We consider, in particular, the influence of the guitar in Villa-Lobos's writing as well as the use of rhythmic patterns derived from Brazilian folk instruments, such as the berimbau and pandeiro. Some of these elements are obvious at the surface of the music but others are hidden in the texture. In terms of the finished score, we discuss Villa-Lobos's use of Brazilian folk materials, such as idiomatic themes, harmony, rhythm, texture, form, and instrumental color. This latter aspect of the study might unveil what compelled him to write such a piece. In order to understand Villa-Lobos's use of vernacular elements in the Concerto, this study traces his background, musical style in general, and his particular affection to the cello. Although Villa-Lobos does not directly quote any folk themes, the music sounds definitively Brazilian: folk-like elements and dance rhythms permeate the score. ![]() ![]() By understanding the composer's inspirational sources we might enlighten any performance of the concerto. ![]() It shows how these components infuse the finished score and how they appeared in the compositional process. This doctoral essay studies the Brazilian elements in Villa-Lobos's Cello Concerto No.
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