-Lobos e del repertorio chitarristico del Novecento. Anche se spesso eseguite separatamente, queste

e strettamente legata alla precedente e alla successiva d a una logica tonale. Le

Douze Études mostrano tutta

la ricchezza delle poliedriche sugge:stioni culturali di Villa­

Lobos, che spaziano dalla musica di Bach al lirismo romantico di Chopin, fino alla musica

Étude n°1

Etude n°2 ,

Étude n°3

Etude n°4

Étude n°5

des arpèges des arpèges des arpèges des accords répétés

Étude n°6 Étude n°7 Étude n°8 Étude n°9

des ornements

Étude n°10

Étude n°11

(1 953)

Étude n°12

Étude n°10 (1 928)

tradizionale brasiliana presente sia nella sua forma urbana sia nelle ascendenze africane e amazzoniche degli ultimi studi. La presente edizione critica é nata da un attento studio d i tutte le fonti manoscritte, studio che ha consentito una nuova e puntuale ricostruzione d i tutte le vicende della genesi della raccolta. Il volume presenta infine alcune varianti inserite in appendice

e

u n minuzioso commento critico.

Published for the first time by Éditions Max Eschig i n 1953, with a preface by Andrés

Segovia to whom the work was dedicated, the composing of the

Douze Études by Heitor

Villa-Lobos had actually commenced in Paris many years previously, probably in 1924, a n d fin ished i n October 1928.

When it appeared, the collection was immediately hailed as one of the masterpieces of its author and of guitar repertoires of the 20'" century. Even though they are often performed

separately, these

Études

were conceived as a unitary body of wcrk, each

being

Douze Études display ail of the wealth of polyhedric cultural suggestion of Villa-Lobos,

closely linked to that preceding and that following, through tonal logic. The

Étude

that extends from the music of Bach to the romantic lyricism of Ctiopin, finally touching on the traditional music of Brazil, present either in its urban form or through its African and Amazonian influences in the last studies. This critical edition has grown out of a painstaking study of a l l of tre manuscript sources, enabli ng a new and precise reconstruction of the events surroundi1g the genesis of th i s collection. Fina lly, the volume presents certain va riants that can be �ound i n the Appendix and a detailed critical commenta ry.

ISMN 979-0-045-04541-8

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