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Heitor Villa-Lobos, 1887-1959
 Heitor Villa-Lobos studied music through a diversity of sources: café music in Rio de Janeiro, folk music throughout Brazil, an impressionable exposure to Debussy, Ravel and Bach, followed by a lengthy stay in Paris in the 1920’s, where he encountered the likes of Poulenc, Milhaud and Stavinsky. He returned to his native Brazil where he introduced the European repertoire and wrote volumes of strikingly original music in myriad and novel forms. Villa-Lobos became a national treasure, an international celebrity and the most highly esteemed Brazilian composer to date. His chamber output is daunting, including seventeen string quartets written over a period of forty-two years. It is fair to say that Villa-Lobos is terribly under-represented by current chamber music programming. « More »
| contrapunctus diurnalis (daily counterpoint) |
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earsense celebrates and explores how music makes "sense" with a focus on the extraodinary genre of chamber music.
The centerpiece of earsense is a comprehensive database of chamber music composers, works, events and related media called chamberbase.
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As far as fugue itself is concerned, we must honestly face the fact that the rules of fugue as laid down in the text-books have no classical foundation at all. A recent writer has told us that Bach knew these rules very well and broke them with impunity. But not only had Bach never heard of them, but he himself drew up, in Die Kunst der fuge, a series of fugues with the avowed purpose of systematizing the art-form; and the writers of text-books, though they quote examples from Bach, have never taken the slightest notice of his classification.
Donald Tovey
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