Wikipedia

Fantasia for saxophone, three horns, and strings

Fantasia for saxophone, three horns, and strings, W. 490, is a concertante work in three movements by the Brazilian composer Heitor Villa-Lobos, written in 1948. A performance of it lasts approximately ten minutes.

Fantasia
by Heitor Villa-Lobos
Heitor Villa-Lobos c. 1922
CatalogueW. 490
GenreConcertante
FormFantasia
Composed1948 (1948): Rio de Janeiro
DedicationMarcel Mule
Published1963 (1963): New York (reduction for saxophone and piano)
PublisherSouthern Music
RecordedApril 1971 (1971-April), Notre Dame du Liban, Paris. Eugene Rousseau, soprano saxophone; Paul Kuentz Chamber Orchestra; Paul Kuentz, cond. (issued 1972 on LP, Deutsche Grammophon 2530 209).
Duration10 minutes
Movements3
Scoring
  • saxophone (soprano or tenor)
  • 3 horns
  • strings
Premiere
Date17 November 1951 (1951-11-17):
LocationAuditório do Palácio de Cultura, Rio de Janeiro
ConductorHeitor Villa-Lobos
PerformersWaldemar Szpilman [pt], tenor saxophone; Orquestra de Câmara do Ministério da Educação e Cultura

History

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The saxophone features prominently throughout Villa-Lobos's compositional output. He discovered the saxophone in his youth, while playing in the street orchestras called "chorões". Amongst his friends in these circles was the saxophonist Anacleto de Medeiros [pt; de; eo] and, as a clarinetist himself, Villa-Lobos occasionally performed on the saxophone also. As a composer, he frequently scored for the saxophone. In chamber music, the most important examples include the Sexteto místico for flute, oboe, alto saxophone, harp, guitar, and celesta (1917), Quarteto simbólico for flute, alto saxophone, harp, celesta and women's voices (1921), the Nonet (1923), Chôros No. 3 and No. 7 (1925 and 1924, respectively).[1] Orchestral compositions with prominent parts for the saxophone include Uirapuru, Bachianas Brasileiras No. 2, Chôros No. 6, No. 8, No. 10, No. 11, and No. 12, and the orchestral version of Rudepoêma. In his Fourth Symphony Villa-Lobos calls for a quartet of saxophones.[2][3]

Villa-Lobos first got to know the saxophonist Marcel Mule in Paris in the 1920s, when Mule played the saxophone part in one of Villa-Lobos's orchestral works. They got on well and performed together again on several later occasions.[4] Villa-Lobos began composing the Fantasia in New York City in 1948 and completed it in Rio de Janeiro in November of the same year, as indicated on the first and last pages of the manuscript.[5] It was while Villa-Lobos was in the midst of composing this work that, in September 1948, he was diagnosed with bladder cancer and underwent surgery at the Sloan-Kettering Memorial Hospital in New York.[6][7]

The Fantasia is Villa-Lobos's only composition featuring the saxophone as soloist, and amounts to a small concerto in three movements. Although it was written for and dedicated to Mule, and originally specified the soprano saxophone, the instrument with which Mule was primarily associated, the Fantasia was not a commissioned work and there is no indication that the composer corresponded with the saxophonist about the piece prior to sending him the completed score in December 1948.[1] Mule, however, never performed the work. Although he discussed it with several conductors, none of them were interested and Mule himself said, "Somehow the piece didn't excite me at that time".[4] Mule's lack of enthusiasm may have been partly because, in the original key of F major, the solo part extends into the altissimo register, with frequent occurrences of the (notated) high F♯ and G. Mule owned a Selmer Mark VI soprano saxophone, which does not have the keywork required to quickly and easily play in this extended range.[8] After receiving the score, Mule wrote to Villa-Lobos, observing that "the high F♯ and G are very difficult to play on the soprano."

In the face of Mule's disinclination to play the work, Villa-Lobos turned to the Brazilian saxophonist Waldemar Szpilman [pt] (bandleader and cousin of the pianist Władysław Szpilman, the central figure in Roman Polansky's film The Pianist).[9] Szpilman, however, did not own a soprano saxophone, which was the instrument specified by Villa-Lobos, and, like Mule, found the highest notes too risky. Consequently, the composer decided to transpose the piece a tone lower, to E♭, and to permit the tenor saxophone as an alternative to the soprano.[3] It was during the transposition that a number of editing errors were introduced in the score.[1] The first performance took place on 17 November 1951 in the Auditório do Palacio da Cultura, Ministério da Educação e Cultura, Rio de Janeiro, with Waldemar Szpilman, tenor saxophone, and the Orquestra de Câmera do Ministério da Educação e Cultura, conducted by the composer.[10] Fifteen days after the premiere, Villa-Lobos's close friend, the pianist José Vieira Brandão [pt], presented the composer with a piano reduction of the score.[11] However, the composer was not entirely satisfied with this version and recast it himself, adjusting chord voicing and correcting wrong notes. This second version of the piano reduction was published in 1963 by Southern Music Publishing/Peer International in New York.[12]

The first recording of the work was not made until 1971, by Eugene Rousseau, who reported that, at that time, it did not appear that the orchestral parts had ever been played.[13]

With the composer's authorization, the flautist Sebastião Vianna (1916–2009) made a version for flute and orchestra, transposed upward to G major. Although Vianna tried out this version in rehearsal in 1979 with the Chamber Orchestra of the Conservatório de Música da Universidade Federal de Minas Gerais (where he taught flute), he never performed it publicly. In 2011 his former pupil, Fernando Pacífico Homem, announced his intention to premiere the flute version in the near future.[14]

Analysis

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The Fantasia is in three movements:

  1. Animé
  2. Lent
  3. Tres Animé

"Nationalistic musical elements of Brazil highlight this work, through the use of characteristic rhythmic figures, and through the use of certain melodic treatments".[15]

The first movement is characterised rhythmically by the use of polydivisions of the basic 3
2 metre.[16] Formally, it is cast in a pattern of ABCBC-coda:[1]

  • A is a lively and brilliant introduction in Latin rhythms.
  • B has a melodic, lullaby-like theme where the marking "moins" (less) seems to apply not only to the tempo, but also to nuances and character.
  • C returns to a light and energetic character, but without returning to the tempo of the beginning

The second movement prominently displays an "altered Lydian-Mixolydian scale", with a major third, augmented fourth, minor sixth and minor seventh scale degrees: E♭–F–G–A–B♭–C♭–D♭–E♭.[17]

The finale is in tripartite (ABA) form, with the outer sections in 7
4 and the central section in 4
4.[18]

References

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  1. ^ a b c d Bois 2016.
  2. ^ Butler 1994, pp. 291–299, 304–308, 316, 321.
  3. ^ a b Cottrell 2012, p. 241.
  4. ^ a b Rousseau 1982, p. 105.
  5. ^ Van Regenmorter 2009, p. 50.
  6. ^ Gustafson 1991, pp. 4–6, 8.
  7. ^ Mauk 1996, p. 62.
  8. ^ Van Regenmorter 2009, p. 53.
  9. ^ Anon. 2002.
  10. ^ Villa-Lobos, sua obra 2009, p. 63.
  11. ^ Soares 2001, p. 131.
  12. ^ Van Regenmorter 2009, pp. 55–56.
  13. ^ Liley 1998, p. 58.
  14. ^ Homem 2011, pp. 35, 38–39, 41.
  15. ^ Butler 1994, pp. 228, 274–276.
  16. ^ Butler 1994, p. 228.
  17. ^ Butler 1994, p. 249.
  18. ^ Butler 1994, p. 268.

Cited sources

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  • Anon. 2002. "Rio BR: Africanos e mexicanos não empolgam". Época no. 229 (10 October).
  • Bois, Christophe. 2016. Heitor Villa-Lobos [France]:MD Publications.
  • Butler, James Dale. 1994. "Heitor Villa-Lobos: The Compositional Use of the Saxophone in Orchestral, Chamber, and Solo Repertoire". DMA treatise. Austin: University of Texas at Austin.
  • Cottrell, Stephen. 2012. The Saxophone. Yale Musical Instrument Series. New Haven and London: Yale University Press. ISBN 978-0-300-10041-9.
  • Gustafson, Ralph. 1991. "Villa-Lobos and the Man-Eating Flower: A Memoir". The Musical Quarterly 75, no. 1 (Spring): 1–11.
  • Homem, Fernando Pacífico. 2011. "[revista.uemg.br/index.php/modus/article/download/747/464 Sebastião Vianna e a Fantasia para flauta e orquestra de Heitor Villa-Lobos]". Revista Modus 6, no. 8 (May): 29–43.
  • Liley, Thomas. 1998. "The Repertoire Heritage". In The Cambridge Companion to the Saxophone, edited by Richard Ingham, 51–64. Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-59348-4 (cloth); ISBN 0-521-59666-1 (pbk).
  • Mauk, Steven. 1996. "Villa-Lobos' Fantasia for Soprano Saxophone". Saxophone Journal 21, no. 1: 61–64.
  • Rousseau, Eugene. 1982. Marcel Mule: His Life and the Saxophone. Shell Lake, Wisconsin: Etoile Music. ISBN 978-0-918812-75-9. Second edition, Ham Lake, Minnesota: Jeanné Inc., 2012. ISBN 978-0-9841917-1-0.
  • Soares, Carlos Alberto Marques. 2001. "O Saxofone na Música de Camera de Heitor Villa-Lobos." D.M.A. diss. Rio de Janeiro: Universidade Federal do Rio de Janeiro, Escola de Música.
  • Van Regenmorter, Paula J. 2009. "Brazilian Music for Saxophone: A Survey of Solo and Small Chamber Works". DMA diss. University of Maryland, College Park.
  • Villa-Lobos, sua obra. 2009. Version 1.0. MinC / IBRAM, and the Museu Villa-Lobos. Based on the third edition, 1989.

Further reading

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  • Angelim, Jonatas Weima Cunha, and Maria José Berdardes Di Cavalcanti. 2013. "A redução para piano da Fantasia para saxofone e orquestra de Heitor-Villa Lobos: uma visão idiomática". XXIII Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música – Natal.
  • Dowdy, Roland Davis III. 2007. "The Saxophone Music of Heitor Villa-Lobos: The Restoration of the Fantasia and the Discovery of A Roseira". DM diss. Evanston: Northwestern University.
  • Mota, Lucius. 2013. "Villa-Lobos' 'Saxophone Fantasia': An Oboe Transcription". The Double Reed 36, no. 4: 145–49.
  • Poulter, David. 2013. "An Old New World Concerto for Tenor Saxophone?" The Tenor Saxophone Index (www.tenorsaxindex.info) (accessed 30 May 2018).
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