Villa-Lobos: Symphony No. 12, Uirapuru & Mandu-Çarará

Featuring

Isaac Karabtchevsky
Orquestra Sinfônica do Estado de São Paulo
Coro da Orquestra Sinfônica do Estado de São Paulo
Coro Infantil da Orquestra Sinfônica do Estado de São Paulo
Heitor Villa-Lobos

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Composition History

Uirapuru, one of Villa-Lobos's most frequently performed works, is largely based on his earlier symphonic poem Tédio de Alvorada (Tedium of Dawn) from 1916.

Compositional Technique

Mandu-Çarará, a secular cantata, is notable for Villa-Lobos's contrast between the solemn adult choir representing Curupira (a forest spirit) and the brisk children's choir, using an onomatopoeic Nheengatu text.

Recording & Production

This recording is part of a project to record the complete cycle of Villa-Lobos's symphonies with revised scores, launched in 2011 by the São Paulo Symphony Orchestra's publishing branch.

Composer Biography

Heitor Villa-Lobos completed his final Symphony No. 12 on his 70th birthday in 1957, dedicating it to his companion Mindinha.

Compositional Technique

Villa-Lobos's Symphony No. 12 combines the symphonic craftsmanship of great masters with his typical explosion of energy, unusual harmonic patterns, rhythmic restlessness, and a fondness for free counterpoint.

Cultural Impact

Uirapuru, a ballet based on the mythical Amazonian bird with an extraordinarily melodious song, became a calling card for the modernist Villa-Lobos, especially after being recorded by Leopold Stokowski.

Composer's Artistic Vision

Villa-Lobos's project was to formulate a classical language for Brazilian music, which he pursued through various facets like ballets, Choros, Bachianas Brasileiras, and chamber music.