GuitarScore+Tab+midi - Suite Populaire Bresilienne - Heitor Villa-Lobos @Kiyokunstudio

Suite Populaire Bresilienne

No 1 (Mazurka Choro)
No 2 (Scotish Choro)
No 3 (Valsa Choro)
No 4 (Gavota Choro)
No 5 (Chorino)

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A staple in classical guitar repertoire, Heitor Villa-Lobos's Suite populaire bresilienne is a five-movement solo work published in 1955 by Eschig, though the individual pieces were written decades prior between 1906-08 and 1923.

Not unlike how a jazz musician might "jazz up" a spiritual or blues, Villa-Lobos here applies Brazilian brush strokes in the form of the indigenous street and salon music of the choro to European dance forms, creating what was among his most lyrical music for the guitar--sentimental, yes, though hardly indulgent. Yet the work underwent something of a transformation between 1928, when he first considered compiling these pre-written pieces into a suite, and the version he put together for Eschig in 1948. Hence this new critical edition by French guitarist Frederic Zigante, who consulted a number of primary and secondary sources, notably Villa-Lobos's 1928 autograph manuscript and the manuscript copy prepared for Eschig in 1948.

Zigante makes some minor changes and fingering suggestions from the edition guitarists have relied on all these years, including the use of different-sized notes to indicate a contrastive emphasis between melody and harmony (a device Villa-Lobos also used in his piano piece Rudepoema). But the real enjoyment (and revelation) is to be found in the appendix, where Zigante unveils in print for the first time a "Valse-Choro" that was not only the originally-intended waltz of the 1928 version of the suite (at the time a four-movement construct sans the "Gavotta-Choro") but a piece entirely different from the "Valsa-Choro" which made its way into the final edition.

Does this mean guitarists should start performing the rejected movement instead? Of course not. But the piece has its own charms (and a few tricky "guitar-isms"), which should make it a popular stand-alone work in recitals. Then again, don't be surprised if others choose to perform the 1928 version of the suite as a programming alternative now that all the missing pieces have been assembled.--Reviewed by William Lee Ellis, Memphis, Tennessee

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