Catalogue W447 Form Symphony | Genre Symphony Composed 1944 (1944): | |
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English On the Outline of the Mountains of Brazil (subtitle) Based on "Millimetrization" of the outline of mountains at Belo Horizonte in Brazil | ||
Symphony No. 6, Sobre a linha das montanhas do Brasil (On the Outline of the Mountains of Brazil) is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1944. It lasts about twenty-five minutes in performance.
Contents
History
Villa-Lobos composed his Sixth Symphony in Rio de Janeiro in 1944. It was first performed in Rio de Janeiro on 29 April 1950 by the Orquestra do Theatro Municipal, conducted by the composer. The score is dedicated to Mindinha (Villa-Lobos, sua obra 2009, 44–45).
Instrumentation
The symphony is scored for an orchestra consisting of 2 piccolos, 3 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, tam-tam, bass drum, large side drum, Indian drum, side drum, cymbals, vibraphone, celesta, 2 harps, and strings.
Analysis
The symphony consists of four movements:
- Allegro non troppo
- Lento
- Allegretto quasi animato
- Allegro
The main theme of the symphony was devised by projecting the outline of mountains at Belo Horizonte, Brazil, onto graph paper and transcribing the result as a melody. Villa-Lobos called this technique milimetrazação (graphing), sometimes rendered in English as "millimetrization" (Slonimsky 1945, 6) or "milmeterization" (Enyart 1984, 188). A harmonized version of this melody for piano, together with a similar treatment titled New York Skyline, was initially published in the October 1942 issue of New Music, devoted to works by Brazilian composers (Slonimsky 1945, 150).
The first movement is in a slightly unconventional sonata-allegro form which, according to the composer's usual methods, omits the second theme from the recapitulation. The overall tonal centre is on C, with secondary key areas on D and G (Enyart 1984, 195–97).
In the second movement, Villa-Lobos utilizes a technique of drawing attention to a pitch through its exclusion, in an arguably atonal passage in b. 33–47 where a clarinet solo weaves a long melody repeatedly using eleven chromatic notes, with the omission of the note G. This pitch is then introduced emphatically in the viola entrance at b. 47 (Salles 2009, 154).