String Quartet No. 12 (Villa-Lobos)

String Quartet No. 12 is the part of a series of seventeen works in the medium by the Brazilian composer Heitor Villa-Lobos, and was written in 1950. A performance lasts approximately twenty-two minutes.

Villa-Lobos in June 1952

History

Villa-Lobos began composing his Twelfth Quartet in New York in 1950, during a stay in Memorial Hospital following kidney surgery, completing the score at the Hotel Weston on 15 September (Gustafson 1991, 8, 10–11). According to the catalogue published by the Museu Villa-Lobos, it was first performed by the Quarteto Haydn in the Auditório do MEC, Rio de Janeiro, on 3 November 1951 (Villa-Lobos, sua obra 1989). According to another authority, the first performance was given that same year by the São Paulo Quartet (Gutiérrez 2006, 3). The score is dedicated to Mindinha (Arminda Neves d'Almeida), the composer's companion for the last 23 years of his life.

Analysis

As in all of Villa-Lobos's string quartets except the first, there are the traditional four movements:

  1. Allegro
  2. Andante malinconico
  3. Allegretto leggiero
  4. Allegro ben ritmato

Departing from the traditional sonata-allegro form, Villa-Lobos casts the opening movement of this quartet in a simple ABA ternary form. Each section is thirty-two bars in length, subdivided into sixteen- , eight- , and four-bars segments, and this main body of the movement is followed by a sixteen-bar coda. An interesting detail of the manuscript score is that Villa-Lobos uses the Portuguese tempo marking Alegro, instead of the Italian spelling which is his normal habit (Gutiérrez 2006, 4). The middle, B section is marked meno, and is in the rhythm of a modinha (Estrella 1978, 100). The composer's biographer, Eero Tarasti, regards this as a regression to Villa-Lobos's earlier, clumsier style of quartet writing, and finds the texture "considerably more complicated than in previous quartets and the sound lacks transparency" (Tarasti 1995, 316). Juan José Gutiérrez, on the contrary, views the quartet as relatively simple and concise, marking the beginnings of a neoclassical concern with balance and symmetry of structure in the composer's late period (Gutiérrez 2006, 3–4).

Like the opening movement's central section, the second, slow movement has the character of a modinha. Like the first movement, it is also in an ABA ternary form, in this case preceded by a thirty-two-bar introduction (Gutiérrez 2006, 8–9).

The third movement is a scherzo (explicitly marked as such in the manuscript, but not in the printed score) (Gutiérrez 2006, 11). At rehearsal-number five the cello introduces a quotation from Villa-Lobos's 1940 cantata Mandú-Çárárá, played in parallel fifths (Tarasti 1995, 317).

The finale is once again a ternary ABA form, with a twenty-one bar coda (Gutiérrez 2006, 13). The composer described one theme from this movement as being "à la Spanish" (Gustafson 1991, 8).

Discography
  • Villa-Lobos: Quatuors a Cordes Nos. 12–13–14. Quatuor Bessler-Reis (Bernardo Bessler, Michel Bessler, violins; Marie-Christine Springuel, viola; Alceu Reis, cello). Recorded at Multi Studio in Rio de Janeiro, June–July 1991, and at Studio Master in Rio de Janeiro, July 1989. CD recording, 1 disc: digital, 12 cm, stereo. Le Chant du Monde LDC 278 1066. France: [S.n.], 1991.
    • Also issued as part of Villa-Lobos: Os 17 quartetos de cordas / The 17 String Quartets. Quarteto Bessler-Reis and Quarteto Amazônia. CD recording, 6 sound discs: digital, 12 cm, stereo. Kuarup Discos KCX-1001 (KCD 045, M-KCD-034, KCD 080/1, KCD-051, KCD 042). Rio de Janeiro: Kuarup Discos, 1996.
  • Heitor Villa-Lobos: String Quartets Nos. 5, 9 and 12. Danubius Quartet (Gyöngyvér Oláh and Adél Miklós, violins; Cecilia Bodolai, viola; Ilona Ribli, cello). Recorded at the Rottenbiller Street Studio in Budapest from 18–23 May 1992. CD recording, 1 disc: digital, 12 cm, stereo. Marco Polo 8.223392. A co-production with Records International. Germany: HH International, Ltd., 1993.
  • Villa-Lobos: String Quartets, Volume 4. Quartets Nos. 2, 12, 16. Cuarteto Latinoamericano (Saúl Bitrán, Arón Bitrán, violins; Javier Montiel, viola; Alvaro Bitrán, cello). Recorded at the Sala Blas Galindo of the Centro Nacional de las Artes in Mexico City, November and December 1998. Music of Latin American Masters. CD recording, 1 disc: digital, 12 cm, stereo. Dorian DOR-93179. Troy, NY: Dorian Recordings, 1998.
    • Reissued as part of Heitor Villa-Lobos: The Complete String Quartets. 6 CDs + 1 DVD with a performance of Quartet No. 1 and interview with the Cuarteto Latinoamericano. Dorian Sono Luminus. DSL-90904. Winchester, VA: Sono Luminus, 2009.
    • Also reissued (without the DVD) on Brilliant Classics 6634.

Filmography
  • Villa-Lobos: A integral dos quartetos de cordas. Quarteto Radamés Gnattali (Carla Rincón, Francisco Roa, violins; Fernando Thebaldi, viola; Hugo Pilger, cello); presented by Turibio Santos. Recorded from June 2010 to September 2011 at the Palácio do Catete, Palácio das Laranjeiras, and the Theatro Municipal, Rio de Janeiro. DVD and Blu-ray (VIBD11111), 3 discs. Rio de Janeiro: Visom Digital, 2012.
gollark: Even encoding languages and stuff will drag in politics.
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gollark: I don't think this has much of an effect generally, as most stuff counts by codepoints (which is wrong in some ways but OH WELL) and it's the same amount of those either way.
gollark: Fun!
gollark: So depending on global geopolitical status, two regional indicators show as different amounts of characters.

References
  • Estrella, Arnaldo. 1978. Os quartetos de cordas de Villa-Lobos, second edition. Rio de Janeiro: Museu Villa-Lobos, Ministério da Educação e Cultura.
  • Farmer, Virginia. 1973. "An Analytical Study of the Seventeen String Quartets of Heitor Villa-Lobos". DMA diss. Urbana: University of Illinois at Urbana-Champagne.
  • Gustafson, Ralph. 1991. "Villa-Lobos and the Man-Eating Flower: A Memoir". The Musical Quarterly 75, No. 1 (Spring, 1991), pp. 1–11.
  • Gutiérrez, Juan José. 2006. "Performance Aspects of String Quartets No. 12, 13 and 14 by Heitor Villa-Lobos". DMA diss. Tallahassee: Florida State University.
  • Kraehenbuehl, David. 1957. "George Rochberg: String Quartet, 1952. (Society for the Publication of American Music, 37th Season, 1956.) New York: Society for the Publication of American Music; distr.: Carl Fischer, 1957; Toch, Ernst. Dedication. For string quartet or string orchestra, with optional bass part. New York: Mills, 1957. Heitor Villa-Lobos: String Quartets, Nos. 4, 7, and 12. New York: Associated Music Publishers, 1956; Ernest Gold: String Quartet No. 1. (Society for the Publication of American Music, 37th Season, 1956.) New York: Society for the Publication of American Music; distr.: Carl Fischer, 1957". Notes 15, no. 1 (December): 147.
  • Macedo Ribeiro, Roberto. 2000. "A escrita contrapontística nos quartetos de cordas de Heitor Villa-Lobos". In Anais do I Colóquio de Pesquisa de Pós-Graduação, edited by Marisa Rezende and Mário Nogueira, 71–76. Rio de Janeiro: Universidade Federal do Rio de Janeiro (UFRJ) (Escola de Música).
  • Tarasti, Eero. 1995. Heitor Villa-Lobos: The Life and Works, 1887–1959. Jefferson, North Carolina: McFarland & Company, Inc.
  • Villa-Lobos, sua obra. 1989. Third edition. Rio de Janeiro: MinC-SPHAN/Pró-Memória, Museu Villa-Lobos. Online edition, 2009

Further reading
  • Béhague, Gerard. 1979. Music in Latin America: An Introduction. New Jersey: Prentice-Hall.
  • Béhague, Gerard. 1994. Heitor Villa-Lobos: The Search for Brazil's Musical Soul. Austin: Institute of Latin American Studies, University of Texas at Austin.
  • Béhague, Gerard. 2003. Villa-Lobos, Heitor: String Quartets, Cuarteto Latinoamericano. [review] Latin American Music Review / Revista de Música Latinoamericana 24, no. 2 (Autumn–Winter): 293–94.
  • Gilman, Bruce. 1999. "Enigma de vanguardia", translated by Juan Arturo Brennan. Pauta: Cuadernos de teoría y crítica musical 17, no. 69 (January–March): 29–34.
  • Tarasti, Eero. 2009. "Villa-Lobos's String Quartets". In Intimate Voices: The Twentieth-Century String Quartet, vol. 1: Debussy to Villa-Lobos, edited by Evan Jones, 223–55. Eastman Studies in Music 70. Rochester, NY: University of Rochester Press. ISBN 978-1-58046-322-5; ISBN 978-1-58046-229-7; ISBN 978-1-58046-340-9.
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