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VILLA-LOBOS' GUITAR MUSIC: Alternative Sources and

Implications for
Performance
by Stanley Yates, March 1997

© Stanley Yates, 1997

This article first appeared in Soundboard, Journal of the Guitar

Foundation of America, Summer 1997, vol. xxiv, no. 1, pp.
7-20; and, as
"Die Musik von Heitor Villa-Lobos, Alternative Quellen und Aufführungspraxis,"
in Gitarre & Laute, vol.
xix, no. 6, 1997, pp. 55-65.

Technical Note: the low resolution gif images contained in

this document are intended to assist in reading the article
online. You  may
also download Postcript files, in zip
format, for high resolution printing.

Introduction
Although we
have heard of alternative manuscript sources of Villa-Lobos'
guitar music for some time,
it is only recently that the exciting content of
several of these manuscripts has become known. The
manuscripts of which I
speak are a substantially-fingered 1928 autograph copy of the Twelve Etudes,
along with several manuscripts relating to the Five Preludes. Copies of
all are to be found in the
Museo Villa-Lobos in Rio de Janeiro (having
apparently been there since December of 1973) [Note
1].  

The most intriguing of the manuscripts is the 1928 autograph copy of the
Etudes, which adds yet
another twist to the sketchy history of this seminal
and germinal work for the guitar. Each page bears
the publisher's stamp "reproduit
par les soins des Editions Max Eschig," and is in all respects a
finished
version. It is meticulously written in the hand of the composer, and contains
considerable
detail of expression markings and fingerings. This manuscript,
however, predates several others and
clearly was not the version used by
Eschig as the basis for publication-the several manuscripts dated
Paris 1929
are much closer in their details to the Eschig publication than is the 1928
manuscript and
derive, therefore, from a revised version (or versions) of that
year [Note 2]. The Eschig edition is
copyrighted 1952 (with the exception of Etude 1, which is copyrighted 1953),
and Andres Segovia's
preface to that edition is dated January 1953. The first
edition did not appear, therefore, until twenty-
five years after composition [Note
3]. The publication manuscript upon which the edition was based
has yet to
surface [Note 4].

Why did Villa-Lobos revise his 1928 manuscript-ostensibly a finished work?

And why did virtually
none of his fingerings make it into later versions? It
is interesting that the 1928 manuscript makes no
reference to Andres Segovia
who, by 1929 was the acknowledged dedicatee of the Etudes, and who
later
supplied the preface to the Eschig publication; it is not unlikely that
Segovia suggested revisions
to Villa-Lobos.

The issue of the fingerings is even less clear-in his 1953 preface Segovia
defends the integrity of Villa-
Lobos' fingerings, though very few are actually
found in the publication:
I have not wished to change any of the "fingerings" that
Villa-Lobos himself indicated for the performance
of his works. He
understood the guitar perfectly and if he chose a particular string or
fingering to produce a
certain phrasing, we must strictly obey his wish,
although it be at the cost of greater technical effort.

It is possible that, since the 1928 manuscript alone is significantly

fingered, Villa-Lobos may simply
not have bothered to copy out the fingerings
again when preparing his revision(s). Whatever the case,
the 1928 manuscript
provides much valuable information that, inevitably, will inform future
interpretations of the music.

In this article, I discuss the major differences between the manuscripts

and the published versions, and
address the interpretation and performance
issues they inform. I also attempt to distinguish between
those differences
that clearly reflect errors or omissions in the published score (and which may

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therefore reasonably be adopted without further discussion) and those
differences that seem to be
revisions on the part of the composer (and which
should therefore be treated more cautiously)-the
issue of a composer's final
intentions is not always a simple one, as in the case, for example, of the
composer who is persuaded into revisions by his editor.

In the discussion that follows, measure numbers refer to the published

score; measures, beats and
subdivisions of beats are identified in the form
m1.1.2 ( measure1.beat1.subdivision2).

The 1928 Manuscript of the Twelve Etudes

The 1928 manuscript of the Twelve Etudes is an exceptionally clear, accurate,
and consistently-written
document; Villa-Lobos' fastidiousness extends even to
writing out all da capo sections in full. One
example of this notational
meticulousness lies in the use of differing sized noteheads to clarify the
musical structure-thematic and structural lines (in both upper and lower
registers) are given full-size
noteheads, while supporting and accompanimental
parts are consistently notated with smaller ones
[Note
5]. Providing an exceptionally clear representation of the musical
texture, this notation
sometimes transcends the obvious—as in the following
example (where identical chords are indicated
alternately as structural or
accompanimental) (fig. 1):
Figure 1. Etude 4, mm. 46-47.

The technical subtitles ("de arpège," etc.) attached to many of

the Etudes in the published score do not
appear in the 1928 manuscript,
although the first Etude does bear the provocative subtitle Prelude. It
is
tempting, though fanciful, to imagine this piece to be the "lost"
sixth prelude from the set of 1940.

Also noteworthy is that this first study, along with numbers 2 and 9, is
written without any the repeat
markings found in the published score.

Solutions to Ambiguous Passages

As already mentioned, no other copy of the Etudes contains anything like the
amount of fingering and
expression markings found in the 1928 manuscript. The
detail found, along with the sheer accuracy of
the manuscript, provides likely
solutions to many of the ambiguities found in the published versions of
the
music-the endings of the first three Etudes, for example, are notated with
considerable clarity.

At the end of Etude 1 an open-string is used instead of a harmonic in m32

beat 3.3; and in mm33-34
the notation confirms the use of harmonics on the e
and b strings (fig. 2):

Figure 2. Etude 1, mm. 32-34.

Although the intended execution of the ending of Etude 2 has led to some
controversy, the 1928
manuscript does appear to support the explanation found
in the "Carlevaro" manuscript. In this latter
source the following
Portuguese annotation appears at the point indicated in figure 3: "Pizz.
tos
simultaneos da máo direita e máo esquerda na mesma" ("pluck
simultaneously with the right and left
hands on the same [string]") [Note
6]. Although the 1928 manuscript contains no such description, the
words
harm duple that appear in the published score are not present either. However,
the circled
asterisk does appear in the 1928 manuscript and, although devoid
of any annotation, is positioned on
the pitch e-perhaps indicating the string
upon which the term pizz mg applies. Furthermore, the
diamond noteheads are
provided parenthetical accidentals which align them with the sounds produced
on the first string behind the fretting finger. It would appear that
Villa-Lobos' earlier intention, then,
was to fret and pluck the upper
notes as written and simultaneously pluck behind each fretted note
with
another left-hand finger pizz m.g. (in French: "pluck with the
left hand")—a potentially witty
conclusion to a virtuosic study! (fig.
3):

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Figure 3. Etude 2, mm. 26-27.

The ending to Etude 3 is another notoriously ambiguous spot. The 1928

manuscript, however, clearly
indicates that in m30 the lower pitch is not a
harmonic but a normal note. Following Villa-Lobos'
usual notational practice,
everything then makes perfect sense: d on the a-string is played with the
third finger; and the harmonic at the fifth-fret of the d-string is played
with the fourth finger (and
sounds at the pitch indicated above it) (fig. 4):

Figure 4. Etude 3, m. 30.

Fingerings
Although the 1928 manuscript contains considerably more fingering indications
than does the
published score, it is by no means completely fingered.
Nevertheless, it is still possible to derive
valuable musical and technical
insight from the markings present.

In general, Villa-Lobos' fingerings for the left hand show concern for
legato connection and clarity of
voice leading, as well as specific effects of
phrasing. For example, a wonderful effect is produced in
the opening section
of Etude 11 through a combination of glissando and ligado (fig. 5):

Figure 5. Etude 11, mm. 1-3.

A technical aspect of Villa-Lobos' fingerings for the left hand is a

tendency to connect distant
positions by shifting rapidly along a single
string, treating the relative strengths of the fingers with
apparent impunity
(fig. 6):

Figure 6. Etude 3, mm. 9-10.

In chordal passages, Villa-Lobos sometimes uses an unconventional second or

fourth finger barré
(although a third finger barré is not employed for the
numerous half-diminished chords such as those
found in mm11-16 of Etude 4)
(fig. 7 and fig. 23, below):

Figure 7. Etude 4, mm. 8 and 31.

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When present, Villa-Lobos' fingering indications for the right hand
generally are orthodox: i-m
alternation is used for scale passages; i-m-a
are otherwise assigned to the the treble strings. In five-
note chords the
thumb plucks two adjacent bass strings simultaneously-when more definition
between
the lower voices is required, or when the basses are not adjacent, the
lowest note is performed as a
grace-note (as in Etude 4, mm5-6, 29-30 and 35).

However, Villa-Lobos also employs several less orthodox right-hand

techniques. In the central section
of Etude 12, for example, he calls for the
index and middle fingers to pluck two strings simultaneously
(fig 8):

Figure 8. Etude 12, mm. 38-40.

More interesting are the right-hand indications that Villa-Lobos provides

in conjunction with slur
markings. Etudes 10 and 11 both contain passages
which involve a single finger, or the thumb, playing
across one or more
adjacent strings (noting that Villa-Lobos always uses a slur to indicate this
technique). In the passage shown in figure 9, the thumb plays across the lower
two strings and the
index finger across the top four strings-both are
indicated with a slur (fig. 9):

Figure 9. Etude 10, mm. 72-72; and Etude.

In the following example, the index finger plays across the top five
strings, as indicated; the four-note
ascending group almost certainly is
intended to be played with the thumb (fig. 10):

Figure 10. Etude 11, m. 19.

Take a look now at the passage from Etude 1 shown in fig. 11 (and bear in
mind that the 1928
manuscript does confirm the right-hand fingering that
appears at the beginning of the piece in the
published score). Do the
fingerings suggest that in m24.3.2 the index finger plays across the second
and third strings? (fig. 11) [Note 7]:

Figure 11. Etude 1, mm. 24-25.

If intentional, this technique may help explain some of the ambiguous

slurring found in both the
manuscript and the published score, as discussed
below.

Slur Markings
The most problematic aspect of Villa-Lobos' notation lies in his ambiguous use
of the slur marking,
which is applied in at least four contexts:
note-grouping; indeterminate note prolongation, the usual
left-hand ligado,
and, as we have just seen, in conjunction with right-hand glissandi.

In many cases, the intended function of the slur is obvious-the grouping

slurs in mm33-37 of Etude 8,
for example (which serve to divide the phrase
into the two parts implicit in its construction) (fig. 12):
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Figure 12. Etude 8, mm. 33-37.

Also obvious in this example is that the first phrase is to be performed

ligado. Analogous passages
(ones in which a large grouping slur encloses
several internal ligados) may also be found at mm56-57
of Etude 8 and mm20 and
45-50 of Etude 10. But what are we to make of the slurring found in the
following example? (fig. 13):

Figure 13. Etude 7, mm. 8-10.

In measures 4-11 of this Etude, ascending slurs are independently marked

within the larger grouping
slur (clearly, a short ascending slur should also
be present at mm8-9). Comparing these scale passages
with the articulated
scale that appears at m56, there is the implication that the notes falling
under the
large slur should be performed as ligados. However, a short
ascending ligado followed by an
articulated scale seems the more likely
interpretation-the scale at m56 being articulated metrically,
those under
slurs as a single gesture.

Ambiguity is also present in shorter slurred groupings, especially in Etude

2. Although the 1928
manuscript contains several divergent slur markings for
this study, their interpretation still remains
uncertain. Of those that appear
on the first and third beats of each measure, most seem to be ligados.
Others,
however, could not possibly be performed that way (fig. 14):

Figure 14. Etude 2, mm. 14-15 and 18-19.

Perhaps these slurs indicate that the thumb or a finger be

"dragged" across the indicated strings (as
noted above)-this works
reasonably well in some ascending groupings, but seems entirely unnecessary
in
most descending ones. There is also the strong possibility that the slurs
define melodic grouping-
that is, the notes under the slur should not ring over
one another. And perhaps some are oversights,
inadvertently added under the
momentum of the slurring in preceding measures.

Although consistently marked, the slurs in Etude 9 are also ambiguous. In

the 1928 manuscript,
mm30-59 are slurred as shown in figure 15: the slurring
shown in m30 appears to combine a grouping
slur with a re-articulated
descending ligado, while that at m51 indicates the articulation of repeated
notes on the second string. In the first case the lower slur suggests
performance as a single gesture that
combines arpeggio and ligado (as
typically performed). However, the 1928 tempo indication Moins,
as well as a
slower initial tempo (Un peu animé), may well indicate a literal realization
of the figure.

Figure 15. Etude 9, mm. 30 and 51.

A table of divergent slur markings has

been provided at the end of this article.

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Divergent Pitches and Rhythms

The 1928 manuscript contains a number of divergent pitches and rhythms, some
of which almost
certainly reflect errors in the published versions. For
example, in Etude 4 mm17 and 18, the natural
sign on the second beat has been
displaced downwards in the published score (also note the notation
of
overlapping pitches in the bass and treble) (fig. 16):

Figure 16. Etude 4, mm. 17-18.

A table of divergent pitches and

rhythms may be found at the end this article, along with an opinion in
each
case as to the legitimacy of amending the published score. Among the numerous
inconclusive
divergent pitches and rhythms listed there, I find the examples
that follow particularly interesting.

In Etude 5 (fig. 17): in m9.4.2 the melody note f seems to fit well with
the circolo character of the
melody thus far; at m10.1.2 the ostinato requires
the pitch b, but e has been substituted-perhaps to
relieve the dissonance
otherwise produced; at m22.4 again b is the required note for the ostinato,
but
b@ does provide more movement over the barline; in mm27-28 the additional
first-string e results
from a double ligado in which the first finger of the
left hand plucks both first and second strings; and
in m48.3.2 e@ does seem to
be the correct note, harmonically-with or without additional basses.

Figure 17. Etude 5, mm. 9-10, 22-23, 27-28 and 48-49.

In Etude 6: f natural is indicated in mm2 and 3 beat2.2 and at mm28 and 29

(although not at mm56
and 57); and Villa-Lobos originally had a different
texture in mind for mm33-41, both fifth and sixth
strings probably to be
played with the thumb (fig. 18):

Figure 18. Etude 6, mm. 33-34.

In Etude 8: the somewhat elusive character of the published opening section

is transformed by the
consistent glisssandi and triplet rhythms employed in
the 1928 manuscript-the effect is almost jazz-
like; and in mm47-48, a simpler
harmonic texture does not incorporate the appoggiaturas of later
versions
(fig. 19):

Figure 19. Etude 8, mm. 1-4 and 46-49.

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In Etude 10, mm63-64, the sixteenth-note figures substitute the open

e-string. Again, the character of
the passage is altered by the more relaxed
effect (fig. 20):

Figure 20. Etude 10, mm. 60-64.

Tempo Indications and Expression Markings

Almost all tempo and expression words found in the 1928 manuscript are written
in French; these both
supplement and sometimes subtlety contradict those found
in later versions (where many have been
replaced with Italian expression
words). Sometimes these translations are quite literal, for example
Poco
allegro instead of Un peu animé. This is not always the case however and, as
the following list
demonstrates, subtle tempo differences are found for Etudes
1, 2, 9, 10 and 12.

 
  1928 manuscript Eschig publication
Etude 1 Animé Allegro ma non troppo   
Etude 2 Très animé Allegro
Etude 3 Un peu animé Allegro moderato
Etude 4 Un peu modéré same
Etude 5 Andantino same
Etude 6 Un peu animé Poco Allegro
Etude 7 Très animé same
Etude 8 Modéré (no mm)   same
Etude 9 Un peu animé Tres peu animé
Etude 10 Animé Tres animé
Etude 11 Lent same
Etude 12   Un peu animé Animé

The 1928 manuscript also shows differences for internal tempo changes in
several of the Etudes.

 
Etude 4   m15   Meno not present (although m25 is marked
 a tempo 1a   
  m54 Un peu moins
Etude 5 m50 a tempo 1a
Etude 6 m28 Moins (trés energique)
  m39 Meno not present

  m46 Un peu moins (tres energique) instead of

a tempo 1a

  m55 a tempo (instead of Meno)

Etude 7 m13 Modéré instead of Moins
  m19 Lent

  m22 Modéré

  m41 Più mosso not present

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Etude 9 m30 Moins
Etude 10    m21     Tres animé (instead of Un peu animé)
  m69 Tre vif
Etude 11 m48 Poco meno not present

Expression markings (dynamics, fluctuations of tempo, and articulation) are

more detailed in the 1928
manuscript than in the published score, and often
clarify form, phrase structure, texture, and motivic
character. A good example
is the opening section of Etude 8 (which is devoid of dynamic markings in
the
publications) , as can be seen in figure 21: the upper and lower parts are
given independent
dynamic and articulation markings; written decrescendos
shape the opening glissando motive in mm1-
4, as well as its expanded version
that follows through m14; the lower voice is independently shaped
sf-p and sfz-mf
in mm10 and 12; the subtle contrast between rallentando and ritardando is
exploited in
mm13-14.

Figure 21. Etude 8, mm. 1-15.

In addition to being more detailed, the markings in the 1928 manuscript are
often more expressive
than those found in the published score-rallentandi and
crescendi are applied over longer spans, and a
greater number of dynamic
contrasts are applied. Although it is not possible to list every divergent
expression marking found in the 1928 manuscript (they simply are too
numerous), a table found at the
end of
this article lists the more pertinent ones.

Unique Material
In the 1928 manuscript, two of the Etudes contain additional material not to
be found in any other
source. In Etude 10, nineteen new measures of
prelude-like material are inserted after m20; followed
by 14 further measures
derived from measures 1-20 (fig. 22):

Figure 22. Etude 10, new material [mm.1-4].

Quite considerable redistribution of material is also found through

measures 29-47 of Etude 11, and
includes some material that was not retained
in later versions (fig. 23).

Figure 23. Etude 11, new material inserted at mm. 39 and 42.

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Although the omission of this extra material in all other sources does
serve to increase the concision
of the Etudes in question, the material is of
such interest that reintroduction seems a justifiable option.

In Etude 7, one measure is added-measure 10 is inserted before measure 40

(agreeing with the opening
section).

Manuscripts of the Five Preludes

Fair copies (i.e. complete finished versions) of the Preludes reveal few
significant differences from the
published editions. One remarkable difference
however may be found in Prelude No. 2, where at
measure 34 a sharp is present
on the second low e (fig. 24). I suggest players waste no time amending
their
scores! [Note 8]

Figure 24. Preludio No. 2 para Violão, mm. 33-35.

In the fair copy of Prelude No. 1, the passage at mm43, 47, 122 and 126 has
a harmonic notation for
the top three strings only the second time it appears
(i.e., in m47). However, in the first appearance of
the passage in the
compositional sketch harmonics are present (and are followed by an indication
to
play in the 7th position).

Figure 25. Preludio No. 1 para Violão, compositional sketch, m. 43.

The compositional sketch of the first Prelude, very obviously written at

the moment of inspiration,
provides us an interesting glimpse of the genesis
of the piece. The initial tempo is marked All' agitato
(which later became
Andantino espressivo), and the middle section is marked Meno (this later
became
Più mosso)-these earlier tempos enrich our interpretation of the
revised ones. Here is the opening of
the Prelude as notated in the sketch,
along with Villa-Lobos' initial idea for the central section; note
the prime
importance of the melodic material as the structural base of the piece, and
the simple waltz-
like conception of the accompaniment (which later became a
syncopated "catch-all" to the revised
melody) (fig. 26):

Figure 26. Preludio 1, compositional sketch, mm. 1-9 and [52].

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Along with a fair copy manuscript of Prelude No. 5 dated September 1940,
which agrees with the
Eschig publication in virtually all matters (with the
exception that it is written without expression
markings), is another fair
copy which reveals an earlier completed version of the piece. In addition to
several small changes in the first two sections (fig. 27), the third section
employs an entirely popular-
sounding harmonic style (fig. 28).

Figure 27 Preludio No. 5, compositional sketch, mm. 9, 11, 15-16 and

24-25.

Figure 28. Preludio No. 5, compositional sketch, mm. 33-42.

A Final Thought
The discussion contained in this article raises an interesting question-which
version of the music
should we play? It is not uncommon for a work, ostensibly
finished, to undergo revision at the
editorial stage (indeed, given the
chance, many composers would continue to revise their work
indefinitely!).
Certainly, most performers would prefer to see a composer's unedited
manuscript, rather
than someone else's edition, and make their own decisions.
In the case of the music discussed here,
however, we have an apparent
overabundance of sources upon which to base our interpretations.
Clearly, the
notion of "informed performance" applies to music much closer to our
own time than one
would perhaps think. And, inevitably, the answer lies with
each performer.

Table 1. Divergent Pitches and Rhythms found in

the 1928 Manuscript of the Twelve Etudes
(along with an opinion as to the legitimacy of amending the published score: 1
- almost certain 2 -
uncertain)
[return to text]

 
Etude 1
m32   b3.3   e normal notehead 1
 
m33 b3 first-string e harmonic 1
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  m34 b1 second-string b harmonic 1
Etude 2 m12 b4.4 g-sharp instead of f-sharp 2
  m20 b3 g-natural 2

  m26 b4 d-sharp diamond notehead 2

    4.2 d-nat diamond notehead 2

Etude 3 m3 b2 quarter-note rest in written-out da capo 2
  m6 b1.1 open e instead of f-sharp 2

  m14 b3.1 d instead of e (d fits the indicated position III,

although e is a better fit harmonically) 2

  m30 b2 bass d is a regular notehead 1

Etude 4 m8 b3 g-natural and e-flat (i.e., parallel to m9) 2
    b4 e-natural and f-sharp (i.e., parallel to m9) 2

  m15 b1 chord written as 4 repeated 16th-notes 2

e-natural and d-flat (the natural is displaced upwards by one
note in the published
  m18 b2
score
1

  m31 b1 fifth-string a half-note tied-over from previous measure 2

b2.1 &
    2.2
f-sharp instead of g 2

  m35 b1 e bass grace-note added 2

  m37 b4.3 sixth-string e/f-sharp instead of fifth string a 2

  m47 b2 fifth-string b tied-over from beat 1 1

Etude 5 m9 b4.2 melody f instead of g (f does fit the circolo character
of the melody) 2
  m10 b1.2 second-string e instead of b (e sounds better, however b fits
the ostinato) 2

  m22 b4.1 fifth-string b-flat (b-flat is interesting, again b-natural

fits the ostinato) 2
mm27 &
  28
b1 an open first-string e is added (but not at m31) 2

bass half-note b-flat with grace-note (both notes staccato and

<); additional first-string
  m48 b3 g 2
half-note
    b3.2 second-string e-flat 2

  m49 b3 bass e half-note added 2

  m65 b1 third-string c diamond notehead harmonic 1

mm1-2 &
Etude 6 b2.2 fourth-string f-natural (but not in mm56-57) 2
28-29
  m27 b2.2 f-natural (however, f-sharp in the parallel passage at m54) 2

  m55   texture and rhythm as in surrounding measures 2

  m58   same texture and rhythm as m59 1

Etude 7 m8 b4.4 a-sharp 1
  m10 b4.4 a-natural 1
mm13 &
  19
b1 bass whole-note a (beat 3 half-note a not present 2

  m22 b1 fifth-string melody note c-sharp instead of a; sixth-string

f-sharp instead of d 1
mm22
  & 24
b1 inner chordal notes (f-sharp, a and c-sharp) not present 2

  m25 b3 fourth-string half-note e (d-natural not present) 2

  m29 b1 half-note g-natural not present 1

Etude 8 m16 b2 bass g-sharp restruck 2
mm29 &
  71
b1.1 16th-rest (upper notes e, g-sharp, c-sharp not present) 2

  m45 b2.2 fourth-string a added 2

mm47 &
  49
b1.1 upper dotted-quarter f-sharp instead of g-sharp 2

    b1.2 f-sharp not present 2

  m80 b1 c-sharp diamond notehead harmonic 1

Etude 9 m21 b2.2 b instead of c 1
bass f-sharp instead of a (however, a appears in parallel
passages at mm9 and 38 in
  m26 b1.1
both manuscript and published score
2

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Etude10 mm18 & b2 triad restruck 2
19
mm24 &
  31
b3 sixth-string half-note e added (like publication mm35 & 39) 2

  m28 b2.2 g-sharp (see next entry) 1

mm28 &
  29
b1.1 open g-natural and b chord tones in parenthesis 2

  m45 b4.2 c-sharp 1

  m46 b3.4 b 1

  m56 b1 bass a tied over from previous measure 1

  m60 b1.3 same accidentals as publication m58 1

mm63 &
  64
b2.2 16th-note e instead of g 2

Etude11 m24 b1 bass e tied over from previous measure 1

  m90 b1 fifth-string dotted half-note e, followed by: 2

    b4 sixth-string quarter-note b-flat 2

Etude12 mm9 & 11 b2 & 3 quadruplet grouping (like mm78 & 80) 1
  m47   bass e instead of g throughout the measure 1

[return to text]

Table 2. Divergent Expression Markings found in

the 1928 Manuscript of the Twelve Etudes
(when not italicized, the terms crescendo and decrescendo refer to dynamic
"hairpins")
[return to text]

 
Etude 1 m1.1 mf instead of p
Etude 2 m26.2 rall.
Etude 3 m22.3 rall.
  m24.1 a tempo

  m24.3 stringendo

  m26.1 a tempo

  m28.3 allargando
Etude 4 m1.1 mf instead of p
  m2.1 f; rit. displaced to
beat 3

  m3.1 mf; a tempo

  mm4-5 & 25-29 as mm1-3

  mm54 & 55.1 crescendo

  m62.1 ff

  mm62-64 lower part staccato

  m64.1 toujours a tempo instead of allarg.

Etude 5 m31.3 lower voice f
  m37.1 p

  m38.1 cresc. poco a poco

  mm41 & 42.1.1 f

  mm41 & 42.1.2 pp

  m48.1 cresc.

  m50.1 f

  m51.1 crescendo

  m52.1 p

  m61.1 dim poco a poco

  m62.1 allarg.

  m65.1 mf
Etude 6 mm1-3 & 19-20.1.1 sfz
  mm1-3 & 19-20.2.1 mf

  m21.2 p stringendo

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  m26.1 allargando

  m33.1 ff

  m38.2 rall. not present

  m44.2 rall.

  m45.2.2 rit.

  m48.1 mf

  m49.1 string. poco a poco

  m52.1 cresc.

  m53.2 allargando

  m55.1 f; a tempo

  m56.2 cresc.

  m57.1 allarg. not present

  m59.1 poco rall.

Etude 7 m12.2 rall.
  m17.4 rall. through end of m18

  m20.4 rall. through end of m21

  m22.1 5th string bien chanté

  m28.4 allargando through m30.2

  m30.4 a tempo 1a

  m54.3 allarg.
Etude 8 m1.1 mysterieus; Très lie et bien
chanté; lower voice mf; upper voice p
  mm1-16 all 2 and 3-note figures in upper voice decrescendo

  mm33 & 75.2 molto stringendo

  m70.1 cresc. animando

Etude 9 m32.4 rall.
  m33.3 rit.

  m34.1 [a tempo]

  m45.2 allargando

  m47.1 p; a tempo

  m51.4 cresc.

  m52.1 allargando
Etude 10 m3.1 cresc. poco a poco not present
  m17.2 stringendo

  mm18-19 & 20.1 crescendo

  m22.1 upper voice pp; lower voice f

  mm24, 31, 35 & 39.3 bass E's p

  m43.1 crescendo

  m44.1 harmonic ff

  mm49-50.1 crescendo

  m51.1 upper voice p; lower voice mf

  m52.1 upper voice pp

  m52.3 lower voice f

  mm59-64 sfz not present

Etude 11 m19 dynamics as m23
  mm50-57 dynamic hairpins not present

  mm82-83.1 sfz p (like earlier)

  m91.1 rall. (like first time)

Etude 12 throughout all measures with gliss. chords are marked beat 1
crescendo, beat 2 decrescendo
  m4.2 cresc.

  m19.1 cresc.

  mm22 & 91.1 upper voice mf

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  m33.1 mf

  m36 dynamics same as m35

  mm37 & 38 p instead of mf;

mf instead of f

  m74.1 cresc.

  m88.2.3 cresc.

  m105.1 cresc. toujours through and of

measure 106

[return to text]

Table 3. Divergent Slur Markings found in the 1928

Manuscript of the Twelve Etudes
[Return to text]

 
Etude 2 m4 4.3 f#-e
  m7 1.1 b-e

  m10 1.1 e-g#

  m12 4.3 e-g#

  m16 4.1 c#-a

    4.3 f#-c#

  m17 3.1 b-a

  m18 1.1 g#-d#-f#

  m20 1.1 f#-c#-e

  m22 1.1 cnat-d#

Etude 3 m8 1.3 no slur
  m13 3.3 no slur
Etude 7 m4 2.2 f#-g#-a
  m9 4.2 g#-a#-b

  m10 4.2 g#-a-b

  m34 2.2 f#-g#-a

  m39 4.2 g#-a#-b

Etude 8 mm1, 3 & 4   from beat 1.2 to beat 2

  mm33-34 & 75-76   under a grouping slur

  mm35-37   under a grouping slur

  m34 1 c#-d#-e

  m56 1.2 under a grouping slur

  m76 1 c#-d#-e

    1.4 e#-f##-g#
Etude 9 m10 1.1-1.6 under a grouping slur
    1.1-1.6 under a grouping slur

  mm30-57   all as m47 in the publications except:

  mm51-53   3-note slur on each beat

  m39 1.1-1.6 under a grouping slur

Etude 10 mm48-50   a long grouping slur encloses the smaller groups of
ligados

  m73 3 the slur extends for 4 notes only

Etude 11 m19-   see figure 10
like the publication, slurs and glissandi are missing
(although
Etude 12 mm15 & 17 3 they are present in the parallel passages at mm84 and 86);
probably an oversight

[Return to text]

Notes
Note 1.
The Museo Villa-Lobos holds a photocopy of a 1928 autograph manuscript titled
Etudes pour la Guitarre (ms.
P.200.1.2.A), each page stamped 14/12/73 by the
French publishing company Max Eschig (the holders of the original

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manuscript).
The last page is marked "Paris, 1928, HVL," in the hand of the
composer. Several manuscripts and copies
relating to the Five Preludes are
also housed at the museum. Among them, Preludios Para Violâo-undated, but
again
containing the same Eschig stamp; an undated compositional sketch
Preludio No. 1 (ms. P.201.1.41); a fair copy of
Preludio No. 2 [for] Violâo
(ms. P.201.1.6), undated, stamped by Eschig; Preludio No. 5 (P.201.1.10) dated
September
1940, stamped by Eschig; Prelude No. 5 (P.201.1.10), undated; and
Preludio 3 (P.201.1.10) dated August 1940, stamped by
Eschig.

I have established Villa-Lobos' calligraphy with reference to

several signed documents and autograph scores, among them
the compositional
sketches of the Five Preludes (Museo Villa-lobos P.201.1.4), and the "Lubrano"
manuscript-a 1929
manuscript of Etude No. 5, advertised and authenticated by
the antique firm J & J Lubrano (see Matanya Ophee, "How
does it
end?" Classical Guitar, May, 1995, Vol. 13, No. 9, pp. 14-22). Several
characteristics show these manuscripts to be
Villa-Lobos autographs: the
calligraphy of Villa-Lobos initials and signature (particularly the shape of
the letter "H") and
the crossing of the letter "T" (which
increases in pressure as it ascends); the calligraphy of Villa-Lobos' treble
clef and
sharp sign (which he crosses, unusually, downwards from left to
right); and peculiarities of Villa-Lobos' music notation
such as the notation
of strings by letter instead of by number, circled right-hand fingering
indications, and harmonics
indicated at fretted rather than sounding pitch.
[Return to text]

Note 2.
In his article "Villa-Lobos: New Manuscripts" (Guitar Review, Fall
1996, 22-28), Eduardo Fernandez refers to
additional manuscript copies of the
Etudes housed at the Museo Villa-Lobos, but does not offer information
relating to
their chronology. Among these is a set included in the Guimarães
collection-a manuscript collection donated to the
museum by the family of
Villa-Lobos' first wife (the Museo Villa-Lobos has not been able to supply me
with any
information regarding the chronology of these scores). A number of
additional manuscripts, including one in the
possession of Abel Carlevaro and
a Museo Villa-Lobos manuscript of Etude 10 (P.200.1.19), dated 1929, appear
not to be
in the hand of Villa-Lobos. The "Lubrano" manuscript of
Etude 5, cited in footnote 1 above, is dated 1929 and almost
certainly is an
autograph.
[Return to text]

Note 3.
H. Villa-Lobos, Douze Études, preface by Andrés Ségovia, (Paris: Éditions
Max Eschig, 1953?). An edition of the
collected solo guitar works of
Villa-Lobos with a "correction of obvious typographical errors" was
published as Heitor
Villa-Lobos Collected Works for Solo Guitar, (New
York: Amsco Publications, 1990).
[Return to text]

Note 4.
At the time of writing, Editions Max Eschig have not responded to my requests
for information relating to the
manuscript used for publication; nor has the
Museo Villa-Lobos been able to supply any information.
[Return to text]

Note 5.
The Eschig edition of the Douze Études does make an attempt to distinguish
between the two sizes of noteheads,
although subtly (see, for example, page 10
of the publication). The 1990 Amsco Publications edition, obviously
re-
engraved from the Eschig publication rather than the manuscript itself, is
oblivious to them.
[Return to text]

Note 6.
The passage is reproduced in Abel Carlevaro, Guitar Master Class, vol.
III. Heidelberg: Editions Chanterelle,
1987, p.12; but also see Matanya
Ophee's article, loc. cit. In the opinion of the present writer, and judging
from the
available evidence of the 1928 manuscript, the confusion surrounding
the ending of Etude 2 most likely is the result of a
revision - in 1928 the
intention had been for a "bi-tonal' ending but was later changed to
harmonics. The confusion arises
from the unfortunate inclusion in the
published score of both the original indication "pizz mg" and the
new indication
"harm duple" (which, incidentally, is set in a
different type face).
[Return to text]

Note 7.
In the Fernandez article, loc. cit., the position indication VII is displaced
two notes over to the right (over the b);
in the 1928 manuscript, however, the
sign is clearly positioned
over the g.
[Return to text]

Note 8.
The manuscript agrees with the Eschig publication as to the rhythm in measures
14 and 88, which were
"corrected" in the Amsco publication.
[Return to text]

Copyright © 1997 by Stanley Yates

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