Chôros No. 3, "Pica-pau" (Woodpecker) is a work for male choir or instrumental septet, or both together, written in 1925 by the Brazilian composer Heitor Villa-Lobos. It forms a part of a series of fourteen numbered compositions collectively titled Chôros, ranging from solos for guitar and for piano up to works scored for soloist or chorus with orchestra or multiple orchestras. and in duration up to over an hour. Chôros No. 3 is one of the shorter members of the series, a performance lasting about three-and-a-half minutes.
Tarsila do Amaral, ca. 1925Oswald de Andrade in 1922
Chôros No. 3 was composed in São Paulo in 1925, the year after Chôros Nos. 2 and 7 were written, and the score is dedicated to the painter Tarsila do Amaral and the poet Oswald de Andrade. It was premiered 30 November 1925 at the Theatro Municipal in São Paulo by Antenor Driussi (clarinet), Canelle, Pierre, Martin Palka, Nicola Micelli, Paulo Alpenien, and Frederico del Ré (trombone), conducted by the composer. The first European performance took place on 5 December 1927 in Paris, on the second of two concerts dedicated to Villa-Lobos's music, at the Salle Gaveau. The instrumentalists were Louis Cahuzac (clarinet), Hippolyte Poimboeuf (alto saxophone), Gustave Dhérin (bassoon), Edmond Entraigue, Jean-Lazare Pénable, and Mr. Marquette (horns) and Jules Dervaux (trombone), conducted by Robert Siohan.[1] A recording by the latter ensemble, including a male choir, appears to have been made shortly after the French premiere and released as a part of a 78 rpm disc [?Disque Gramophone] GW-914.[2]
Chôros No. 3 is one of the few major works in Villa-Lobos's catalogue based principally on documented Amerindian music. Its main musical subject, presented in canon or fugato at the beginning, is a feasting song of the Pareci tribe, "Nozani-ná", which had been collected in the Serra do Norte, Mato Grosso, on a cylinder recording by Edgar Roquette-Pinto in 1912. Villa-Lobos had already used a modified form of a fragment of this theme in Chôros No. 7, and had set the whole song for voice and piano as one of the ten Canções típicas brasileiras in 1919. To this are added fragments from two other Pareci songs from Roquette-Pinto's collection, "Noal anaue" and "Ena-mô-kocê". This section comes to an end with a passage of vocal glissandi, and is followed by the Indianist imitation of a woodpecker that gives the work its subtitle. However, "Nozani-ná" recurs over this ostinato, in longer note values and with some adjustment to the pitches, until the work comes to an end with a unison shout of the word "Brasil!".[3][4][5]
Concerning the sense of the words to "Nozani-ná", opinions differ. According to one authority, "the meaning of the words is unknown, but the sound of the male voices and horns is unique".[6] Another source asserts "the text is 'without sense or meaning imitating the Indian language'",[4] attributing the quotation to Lisa Peppercorn's book where, however, on the very page cited, a full translation is given: "This is the hour of drinking / this is the hour of eating / we eat the Kozetozá [a maize dish] / we drink the Oloniti [wine made from maize]".[7]
Referencesedit
Appleby, David P. 2002. Heitor Villa-Lobos: A Life (1887–1959). Lanham, MD, and London: Scarecrow Press. ISBN0-8108-4149-5.
Béhague, Gerard. 1994. Villa-Lobos: The Search for Brazil's Musical Soul. Austin: Institute of Latin American Studies, University of Texas at Austin. ISBN0-292-70823-8.
Moreira, Gabriel Ferrão. 2013a. "O estilo indígena de Villa-Lobos, Parte 1: Aspectos melódicos e harmônicos". Per Musi, no. 27 January–June): 19–28.
Moreira, Gabriel Ferrão. 2013b. "O estilo indígena de Villa-Lobos, Parte 2: Aspectos rítmicos, texturais, potencial significante e tópicas indígenas". Per Musi, no. 27 January–June): 29–38.
Moreira, Gabriel Ferrão. 2014. "A construção da sonoridade modernista de Heitor Villa-Lobos por meio de processos harmônicos: um estudo sobre os Choros". PhD diss. São Paulo: Universidade do Estado de São Paulo.
Moreira, Gabriel Ferrão, and Acácio Tadeu de Camargo Piedade. 2010. "Nozani-ná e o elemento indígena na obra de Heitor Villa-Lobos dos Anos 20." Paper presented at the XX Congresso da Associação Nacional de Pesquisa e Pós-Gradução em Música, Florianópolis.
Negwer, Manuel. 2008. Villa-Lobos: Der Aufbruch der brasilianischen Musik. Mainz: Schott Music. ISBN3-7957-0168-6. Portuguese version as Villa Lobos e o florescimento da música brasileira. São Paulo: Martins Fontes, 2009. ISBN978-85-61635-40-4.
Nóbrega, Adhemar Alves da. 1975. Os chôros de Villa-Lobos. Rio de Janeiro: Museu Villa-Lobos.
Peppercorn, Lisa M. 1980. "A Villa-Lobos Autograph Letter at the Bibliothèque Nationale (Paris)". Latin American Music Review / Revista de Música Latinoamericana 1, no. 2 (Autumn–Winter): 253–64.
Salles, Paulo de Tarso. 2009. Villa-Lobos: processos composicionais. Campinas, SP: Editora da Unicamp. ISBN978-85-268-0853-9.
Santos, Filipe Daniel Fonseca dos. 2009. "Considerações sobre os aspectos estruturais do Choros no 3 de Heitor Villa-Lobos". Simpósio Internacional Villa-Lobos: USP 2009, 43–50.
Villa-Lobos, Heitor. 1972. "Choros: Estudo técnico, estético e psicológico", edited in 1950 by Adhemar Nóbrega. In Villa-Lobos, sua obra, second edition, 198–210. Rio de Janeiro: MEC/DAC/Museu Villa-Lobos.
Footnotes
^Villa-Lobos, sua obra. 2009. Version 1.0. MinC / IBRAM, and the Museu Villa-Lobos. Based on the third edition, 1989. p. 21.
^Villa-Lobos, sua obra, 1972 second edition. Rio de Janeiro: MEC/DAC/Museu Villa-Lobos. p. 265.
^ abCorbin, Dwayne Vincent. 2006. "The Three Wind/Choral Works of Heitor Villa-Lobos: Quatuor, Nonetto, and Choros No. 3". DMA thesis. Cincinnati: University of Cincinnati. p. 68.
^Wright, Simon. 1992. Villa-Lobos. Oxford Studies of Composers. Oxford and New York: Oxford University Press. ISBN0-19-315476-5 (cloth); ISBN0-19-315475-7 (pbk). pp. 35, 64–6.
^Peppercorn, Lisa M. 1991. Villa-Lobos, the Music: An Analysis of His Style Translated by Stefan De Haan. London: Kahn & Averill; White Plains, NY: Pro/AM Music Resources. ISBN1-871082-15-3. p. 57n14.
Further readingedit
Demarquez, Suzanne. 1929a. "Les Choros de Villa-Lobos". Musique: Revue mensuelle de critique, d'histoire, d'esthétique et d'information musicales, No. 4 (15 January): 707–13.
Villa-Lobos site at Indiana University: Maintained by the
December 15, 2023
chôros, pica, woodpecker, work, male, choir, instrumental, septet, both, together, written, 1925, brazilian, composer, heitor, villa, lobos, forms, part, series, fourteen, numbered, compositions, collectively, titled, chôros, ranging, from, solos, guitar, pian. Choros No 3 Pica pau Woodpecker is a work for male choir or instrumental septet or both together written in 1925 by the Brazilian composer Heitor Villa Lobos It forms a part of a series of fourteen numbered compositions collectively titled Choros ranging from solos for guitar and for piano up to works scored for soloist or chorus with orchestra or multiple orchestras and in duration up to over an hour Choros No 3 is one of the shorter members of the series a performance lasting about three and a half minutes Choros No 3Pica pauChoros by Heitor Villa LobosHeitor Villa LobosEnglishWoodpeckerCatalogueW206Melody Nozani na Noal anaue and Ena mo koce trad Pareci tribe Mato Grosso coll 1912 by Roquette Pinto Composed1924 1924 Rio de JaneiroDedicationTarsila do Amaral and Oswald de AndradePublished1928 1928 ParisPublisherMax EschigRecorded19 19 Louis Cahuzac clarinet Hippolyte Poimboeuf alto saxophone Gustave Dherin bassoon Edmond Entraigue Jean Lazare Penable and Mr Marquette horns and Jules Dervaux trombone conducted by Robert Siohan 78rpm monaural disc Disque Gramophone GW 914 Duration3 5 mins Scoringclarinetalto saxophonebassoon3 hornstrombonefour part men s chorus TTBB PremiereDate30 November 1925LocationTheatro Municipal Sao PauloConductorHeitor Villa LobosPerformersAntenor Driussi clarinet Mr Canelle Mr Pierre Martin Palka Nicola Micelli Paulo Alpenien and Frederico del Re trombone Contents 1 History 2 Analysis 3 References 4 Further reading 5 External linksHistory edit nbsp Tarsila do Amaral ca 1925 nbsp Oswald de Andrade in 1922Choros No 3 was composed in Sao Paulo in 1925 the year after Choros Nos 2 and7 were written and the score is dedicated to the painter Tarsila do Amaral and the poet Oswald de Andrade It was premiered 30 November 1925 at the Theatro Municipal in Sao Paulo by Antenor Driussi clarinet Canelle Pierre Martin Palka Nicola Micelli Paulo Alpenien and Frederico del Re trombone conducted by the composer The first European performance took place on 5 December 1927 in Paris on the second of two concerts dedicated to Villa Lobos s music at the Salle Gaveau The instrumentalists were Louis Cahuzac clarinet Hippolyte Poimboeuf alto saxophone Gustave Dherin bassoon Edmond Entraigue Jean Lazare Penable and Mr Marquette horns and Jules Dervaux trombone conducted by Robert Siohan 1 A recording by the latter ensemble including a male choir appears to have been made shortly after the French premiere and released as a part of a 78 rpm disc Disque Gramophone GW 914 2 Analysis edit nbsp Green barred Woodpecker Pica pau carijo Colaptes melanochloros Choros No 3 is one of the few major works in Villa Lobos s catalogue based principally on documented Amerindian music Its main musical subject presented in canon or fugato at the beginning is a feasting song of the Pareci tribe Nozani na which had been collected in the Serra do Norte Mato Grosso on a cylinder recording by Edgar Roquette Pinto in 1912 Villa Lobos had already used a modified form of a fragment of this theme in Choros No 7 and had set the whole song for voice and piano as one of the ten Cancoes tipicas brasileiras in 1919 To this are added fragments from two other Pareci songs from Roquette Pinto s collection Noal anaue and Ena mo koce This section comes to an end with a passage of vocal glissandi and is followed by the Indianist imitation of a woodpecker that gives the work its subtitle However Nozani na recurs over this ostinato in longer note values and with some adjustment to the pitches until the work comes to an end with a unison shout of the word Brasil 3 4 5 Concerning the sense of the words to Nozani na opinions differ According to one authority the meaning of the words is unknown but the sound of the male voices and horns is unique 6 Another source asserts the text is without sense or meaning imitating the Indian language 4 attributing the quotation to Lisa Peppercorn s book where however on the very page cited a full translation is given This is the hour of drinking this is the hour of eating we eat the Kozetoza a maize dish we drink the Oloniti wine made from maize 7 References editAppleby David P 2002 Heitor Villa Lobos A Life 1887 1959 Lanham MD and London Scarecrow Press ISBN 0 8108 4149 5 Behague Gerard 1994 Villa Lobos The Search for Brazil s Musical Soul Austin Institute of Latin American Studies University of Texas at Austin ISBN 0 292 70823 8 Moreira Gabriel Ferrao 2013a O estilo indigena de Villa Lobos Parte 1 Aspectos melodicos e harmonicos Per Musi no 27 January June 19 28 Moreira Gabriel Ferrao 2013b O estilo indigena de Villa Lobos Parte 2 Aspectos ritmicos texturais potencial significante e topicas indigenas Per Musi no 27 January June 29 38 Moreira Gabriel Ferrao 2014 A construcao da sonoridade modernista de Heitor Villa Lobos por meio de processos harmonicos um estudo sobre os Choros PhD diss Sao Paulo Universidade do Estado de Sao Paulo Moreira Gabriel Ferrao and Acacio Tadeu de Camargo Piedade 2010 Nozani na e o elemento indigena na obra de Heitor Villa Lobos dos Anos 20 Paper presented at the XX Congresso da Associacao Nacional de Pesquisa e Pos Graducao em Musica Florianopolis Negwer Manuel 2008 Villa Lobos Der Aufbruch der brasilianischen Musik Mainz Schott Music ISBN 3 7957 0168 6 Portuguese version as Villa Lobos e o florescimento da musica brasileira Sao Paulo Martins Fontes 2009 ISBN 978 85 61635 40 4 Nobrega Adhemar Alves da 1975 Os choros de Villa Lobos Rio de Janeiro Museu Villa Lobos Peppercorn Lisa M 1980 A Villa Lobos Autograph Letter at the Bibliotheque Nationale Paris Latin American Music Review Revista de Musica Latinoamericana 1 no 2 Autumn Winter 253 64 Salles Paulo de Tarso 2009 Villa Lobos processos composicionais Campinas SP Editora da Unicamp ISBN 978 85 268 0853 9 Santos Filipe Daniel Fonseca dos 2009 Consideracoes sobre os aspectos estruturais do Choros no 3 de Heitor Villa Lobos Simposio Internacional Villa Lobos USP 2009 43 50 Villa Lobos Heitor 1972 Choros Estudo tecnico estetico e psicologico edited in 1950 by Adhemar Nobrega In Villa Lobos sua obra second edition 198 210 Rio de Janeiro MEC DAC Museu Villa Lobos Footnotes Villa Lobos sua obra 2009 Version 1 0 MinC IBRAM and the Museu Villa Lobos Based on the third edition 1989 p 21 Villa Lobos sua obra 1972 second edition Rio de Janeiro MEC DAC Museu Villa Lobos p 265 Appleby 2002 pp 81 2 a b Corbin Dwayne Vincent 2006 The Three Wind Choral Works of Heitor Villa Lobos Quatuor Nonetto and Choros No 3 DMA thesis Cincinnati University of Cincinnati p 68 Wright Simon 1992 Villa Lobos Oxford Studies of Composers Oxford and New York Oxford University Press ISBN 0 19 315476 5 cloth ISBN 0 19 315475 7 pbk pp 35 64 6 Appleby 2002 p 81 Peppercorn Lisa M 1991 Villa Lobos the Music An Analysis of His Style Translated by Stefan De Haan London Kahn amp Averill White Plains NY Pro AM Music Resources ISBN 1 871082 15 3 p 57n14 Further reading editDemarquez Suzanne 1929a Les Choros de Villa Lobos Musique Revue mensuelle de critique d histoire d esthetique et d information musicales No 4 15 January 707 13 Demarquez Suzanne 1929b Villa Lobos Revue Musicale 10 no 10 November 1 22 External links editvillalobos iu edu Villa Lobos site at Indiana University Maintained by the Latin American Music Center Retrieved from https en wikipedia org w index php title Choros No 3 amp oldid 1039079050, wikipedia, wiki, book, books, library,
