VillaLobos was fascinated by the music, myths, and rites of the Brazilian Indios, and his compositions reflect his deep study of this music. The five Preludes were each written in homage: Prelude No 1 (Homenagem ao sertanejo brasileiro) in homage to the Brazilian country dweller; Prelude No 2 (Homenagem ao Malandro Carioca) in homage to the rascal of Rio, the Malandro Carioca; Prelude No 3 (Homenagem a Bach) in homage to Bach; Prelude No 4 (Homenagem ao Indio Brasileiro) in homage to the Brazilian Indios; and Prelude No 5 (Homenagem ao Vida Social) in homage to social life: ‘to the freshfaced young boys and girls who go to concerts and the theatre in Rio’.

VillaLobos’s aunt was an acknowledged interpreter of Bach’s 48 Preludes and Fugues, so it is not surprising that Bach was an equally strong influence on the composer. It was not until the age of twenty that VillaLobos enrolled in the National Institute of Music in Rio de Janeiro to take formal classes in harmony, counterpoint, fugue, and composition, and he found it difficult to settle down to his studies, as he had already produced a great quantity of pieces. VillaLobos originally dedicated his Cinq Préludes, which were written in 1940, to Andrés Segovia. When they were published by Max Eschig in 1954, the dedication was changed to Mindinha, VillaLobos’s wife. Uruguayan guitarist Abel Carlevaro premièred Preludes Nos 3 and 4 on 11 November 1943.

Source: https://www.hyperionrecords.co.uk/dw...

Marcin Dylla, guitar


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