Heitor Villa-Lobos ,
ouze pour guitare seule per chitarra sola - for solo guitar
édition critique de edizione critica di/ critical edition by Frédéric Zigante
Heitor Villa-Lobos ,
ouze
es
pour guitare seule per chitarra sola - for solo guitar
édition critique de edizione critica di/ critical edition by
Frédéri c Zigante
����� f DURA\:D
S...\L;BERT
D
ESC� 1 G
Heitor Villa-Lobos ,
ouze
tu es
pour guitare seule per chitarra sola - for solo guitar
édition critique de edizione critica di/ critical edition by
Frédéric Zigante
l
1
I���� f �
DURAND SALABERT ESCHIG
TABLE
Préface (français)
/ lNDlCE / CONTENTS
------
Prefazione (italiano)
__ __ _________
Preface (English)
__ __ _
_______
I
XI
XXI
'
Etude n°1 des arpèges
2
'
Etude n°2 des arpèges
4 6
'
Etude n°3 des arpèges
8
'
Etude n° 4 des accords répétés Etude n° 5
14
Etude n° 6
18
'
'
,
Etude n° 7
20
'
Etude n°8
24
I
Etude n° 9 des ornements
27
I
Etude n°10 (ME-1953)
30
I
Etude n°11
34 39
I
Etude n°12
I
Appendice/Appendix: Etude n°10 (Ms-1928)
_ _______
Commentaire critique, variantes et observations (français) Commento critico, varianti ed osservazioni (italiano)
•
_ _ _ _
____ _
Critical commentary, variants and observations (English)
45
____
1 Xlll
xxvi
à
la mémoire de Arrigo Quattrocchi
'
!"'··
'\�·-., .,
.,
- - ....-
· ---
>
-�-- · --.-._ __ .._._ _
>
= f'?*«:C: ,_ ·"· l
•
-
. >' · ·-·----·-·---·-····�::.-:---�;
.>
---- · -
·3
-1
· ·\�
.--< ... .,
r
,.
i
-
-
-
··-- -.---------- ·-·---·
---> -
.,
:' ; :':"';;; i!; ,..,.{> '°4' ·
.. .
>
J i
�-
Étude n°10, Ms-1940c (fac-similé}
� ,.
�· .. • fi:... .�: ,'. A
.
XXI
Preface
Genesis 1. Villa-Lobos and Segovia Published for the first time by Éditions Max Eschig in 1953, with a preface by Andrés Segovia to whom it was dedicated, the
Douze Études by Heitor Villa-Lobos were begun in Paris a number of years previously, probably in 1924, to be completed in 1928. There were several circumstances that favoured the appearance of this collection, considered today as one of the most significant works in the repertoire for guitar of the first half of the 2Qth century. Heitor Villa-Lobos, already an able guitarist and lover of the instrument since childhood, found him self spending a long period in Paris between 1923 and 1930, when the French capital was a crossroads of meetings between the most renowned guitarists and musicians. Andrés Segovia, who had made his historical début in the
Ville-Lumière on
7 April
1924, visited the town regulary and did not miss an
opportunity to ask composers to write music for the guitar. There were also musicians sejouming in the city who were particularly sensitive to the instrument, such as Joaquin Turina, Joaquin Rodrigo, Georges Migot and Manuel Maria Ponce. lt was in those very years that Emilio Pujol began his editorial career with Max Eschig with the prestigious Bibliothèque de
Musique Ancienne et Moderne pour guitare and the publisher Herny Lemoine printed the two treatises by Jacques Tessarech entitled respectively L'Évolution de la Guitare in 1923 and La Guitare Polyphonique in 1926. These are only some of the manifestations of interest i n the instrument that were probably never altogether extinguished from the time when, at the beginning of the 19th century, Paris played host to the most prestigious names in the world of European guitar: Fernando Sor, Ferdinando Carulli, Napoléon Coste, Matteo Carcassi and Dionisio Aguado. lt was therefore natural in this context that Villa-Lobos decided to exploit bis guitar-playing ability which he taught himself when, as he did not have a piano, he turned to the guitar for its special qualities as a polyphonie instrument. Villa-Lobos himself, in testimony collected by Heminio Bello de Carvalho and reported by Turibio Santos, tells us of how the
Douze Études came to exist:
"Encontrei o Seg6via em 1923 ou 24, niio me lembro bem, na casa da Olga Moraes Sarmento No bre. Havia uma princesada lâ. Vi um moço de vasta cabeleira, rodeado de mulheres. Acheio-o besta, pretencioso, apesar de simpâtico. 0 violinista português Costa, perguntou ao Segovia se conhecia o Villa-Lobos, mas sem dizer que eu estava ali. 0 Segovia disse que o Llobet, Miguel Llobet, violonista espanhol, havia falado de mim e lhe mostrado algumas obras. Eu havia escrito uma Valsa-Concerto para Llobet {por sinal a partitura esta perdida). Segovia falou que achava minhas nobras anti-vio lonisticas e que eu tinha usado uns recursos que nâo eram do instrumento. 0 Costa falou: "Pois é, Segovia, o Villa-Lobos estâ aqui." Eu fui logo me chegando e logo dizendo: "Porque é que você acha minhas obras anti-violonisticas?': Segovia, meio supreso -claro que ele nem poderia supor que eu estivesse ali- explicou que, por exemplo, o dedo minimo direito nao era usado no violào cltissico. Eu perguntei: "Ah! Nao se usa? Entào corta .fora, corta _fora''. Segovia ainda tentou rebater, mas eu avancei e pedi: "Me da aqui seu violao, me dti!" 0 Seg6via nào empresta seu violao a ninguém, e fez força. Mas nao adiantou. Eu sentei, toquei e acabei corn a festa. Seg6via depois veio me perguntar onde eu tinha aprendido. Eu lhe disse que nâo era violonista mas sabia toda a técnica de Carulli, Sor, Aguado, Carcassi, etc. Seg6via disfarçou, guardou o violâo e -ptichiu- deu o fora. No dia seguinte ele apareceu la em casa com o Tomas Terdn. Eu disse que nao podia atendêlo, nâo podia mesmo, pois tinha que sair para jantar e voltaria tarde. Ele saiu também. Voltou depois e revezamos no violao até OF 15851
XXII
às 4 da manhâ. Ele me encomendou um Estudo para violâo, e foi tâo grande a amizade que nasceu entre nos, que em vez de um eu fiz doze: Doze Estudos para violào. "1 Moreover, Andrés Segovia, in a document of 19582, confumed this story recounted by Villa-Lobos, with a few negligible discrepancies in the details; however, he did not place the Paris meeting of 1924 in direct relation with the composing of the
Douze Études.
This fact is not without its importance. If, in fact, it is
possible to pinpoint in Segovia's request for "a Study" the occasion marking the genesis of the project, no support can be found for Segovia not subsequently following up this work. There is also no evidence that
-i.e. ten years Villa-Lobos concluded the cycle- when the concert performer played the Chôros No.1 Segovia included a piece by Villa-Lobos in bis repertory before 1938
from the time when at the Wigmore Hall
in London, it was at the time the only work for guitar published by the Brazilian musician.3 The soloist was in the habit of not allowing too much time to pass between the first reading of a new piece and its inclusion in his concert programme. If Segovia had had the
Études
at his disposa} back in 1928, it is difficult to
understand why he would have waited until the forties to include it in his concert programmes.4
2. The first draft (1928) lt was presumably between 1924 and 1928 that Villa-Lobos compiled what is identified today as the "Guimarâes" manuscript (Ms-Gui; the code, like the following ones, refers to the list of sources), so called because it was donated to the Museu Villa-Lobos by the heirs of the composer's first wife, Lucilia Guimarâes. This was the first draft of the Études, scribbled in pencil several times over on scattered pieces of paper in summary handwriting and destined, in all probability, for persona! use. This collection of sheets constituted the basis of all subsequent drafts of the
Douze Études.
Although Segovia remained in substance unconnected with the creation of the Études, it was probably the Spanish pianist Tomas Terân, friend of Villa-Lobos, who followed the gestation of this cycle in close up; he was also the first performer of the
Études, even
if through one of his persona! transcriptions for
piano (Ms-Teran)5. It was not by chance that Tomas Teran was present at the composer's side, not only on the occasion of the latter's first meeting with Segovia by whom, as we have seen, the study was origi nally commissioned, but also during the summer of 1928 when, during a holiday at Lussac-les-Châteaux, the author dedicated himself to the drafting of a fair copy of the
Études manuscript dated "Paris, 1928"
(Ms-1928); it was this manuscript itself that was then delivered to Éditions Max Eschig in October 1928. Further suggestions corne from correspondence with the publisher. In a letter dated
"Lussac-les-Châteaux, 28 Juillet 1928" and addressed to Eugène Cools,
the new head
of Éditions Max Eschig after the death of its founder, Villa-Lobos affirmed:
"(...]je suis ici sans aucun document musical et très occupé avec mes cerfvolants. "6 Turibio Santos, Heitor Villa-Lobos e o Violào, Museu Villa-Lobos, Rio de Janeiro, 1975, p. 11.
"l met Segovia in 1923 or '24, l don 't quite remember, in the house of Olga Moraes Sarmento Nobre. The crème de la crème of society was there. 1 saw a boy with a lot of hair, surrou.nded by women. He seemed not very bright, presumptuous even, but also quite friendly. The Portuguese guitarist Costa asked Segovia if lu: knew Villa-Lobos, but without telli11g him that l was there. Segovia answered that Llobet (Mi.gues Llobet, a Spanish guita rist) had mentioned me to him and had shown him some of my work. ! had written a Waltz-concerto for Llobet (which, by the by, was lost). Segovia sa id that he thought my works were anti-guitar and that I had used resources that were not for the guitar. Costa then said: "Weil, Segovia, I have to tell you that Villa-Lobos is here". I immediately moved over to them and asked Segovia: "Why do you think my works are anti-guitar?". Segovia, a bit surprised (obviously he cou.Id not have imagined I was there) explained that, for example, my right pinky finger was not used in c/assical guitar. So l said to him: "Ah, so it is not used? Weil then, just eut it off, eut il off." Segovia tried l'o make a rebuttal but I went straight ahead and said to him: ··Give me your guitar, come on, give it to me!". Segovia never lent it to a11yo11e, anyone at ail, and tried to resist. But to no a11ail. So J sat down, played and ruined the party. Segovia asked me where I had learnt to play. l told him that l was not a guitarist but that I had complete knowledge of the techniques of Carulli, Sor, Aguado, Carcassi, etc. Segovia looked unconccrned, took Iris guitar and -Poofl- le.ft. The next day, Ize arrived at my house with Tomas Teran. I told him that I could not ask him in because I had to go out to di1111er and would 11ot be back until late. He came back later and we played the guitar one after the otl1er until four in the moming. He ccmmissioned a Study for guitar and our friendship became so all-encompassing that instead of the one he had askedfor, I composed twelve: Twelve Studies for the guitar." 2 Andrés Segovia,"! met Villa-Lobos", Guitar Review n. 22, New York 1958 , p.22-23. 3
4
H.Villa-Lobos Chôro n. l (Typico), digitado por D. Prat, Ed. AS. Arista, Buenos Aires-Montevideo, undated, before1934.
The archives of the Fundaci6n Andrés Segovia ofLinares (Spain) comain many, but not al!, of the gultarist's concert programmes: the Etudes
only appear in1942 but it cannot be exduded that he might have played them in public some yeaIS before.
5 Tomas Gutiérrez Terân (Valencia 1895 - Rio de Janeiro 1964} was the first performer of Chôro n.8 of Villa-Lobos and he played for of the Douze Études pour guitare, transcribed by himself, in public in 1929. Once again, it was Tomâs Ter.in who, in 1943, supported Heitor Villa-Lobos by playi ng the Douze Études on the piano when the composer wanred (O presen1 d:e roL'ection to the young Abel Carlevaro. Cfr. Abel Carlevaro My Guitar and My World, Chanterelle, Heidelberg 2006, p.26 and 27.
6 Eschig
is
"Jam here wirlzout any musical document and am verv &usv unm 1!n' tires-. The corre:.}}Ondence ofHeitor Villa-Lobos with the editor Max today preserved in the archives of
Éditions Max Eschig
in PariS- C fr"'-mT'r"5 = IJy Villa-Lobos.
XXIlI However, a few days later, on 5 August 1928, he wrote to his publisher again, in his somewhat pic turesque French, asking him:
"( ... ) au même temps vous serez vraimenr très aimable mon cher ami de me faire envoyer le plus vite possible des cordes pour la guitarre ou je travaille maintenant etje suis resté en panne pour man que d'elles. Voulez-vous envoyer quequ'un pour acheter dans n'importe quel magasin de luthier de la rue de Rome une carrure complet de guitarre avec en plus deux chanterelles et deux segondes, et me les faire parvenir? (Marque Diapason). "7 During his holiday at Lussac-les-Châteaux, Villa-Lobos devoted himself, therefore, not only to his kites (one of his favourite pastimes) but also ta the guitar and apparently to the drafting of two man uscripts that he was soon ta deliver to his editor: the
Douze Études (Ms-1928) and the Suite populaire brésilienne. The two works are, in fact, mentioned together in a single contract dated 1 October 1928. These two cycles are then once again mentioned in a further contract dated 5 January1929 that also included Francette et Pia for the piano, Chansons typiques brésiliennes and the 4 Sonate for violin and piano. Together with the two manuscripts for guitar, Villa-Lobos also delivered a transcription for piano by Tomas Teran {Ms-Teran) of four of the guitar studies, numbers 3, 5, 10 and 12.8 At this point, the affair of the two manuscripts became complicated, intertwining with an unexpected circumstance. Having retumed home on 15 June 1930 for some concerts, Villa-Lobos was surprised by a
coup d'état in which the dictator Getûlio Vargas gained power.9 The desire of Villa-Lobos was to return to Paris but that proved impossible until 1948, three years after the end of the Second World War. These years of 'exile' enfeebled the relationship between the composer and his publisher, making it difficult to work on new publications, in particular the reading of proofs that Villa-Lobos had always corrected on site during his long sojoums in France. For some time, Villa-Lobos did not seem aware of the fact that his manuscripts for guitar had not been published: in fact, in a letter written from Sâo Paulo on
1 8 December 1930, he asked his editor to send llim some free copies of his works, also including in the list the Suite populaire brésilienne that should have been published in the interim in the Emilio Pujol collection under the number 1220.10 Why had Max Eschig not published the two collections for guitar received in 1928? We do not have any precise information that could enable us to answer this question. For the
'
Douze Etudes, it is highly
likely that, given the size of the cycle (46 manuscript pages), the technical difficulty and newnf'ss of the musical language, the commercial prospects appeared rather limited even to a publisher that had,
in any case, devoted himself to a significant business in guitar music. Of course, the publisher could not imagine the enormous recognition that the guitar and its repertoire would have enjoyed in just a few years time and the fact that he was obliged to act with the maximum caution should also be taken into account: it is sufficient to mention, as an example, that in Emilio Pujol's
Bibliothèque de Musique
Ancienne et Moderne pour guitare, the pieces 'vere published one at a time in booklets of just a few pages and were never published in collections. The Suite populaire brésilienne and the Douze Études were not easy or short works and therefore the publisher could not hope for a resounding commercial success among guitar-lovers; on the other hand, those who, in1929 in Europe, were devoting themselves professionally to the guitar and were able to play the
Douze Études could be counted on the fingers of
one band. It was only in 1937 that the figure of Andrés Segovia reappeared in the affair of the guitar com positions of Heitor Villa-Lobos. In fact, Segovia, escaping from the horrors of the Spanish Civil War 7
(...) at the same time, you would be most kind, my dear friend, if you could have sent to me as soo11 as possible some guitar strings for the
"
guitar Jam working with at the moment and Jam stuck because Jdo11 't have any. Please send someone to buy, from any of the musical instrument e tfor guitar with, in addition, two trcble strings and two second strings and send them to me? (Diapason shops in the Rue de Rome, aco111plete s brand)." In a letter to his publisher dated 23 November 1936, Villa-Lobos declared his intention of completing the transcription of the Douze Études 8
pour guitare himself, originally begun by Tomas Ter.in but never fini5hed.
9
10
Getlllio Vargas (1882-1954) retained power up until bis d eatlt in 1954.
Cfr. the lists of the various nu.mbers of the Bibliothèque de Musique Ancienne et Moderne pour guitare directed by Emilio Pujol that appear
on the back cover of the Corranda by Agusti Grau published in 1929.
DF 15851
XXN
(1936-1939), had taken refuge in Montevideo and the Uruguayan capital was to remain the epicentre of his musical activity up to the end of the Second World War. During bis Uruguay years, Segovia vis ited Brazil several times, where he had occasion to meet Villa-Lobos and intensify his relationship with the composer, as is witnessed by, among others, a letter dated 22 October 1940 from Montevideo to his friend, the composer Manuel Maria Ponce:
"Villa-Lobos [...] vino a casa provisto de seis preludios para guitarra, dedicados a mi, y que unidos a los doce estudios anteriores, jorman diez y seis [sic] obras. "11 It was natural that Segovia should show great interest for the guitar compositions of Villa-Lobos, an interest that the Andalusian performer propagated with meticulous conscientiousness in interviews and concert programmes. In an interview published in Italy in 1937, he declared upon his return from Brazil where he had given five concerts, that he had had two wonderful surprises: the magnificence of the natural beauties of Rio and the collection of the
Douze Études that
Villa-Lobos had shown him; Segovia
added that he had selected three studies to be presented in his concerts.12 In a concert programme of 9 July 1939, probably for a concert held in C6rdoba in Argentina, the gui
Chôro -No. 1: "Choros {de u n grupo de obras escritas para guitarra doce de las quales estan dedicadas a A.Segovia)·: 13
tarist defined the
3. The second draft (1947-48) and publication (1953)
Once the Second World War had drawn to a close, Heitor Villa-Lobos gradually resumed his contacts
with Éditions Max Eschig and once again took up the idea of publishing his works for guitar, starting with the
Douze Études themselves.
In the beginning, he personally prepared new copies of some of the
studies (Ms- l940c) but ended up by entrusting the job of copying them in their entirety to his compan ion Arminda Neves de Almeida: from 1947 to 1948, a copy was made based on the old drafts, or rather the so-called "Guimaraes" manuscript (Ms-Gui), or from a possible copy of this, and on the few studies already copied by the author {Ms-1940c).14 At this time, Villa-Lobos made a limited number of modifica tions to his drafts, the most important of which were the cutting of 33 bars in changes made in
Étude No. 10 and
several
Étude No.11.
For the new 1953 edition (ME-1953), the publisher did not prepare another contract: however, a singular fact was that in the relevant correspondence with the musician, no mention was made of
the existence of the manuscript delivered to the publisher in 1928. Neither Villa-Lobos nor the brot
hers Philippe and Jean Marietti (who had succeeded Eugène Cools after the latter's death in 1936) seemed concerned about the fate of the manuscripts dating back to 1928. Villa-Lobos nevertheless remembered the
Suite populaire brésilienne.
Indeed, in a letter dated 18 February 1954, he wrote in
his increasingly clumsy French:
"(... )Concernant la Suite Popular Brasileira pour guitare qui je suis sur j'ai laissé à Paris et qui je sais Mr Pujol doit avoir une copie, je n 'ai pas encore trouvé la suite chez moi. J'ai laissé avec vous Mazurka- Chôro, Schottish-Chôro et Gavotte. L'unique [mouvement] que manque c'est la Valse-Chôro, dont j 'ai trouvé chez moi quelque mesures15 et naturellement ·incomplète. Si vous pouvez écrire à Mr Pujol pour lui demander une copie, je serait très reconnaissant. "1t. "Villa-Lobos (...) came home with six preludes for guira r, dedica� :o IW}��".. d-.=; � ro die previous twelve studies make sixteen (sic) works." The Segovia-Ponce Letters, edited by Miguel Alcazar, translated b�-Pm!T � rr!î::io!lS Orphée. Columbus, 1989, p 211. 12 Pedro Duval, "Andrés Segovia nell'America del Sud-. in la clri:arra. -�-,., :i.:�\o.S. Sqlitt!lhcr 1937, p.67 13 "Choro 11. I, from a group of works for guirar of which ncdrr arë -'..:.-:::;;a;;;;;)_..ts"°:rc �-ïa-_ This programme is conserved in the archives 11
of the Fundaci6n Andrés Segovia in Linares (Spain).
prepared by Villa-Lobos himself, � œi:sau:·.: «::: � lrl= ".�I.oOOs in Rio
r �;;:._ -,..,. (marked: mu 93.21.732), Étude No.5 (mu 93.21.734), Étude No.!O !=33
=� � 53-21.741) and Étude No.12 (mu 93.21.743). Ali of - ;i;-�::-::::sie: ;;> ideui:fythe definitive version of a piece destined to be copied and distributed according to an Italian rraditioo b::. '
Five of these copies,
tbese manuscripts are marked in pencil on the firsr page wirll .ttiro:::. -;:;.-_
The "sel/eral bars naturally incomplete� probably Rfrr :a ;--r ��
Villa-Lobos, Suite populaire brésilienne, new edition re-.ised � •' .. . e= 15
-es
"(... ) With regard to the Sui te Popular Brasi!rua�- ::--- = yet fou11d ir here in my hou.se. I left wirh you Mazvria-0.� '>7"CST16
de Janeiro (Ms-1940c): Étude No. 2
;;;; s; .:e... :: � .. l.bs(u Villa-Lobos in Rio de Janeiro. Cfr. Heitor
-�=-·n - =,-·"'s :Max Escbig, Paris, 2006. •
JliÇ
:-:sa;; ofi:hich Mr. Pujol must have a copy, I have not iirc � IJtÎ.SStng movement is the Valse-Chôro, of whicl!
XXV
On 17 October 1954, Villa-Lobos once more brought up the topic:
"La Valsa-Chôro et la Polka-Chôro, j'ai fa'it un grand recherche chez moi et je n'ai pas les trouvés. Je vous prie d'insister avec Pujol que je suis complètement sur qu'il a les originaux. "17 Why did Villa-Lobos, at the time of publishing the Suite populaire brésilienne, start searching for the 1928 manuscript while, when the Douze Études were to be published, he had preferred ta rewrite them? A plausible answer ta this question can be found in the manuscripts conserved in Rio de Janeiro at the Museu Villa-Lobos. Based on the oldest draft of the Douze Études, it was in fact possible to rewrite the whole cycle completely while, based on the oldest notes for the Suite, it was not possible to rewrite this piece; it would have had to be composed from scratch, to which Villa-Lobos himself must have been alluding, albeit indirectly, in his letter of 18 February 1954 mentioned above. Another decisive aspect must certainly have been his wish, that had evidently matured in the meantime, to make some changes to Études Nos. 10 and 11 relating to the physiognomy of these pieces in the last draft. Having charged Arminda Neves de Almeida with complete revmting of the studies, Villa-Lobos sent a heliographic copy (Ms-1948e) to the publisher, who proceeded to eut the plates for printing. In the meantime, the relationship between Segovia and Villa-Lobos was intensifying even further; the guitarist was including ' pieces by the composer in his programmes with increasing frequency.18 In 1949, Segovia recorded Etudes Nos. 1 ;:in
"(...} Je vais communiquer demain à EscJzig cette idée: celle d'écrire moi méme un avant-;pro;pos pour l'album. Aussi je vais lui dire que je considère d'un grand interet pour les futurs guitaristes de ' lire tes Etudes avec les doiat�s que tu as mis. Garder tes indications ce sera prouver que tu connais bien la guitare et que tu n'as pas composé, comme d'autres auteurs, à travers moi, mais directement pour 1 'instrument. Dans une seconde solution, peut-étre, je pourrai envoyer un autre doigté, plus précis et plus professionel. mais je crois que l'album devrait étre publié tel qu'il est. (...}La vérité est que publier l'album avec tes indications ajoute un intérêt très grand aux œuvres. (...}"22 Villa-Lobos probably did not share this opinion and the issue lingered unresolved until January
l have a few bars ltere but which is naturally it1complete. If you couid write to Mr. Pujol to ask him for a copy, 1 would be most grateful." 17 "! searcl1ed thoroughlyfor the Valsa-Chôro ana the Polka-01ôro here at home but I could notji11d them. Please insist that Pujol, whom l am
absolutely sure holds the originals". The citaùon of the Polka-Chôro in lhis lette r is the only due to the existence of this piece. 18 At the beginning o f the fifties .• Segovia listed them in bis concert programmes under the title "New Éri1des".
19
20
The Études Nos.! and 8 (EMI CAX 10567; LX
1,
1229) recorded on 27 June 1949 and Étude No.7 (Decca DL 9832) recorded in September 1952.
From the letters from Andrés Segovia to Villa-Lobos conserved in the Museu Villa-Lobos, it can be deduced that the guitarist worked, besides
11 that he played in public, also on Étude No. 5 (letter from Montevideo, undated, before 1947), Études Nos. 2, 3, 9 and IO (letter from Geneva dated 20 Sepcember 1948), Étu de No.4 (letter from New York, undated) a nd Étude No.12 (telegram, undated). ln 1948, Villa
on Études Nos.
7, 8 and
Nos. J and 9, suggesting
Lobos asked him, through Olga Coelho, to express an opinion on which were the most "guitar-friendly" studies so that he could use their formulas in
the planned Concerto. ln a letter dated 20 September 1948, Segovia indicated the Ét udes
for the first an integral citaùon o f
the last movement ofthe Concerto "(...) acompagné par une lig11e 111(/odique distribuée e11tre les i11strume11 ts de bois e t des cordes, et quelques accents ritmiq11es ic;i et l/J, da11s les mitres l'll'mi>n« di> l 'orchestre. Ce sera it 1111e chose délicieuse. je le prévois. (...}".{"{...) accompanied by a melo dy line disrri
buted among tlle woodwind and strings, wirh a few rhythmic accents here and there with the otlier instruments i11 tlle orchestra. Ir will be absolutely enclia11ti11g, l believe 21
(...)"]
For this purpose, Philippe Ma.rietti sent Segovia the heliographic copy (Ms- I 48e that had been used for cornposing the plates for the Eschig
(ME-1953): This
9
)
copy is sùll in the archives of the Fundaciôn Andrés Segovia in Linares.
eaprefa ce for the volume. Also, l will write to llim to Esch ig about rhis idea COllWTTOW momi11g, i.e. that l myselfwW writ e.rtremely inrercsred ill )7rvrc guitarisrs being able to read your Études with the fni qerinqchat wu have included, Keepi11g your imlications will prove thar }'QU kno:o rU � CJC:i rluuyou have not written, as other aut/1ors have done, r/1rough me, but direct/yfor the i11srrumenr. Otherwise, perhaps, l could srnd aJloràa � acc:oJ."e and professio11a/ fingering but l r/Ji11k t/1at the volume s/1ould be published as ir stands. The truth is thar publishing rhe volume r.:i _ iz;fu-� gives a jaT greater reaso11 for interest i11 the work (...)•The underlinings are Segovia·s.
publication.
22
"{...) I will tell
tell him that I am
DF 15851
XXVI
1953
when, having finished all the corrections of the proofs, Philippe Marietti complained in a letter that he had not yet received the preface from Segovia: in fact, the performer only sent it to Villa-Lobos on 31 January 1953. The preface, dated New York, Janvier 195323, was published in French and Spanish; it reiterated, in different words, Segovia's opinion on the fingering matter:
"Voici douze "Études" écrites avec amour pour la guitare par le génial compositeur brésilien Hei tor Villa-Lobos. Elles comportent, en même temps, des formules d'une ef f icacité surprenante pour le developpement de la technique des deux mains et des beautés musicales 'désintéressées', sans but pédagogique, valeurs esthétiques permanentes des morceaux de concert. Peu nombreux sont, dans l'histoire des instruments, les Maîtres ayant réuni dans leurs "Études" ces deux qualités. Les noms de Scarlatti et de Chopin viennent immédiatement à l'esprit. Tous deux atteignent leurs buts didactiques sans qu'il y ai un soupçon d'aridité, ni de monotonie et si le pianiste attentif observe, avec reconnais sance, laflexibilité, la vigueur et l'indèpendance que ces morceaux impriment à ses doigts, l'artiste qui les déchiffre ou les écoute, admire la noblesse, le génie, la grâce et l'émotion poétique qui s'exhalent généreusemment d'eux. Villa-Lobos a fait cadeau à l'histoire de la guitare des fruits de son talent, aussi vigoureux et savoureux que ceux de Scarlatti et de Chopin. Je n'ai voulu modifier aucun des doigtés que Villa-Lobos a indiqués pour l'exécution de ses morceaux. n connaît parfaitement la guitare et, s'il a choisi telle corde ou tel doigté pour faire resortir des phrases déterminées, nous devons obéir strictement à ses désirs, même au prix de nous soumettre à de plus grands efforts d'ordre technique. Je ne veux pas terminer cette brève note sans remercier publiquement l'illustre Maître de l'honneur qu'il m'a fait en me dédiant ces Études"24
Publication 1. The sources The following sources were used in preparing this new edition of the Douze Études of Heitor Villa-Lobos: 1. Ms-Gui: Manuscript written in Villa-Lobos's hand for his Douze Études conserved in the Museu Villa-Lobos in Rio de Janeiro. Io be precise, this is a group of manuscripts made up of several sheets, written in pencil and each containing from one to three studies, catalogued as foHows: '
•mu 93.21.733: Etudes Nos. 1, 2 and 3 •mu 93.21.735: Étude No. 5 • mu 93.21.736: Études Nos. 6 and 7 •mu 93.21.737: Études Nos. 4 and 9 • mu 93.21.739: Études Nos. 8, 10 and 1 2 •mu 93.21.742: Étude No. 11 This group of manuscripts reached the Museu Villa-Lobos through a bequest from the heirs ofLucilia Guimarâes, first wife of the author. There is no frontpage and the general title is "Estudos para guitarra"; 23 It should be noted that Segovia has only written two prefa(es to publications: the other was for the selection and revision of Studiesfor the guitar by Fernando Sor that he published in 1945 (Edward B. Marks Music Corporation, New York, 1945). This preface has a number of analogous arguments as those offtred for the Douze Études. 24 "Here are twelve Études writte11 with love for the guita.r by �he mag11ificent Brazilian composer Heitor Villa-Lobos. They present, at the same lime, formulas of an amazing efficiency for the development of two-handed technique, and disincerestl!d musical beau.ty, without didactic purpose,
pennanent aesthetic values of the concert pieces. In the history of instruments, there hore bttn 1·t1)1few Maestros that have com/:lined l:loth of tlrese qualities in C11eir studies. The nomes of Scarlatti and Cllopin immedi
exude. Villa-Lobos has donated to the history of guitar the fru·its of his talent, jusr as� œcdfv.ll of.flavour as th ose of Scarlatti and Chopin. f did not wish to change any of theffogering indic:ated by Villa-Lobos for peiformir.g lis ;Y= Hr bou.-s his guitar perjec:tly and if he chose a certain stri,ig or a particular fingering to bring out a certain phrase, we sltould obey l:is âts:J• Y5 -..J0101Uly. even ac the cost of subjec:ting ourselves to greacer tec:lmical effort. I do 11ot wish to end tlris brief note without public/y rha� � � J!aescro for the honour lie lias do11e me by dedi cating tllese Études to me.•
OF 15851
XXVII it also has no dedication and is undated.25 It looks like a draft, although it is complete, and the musical content corresponds in substance to that of the fair copy in Ms-1948e, with the exception of Études Nos. 10 and 11. This is the first known version of the
Douze Études, apparently dated somewhere between
1924 and 1928, between the first meeting with Segovia and the writing of Ms-1928. 2. Ms-1928: Manuscript, written by Villa-Lobos himself, of the
Douze Études, conserved in the
archives of Éditions Max Eschig under catalogue number M.E. 2625. It has no dedication and is signed and dated
"Paris, 1928" on the last sheet. No date of composition is indicated on the title-page, probably
because the manuscript was written in the same year as the composition. This is certainly a fair copy based on Ms-Gui, delivered by the author t o Max Eschig in preparation for the edition of the
Études
planned in accordance with the contracts of 1 October 1928 and 5 January 1929. The frontpage bears the title:
"Études/ pour/ la Guitarre [sic]''. This source is accompanied by a six
page caption in three languages (Portuguese, Spanish and French): the Portuguese version was written by Villa-Lobos himself. No edition was prepared on the basis of this manuscript. 3. Ms-Terân: Manuscript written by Tomas Terân of the
Études Nos. 3, 5, 10 and 12 in the tran
scription for piano realised by Terân himself, conserved in the archives of Éditions Max Eschig without catalogue number. The manuscript can be found in the same Ms-1928 folder; moreover, a minute com parison has shown that Terân's transcription is based on Ms-19 28. Although there is no date, frontpage or dedication on the manuscript, it would be logical to conclude that it was delivered to Éditions Max Eschig by Villa-Lobos at the same time as Ms-1928. Terân's tran scription does not make any structural modifications to the Études and does constitute an adaptation to the resources of the piano. 4. Ms-1940c: Manuscripts written by Villa-Lobos of
Étude No.2,
Études Nos. 2, 5, 10, 11 and 12, conserved in
the Museu Villa-Lobos under the following catalogue numbers: •
mu 93.21.732:
composition. • mu 93.21.734:
with frontpage and dedication to Andrés Segovia, without a date of
Étude No.5, with frontpage but without dedication, date of composition "Franca,
1925" corrected in 1929. •mu 93.21.740: Étude No.10, without frontpage and with dedication to Andrés Segovia, date of com position "Paris, 1929 ''. •mu 93.21.741: Étude No.11 , incomplete (several pages including the title-page are missing), with frontpage, dedication and date of composition unable to be found.
Étude No.12, without frontpage, with dedication to Andrés Segovia, with date of composition "Paris, 1927" corrected in 1929. • mu 93.21.743:
Each
Étude consists of a separate folder and on the first page of each Villa-Lobos annotated in pencil "Original" to be interpreted as meaning the definitive version. However, the actual date of writing the manuscripts is missing on the last page; we may presume that they date back to a period between 1937 and the beginning of the forties. This is a group of fair copies definitely derived from Ms-Gui. Three of these
Études are dedicated to Andrés Segovia.
The exact origin and destination of these manuscripts are unknown. The presence of a dedication to Segovia leads one to imagine that they must somehow be correlated with the Andalusian guitarist who began studying the
Études at the end of the thirties; the manuscripts Ms-1940c may have been created
on purpose for the performer or as a basis for a copy to be entrusted to him. 5. Ms-Car: Copy of a manuscript, not written by Villa-Lobos himself, of the
Études Nos. 1, 2, 3, 4, 5
and 10 given by Heitor Villa-Lobos towards the end of 1943 to the Uruguayan guitarist Abel Carlevaro26 25
Heitor Villa-Lobos usually annotated, on the title page under his name , the place and date of the piece's composition. This date should not be
confused with the date when the manuscript was written which is usually close to the last note of the piece or collection. For example, Étude No. l from Ms-!948e presents, in its title-page under the ccmposer's name, the date "Paris, 1929" and at the end of the piece the annotation "Rio, 1947".
26 Abel Carlevaro spent sevcral wttks in Rio de Janeiro, between November and December 1943, and studied the Études under Villa-Lobos
himself. Cfr Alfredo Escande, Abel Carln>ao. L·,.. Jr.le".:o mondo e11 la guirarra, Aguilar, Ediziones Santillana, Montevideo, 2005, pp. 145-155.
OF 15851
XXVIII and conserved by his widow. The copy, written by two unkno,,-n copyistS, consists of a folder containing
Etudes Nos. 1 to 5 and another group of sheets, in different handwriting, containing Etude No. 10. There is no frontpage and only Étude No. 4 has a dedication "'A Andrés Segovia" with the date of composi tion "Paris, 1929 ''. The copy of Étude No. 1 contains an agogic annotation (All.o non troppo) probably '
'
written in by Villa-Lobos. Other two brief annotations to the manuscript may in all likelihood have been handwritten by the author. 27
6. Ms-1948e: Heliographic copy of the complete manuscript of the
Douze Études written by
Arminda Neves de Almeida between New York and Rio de Janeiro from 1947 to 1948,28 conserved in the Fundacion Andrés Segovia in Linares (Spain). Each study bears the signature of Arminda Neves de
Almeida, as well as the place and date on which the copy was realised. Each study also presents, above the title, the dedication ''.A Andrés
Segovia" and the date of composition "Paris, 1929''. It is on the basis
of this heliograph that the Max Eschig edition of 1953 (ME-1953) was prepared: this can be found in the personal archive of Andrés Segovia since the publisher, after cutting the plate, sent it to Segovia so he could add the fingering, an invitation that the guitarist, however, refused.
"H. Villa-Lobos / 12 Estudos / Para violào" corrected by band to read "Douze Études / pour / Guitarre [sic]''. At the top right hand side of the frontpage, there are the words "Segovia doigtés" handwritten by Philippe Marietti. Other heliographic copies of Arminda Neves de Almeida's The frontpage bears
manuscript are to be found in private archives. The original of the manuscript has not been traced. 7 . ME-1953: Max Eschig edition of the
Doitze Études published in 1953, under the persona! super vision of Villa-Lobos, with catalogue number M.E.6679. The date of composition indicated is "Paris, 1929''. Each study has a dedication to Andrés Segovia above the tit1e and the volume is introduced by a brief bilingual preface (in French and Spanish) signed by Segovia. Reconstruction of the genesis of the
'
Douze Etudes described in this preface shows how the two
complete and fair copy manuscripts from 1928 (Ms-1928) and 1947-48 (Ms-1948e) are two different elaborations from the same drafts (Ms-Gui or perhaps a copy of these), drawn up at a distance of around 20 years one from the other. A minute bar-by-bar comparison of the two has enabled us to verify that the manuscript of 194 7-1948 (Ms-1948e), very close to the Ms-Gui draft, in no way represents an elab oration on or revision of the 1928 manuscript (Ms-1928) but rather a recomposition
ex novo of the
same pieces based on the same draft: in other words, the two manuscripts, Ms-1928 and Ms-1948e were generated completely independently of each other and constitute two distinct and equally complete man
ifestations of the author's wishes. In spite of th:is evidence, we sbould not uncierestimate the fact that in
1953, on the occasion of the first publication, Villa-Lobos deliberately chose to divulge the 1947-1948
version. Theoretically, he could have insisted o n receiving the 1928 version from the publisher but he did not do this and decided to make a new draft, making a fully conscious choice in a phase of full artistic maturity. This choice was, moreover, heralded in the drawing up of the fair copy, written by Villa-Lobos himself, of the five studies comprising Ms-1940c. We should, therefore, attribute to Ms-1948e the value of a principle, fully reliable source. However, this manuscript is of modest quality. In fact, the copying work done by Arminda Neves de Almeida seems to have been executed rather approximately. There are innumerable incongruencies that should be considered as material errors. Notwithstanding the fact that Villa-Lobos certainly reread the proofs before printing, adding certain significant details, a large number of the numerous errors in the manuscript reappearjust as they were in the Max Eschig edition of 1953. lt was not by chance that in the following twenty years, 1etters from performers and scholars piled up on the desk of Philippe Marietti asking for elucidation on the score. In 1977, Philippe Marietti commissioned Felix Chardon, a musician wbo collaborated with Éditions Max Eschig, to carry out a comp arative study between the edition and
the manuscript Ms-1928, that had been discovered in the publisher's archives in the meantime. Chardon's 27
We are grateful to Vani Leal de Carlevaro for having given us permission to cons:fil these manuscripts and to Alfredo Esca.nde, disciple and
biographer of Abel Carlevaro, for his valuable assistance and for having facilita� c:d !Le vef.fication of cenain correlated historical circumstances.
28 The signarure of Arminda Ncves de Almeida can be found at the end of cadi s; , � .:. _ 1be Enules Nos. 1, 5 and 10 are dated "Rio, 1947 ", Énides
Nos. 3, 6, 8, 9 and li are dated "Rio, 1948", Éwde No.4 is dated "sttt:mbro 1948" .. � œ '-1carion of place, Études Nos. 7 and 12 York 1948" (September on No. 12) and Étude No.2 bas no date o r place.
DF IS851
are
dated "Neru
XXIX work brought to light the fact that the edition had not been prepared on the basis of Ms-1928 but on another source that could not be found in the Eschig archives. It was only in 2004 that the author of these notes discovered in the persona! library of Andrés Segovia the heliographic copy ofMs-1948e used in the preparation of the ME-1953 edition.
2. Criteria of the edition The complex events preceding the historical edition of the
Douze Études,
published in 1953 by Max
Eschig, highlight the reasons why the text of that edition has remained up until today one of the most enigmatic issues in the history of literature for guitar in the 201h century.29 Our task is to reconstruct, with the help of all of the sources available to us today, the thoughts and intentions of Villa-Lobos in the clearest and most faithful way possible. In this task, we have respected the wishes of the author as he clearly expressed them on the occasion of the first publication, without questioning his full liberty to make profound modifications compared to previous drafts. Therefore our principle sources for this edition were Ms-1948e and ME- 1953. However, neither of these two sources were written by the hand of Villa-Lobos, and this singular circumstance attributes an exceptional importance to all autographical sources, even though they almost all date back to a preceding stage of the work's creation. In the critical commentary and in the Appendix, the reader is provided with variants of the author that preceded the definitive version. In the Appendix in particular, it was decided to offer the complete Ms- 1928 version of Étude No. 10: the singular wealth of detail and the presence of musical material that was later elirninated make it particularly interesting to present the complete older version of the piece as well and from which it appears evident tbat the two versions belong ta two autonomous creative moments well separated from each other in time. The original graphies have been restored here, as indicated by the author in Ms-1928, attributing two different bodies to the notes to underline the difference in weight of sound in the different parts. This
Rudepoêma for piano written between 1921 and 1926, with the «Les notes plus grosses sont pour les faire bien resortir des plus petites ». ·10
draft was also used by Villa-Lobos in the following explanation:
With regard to the held notes and the polyphony in general, it was considered wiser to leave intact the
graphies chosen by the author even where the actual extension of the notes tums out to be impossible
or anyway the phonie result does not coincide fully with the proposed written instructions. The dashed ries for the left band are editorial as is everything indicated in square brackets. The indications between round brackets, on the other hand, were made by Villa-Lobos and corne from sources other than that which served as a basis for the first edition: they are included in the text because they transmit addition al information that may be useful to the performer (agogic and dynamic above all) without, however, conflicting with the instructions that the author decided to publish in 1953. The reader can deduce from the critical notes from which source an indication in round brackets was derived. The dynamic crescendo or diminuendo symbols derived from sources other than Ms-1948e and ME-1953 are not indicated between brackets but their provenance is indicated anyway in the critical notes. For the notation of harmonie sounds (that are always natural harmonies with the sole exception of the finale of Étude No. 2), Villa-Lobos wrote the notes that would be ernitted if the strings of the finger board, instead of being strummed with the fingers of the left hand ta generate a natural harmonie sound, were pressed in the same position. This system, intuitive and empirical, has the disadvantage of notes 29 Villa-Lobos did not attribute a great importance to proofreading. In this regard, the testimony or one of the princîple performers or the com poser, the Brazilian pianist Anna Stella Schic, would seem to bear signifkance: "fl est enfin nécessaire de mettre le lecteur en garde contre les multiples �eurs d'impression que l'on peut trouver dans les éditions des œuwes. Certaines sont clairement discernables. mais d'autrt's pt>uurnt pnsser pour d originales extravagances. Le compositeur nourrissait a ce sujet un optimisme é101111ant. Quand il me sgna i lait une faute sur une partition imprimée et m ·indiquait ce qu'il fallaitfaire, je lui disais: 'Mais Maître. il fautfaire corriger cette erreur' el il répondait: 'Ce n'est pas la peine... les musiciens '
sauront toujours ce que je voulais... ' Je pense qu'il est rout de même imprudent de miser sur un tel pouvoir de divinatfo11 de la part des interprêtes .. �
Anna Stella Schk, Heiror Villa-Lobos, Souvenirs de /'Indien Blanc, Éditions Actes Sud, Arles, 1987, p 154. ["It is final/y '/lecessary to warn the reader .
against the multiple printing errors that may befound in C'diriollS of 1he works. Some are clearly detectable but others may pass for original e..rava rr
gancies. Tlie composer was incredibly optimistic in rhis rtgard. W1im he pointed out an error to me in a pri11ted score and told me how ro correct ir
mistake must be correctedr And Ire ri-o!dd an.su-n-, ·1r·s not wortl1 tlie trouble-musicians wi/l always know wl1at l mea11t: J thinli that it is, to say the least, i11cautious ro counr on sucli inr.ritiIT ;:a!ntts on rire part of performers. "] 30 "Bigger notes are inrended to be put in evidence rlra11 � .
l said: 'But Maestro, thi s
XXX appearing in the text that are complete1y estranged, both in terms o f height and of harmony, from the
sounds actually generated; for this reason, it was preferred to add the actual sounds produced on another pentagram. The roman numbers in italics indicate the fretta be pressed in order to produce the harmonie
sound. The signs > and - are almost always considered to be equivalent by the author.
Glissandi for the
left hand are notated as a line extending between the note of depa:rture and the note of arrival. There
are various instances where, when the composer specifically marqued the fingering, he would indicate a different finger for each of the two notes: this means that the glissando effect is shorter than the actual
distance between the notes in the string. For example, 1-3 on the fifth string indicates that the glissando
terminates two frets before the fo1lowing note. The Roman numbers always indicate the position of the left hand but not necessarily the use of the barré that must be deduced from the context. As for the fingering, the ME- 1953 edition offers a version that is hardly indicated at ail; we have de cided that it would be opportune, for this edition, to complete this on the basis of the fingering contained in Ms-1928, the only one of the sources that gives consistent indications in this regard.31 The possibility of updating the author's choices in terms of technique and consistency was not taken into consideration since it was felt more of a priority to safeguard his original intentions in their entirety, as Segovia also distinguish in the score the original indications for the fingers of the left hand (1, 2, 3 and
believed at the time when he declined the invitation to add fingering to the collection. The reader can
4) written by
Villa-Lobos in italics, from those of the author of this text, written in roman characters. The very rare
discrepancies between the indications of Villa-Lobos are indicated in the critical commentary. AH of the fingering instnictions for the ri ght hand are, howewer, tht> author's.
In conclusion, it is our duty to add that information, advice and assistance of various kinds, but ail important, were offered by Sergio Abreu, Emilita Corral de Segovia, Alfredo Escande, Eduardo Femandez,
Angelo Gilardino, Thomas Hammje, Gérald Hugon, Francine Lajoumade-Bosc Vani Leal de Carlevaro, ,
Alberto Lôpez Poveda, Maria Cristina Mendes, Lorenzo Micheli, Maria Isabella Mininni, Luca Glebb Miroglio, David Trad Neto, Matanya Ophee, François Nicolas, Raffaele Pisano, Stefano Procaccioli, Arrigo Quattrocchi, Marcelo Rodolfo, Antonio Rugolo, Diana Sangaré, Jukka Savijoki, Turibio Santos, Mario Torta and Stanley Yates. Please accept the heartfelt gratitude of the curator of this edition.
Frédéric Zigante
Rome, 5 January 2008
translated by Susan Gastaldi
31
The original fingering instructions of Heitor Villa-Lobos in the musical score are run literai but are n i any case faithful t o the substance of
the indications contained in the various sources.
,
Douze Etu d es
. ;(I , M',,� }; ! t/ 1, ,/
/
- ··
]! -�--
0 •
•
.... -
1.. .,..
.
«/ / ....>
� ,.., .. .,; ·
--
•
- -..· -
•
-
• -
&ude
n°1, Ms-GUI (fac-similé)
•
+
•
•
2
à Andrés Segovia ,
Douze Etu d es (Paris, 1928) Édition critique par
Heitor VILLA-LOBOS
Frédéric Zigante
( 1 887-1959)
Etude n° 1 ,
des arpèges
Allegro non troppo
i
p
p
m
i
a
(mf )
m
a
i
m p
1
p
i
3
2
5
4
4
7
4
3
2 Vil
VII
11
13
VII 1
IX
4 0
0
VIII 0
0
0
2
[simile la main gauche] VII
VI 0
0
0
OF 15851
0
t
4
3 1
3
3
0
IV
0 4 ()
III
II
0
I
3
VII
0
" 1' ...
1
Q) ..:
�
a
m
(j)
II
m
Q)
l
®
2 VII 4
2
Lento *
rail.
rail.
XII
Vil
XII -- V
XII
rail . V---
4
rail.
"effet :
DF 15851
Lento
Xll
�
0
0
0
3
II
II
0
2-.._/4
p
©
4
Etude n° 2 ,
des arpèges
IX
---�
Allegro
2�--3 P--'
0 4 l
1 3·-'
0
IV----..,----�
3
3 4
®@
5
2 2
3 2 4
3
xn -------
0
9
IV------� 1
2
11
3
-1
4
3
1
' 4 · - ,. 1
4
0 a m l m
DF 15851
m
i
5
13
2
0
4
1 3 4 .. ..
3
4
1 ,.
2
0 1
2 �
4
3
4
---:.:/.1 P
' •.'
2
0
4
3
3
1
4
---'
0 1
VIII -----� 2 0
�3 2 p__J
-2 3
XIV
rail.
Il
3
VII
V
IV
harmoniques doubles*
,-B� j J r E rrfft F 1f L �
"effet :
t
IX-�
j
ii
Il
DF 15851
1
6
Etude n° 3 '
des arpèges
Allegro moderato
3
3
r >
>
> VI t
3
t
2
2
-------..
....-:
0
>
© @
[ �]
7
#
q o
f
9
2
�
5
II 3 ©
4
l
r
>
2
VII
1
>
© OF 15851
>
7
V
III
0
15
Il
2 3 -2 3
CD
0
CD
©
>
18
urr r
>
>
II >
21
�
>
(rall.)
>
(A tempo) X >
(A tempo)
(string.) >
27
r� >
>
>
2 4
r
>
>
,,,�·
f r.-.
>
r
>
rall.
. ,.-...
>
•effet :
Da Capo al �
>
>
>
>
>
> ,,-....
,,-....
r
>
,,-....
,,-....
,,-....
>
. ,.-...
>
Il
>
DF 15851
,,-....
,.-...
r
>
,,-....
>
,,-....
,,-....
>
r.>. V
V
8
Etude n° 4 ,
des accords répétés Un peu modéré
rit.
- -
-
p ��-======
IV
III
[---] ---====
'°[PJ'""F sfo
[---] -=======:
'ffo
poco allarg. VI
\1IJ
f
8
A tempo IX
VII
V
A tempo
II
IV
(p) OF 15851
0
0
vrr
[le même doigté] ==
(j)
IV
CD
IV
IX
Il
VII
CD
(
IX
VI
XI
(cresc. poco a poco)
Meno XVIII
Ob:( >
>
r
>
r
---- __ _ >
>
r
>
r u ___ r
---- _ _ >
=======>
>
>
�
� >
>
1 4 2
DF 15851
10
23
0 allarg. -2
0 0
0 7T T T 7T 7T T T
-t
25
rit.
A tempo
p
rit.
27
IV
III
[ --- ]
-======
V
�'-'r (P]
� ========-
[--- ]
III
DF 15851
-======
� ========--
--======
11
-4 � ® -= i= �
VI
35
IX
X
VIII
A tempo
II
rail.
@
II
lli
VII V
�������
XII
IX
V
IV
XI
IX
2 0 [simile le doigté)
vu
X
IX
V
VII
DF
15851
VIII
VII
I
12
rail. Il
45
III
VII
>
46
@
>
48
IX
0
1LJ .
@
50
>
(Je même doigté]
XII > (;'\
== 0 2 i====::::;:== ::::; == == ::::::i 2
@
>
>
·
r
----
IX
=== >
0
VII
V
XI >
>
VIII
VII
IX
X
VII
DF 15851
>
I
>
13
li
53
_r· 54
-----
r
(Un peu moins)
(j)
������===
VIII
,,
-3 ® © XII >
XII *>
62
fi u 41 _1 1
• '
,J} -
t)
-
-
>
j
� •
- - ::Z_
tE E r f r r r
(.,,J .
-
-
. .
2r
Ei E F F E E r m
*effet :
DF 15851
= = =
allarg.
r rr r rrrr
m
t:'<
>
tr
14
Etude n° 5 ,
mf (en de}.ms)
Andant1no
ol
•
fi
-..
\J-
r ' "'
tJ
1
-
1
1 1
.,.
1
J
1
1
p 4
•
"'
r ' tl
,..1 ;
,..-
1
-
>
7
,...
•
•
J•
t.!17'-
""
JO - 4 ,...
-
• � ,.., � tJ 0""
>
1 r -' ' ...... ' ''-
tJ ..
-
r '' �,
19
,
-
u
j.
' ,._
0 ©
-
, .-
, .
'
1
-
-4
-� _ ,,_
1
'
1 '...
1 .-' '
,,
1
1
' ' .,_
,
r >
1
1
-1 J
r
' J
71-
,1
• 1
1
...
-
.,
•
1 .,
-
1
1 -....1 Jl...I ..,-
·
��
''E 'f •c 1
'
•t
• .1
'
1
1
4
1
..
1 v -"
u >
1 ...1
-
u >
1 •...1 ·
3r·
J -
j. -
, -. - ..ï ,, 1 1 •
© 0
' '
-1
-
1
., -.
'
1
0
! "
-
1 no 1 1
1
-' ..
-
, 1
.
-
t
p 0
0 © ---
' J
•
4
0 -
A-
• -
-
•
.,
1
© 0
'
•
.., -
1
J
-
> 4o 1 -'
..
' • .l 1
no-
. ,
,.
...,,.
31>
-
.,.
-
"' --
"
•
2
.
1
�
...1
-
1
. ,
• ' • .,
1 1
-
,. .
r>
1
.,.
�
' -� -
.-
©
0 © 0
DF 1 5851
'
•
J -
-1
-
' r.-
..
'
� U 1
-
-...1 .,
0
�
.,
r
2
r
•
.
li
- - 1 > > >
' 1 J ' 1 -v •J � • ..:_
. •r
ls#J 1J r >
-
Il•'
-
�
'
'
>
'
"
",. �r
©
r
'
0
-
. .� ,, 1 J.. 1 1
>
l
>
'
u
�-·
-i
(sft)
>
r
0
> ••
t;f r > �> > >
-
40
l ©
1
1
--
1
'
� -
.,
" - - -
_J 1 ....�...1 v 1 -
. ,.
�
. ,
1 1
1 ...1
-
J
>
'F
1 1-
J 11 1
. ,.
1 1 1 .,.
' J
••
111
"
- ....
�
> (sft)
>
> '
-
>
0 © 1 1
1
1
1 '
1pp
...1 1 ...1 -
..
-\J
"�
> •
1•
A-
' • .,J J •
1
r
r
>
-
J•
>
13
> \ 40
'
1 ;cl -J.- .,1
1
.,�
> 1jro
., 1
. ,
' J
.... ..
-
'-
1
:r>
•
-
.
. .-
l! 22
3 >
1 I" J
1�
L: j te j
4c
p
fi
28
1\
• ' " '
• · -
'
..._ '
�-
..,
31
-
>
1 J �r 1 ·-
,.
-
-
1 J
�'
�
n " w
>
-· � r
1 '
J
�
.
'
Il
-
•
"
r J lj1 J ' "
'
w -
II
. .
'
1J
�r �
fi
37 • '
..,
40
�
r '
..,
-
4 ©
'
r.
-
.
-
r(p)
..
r ,.
"-
u
-
2r >
�
i>r
,.
-
r
A -�
1 .,_
,.-
'
1 J
..
u
>
-
-
1
-
•
-
-
.
..
r
-
III
> 1 .1 .1
:L.-
n '
,
r
J
r -
-
•1
•
.
-
J J F"
J J
- > .
..
-"'-
..
-
-
,..
�-
' '
© CD
""'
1
-
--
J
'
(cresc. poco a poco)
- > �•
.
-
' "'..._
1
'
-
© ®
T.
.
,
<>
--
1
r
1 .1
-
••
>
.._
u
.._ •r
'I
' 1 . ,
(/pp ) -
.
. •
----
F
u
,
r J
�·
-
r>
14;2�� s#J 1J .J ôj J ,J 1J �3 #J
-
.-
>
F
-
>
.
m -
J .J J J F
-
-
-
II
•
-'
r
>
>
3#J 1 T 4Y"�
w '
TI
---
34
>
-
<>.
ï J .-
v.
1
, .
••
>
<>
1
1
•
-
u
-
1
-
,...
(fpp) DF
15851
1-
-
• 1
1
r J -
-
'
1
•
l'
16
(en dehors) >
43
> t
Poco meno 1
>
49
/\ -
• � -· tJ
�. -
-
•
2� @ • ,
@
•
� 'f ©e (p)
55 /\
• �-· tJ
58
/\
>
, ,..
,_ •
tJ
L-
• •
1
>
-
•
•
• •
• .
F
• .
> 1
�
-
. ... 1
-� 1 •
n
i
s--·--1 "' &
'
R & \:i
r- l
• •
-'
•
..•
�
,1-
>
�
,_
d r d r f rd
0
... T T
Le �
r
• •
� ,_
,. , f r 1;r -
> 0
-
-
,-
>
>
••
,.-
3 ei., ,.
>
1
a
• -
,,_ "
1
•r 1 -
--
�
�
1
-
n• 1
1
•
'
t
4-
•
z--
•
•
3#®c> ,_ J§F
d : o 1 -
•
• 1
-
3 ei,.....i
> 0
--
. •
-
2"f*" 1
�I L -
•
J 3r J 3r 2,,
2•
1 1
-
•
> 0
1
-
1
...
-
(p) /":\. * V
rail. -
• • J J -
• • -
Il
DF 15851
-
•
_e[....J
•
1
r 1 1-
4-�
26 > \:.1 •
2b�
2F
• 1
1 J
>
>
-
*effet :
e
-
(allarg.)
1
2
-
f sr
> 4
J r
e
M4 2r
-
>
62
• '" ' ' î
J F
4 e-
(A tempo primo) V >
>
j 21*"
•
� 0 ®
��
' • •
(poco) rall.
IV >
>
>
52
0
>
#�
II
(mf)
f
-
�-'if�� M. � � �'� �
�
�
M'"'*
�
tt. -
">M·
0
l �. (o) f��
_
=
notice explicative {fac-similé autographe de Villa-Lobos)/ note esplicative {fac simile autografo)/ explanatory note {fac simile of Vil/a-Lobos's manuscript)
,...
.
� /
18
Etude n° 6 ,
"u -
• " tJ
Poco Allegro Il > � -
-
2:i n
•
>
� ..
"' '
4.
-
-
sfo (mf)
6
>
> .
-
..
" J fi
11
�.., tJ
...
" ..
�
-
'-/r r > _ _
>
VII
15
20
>
"' '
4•
:i
.
•
;
-
•
' -
sft (mf)
L.
.. ".JI. -
..
>
>
1
:i .
·.:. -.,.
r r
>
V
.
•
> "
�".
-
.. .
•
sft (mf)
. "
}"i
-
-
-
1
f]
'
[simile les accents]
r
>
.
•
u
.. ..
. .. • � -
.
...
..
-
r
I
>
" .. ..
.
b_j' -
.
mf
if.fJ
r
_l - /_j J -J " n A• /U , .O , . -
1
>
0
� � -
r
r
>
----
>
IX
•
n
•
K l..
@
.4�..
'" • n"• V
•
A tempo >
II
>
m (s.fo) ( j)
allargando 1
>
>
>
/
;� -
�
-
(1J) (string.)
Meno (très énergique)
>
12 i' ... • ·1•
>
b
>
�
>
rail.
>
>
VII
r
u u > > >
>
L. -
11-4'
>
>
VIl
�!
4 .. � • '. -
u J-4 "'1
•• . A
•
VI
>
Ill
J
:i
-
>
V
-------
1 .. �. .
"
>_ >
III
les mêmes cordes et doigtés
sfo
28
-
>
u u > > >
>
" u
>
les mêmes cordes et doigtés
®F •
>
II
@ ------
>
>
>
> >---.,
>
DF 15851
Il
>,___.,
>
>
>
>
1
>
>
[sinlile les accents]
II (r.\)
19
32
36
> rail.
(rit.)
cresc.
44
rail. - - -
-
- -
-
>
A tempo > >
>
>
>
(dim.)
>
>
>
>
48
(mf)
(stringendo poco a poco)
Meno >
allargando
>
>
(crescendo)
56
>
>
>
>
allarg.
>
>
>
>
>
gliss.
gliss.
>
>
>
(cresc.)
>
(poco rall )
> > � ff
>
*effet :
DF 15851
.
@t
> .....-..__
r.-.
* > ----XII
> > L-- 3 __J L__ 3 __,
\:1
20
Etude n ° 7 ,
Très animé
mf
---
IV 6
[--- ]
r·'-0-" --[ i- 1 3
IV
9
©>
[p]
�
rit.
IV
CD Moins (Modéré) > 13
q�
r� -
®
�· >
� !1 >
r DF 15851
>
[---·]
>
®
q!�
-Jaq1 2J 3
-
-
21
-j �-
q4. >
15
f@
(rail.
!l
17
e
©
�
>
>
f
-;J
>
_
>
> 3
>
©
©
�-· >
-
-
-
)
-
>
>
>
> 3
gliss.
4 ----
0
(Lent) VII >
19
g�q;J
� >
e
21
gliss.
>
�j >
®
4
of
©
-
-
-
-
-
-
-
-
-
-
>
)
--.. 4
• � tJ
. , ' " , IC\"' , ..::--- - �· gliss.
>U
_
��-
[fcbien chanté)
----
3
,,-1
1 ,,1 �
�
1 J -
1 ' �
•1
.,
•
'
-3 >
•
1 1 J
�..
1 -
1 1 �
-3 >
0
•
•
3 gliss. >
[--) >
>
3f?
-
-
[--]
1
r
,., .u fi . -
II >
>
(rail.
gf
(Modéré)
-
I-
23
1
V >
V >
-
J
[--) '
�.. . 2 >
[-- ]
1 1 -, ._ ,
11� 3
' -----
>
gliss
:;> II
25
3 >
3 >
4
(allargando)
:;>
II
27
2
DF 1 5851
22 29
fi u''I+
' ' • �--, tJ
-
"
,M ' 1 lJ
-
.,
0
-
1'
allarg.
1 '
,
1 '
'
1 J
1 '�
,J
0
- 1 ' '
�J 1 0)-©
©
31
-
j
allarg. !':\
" " -
A -
--�
Tempo !
-
..
0
-
.,
4
4
,__ /
r
"'
� /
=
3
[ --- }
> [p]
-4 3 1
., .
36
III--------� [ --- ]
38
4,.. - � '3 [--- ]
40
4, -- 3 '
4 2,
••
4 >
2
1
/
'
"
_ _
4 >
1
3
1
4
.. /
3
Più mosso
ft
>
>
[le même doigté]
1 >
0 > DF 15851
1 >
�
1 >
23
91 2 �
XII
1
1
>
@ >
4
J>©
>
1 >
1 > III
>@ >
48
>
>
r>
>
>
>
gIS l. S.
-------
>
>
>
>
>
V (ti ) >b"''""'""'
J. (li) b
>
. .. , � ..
J.
>
>
. .
(li) b) <.i\L \,l; G Z.:O
>
gliss.
A-
allarg.
>
>
•
gliss.
-
• •
l
1.
(allarg.)
Tempo l
112·
allarg.
,�#·rtgtr-trrgtr-tr-tgrr-r; ff11�tgrr-trrgtrfr'tgrrr:;bÊt1 55
f
---
Vü
f
57
> If sur le chevalet OF 15851
24
,
Etude n° 8
(J
Modéré
=
::::::::=-
80)
p 11. rail.
7
>
A tempo
.d
fi .u.,, 'H.
17
' '
tJ
•
� -,
21
\
u .
• �_, , tJ
'
#
tJ
..
b:
-'-
�-0
r
1
VI
4r>
r
0
r
r
-
-
-
-
>4 j
•
-� . -
>
,
r
•
-
• ,_
1
-
r
3
1
-,._
@4> �
6 -
-
'
' '
" -
-
..
'
'�.. '
> >
#,
>r
-
b: -
1
-
2
©
• •' I
ar r > > ® "
' '
w"
6
• -
,
�
>r_:> DF 15851
r
' •
#_ ..
'
..,
*
>
'
-
3
1
.. w
>r
..,
•
' 1
@
-
t
'
>-
-
�· -
ir
��
r
6
I -
•
•
' '
..
-
VI
- V
' •
> 3
_;
=2 r
1
- " ..
3
>4Il
-
.
-
®
an1mando 6
r
>
-
.
J
" •
•
6
• •
"
rit.
IV
1� r ®>
,_ -na
•
3·
-�
'
-
VI
3
r
-
-
>
>
1
-
-
r
>3
r
fi JJ, +t . �
"'li
'
-
======-
-
,
' '
-
'
• • , ..., !J •
•
'-
i]
m
>II
'
" "
�
�'
r mf
26 ri u � .
29
[p
>4II
1 12. rail. V
rit.
-
cresc.
,
>r
-
I
r
"
• •
' 1-
3 ..,,.
> > • ' "
6
' ' "
�
25 32
VI r.-..
r
r
>
® stringendo
>
4 - 1 �l 1 4 � �.. .. �.. (A tempo)
35
/\ LJ. �
• � " '
tJ
..._!.:/
.
•
..
, _ ' �
'
molto rail.
3
1
G)
3
:!...
1 -
'
•
3
;J
�
' '
©
'
3
j
40
r 45 " 11
• ""
t.J
.
VII >
J �.
-
'
>
2
G)
r 4
1
-�
�""
0
j
.
r"
-
-
r
-
j
� 2�
i-
J
•
pp
©=
r
©
�
>
>
..
•
-"
4
. ,
V
2�
-
>
4
.
•
b!.
- ..
-
.
[�]
mf
t
r
3
>
-V
-
�I" •
.
..
>
>
1
4
-4
"
1
1 �""
1 r __J J -
"
•
r
-
-
-
J -
J
0
..
•
I"'
n .
4
n V
' �
•
�0
(' .
-
lt • '
------
.
' . -
r
2
>
>
�
•
· �
21+®
.
.
"
• _..:;
r
'
�
. .
-
-------
>
•
� V
>
..
" "-
4� >
>
�
.
1
"
' "n "
-. -X _.,
sf
>
�tj �- ·:i:..; "" � •
"
>
>
>
52
-
, .
tJj' 4
• -
>
>
J
-4
.
>
.
2
(/)
J
•
� -
3;, �c..
>
rit.
')
' '
r
>
="Ji�· - �r" r
• � " ' t.J
J
-
..
>
49
>
r.-..
�
IX
>
-
•
2
5
II
>
' '
4
A tempo
IV
�
'
' -
6
IV
-
...r -
J -
• "
-
-
r
-
DF 15851
---
-
1 ...r ...r -
-
1 1 ...r 1 " Il '
• "
•
r
------
-
1 -' ...r
_,-
-
-
2
-4 tt
'
1
f
26 Tempo l >
59
1\ J.J
• �"' t)
�-
� 4
' 1-
r
(mf)
1\ � u . - • � " ' t)
63
,
'
.
r
r
�
l\ J.J. # Œl � "" , " "
-
- r '
r
r
70
� Tl ." Tl • " t)
1\ J.J. #
nI
r
'
"
1
.
•
6
- -
r -
-
-
'
...
>
r
' '
' .. I >
r
• • -
4»g�If 1:\
•-
I
•
r
-
r
-
r 6
1 1
-
r
-
r
�
r
�
-
>
Lent
•
�
1 1
I
...
n
..
>
>
r
>
r
• ..
' ' � .
'
'
L:r
T
' ' J
-
>
' I
I
0 >
>
6
r
� stringendo
>
VII >
�-
of
Il
OF 15851
•
•
>
I
'
•
>
6
6
r
-
>
6
,
'
• • 1
>
.
r
'--- 3 ---'
*effet :
r
>
>
>
1 3 4
-
6
6
>
n •
animando
cresc.
73
'
VI
·1'1
r
>
76
•
�
r
�-
-
>
- �i
..L-
J
-
'
>
>
>
r-
J-
-
-
r
>
67
• , .., t)
VITI >
II >
;j) -j>
rail.
IX >
IV
* /":'\
27
Etude n° 9 ,
des ornements
Très peu animé
r; ij
4
1\
•
""
�
rt
JJ. .. . •
•
raIl
•
I
,
1 >
•
-
'\
•
..
_.,
�-
I
\
_, . � u• ' �
0 --->
i
1
V
2j
(A tempo) (r1•t ) •
Il
I •• :. .., 1
.,
1 > ©
i 1 -
! t
i
• .
•
>
>
i 1 J)
VII
1-
.
.-
>
3
•
)
• ..
ï
. .
·-
-3�
>
>
l. i
ï-1 --2
ï 1 3. 2
>
>
0 i p
0
IV
t t
•
II
7 3b�2-
!
� -
>
2
1
>
i 1 V
>
>
6
IV
10
>
>
>
>
>
>
2
G) © 12
" "
3 >
i
> (A tempo)
>
i '
"
�
...
f\ .ü"li rt• i
1 2
18
Il I< T l r , ..
�
IX
j
•
� "" I< , li r • '
�
>
rail. ..
'\
.,..
k.)
!
t
•
>
>
21 I 1\ 1.L rt
i
'
>
2>
3 >
'
15 rt 1\ 1.L"" �
3>
3 >
>
© -------
l 3 >
Il r '
1
i
�
\
i .1J) i • ..� •
V
-
)
IX
1 .. ..
ï •
1 > > (A tempo)
(rit.)
>
)
i
..
>
VII
.
2
>
)
i
)
>
II
r
©> 2
..
[�] i
allarg.
)
..
i
IX
'
>
j
J
IX •
ï
>
t t
!
!
>
)
..
ï
>
VII
ï
i J.;i ..
j
>
>
VII
i
ï >
j
>
i
)
..
V
. .
>
© DF 15851
. .
)
-1 . L· -
>
i 2t 1 ..) 3·• -
>
vu
i
•
-3�.. 2 >
1 .
-
©©
)
J•
V
)
IV
-1 .
>
>
�i 11
•
>
.
G)
-1 -� . ..
. .
>
i t
/':'\
>
11' • •
>
IV
V
>
> > [le même doigté] >
1
>
. -' -
Il
2
o _
•
, .
b# t
)
&{ .
...
ia
>
)
Il
•
>
i
- �· -
>
2 1
28 "1
II
X
IV .
..
> 27
VI
>
>
>
>
..
>
II
IX
>
>
IV
>
V
>
VII
>
o>f
1 > VII
(Moins)
>
IX 1
0
G)
-2 >
34
>
1
7/T
>
VII
>
>
,..._
1
>
r>
>
> [A tempo]
'""'
(rail.)
II
>
>
XII
X
> ,-..,
>
X
---
>
>
>
>
>
>
>
> V
> 1 14
>
>
>
>
>
,..._
IV
>
/'"'\
l
>
DF 15851
>
>
2 >
29
[le même doigté]
r
rail. >
rx(A tempo) >
,......._
>
,......._
IX >
IX >
"
vn
V
>
IV
0 VII
V
IV >
I >
,-...
>
(allarg.) J
>
3
III
(cresc.)
A tempo
,......._
IX
@
VII
V
!':'. > >
>
>
>
> XII
X
X
IX
VII
>
>
>
>
allarg.
n
>
>
Il !':'. ...._ ..._.
>
> DF 1 5851
r
----
!':'. >
30
Etude n° 1 0 (ME- 1 953) '
Très animé
( J>
)
Q) _ _ _ _ _ _
>_ _ _ _ _ _ _
> -..-..>-..-..>
>
>
5
>
©
cresc. poco
r
>
> a poco
> > > >__...
>
>
>
9
3
3
_ > -..-.. > > .......,_ > _> _ ..._ . _....,
î [ P]
>
î
>
>
15
>
>
IV
3
>
©
3
3
>
>
>
(string.)
3
>
i Vf
18
\_ �,, " Tl • ' ,, tJ
..
-
2
>
t
..
2f ... -
- ....:.... o
.. .. -
>
r ... '
- ....:....
.. .. --
>
r'
- ....:....
..
.. .. -
>
'
- -
... l'" -
DF 15851
qiJ �
r.
. ,
-,J ... •
...__,/
• '-
-
.�
-.._;.,,
©
1
. -
®
4 4 L. 1 j1...
,
•
.u. gli � � -
/
�
,
L.
•• ..
31 Un peu animé CD i:==i::::i�
p
>
� a;
"'
• � ..
-
!J ol
-
tJ CJ
..1
'
n
1
.
(fJ 1> en dehors
...
3>@
13
----����--
0 ----����----'"'--
>
1
� -
•
.. ..
0
[sirnile les coulés de la main gauche]
1 25
...
1 0
-
.._,
aj � 2 0 -
. .
1 >
'
"
.
"1
, ,
...
.
!J 4J 1
-
-
'
(
•
1
• .
I!
1
.
3>
1 1 -' , V ,
• .
,
2 � aj 0 '
•
,
·
•1
-
.
1 >
0
1 -· . V 0 -
2 0 > 2 tt! � 0 idl 2J • JJaj '-
"'
..
29
• .. . ,1 7 .
"
'-'
-
31 /\
' -
t.. � 1 0 JJt '-
_
-
-
L
• "
�
I+� 1
'
-
' -
t � 1 0 uJt I+� J1 "
J"
33
/\ • • � .. tJ >
-
"'
35
• ' ..
v .
�.2. � .
"
L
' -
.. -
V -
/\
"" tJ
•
-
�
-
' -
1
...
,,, .
©;L
t -J. J1
.L
-
"
1 4i 1
. ...
",
-
.
...
•
-
.
2
J.
0
2...
•
'
�2 0 -
-;! •
� � 0• •1 JJ"� 1 -
'
2 l
�� 2
'
V
>r � '
J�
,
>
•
-
' '
V -
,}
-
tl Il 4J -
� 1l � 0 '
-
'
2
...
'
� -
, ,
,
'
'-
.
t
-
v •
2I " u4J 1
' -
_
2 4J 2,i ( 2 4J 2 -
.
"""
'
•
4J �
JJt
'
��
2J � 1. 0 2 4j 2
1
-
• •
•
-
�
.
-
©> 0 21 fil 21 •
-
.
V
1 4J 1 0 11 1 11 4- ...
. -
...
30
�
. .
>
2 4J. 2... 0 1 u41 1 2 � 2 0 - 1 V ... .
-
'
v .
>
' , li '
/!
.
-
.
-
.
_
-
... .
'-
-
.
-
41 - 1 --
'-
V
>
�4 2 0 .
-
0
1>
-
.
.....
>
0
4
#• �"
©>
0 J1 � J1
•
�-
-
>
tJ ©
37
•
J�
©>
-tl "" >
... �,,
-
2L. � 2 0 2J 2J �
-;!
.
21 4J 21
-
-
.
-
1�t 0 1
...
3
'
0
>
OF 15:851
-;!
,
,,4
"
1
1
.
...
'
0�
>
�1 0 1 -;!
�
-0
•
4J t
....
� V
-
32
>© 41
" �
•
"'.I tJ
#� �
1
'
JJt
0 ..t 2
'
.
-
-
1 ��
V -> •
>
'
0
•
1
�@ � o
1 2]-
V
'
.
�
J �1
•
>
>
1
1 2 .. ·'
�� 0 1 zj 1 -
�
1 1
>
>
'
-
> > > > > > > > > >
V
-
>
..._
3
3
® u:
47
> ©
©
®
� 49
51
"
. .
,,., tJ
"'
• n\ 1
3 �- .J
(p)
�
� 0 •1 ... 1 .1 . .... -
'
· � .
� • " "
3
u
ifJ
0 • .
'
.
- 1 •"1 -
�
"
1 ni v .
,
-
tj'� �
1
.
tJ oe >
a � 1J J
0
.1 - 1
-
. .
V
.�
1
---
zj � aj
0 . .
,,
.
•
1
n
'
,
(jJ >
0
-
1 1 . '� •
•
. .
aj � aj
-
V .
>
"
tj'� tj
-=
-
•)©3
55
>
III
©
.
53
> ©
.
1
�
0 -
n .
41 ,, -
-
-
V
1
•
0
.
31 . 1 '1 � - • " -
-
....,. �.
=
1
0
� tj
0
";;;
. .
_,
.'
. .
� 4J zj 0
V
-
-
!l
1
•
(
. 1 31
. ' -
-�
.1 -
A v . .
.., ·' ·.
e
DF 15851
-
.
.
r
1
•
1
- =
V -
>
>
�� .
.
-
-
>
�
t
�� •
.
1 '
-
.... •1 � • • -
•1 • 1
�· l
1 1
1 1
;j- t * -
3 "'
� �
1"'
fi
-
-
t• -
-
-
'
33 57 "'
-
-
-
"'
tJ �ff-
'
63
-
>
. •
"
r >
69 "' JJ.
..
. " "
.
- -
-
- - - -
-
-
J'-' >
,... J.I..
"
>
[le meme doigté] �
•
.J
.
>
-
> fff ®
J
=
6
>
•
-
j
>
.
>
>
.
Vif II
:ti�
.
. .
•
�
-... . 1
>
>-
l
...
•
.
1 >
-
J
•
> 6
-
j
>'"" ...:._
-
-
> 1
sfa
-- - - --1 •
>
.J
.
VI >
1
>
-
>
-
J
-
>
'
. ,
1... 1 >
... >
6
'
>
j
.. . . ..
-
.
>
0
>
.J '-' >
•
•
-
•
>- > -
0 .....__,.
. ,
-
>
.-----
j
-
-
-
· �:vr--� r
•
J
-
•
• •
_:....
- !: C C r
-
VIII
-
>'-..._./
j
>
-
-
>
If
-
•
-
>
-
J
Très vif X
>
71
' '" tJ
- - - - - - 1if:_
-
.. ......__...
XIV
•
-
rr
>
V
"' JJ.
tJ
- -
OT -
r: r: r: r r: r: r: r r: r: r: r
67
"
•
-
�,.,
.L
- --=
- ...:. = ... _
��·
IL ,, • ' ' l JV
• ' tJ
� :
-
-•
> •
�
-
-
-
>
'
.
!: C C r t C C r �f C C r u:c C r �-
•"'
tJ
-
-
>
60
"' ""
> _,' •
- - - {!"Li� -- - --';� -- -- - - --f r r r r r r r �tr r r r 1r r r r 0�r r r r 1ùTr r r
'"' tJ
65
>
>
j
-
>
/":"-.. ------. 6
...
1 :: : ;! :; ;: > > > > > > > > > cresc. --��====:::=:===-== ;!>
:;
-
-
>
i - ---�
DF 15851
p
> ---
-
34
Etude n° 1 1 '
�
Lent
� • ""
t)
'n'
Il 4. . .
.
t
> > '-
•
. .
'
> r u > rrf Bien chanté et très expressif dans la quatrième corde ,
e
1
®
JI
3
-
®
-
1
-
3
-
5
-
3
Il �
Più mosso
>®
'
1>IJ>
-
-
�
4
Lent
u
>
�
/':'\
A V
• .
rall.
JO
Più mosso
©
3
r
-
n
"
•• .
"
,.
2
11..
©
.
> >
> >
u
accel.
'
-Animé
u
sJP
" 11 1\ • '\. ' \ I'
A -
-
t) VÎ -
20
11 1\
V
�
" V
sfo p
�� 3 ,,, >
1: 3© A -
sfop
5
sJP
p p z m a z
2
17
p
p
6
'
'
_ ,
---
1 1 _, -
3-6�
sfo p
..
m
-
� 1:
•• V'U'
sfo P
sfo p
sfo p
[les grosses notes toujours sur la cinquième et quaoième corde) DF 15851
r-
-
3 -,
-
p
.. -
11•
-
-
li
f
8
. .
1
1
sfo p
23
f\ • "-""Il
0 0
•
. ,
� �
�
p i ma i �- 6
'le...._,...
.
...
. -
-
-
1
p
,- 3 -, -
-
-
11 -
mf'----_ _"1
p ••
>
1:
· • � -.,
'
�
sfa p
-
sfa p
sfa p
. ..._:u _,,
r '•11 ''
-
'
1 .... '
�
.... -
-
i ---� p
m a 6
-
1 11 J 1 ... .... -
i-
1
-
-
1 11 � -
mf
1
-· -·
-
�
r- 3 ---, 1
�
> ,,..
� � 1 �
sfa p
•
1
1
>,... .... i"<
�·
·
-
sfa p •
.
p
.
sfa p
•:::>
-
-
pp
-
-
'--' .
f
.
----r--
�
.
-
p i m a i r--- 6
,3,
p
>
S:
.... . -� 11t-4
-
-
sfa p
pp
3 -,
....
-
-
> 1Jj1
mf
-
1
.
1 1 '1
'.
�
'
'1:
p
6
!! _; -
1>
• • ' ., , ,
m a
l
'
•
28 " •
31 '°!.
p
�
�-
;u
-
-
f >
-
-
-
> '--'
26 f\ -
35
sfa p -
-
-
-
-
-
u
-
p
u-------�--'-"--F
mf
f
36 • '
\ 1>
�
�
39
f\
r '"
�
1.. .�
-,,..i=,.,
u ' ' .,,__ ,,.,__
.
s/zP
i •
1
:fsfap
sfap
p i m a z �- 6
.,
a......__,.-.
-
-
.
...
-
mf
:, .
. .
-
-
1
r- 3 -, -
-
-
1
.
sfap
p
11 ·-
"1
f
"11 ,__:.s �-
sfa P
:.,_
-
'f: sflp
. -
'
. . .. ..____,,
sflp
" ·-
-
p -
."1
u
-
DF 15851
•• V'-'
sfa p
-
•
-
36
p i m a i --�- 6 r- 3 -, p
42
,.,
.�,, ' 1 . .
.
45 • I � tJ
a__....
++tJ
,3 ....,
>
,.,
• �-V >-..
1 l -1 -1 1
.. 0..... >--
..
sfo >
sfo >
,.,
>
Il
• ' "'"' I " 1 tJ "·>-·>--
.. .
>
J J -1 J J
p
..
-
>
rall. .
u
sfo
..
>
> ·>-·>--
.. .
>
a
i]
111
>
>
[les mêmes doigtés]
1 •
111l1 ""'>>-
JJ 1JJ
/11
[i
6
1 -1 -
111 l
..
..
mf >
sfo >
>
>
1 -1 1 -1 1
>
1 1 -1 1 1
..
-
>
•-
>
""'-
•-
..
..
>-
..
>
mf >
>
>
> 1 1 1 1 1
1 -1 1 1 1 ""'>->--
�r >
sfo>
>
>
>
sfo >
1 1 1 1 -1 -
-
.. -
1 1 1• 1
sfo>
sfo
1 1 1 1 -1
-
>
1 -1 -1 1 1
111
•-
� -
>
>.
-
�
......
'
6
1 1 1 1 -1
> 54
-
t
>
6
6
11 .11" -
-
-
-
>
rythmé == = == mf ��== == == = = 50
-
• 4 11 >"•'-"11
>
bien
·-4
-
p ·
>
-
u
p
f >
-
p
f
mf
>
" -
-
sflp
"i •
Poco meno
-
..
1
sftp
48
,
p i ma t �- 6
, .
\
•
Hr.-1 î='" .1
11 1 - '
..
1 1 -1 1 -1
-
.. -
mf >
56
mf >
DF 15851
>
37
>
>
> 0
0
60
64 > 11 •1 •1 11 Il tJ
' '
!.. ..
•
>
> • •.. .... ..
11 11 1 11
-.
>
··� ..
1 .J-
1 11
1
•
·1. ..
>
>
0
0
sfo>
sfo>
sfo>
>
>
>
>
>
>
>
> >
>
0
>
> >
>
0
sfo>
>
>
>
0
sfo>
•
>
>
1 1. 1 1 .J • .J .J
1 1 1 1 1
� ..
>
-
1
1
>
1
-
!
>
>
� ,.-
1?
>
1
>
>
Animé
p >
>
>
68 Il • �--
vffB
'
p i m a i-- �- 6 -� ,. 3 , p
71
• " �J
-
�
t.J ''>
\
>
I e__.. 8
-
...
mf
p
1
-
�
... -
-
'-'"I
'
-= --u -
-
•• V'-J'
sfo p
f DF
: r
15851
·�� -
.
-
�
-
.
38 74 "
-
.1
•
sft p "
• '" ' V
tJ
'
. .
.
. -
1
m
a
•I ..
e ----.
•
t ---
p
1 �
-- 6 -- r- 3 -,
fi---
.
�
� -
-
mif _,: '._ ..._ .= : : = = = = = = = :: ....:.� 1 '-..._,/ :::;. � f -
_ _ _ _
p i ma i
p
76
•
p
-- 6
I
f+H� "
.
;;:::::-
u -
---
j m
•
.
-
p
,- 3 -,
1 •
-
jJ
• j
if
-
11
-
-
11
-
>� .:_:. !
_ _ _ _ _ _
___..,
p -
u -
---
79
p 82 /\ -
p
"1
�'V � tJtl Il
.
-
1'
' -
-
' -
o U
(sfo)
85
-
• H U tJ
95
>
-
'
-
-
_
.
_
-
t
),. > . -
r
>
1
3
>
11
n " -
_
_
_
_
_
_
_
[ r.\ l
ll
-
... .
� -= "
-
_
.
-
1>1
-
(mf )
Più mosso
p /\ u
1" (sj')
rail.
Lent
&
90
I
p
.
-
u
'
= " .- ·.·
r
----
1> � -
1 ·-
.
u -
>
1l' 1 J>
r
3
1 f �� T '
>
t
2
© t
Lent .
�
. ,
p
& -
-
1 > > '
-
�
l
.
-
u
,
> >
Più mosso
5
!
r·dim.
e
OF 15851
---
-
rail.
_
�
_
1
---17
r>J>
,
r -
' -
r.-.
© 0 ppp
r.\
39
Etude n° 1 2 I
Animé
> ,_.._,...._
>
> r--.,_--i
3
r---�-
r·
©>(cresc.)
>
r> � · r> · 12
14
r·
XI
[les mêmes cordes et les mêmes doigtés)
==
>
r·
>r.... -
>
VIII
X
>
4
4
>
G:) _ _ @ >_ _ mi
j
r·
= ==
>
>
>
r·
>
VII 4
V
4 �-
r·
,_. ._., _ _
>
r·
II
I 0
>
>
IV
> r--.,...--i
0
r [les mêmes cordes et les mêmes doigtés) OF 15851
40
> ,_. _ .,..._ _
16
r·
r·
-=====
>
>
18
>,_.. __ __
>
>
�=====
...
_ _3_ _
>
>
>r--....,.--91
>�-�....,
_....
r
> -=====
..../
--sc.) r e( c-
>
>
(rit.)
@(sfa) (A tempo subito) IX
22
VI
r
®-
(m f)
=
©-
0
r -----Tii
25
©-
@-
r·------
(!)-
27
0
_ _ >,... . _
>,_._,...._
30
0
r·
>
./ -�
========�-
r
>
DF 15851
>,.... _ _
_
32
Il
• �"' ..,
>
�i==1
.... ..-:--
::i-�..
.1 •
r·
, .,,.
V
>
�
�·�
., '' . •
. ,
-
.
.) •
• . • -
L•
-
VIII
.3
-
m
m
l
mf
i
m
42
t
®
m
l
m
1
m
1
m
i
® © 1
m
. .
©
' '
�====
i
1
m
®
---
DF 15851
m
CD
�
m
V•
#-
@
m
(rail.)
>
.
. .
f
m
r---,.--
!
• -
----r·
--
Più mosso
m
48
1J
>
--======--=
39
1111'
(mf)
VI
111
>
4-J
3
2
>
f 37
.
0 9-.
> 35
.
41
!
i
.
m
m
i
42 54
57
60
63
gliss. avec un doigt
66
2
>
>
sjft
w
w
mf
sjft
ww
�mf
rail.
2
69
rail.
sjft
mf
A tempo 1
>
ww >
>
---
>
> ,_...,._
r·
--="'-./
>·-==== > _ _ ,... _ _
72
· == r--= .
>
./
=====
· r�
===
DF 15851
r
>
(cresc.)
43
r
>
-·
r· � :: �:-=:::�
-
=
> ,_..._,...._
r· ------r ·
r·
r· >
�====
> �=====
> ---
r·
·r·
> -====
83
----
> �-..,....-
>
>
>
-7
· r >
r· >
-====
�======
85
>
>
'!!::::.--/
r·
> -======
87
>
3
>
' f=w! ! �3 � ! !�� j llf'-l! ! �==i >
.-_/
r·
>
-....._....;;
>
>
-__:::....
r·
, /
r >
'-.__...
(cresc.)
DF il5851
44
(A tempo subito)
IX
91
VI
r
r
(mf )
Ill 0
r·---96 1
2
99
Un peu plus animé > > ,...._.,.._"'"'
r--�--i
r·
>
,_,_.,__.,.
> ,_,_...___
,...._.,.._"'"'
r·
�
> �======
>
-
3
>
�
-
>
>
....__,====
r�==---- r -�
cresc.
3 ,....._..,..._"""'
>
gliss. très rapide avec un doigt de la main droite 6
simile
6
6
12
r.'I
•
ff
fff
(cresc. toujours) DF 15851
>
Appen dice ,
Etude n° 1 0 (Ms- 1 92 8) ••
•
> > > > >
r· ,
�
-
li
>
j
r
'
"
t
�u
: = · *1� -rn ,.
3
3
.
.
:>
>
-
3
•
1...
>
._
�
:>""
3 -
·=·->
..
-
�=
7
�
..
3
l... t:::t ! >
��=
. .
. .
1 j.,
-
J
"
..
··-r-
•
.
7
:>
1
·
-- -
Étude n°10, Ms- 1928 (fac-similé)
.
1
-
3
>
47
Etude n° 1 0 (Ms- 1 928) ,
> > .,. >_ _ _ _
Animé
r
p
>
>
5
>
>
>
>
>
r·
>
>
9
r
>
>
,......,.>..--->.--->.-->�
>
3
3
>
r
>
>
3
12
3
>
IV ----�
15
r
>
Vif
18
DF 15851
string . -
>
-
-
48 Un peu modéré
,--- 3 --,
g�J
21
·
3 --, >
,---
-
-
r·
3 ----'
" l.j � 1\ ' '' V
tJ
H . ,
J -'
;�� p) J
,...-=----..
., .
L.__ 3 __, 3 -�
J
L.
�
'
-
� �L 1
1-4 ,
,--..
• 1
.
!.
-
1
=ti CD
-
Un peu modéré ,--- 3 --, ,--- 3 --, > > >
>
Modéré
Lent 24
>
-
L-
Lent
J
�) J >
>
'
• •
r·
,..--- 3 -----,
,.- 3 -----,
-
-
-
-
-=-�-
-
-
-
'
•
•� ,
-
Il � loi l# "" 11 .. ' ''V tJ 30
32
" .LI
•
tJ
""
H
CD
i..1 ....
0
>
.
CD ------
3 ___J '-- __J L3 -' 3
'
I
u -
" ,.,..__ . �'
•
� '---
sfo
�- 3 -� L.41
>
......
--
�
.
I
. .
3 -� >
,---
..... �
-
Il .u H
34
•' , ,J •'
.
.
1 .U.1n ft _ 1
,.,,
Il �' -t
r
37
Tl• Tl ' ' " '-" ..
1
3
.
-
-t
---
�� •
'
,
3�
�
r
•--
·-
..
..
�
6
1.-- 3
bi
�
tri___;,
" ,. .
.1
•
.
....__.,.
,,
h�
>
�
•
-1 ,
· -
' ..__,,
..
7
4
-
2
h� '
3
..
sfo
--'--' r
.u.3 i,.4 -
-
,. J' .. 3
i.. 1
•
,
.,
•
,-
> 4
'
r
'--
�-
>
��
-
'rJ
1 •
3 -� >
--
3
"' 1
"'i
3 > ---,
,--
--
�:
CD3
-
"'
"'i
1-::---
L-
Jü..
..
3 ___J
'--
> -
3 ---, > >
.-
3 ___J
•
2
L- J ___J
DF 15851
3 -, >
-
---
.
�
-
� sfo
6
-
6
.
<
�
>
6
L-3 __J
4
•
-, 1-. u 1
III
-
,-3 ----, -
3 .,,.
•
-
3 -�
'-'
3 __J
.
-
2
gliss.
--
� -.....__.,,- ;
-
' 1
..
1.2
,
..
V
r
.
,- 3 ----,
,h� / '
'----
-
>
-
---, 3 > -- >
..
L__
• 1.• fi ,
• � .
,..---
i\ �
n � "
..... �
� '--"'
-
>
>
�- 3 -� �- 3 -� ,--- 3 --, > >
�3
11\ h�
•
gliss.
�.�
>
.. - ..
-.
-
>
>
sfo
• < .
>
3 �
u
- - -
-
,
0
r·
____ _
_ __J
3 ---�
.- 3----.
27
,
L- 3
3 _
_ _ _ _ -' _ _ L-_
3
t=__ 3 ___J
r·
3----' _ _ __ _ _ _
)-_) J�J--) --- i J3 - j JJJJ3 -JJ�J
...��
-
_
,
)h) J
>
1 - 1--
3 __J
-
0
.. ...__.,
�" k1 " ..
.
49 Animé
40
> -->--�>
>r mf
44
>
>
r >
>
>
> 48
>
51
>
>
..J ; ..J
54 "' L. .., " ' ., ''
Très animé -...
tJ
l
o
.
'
tJ
" "
60 • � ._1
-
1
1 1 � �J ' -
':J
.
1
J .
'
1
1
.._,
..J .J .J 1 -
,
-
-
-...
1
1 '
.
' .
f>
;J
-
:,,/
.
•
-
1 J
-...
1
1 J
1 J
,
; J
. -... ,
1
-
1
'
f> en dehors
1
..J ;
1 J
.
-
1
.'
1
'
1
' .
.
>
r
..J .J '
..J 1 -
1 .J -
-...
1
..J
1 .J -
.J ..J
1 '
--
1
1 '
1
..J 1
-
1
. .
1
'
>
#; .J
' '" '
>
u
DF 15851
.J
-...
'
>
-
'
>
pp
[--- ]
> -
>
�
1 _] •
p
J. ; J
•
>
..J .J ..J ol '
1 1 1 .J • .J V "
> 58 "
>
III
>
•
>
•
1.1nJ !ot.I '
'
'
1
.
.J
-
'
_J
J ..J --
.
1
J
1' J
50
�J
62
�
" " t)
•
"J '1+..J J
-
Il
,
-
-
\.../
JJ
JI
-�J
J ..J 1
•
-
'
- #
"J 1+..J J
,
-
-
>
>
0 1 >
---
>
3
>
>
[ /] >
---
� 4J J , -
t)
.
.
1
�J 4 J
u -4
J �
,
-
-
3
21
-
J
4
-
-
� 4JJ -
'
�!! J
0
•
@ ,.JJ2 i...J -J '
-
'
� V
"
,,
®
"
'
-
,'
1
1 �
J ..J J
'
•
1
4� -
L -
-
.
l'
·
-
J
,
•
uJ ..1 J -
'
\
"" •
tJ
, _
'
1 ..J -1
u
"
�J
-
.
•
J ..J J
-
-
.
�JJ
-
.... 1 ..J J '
'
0""'
-
li
3-
'
'
J
J
� , , '
2
4J J
,
2J 3.J J .
>4
---
/ IAu 1 J L�
-
JlJ
>
>
74
1
-
>
G) J
•1 u nJ
3
>
.
" " t) T
•
1
>
72 Il �
-
.
f @
• � --,
J ..J J
>
---
Il
•
>
>
70
l
�J
-
-
•
J ..J J -
ff
> > > > > > > > > >
/
-
-
© �������-=:::::;;;;;��=== >
>
>
>
DF 15851
>
>
3
3
51
© -- (V1---
77
CD -,,
@ --
80
-"---: - > >
82
©
84
u mf 86 f\ �
i �V
t.J
J
'
> f ..J
1
1
-
--
1 ...
>
1 � _!
' '
�
J
'
..J
..J
-
l_ 1 ... _,,
1 ...
..L -
>
..J
'"'
�
r
tt r
J
-
-
r
..L .J
-
1
•
'
'
� -
-
>
© -- ® ----, @
>
>
90
rrr
-
>
0----,
nr r r r
L _! 1 - � ;r
rrr
rrrr
OF 15851
�r r r r crr r r
,
52
>
93
fi
>
--
• '" � , , .
#Rr t: t: r
'
>
96
>
- -- - - - - -� t: t: r #E t: t: r t:Lt: t: r #f" • "
- rr
�
�
_c_� -
-
>
-- - - -- -r t: t: r
'
$1 , . - - - - - - - - - - - - 1RÎÎ · - - - - - - - - - - - - 1 r r r rrr r r E r: r: r r: r: r cEr r r E r r: r �=
=<
'
. n;=
fi >
98 •
'"
.;
Vif II
"
•
. ,_
.
... ......._.
'
•
Il�
>
>
.
XIV
.
•
..>-==>
.J.
VIU
>
;
•
' �
1 î
-
>
1
-
-
•
>
.
>r
j
---> > ----, > ..J>
•
1
>1
•
_ ,
-
:
>
•
_ ,
.J>
•
•
'
..
-
V
•
0
•
•
--------, 6
6
6
-
II
--
--
----> ---, l
m
a
l ---�
OF 15851
p
> -----?7
-
::: :::
�'-'r---> -
-
105
•
r· 1·vr� >
>
•
>
--------,
102
" .ù 'IL ' T l • ' .;
r:.J
.
•
-
,_
= 1
-> > ---,
•
----> > > J • • .Jv > > >r . V
Très vif X
104
u " " "
- - - - -- - - - r rrr rrrr rrrr
fi .Li"
'.,
�=.
.- �e·
100 •
= �
6
Critical commentary, variants and observations Notation of the bars and tempo: 26, 27, 32: bars 26, 27 and 32 26- 32: from bar 26 to bar 32 26.3: bar 26, 3rd beat indicated by the tempo denominator indicated for the piece. 26.3- 28.2: from the 3rd beat of bar 26 to the 2nd beat of bar 28 26.3 and 28.3: on the 3rd beat of bar 26 and on the 3rd beat of bar 28
Etude No. 1 ,
1 Ms-1928: Animé and dynamic 11if'. This piece is subtitled Prélude and has no repeat signs. The bass has the value of a minim with dot and has a long slur that lengthens its value. The bass from bar 27 to bar 31 becomes a whole note. Ms-Car: All0 non troppo. This is an indication that was presumably added by Villa-Lobos himself to a copy written by a collaborator. ME-1953: Allegro moderato and dynamic p. The dynamic indication p is an error since i n Ms-1948e the letter "p" refers to the thumb of the right hand. Ms-1 948e and ME-1953: The bass has the value of a minim with dot but the bar is not polyphonically complete. We have opted for a value of semibreve for the whole piece. 5-6 Ms-1928: The fingering of the E on the fourth string and the B on the fifth string are 2 and 3 respectively. 9 ME-1953: simile, from here to bar 19, the double value on the bass disappears. The double value is reintroduced in bar 20. 13 Ms-1928: The D � is replaced by C � in the whole bar. 14 Ms-1928: The E � is replaced by D � in the whole bar. 23.3 Ms-Gui: Indication of position on G with the Roman numeral VII without zero on E. Ms-Car: Zero on free string on the first B. Ms-1 948e and ME-1953: The 3rd E semiquaver is indicated with the zero on the open string. Ms-1928: Fingering different from the indication in Ms-1948e and ME-1953. Etude No. 7, bars 23 and 24, Ms-1928 vu
-
�
:--.... I'l --,
m
i
I
2
;±
3
©
-wu_ _ _ _ _ _ _ _
The slur between G and E in bar 23.3 refers to the index finger of the right hand that must si ide from second to third string. Villa-Lobos probably changed his mind about this type of fingering and opted for the version that was then published (without however noting the details on the descent to first position in bar 24). For the descent from the last quadruplet in bar 23 to the whole of bar 24, Villa-Lobos had planned a typically celle fingering that develops with consecutive changes of position on the first string. However, it is pro bable that there was a material error in t�e fingering of the passage between 24.2 and 24.3, with a jump of the same ring finger on two
different strings. We therefore opted for fingering that respects the choice of strings indicated by the Author but modifying the choice of certain fingers on the left hand. 29-30 Ms-1 948e and ME-1953: The two bars are only joined together with a repeat sign at the beginning of 29 and end of 30 from which can be deduced a repeat of the two bars in legato but this is probably a copying error originating from the confused inscription in Ms-Gui where bar 30 constitutes something added in the margin of the text and graphically not very clear. ln his recording made on 27 June 1949, Andrés Segovia1 repeats the two bars separately as also does Abel Carlevaro in his recording made in 1949.2 31.3 Ms-Gui, Ms-1928, Ms-Car and Ms-1948e: The E on the third beat is clearly handwritten in all sources on the first open string and notas a harmonie note. Only in ME-1953 is it indicated as a harmonie, but the absence of a string indication leads us to suppose that it is a note that does not require special fingering or a note from a n open string. We suppose that in ME-1953 it was an incomplete correction made by the author when correcting the printing proofs. lt may have been a correction suggested by Andrés Segovia who, in his 1949 recording, dearly played the last two beats of bar 31 entirely in natural harmo nie notes from the B on the sixth string, seventh fret.
Étude No. 1
Ms-1928,
bars 31 and 32
oUarg
e
;:)
�
�
a r4�__3_:_ ;__J_J_ê_r=.® r... r r r r! _:!:..__!_'_! ••
•
.
•
•
.
ruum.,
0
_ _ _ _ _ _ _
_ _
Etude No. 2 ,
1 Ms-1928: Tres Animé. This piece has no repeat signs. Ms-Gui, Ms-1 940c, Ms-1 948e and ME-1953: Allegro Ms-Car: Al/0• This is an indication presumably added by Villa-Lobos himself to a copy made by a colleague. The fingering was annotated byVilla-Lobos in the various sources through the use of Roman numerals indicating the position of the left hand. On bars 4, 13, 14 and 22, there are Arabie numerals for the fingers of the left hand in Ms-1 928. The Author's fingering has been developed for the whole piece, always indicating the use of the fingers of the left hand. 4.4 Ms-Gui, Ms-1928, Ms-1 94-0c, Ms-1 948e and Ms-1953: The last note is an E instead of the expected D. This is the only exception to the
DF 15851
1
EMJ CAX10567; LX1229. In the Decca recording of January 1956, howe
Parlophone (Odeon Series). P.X.O. 1073 (78 rpm, 30 cm.) pubUshed in 1952 and recorded in London between May and October 1949.
ver,
2
Andrés Segovia repeats the two legato bars as indicated in ME-1953.
XXVll
Étude No.2 -English fixed structure of almost the whole piece in which each bar ends with the same note of the second note in the first quadruplet. Ms-Car: The last note is an E, subsequently crossed out and replaced with a D. lt is possible that this is a correction made by Villa-Lobos himself to a copy made by a coileague. ln ail the manuscript sources, the last two notes of bar 4, F and E, are joined by the slur sign that is absent in ME-1953. 7. 1 ME-1953: The slur between the first two notes, present in ail other sources, is missing here. 10.1 Ms-1928: The slur between the first two notes -in all of the other sources there are no slurs. 10.3 The change of position to second string is not indicated in any source: it is very likely that Villa-Lobos conceived this quadruplet and the subsequents with a fingering plan, typical of stringed instruments, completely developed on the first string (0142-1143-1143-1143) Étude No.2, bars 10-12
c 0
'
•
fr �
2
the position sign (IX) is interrupted on C. The purpose of this fingering was to facilitate the change of position with the use of an open string. Ms-Gui and Ms-Car: The indication of position is extended up to the end of the bar. Ms-1940c, Ms-1 948e and ME-1953: No indication of position. 20.3 Ms-1928, Ms-Gui and Ms.Car: G-natural. Ms-1948e and ME-1953: The G does not have a 'natural' sign. This must be a copying error. 22 The change from first position to second is not indicated in any of the sources. 26.4-27.1 Ms-Gui and Ms-1928: The Author had planned the use of an effect in which the bichords are executed contemporaneously on the same string, making vibrate the two segments of the string, divided by the finger of the left hand pressing the string: while a finger of the left hand is pressing a note that will be plucked with the right hand in the string segment between the finger on the fret and the bridge, a second finger of the left hand will simultaneously pluck the segment of string between the finger on the fret and the rib of the first fret This is how Heitor Villa-Lobos annotated the effect and explained the execution with the help of a note in Portuquese: Étude No.2 bars 26 and 27, Ms- 1928
•Pizzicato simultaneo da mao esquerda con a mtio direita na mesma corda. [Pfucked simultaneously by the left hand and right hand on the same string] .
Ms-Car: The slur between the first two notes is missing. 1 6.4 Ms-Gui and Ms-1928: The slurs on every two notes of this quadru plet are incompatible with the indication of fourth position (Roman numeral IV) extended to the whole bar, unless we consider that the slur refers to the sliding of one finger of the right hand. Ms-Gui: The A second note of the quadruplet is a B. Ms-1928 and Ms-1940c: The A second note of the quadruplet was a B but was subsequently corrected in pendl to an A. Ms-Car: The second note of the quadruplet is a B. The fingering ad ded by Abel Carlevaro naturally identifies it as an A. Only the first two notes have a slur. Ms-1 948e and ME-1953: The second note is an A and there are no slurs. Étude No.2, bars 15 and 16, Ms-1928
17.1 The slur on the first two notes is missing from all sources. 1 7.3 Ms-Gui, Ms-1928 and Ms.Car: Slur between B and A, omitted in all other sources. 1 9.4 Ms-1928: The last two notes of the quadruplet have, respectively, an indication of second string (with zero) and fourth string (B and D) and
Ms-Car: The phrase is slightly different: "Pizz.ttos simultaneos da mao direita e mcio esquerda na mesma corda'', with the plural that would seem to emphasise the separate double action of the two hands. The effect has a weak sonority and uncertain intonation but Villa-Lobos uses it again in Ms-1 948e. However, in this source, the term Harm. also appears, evidently due tu on im:umplete correction. lt was only during correction of the proofs that Heitor Villa-Lobos completed the indication (or perhaps accepted a suggestion made by Andrés Segovia who had been working on the piece since back in September 1948) for the realisation of double harmonies -Harm. doup/es- but evidently between the proofs corrected in a distrac ted manner and oversights by the typesetter, the two indications for execution were overlaid and the 1953 edition was consequently incomprehensible. lt should be noted that, once the desired effect in ME-1953 had been changed, in bar 26 the 0-sharp in the first bichord disappears to make way for a 0-natural. This change makes it necessary to use an artificial harmonie in the second bichord: this is the only case in the whole of Villa-Lobos's production for guitar. However, it is not impossible to execute the second bichord as a natural harmonie: it is sufficient to play the harmonie on the sixth string in the XXII position (in the first part of the hole) and the D and G-sharp will be produced on the two fragments of string.
r
J_)
-
r
J
;
Q)
© ©
© @
i r
But it is unlikely that Villa-Lobos had planned such a particular and unusual effect without annotating it in some way and we have therefore held it to be more likely that he accepted a suggestion
DF 15851
'
'
Etude No.2, Etude No.3 - English
x:xviii made by Segovia oriented towards the use of more common
Ms-1928:
harmonies with double fingering. lt should also be noted that the
ln the
passage is annotated in a different manner from the method usually
not have a repeat sign.
used by the Author to indicate the harmonie sounds. The normal
11.1
way of annotating this would have been:
Il
Da Capo (that is written out in full in this source) the bar does
ln a l l sources, there is a slur between the G and the 0, probably indicat
ing the sliding of a finger of the right hand: we chose to omit this since this technique does not offer any particular advantages compared to the traditional two-fingcr
11.3
mcthod.
Ms-1928: The slur between D and B cannot be found in the first ver
Da Capo that,
in this source, is written out in full. The
Note
sion but in the
Bars 18, 19 and 20 contain, in all sources entirely written byVilla-Lobos,
other sources omit this slur.
the first three notes slurred. At first sight, the distributions of the slurs
13.2
would seem to be not only illogical but also partly unrealisable. However,
ln a l l sources, there is a slur between
these slurs refer not to the left hand but to the right hand and in par
the sliding of a finger of the right hand: we chose to omit this
ticular to the use of the thumb: the misunderstanding originates in the
fact that the Author uses the same sign to indicate the mechanical slur
since this technique does not offer any particular advantages
of the left hand and the sliding of the thumb on the right hand from a
1 3.3
bass string towards one or more higher strings. Observe, for example, the
ln all sources, the E of the third beat has always indicated the zero of
fingering of the right hand in the last two bars of Étude No.10:
an open string, therefore the slur is an error.
Il
s -
11
E and C, probably indicating
compared to the traditional two-fi nger method.
14.3 Ms-Gui, Ms-1928 and Ms-Teran : The first note is a D supported by an indication of third position (Ill) starting from the beginning of the bar and finishing half way through the third beat. However, to play an
E, The slurs on the first three semiquavers of bars 18, 19, 20 and 23 and the v o n the first two semiquavers in bars 2, 4, 7, 8, 9, 15, 21, 22 and 25 will therefore be considered as slurs for the thumb of the right hand.
a change of position would be necessary.
Ms-Car: The first note is D but the slur with the C # is missing. Ms-1948e and ME-1953: The first note is an E. 17.3
Ms-1928, Ms-Car, Ms-1948e and ME-1953: Slur between A� and B. Ms-Gui, Ms-Car, Ms-1 948e and ME-1953: Present the slur and the B with zero of open string.
,
Etude No.3
1 7 and 1 8 Ms-1928: ln the
1
Da Capo
(that is written out in full in this source)
Ms-Gui, Ms-1 948e and ME-1953:
the two bars do not have a return sign.
Ms-1928 and Ms-Teran :
22.1
Allegro moderato Un peu animé
Ms.Car: Without agogic indication.
Ms-1928:
1.1
22.2
Ms-Gui, Ms-1928 and Ms-Car:
ifz
rail.
Ms-Terân: Crescendo sign
Ms-Teran: sft followed by '"ff and a crescendo symbol to end of bar 2.
Ms.Car: The chord F-natural-B-flat-D is fingered 112.
Ms-1948e and ME-1953:f
22.3
2.3
Ms-Terân: Diminuendo sign
The last two notes of the quadruplet are slured in all sources except
23.2-3
in Ms-Gui. lt is possible that this is a slur of the right hand involving
Ms-1928: The
a sliding from third to fourth string of one finger of the right hand,
Ms-Teran: Crescendo sign
however it is also possible that this is a slur of the left hand with G on
24.1
fourth string: no known source elucidates this detail.
Ms-1928:
3-4-5
24.3
Ms-1928: This is the only source presenting accents on the bass.
Ms-1928:
6.1
26.1
(VI)
Ms-1928 and Ms-Teran: The highest note of the chord on the first beat is
E instead of the
F � in the other sources. The sixth position
is on 6.2.
(VI)
Ms-Gui, Ms-Car, Ms-1 948e and ME-1953: The highest note i n the chord on the first beat is F#. The sixth position ginning of the bar.
starts at the be
Ms-1928:
Da Capo is not written
since it is developed in full.
a tempo string. a tempo
28.3 Ms-1928:
allargando
29.2 Ms-Car: ln this manuscript, bars 28 and 29 are written only once with the return sign at the beginning and end of the bar. The word above the staff.
6.3
"desenvoler" is written
Ms-1928 and Ms-Car: There are two staccato dots on the A # and on the B.
30.1 Ms-1 928: The value of the three-note chord A-D-F is a crotchet while in Ms-Gui and Ms-1 948e it is a minim with dot.
8.1
30.2
Ms-Gui, Ms.1928, Ms-1 948e and ME-1953: and G. lt is possible that the slur refers to the right
Ms-Gui and Ms-1928: The finale requires a bichord composed of a na
hand: we felt that it was better to omit it since this technique does
tural sound, D on fifth string-fifth fret (finger 3) and its double octave,
not offer any particular advantages compared to the traditional two
rather crude and typical of many ofVilla-Lobos's compostions, obtained
Slur between
C
finger method.
with natural harmonie on fourth string-fifth fret (finger 4). The high D
OF 15851
Étude No.3, Étude No.4- English
8..3
in a smaller note indicates the resulting sound of the harmonie.
� \ts-1928 and Ms-Car: E-flat and G-natural Er:.ze '.a.4, oor 8, Ms-1928
Étude No.3, bar 30 •
1 >
XXIX
� -
""
Ms-1 948e and ME-1953: Bichord in natural harmonies in 4t1> am:I �
string on fifth fret. lt is possible that Villa-Lobos had opted for tr.e double harmonie only when Ms-1948e was being written, however
ME-1 953 there are still traces of the old Ms-Gui and Ms-1928 lesso
that make the text incomprehensible.
ts-1948e and ME-1953: E-natural and G-sharp.
8.4
1s-1948e: Natural sign next to the E and sharp sign next to the f
Étude No.4, bar 8, Ms-194Be
apparently without reason.
Etude No.4 ,
1
Ms-Gui: No agogic indication. No indication of dynamics Ms-1928: Un peu modéré. Dynamics and position of the ritenuto
deformed compared to Ms-1948e and ME-1 953. We opted for the lesson in Ms-1948e.
From a comparison of sources, it emerges clearly that at the end of the
Ms-Car:
Andante. Next to the title N.4 and the dedication A Andrés Segovia, there is an indication Aproveitando sempre as cordas soltas
forties the Author chose to alter the harmony of bar 8. However, Ms-
[Always using the free strings]. Roman numeral Ill for position, ex
1948e and ME-1953 present inconsistencies, probably due to modi fications made several times over by the Author himself. We have
tending throughout the first bar. '"'if. Same distribution of crescendo
chosen bar 8 in ME-1953 in the score, noting here our assumption
and diminuendo signs in Ms-1948e and ME-1953 but without the rit
that the intention of Villa-Lobos was to make a version perfectly sym
in centre position.
metrical with the following bar:
Ms-1 948e and MEl 953: Double indication in ltalian and French:
--� 1Sj jp
Un
peu modéré - Poco moderato Étude No.4,
Étude No.4, bars 8-9.
bars 1-5, Ms-1928
A tempo
. nt.
Un peu modéré 111 -
SE 3 f?Eft W , !.. i ',l! i# · �'�!!�:ss:qa Y Y' Y Yt,..'# .._, # -� *5 '"""l t ....
·
.,,.
-.
�
"'/ --���==== f
�
- .r=
'P
A t
� IV� � ;; �
A te111po
f
�!ShH!:i '!it h � �:,,r:,,��-, "'f�-====
'P
sign for the semiquaver present i n all the other sources. 1 1 .1
either the finger 1333 of the left hand (with a barré rarely utilised) or 1234.
�===-
12.3
Un peu Modéré
Ms-1 928: cresc. a poco
11
� 14'' l1!PJ=j@Ui 11,ffttm (Poco Moderato)
rit.
ME-1953: The three treble notes do not have the repeat abbreviation
Ms-Car: The three treble notes present two alternative fingerings,
Étude No.4, bars 1-5, Ms-1948e
'P
10.1
Ms-1 9 28 : p
IJ"f-----
tt -
vu
nt.
�îîl!rl11;âiâtJa;i-â4ï1jiq!if41 ..,
our assumption
.
-== rit.==-
�� r--
�
=--
a poco
1 5.1 Ms-Gui and Ms-1928: No agogic indication. Ms-1948e and ME-1953: Meno Ms-Gui, Ms-1 928, Ms-Car and Ms-1948e: The first chord has the repeat abbreviation for the four semiquavers. ME-1 953: Value of crotchet without abbreviation of repetition of semi
3.1
quavers. This interruption of proceeding obsessively with repeated semi
Ms-1928: Fingering left hand 0321
quavers is not therefore found in any of the manuscript sources. lt must
3.2
be a printing error or modification made by the Author while correcting
Ms-1928: Fingering left hand 4100
the proofs. We have opted for the second interpretation because the
4.1 5.1
fermata, together with the Meno, is too evident to be an oversight and must therefore have been intentional. 1 5.2
Ms-1 928: '"if
Ms-Gui, Ms-Car, Ms-1948 and ME-1953: The F-natural on the sec
7.1-2
ond semiquaver is omitted.
Ms-1928: '"if followed by a crescendo sign
Ms-1928: F-natural on the second semiquaver.
8.1
1 7-22
Ms.Car: Fingering 234
Ms-1 948e and ME-1953:
a tempo
Ms-Gui, Ms-1928 and Ms-Car: Without agogic indication
ln this group of bars, we opted for the lesson of Ms-1928 which is richer in detail that the form chosen. DF 15851
Étude No.4, Étude No.5 -English
XXX
ME-1953: Version identical to Ms-Gui and Ms-1948e with the D-na tural on the second beat of bars 1 7 and 18.
Étude No.4, bars 17-20, ME-1953
ft�i'fiV'i�@:141'-;ftfi 1 1 8.4 Ms-1928: On the last semiquaver, Villa-Lobos anticipates the change of fingering, indicating 241 respectively on the 4th, J'd and 2"d string. 24.1 Ms-1928: Dynamic mf followed by a crescendo sign for the whole
a crescendo sign up to and including bar 55. 62.1 Ms-1 92 8 : f 62-64
Ms-1928: Ali of the semiquavers have a staccato dot. Ms-Car: Ali of the semiquavers are accented. 63 Ms-1928: From this bar, the bichords have fingering of the right hand im. 64 Ms-1928: toujours a tempo
ME-1953: al/argando
beat. 25-28 Ms-1928: The dynamic is similar to that adopted in the same source for bars 1-4. 29.1, 30.1
Ms-Car: B-flat on the third line. 31.1 Ms-1928: The bass value of the minim tied to the bass of the preced ing bar. 31.2 Ms-1928: Lesson slightly modified compared to ail other sources, with an F # in the fourth string instead ot the Ci The correction seems to have been added at a later time. The fingering of the left hand is therefore modified as follows: V
IV--�
t•2�iij�iiiiIl The bass E is anticipated by an acciacc:atura and has the dynamic ifz. 37.4 Ms-1928: The bass has a variant compared to other sources. rail.-
, @t
-
- - - - - - - - - - - - -
Etude N o.5 1
Andantino common to ail sources 2.1 Ms-1928: pp written in pencil 3.1
Ms-1928: En dehors 4.3
Ms-1928: accent on the crushed note F 5.2 and 6.2 Ms-1928: ifs on the bass G Ms-1928: The last quaver is an F instead of the G indicated in other sources.
34.1 Ms-1928: The fingering of the left hand requires fingers 102 respec tivefy for the 4'h, 3rt1 and 2"d string. Crescendo sign for the whole bar. 35.1 Ms-1928:
Étude No.4, bar 37, Ms-1928
I
9.4
.,
37
54.1 Ms-1928: Un peu moins, not present in other sources. f followed by
10.1 Ms-Gui and Ms-Car: The second quaver is a B while in ail other sources
it is an E. Ms-Gui: ln this manuscript, in correspondence with the second quaver, there are two notes (B and E). The E does not respect the small note planned by Heitor Villa-Lobos for that tone, while the B is a small note. The E is probably a mark on the paper mistaken for an E by all the copyists (except that of Ms-Car). 12.4 Ms-1928
II
a nd
Ms-Teran: Th e last bass note is a
C, fi nge re d
in
Ms-
1928 with the 2. ln all other sources it is a B. 17-20, 29-30 and 37-46 Ms-1 928 and Ms-Teran: This is the only case in Villa-Lobos's music for guitar in which he makes a distinction between the - and > signs. Ms-Gui, Ms-1 940c, Ms-Car, Ms.1948 and ME-1 953:The sign - used in Ms-1928, is systematically replaced by >.
3 8. 1 Ms-1948e and ME-1953: The treble B is double. 40.1 Ms-1928: a tempo 38-41 Ms-1928: The dynamic is similar to that adopted in the same source
for bars 1-4. 40-41 Ms-1948e: Crescendo sign deleted afterwards in ME-1 953. 42.1 Ms-1928: a tempo 46-53
Ms-1928 and Ms-Car: This section is written with different not sizes. 46 Ms-1928:f
1 9.4
Ms-1928: The G on the fifth string is fingered with 2 for the left hand.
22.4 Ms-1928 and Ms-Teran: The B is fiat.
Ms-Gui: B-flat on the staff but with a natural sign added above the line. Ms-Car: B fiat, the fiat sign is crossed through with a cross and a na tural sign above it. Ali of the other sources present a B natural. 27.1-28.1 Ms-1928: The E, fourth space, in first string, was added during the writing of this manuscript and is not present in other sources. Ms-Teran: The E's, fourth space, are omitted. Étude No.5, bars 27 and 28, Ms-1928
$tg(�r �u· U U 1ê@(�r ·iu U 2JA ;""°'\
>
Ms-Car: if.fi and '"if for the small notes. There is no indication of Grandioso. Ms-1 948e and ME-1953: .ff and '"if on the small notes.
DF 15851
u >
>
u
XXXI
Étude No.5, Étude No.6-English 29-30 Ms-1928: - sign in ail trebfe notes with the accent> in bar 30.1 ME.1953: > sign in ail treble notes with the accent > on bar 30.1 37.1 Ms-1928: p. ln bar 37 and also 38, the first four quavers and the subsequent minim have the signs - - - - > 38 Ms-1928: Cresc. a poco a poco 39-40 Ms-1928: The bass E is missing. 41-42 Ms-1928: At the beginning of the bar, dynamic fpp 43 Ms-1928: En dehors 45.2 Ms-1928: Poco rail. 46 Ms-1928: Un peu moins 48-49 Ms-1928: Lesson different compared to other sources Étude No.5, bars 48-49, Ms-1928 >
>
>
cresc.
2@
Bar 48 may also be fingered in third position 48.1 Ms-1928: Cresc. 48-3 Ms-Gui, Ms-1928, Ms-Teran and Ms-Car: The E is fiat Ms-1 940c, Ms-1 948e and ME-1953: The E is natural -this was probably an oversight originating in an error in Ms-1940c. 50 Ms-1928: A tempo primo, dynamicf 51 Ms-1928: Crescendo sign for the whole bar 52 Ms-1928:p 61 Ms-1928: dim. a poco a poco 62.4 Ms-1928: Allarg. The F in the chord is written in big notes and the following A is written as an isolated quaver, a small note. ME-1953: The F has different note size twice. 65 Ms-1928: Next to the bass C, there is the word Vibré. Dynamic 'If! on the bass while on the three treble harmonie notes there is dynamicp.
'
Etude No.6 1 Ms-Gui: Without agogic indication Ms-1928: Un peu animé Ms-1948e and ME-1953: Poco Allegro 1.1, 2.1 and 3.1 Ms-1 928: if; followed by mf 2.2 Ms-1928: The F of the second chord is preceded by a natural sign added in pencil. This variant is presented identically in the corre sponding bar 29.
3.2 Ms-1928: The F of the second chord is preceded by a sharp sign added in pencil. This variant is presented identically in the correspond ing bar 30. 5.1 Ms-Gui, Ms-1 948e and ME-1953: The chord contains an F # on the fifth line unplayable. This was probahly an error originating in a marie on Ms-Gui. Ms-1928: The two B crotchets in the bass have the > accent. For the whole piece, we have opted for the accents in the lesson of this source since the others are incomplete. 17.2 Ms-1928: The rai/. that in ME-1953 is in bar 18, cornes one bar earlier. lt should be noted that the Ra//entando and Allargando are systematically brought forward by one bar in Ms-1 948e compared to Ms-1928. The distribution presented in Ms-1928 seems more convincing and has been adopted for most of the piece. 18.2 Ms-1928: Corona on the last chord 19.1 and 20.1 Ms-1928: ifz followed by mf 21.2 Ms-1928: p and String. that ends at the beginning of bar 23 23.2 Ms-Gui: No alteration on the B in the first chord Ms-1928: B-flat in the first chord Ms-1948e: B-flat in the first chord, not very legible ME-1953: B-natural in the first chord 26.1 Ms-Gui and Ms-1928: On the second quaver, Allargando is extended up to the beginning of bar 27. 27.1 Ms-1 948e and ME-1953: rail. 27.2 Ms-1928: The F of the last chord is natural with fingering 2 for the left hand. Ali other sources indicate F #. 28 Ms-Gui: From here onwards, the piece is not written out in full but only the outline of the second part of the study is indicated in a handwriting d ifficu lt to decipher and that may be "Para repetir" or "pour repeter" or "para repetecir." ME-1953: a tempo Ms-1928: Moins followed by Très energique in brackets. Dynamic .ff 29.2 Ms-1928: The F in the second chord is preceded by a natural sign added in pencil. 30.2 Ms-1928: The F of the second chord is preceded by a sharp added in pencil. 32.1 Ms-1 948e and ME-1953: The chord contains an F # on the fifth line that is unplayable. 33.1 Ms-1 928: f.f 33.1- 41.1 Ms-1 928: The division of the chords into two semiquavers is different from Ms-1948e and ME-1953. Étude No.6, bar 33, Ms-1928
DF 15851
,
>
>
>
>
Etude No. 6, Etude No. 7 English '
xxxii
'
-
39.1
59.1
ME-1953: Meno that is not found in
Ms-1948e and was probably added during correction of the proofs. ln this position, the indication is com pletely lacking in any musical logic. This was probably a mistake and the Meno should have been positioned at the beginning of bar 28 where, in fact, we find an analagous Moins in Ms-1928. 39.2
ME-1953: rail. lt is highly probable that the rai/. in Ms-1948e refers
to the line below, i.e. it should be on
41.2.
41.2-43.1 Ms-1 928: The treble continues to progress in quavers without chang
ing into crotchets as was the case in the other sources. 44.2 Ms-1928: roll.
45 ME-1953: allarg. 45.4
Ms-1928: Rit. 46
/0 not present in Ms-1 948e and added during correction of the proofs. Ms-1928: Un peu moins followed by Très energique in brackets. Dynamicffj' 47.1
Ms-1928: poco rai/. Note This study is, among ail the twelve, one ofthe most contradictory from the point of view of comparison with the various sources. This is due to the state of Ms-Gui. ln fact, in this draft, the piece is written on hardly six lines, contoining, with a large number of abbreviations, only the first part of the piece (bars 1 -27), bar 28 (presented as a model for the whole of the second part) and bars 55-60. With no initial agogic indication, the piece contains as its only indication a rai/. (18.1), an A tempo (19.1) and an allarg. (27.1). The poor state of this manuscript was the origin, in 1928 and in 1948, of not only two copies but two sets of instructions that are significantly different in agogic terms. The tardy definition of the details by the author is also the cause of further intervention during the phase of preparing ME-1953 for publication, this latter containing different indications present only in this source. We mainly adopted the agogics of Ms-1928 for this piece as we felt they were more consistent and complete than those in Ms-1948e.
ME-1953: a Tempo
,
Etude No.7 1
Ms-1928: dim.
Ms-Gui: Allegro, subsequently deleted
48.1
Ms-1928: Très Animé and f
Ms-1928: mJ"
Ms-1 948e
and
49.1
4.2
Ms-1928: stringendo a poco a poco
Ms-1928: A
M E-1 953: Très Animé and 1ef
Ms-1928: cresc.
slur under the notes joining the last two semiquavers in the bar to the first note in the following bar. The same type of slur is represented straddling bars 9-10, 10-11, 34-35, 39-40.
Ms-1928: allargando
Ms-Gui,
52.1
8.2
53., 54.1
and Ms-1 948e: The last note is ft. ME-1953: A sharp sign next to the last note omitted by mistake.
ME.1953: a/larg.
10.4
55.1
Ms-Gui,
Dynamicf ME-1953: Meno not present in Ms-1948e and added during correc tion of the proofs.
ME-1953:
55-57
Ms-1928: Ralf.
Ms-Gui: Tht::>t'. three bars are a i l rhythmically identical having been written in quavers with the repeat sign for the whole bar. Ms-1928: Ail three bars are developed in semiquavers according to the outline of the second part of the composition. Ms-1948e: adopts a mixed version with bar 55 in quavers and the next two bars diminished to semiquavers. This was probably a choice made by the Author.
1 2.3-4
Ms-1928: a tempo.
Ms-1928
Ms-1928, Ms-1 948e: The
mistake.
natural sign is indicated explicitly. The natura 1 sign in front of the A has been omitted by
12.2
is extended to the end of the bar.
The acciaccatura and the next note are fingered respec tively 4 and 1 for the left hand. Ms-1928: 1 3. 1
Ms-1928: Modéré 1 3 and 1 5
Ms-1928: cresc.
and ME-1953: The two bars have two bass A's of the value of a minim, one on the first beat and one on the third beat. Ms-1928: Only one bass A with the value of a semibreve.
57.1
1 7.4
No indication. Ms-1 948e and ME-1953:
Ms-1928: rai/.
56.2
Ms-1928:
Ms-Gui, Ms-1 948e
is extended for the whole of the next bar.
19.1
allarg.
58.1
Ms-1928: Lent
lt is not possible to hold the E on the fourth string for the two crotchets indicated so we preferred the lesson of Ms-1928 where the E has the value of a crotchet. Also in terms of rhythm, the two final bars present certain differences between the sources, probably due to the confusion in the original Ms-Gui draft in which the two versions were written contemporaneously.
20.4
�>
Étude No.6, bars 58-60, Ms-1928
��
i;i t»�
�= �2 g l/Js .
poco rail
� JE .
-
._
_
_
_
_
..-
�
J
-
XI I
:'I@r----r
Ms-1928: rai/.
is extended across the whole of the next bar.
22.1 Ms-1928: Moderé.
notes.
Bien
chanté
Étude No.7, bar 22, Ms- 1928
Il DF 15851
is under the staff. The chord is not six
XXXlU
Étude No.7, Étude No.8-English 24.1 Ms-1928: The chord has only two notes, F # and C # on the sixth and fifth strings. 25.3-4 Ms-1928: different lesson Étude No.7, bar 25, Ms-7928
t11�_�f1,iiJFmJiai ® > U
>
28.4 Ms-1928: Allargando is prolonged up to the third crotchet of bar 30. Ms-Gui and Ms-1928: The last two semiquavers do not have a slur. Ms-1 948e and ME-1953: The last two semiquavers are slurred. 39.4 Ms-1928: The natural sign added by another hand in red ink. 41 Ms-1 948e and ME-1953: The bar is omitted because of a copying error. Bars 31-41 should in tact be identical to bars 1-11 and are pre sented thus in all of the other sources. 42 Ms-Gui, Ms-1 948e and ME-1953: Piû Mosso Ms-1928: No agogic indication 47-54 ME-1953: Ali of the abbreviations of the first two beats of each bar are annotated erroneously, i.e. between two quavers instead of between two crotchets. ln all of the sources, the abbreviation consists of three dashes that seem to indicate the value of a demisemiquaver, however it is possible that the upper dash was inserted through an erroneous interpretation of the Author's way of indicating the abbre viation. ln this case, the value should be a semiquaver. We indicate below the two possible letters.
tated. The minims have one dot too many and the bar is subsequently in five crotchets. Ms-1928: The notes are written without abbreviations. 56.4-57 Ms-1 928: A lengthened staccato sign, i.e. a son piqué, indicating that the sounds must be staccato with vivacity and at the same time with particular incision. 58 Ms-1 928: The value of the bass E is semibreve but in the other sources it is a minim. Note A. Ali of the sources show a precise desire on the part of the Author in indicating for the scales of bars1 -11 and 31-41 a legato execution, and for the concluding scale of bars 56 and 57, a contrasting son piqué, i.e. an incisive and lively staccato. However, no source informs us which techniques Villa-Lobos intended for realisation of this difference. We held it opportune to propose the introduction of the legato by the left hand by the slurred scales. B. The effect expected for bars 47-54, taking only the musical score into consideration, is clear: it is a series of chords combined with tri lis of the left hand. However, execution of the passage has given rise to perplexity among performers. Segovia, for example, i n a letter of 1 May 1952, suggested that the composer make a modification which Villa-Lobos might have autorised in the praxis but did not include in the edition. The modification is the fol lowing, also documented in the record that Segovia recorded with Decca in 1952. Étude No.7, bar 47
------
I
Etude No.8
1j
------•
J
.... ,_
From comparing the Ms-Gui draft and its fair copy Ms-1928, we can deduce that, at least in the period in which these two manuscripts were written, Villa-Lobos was not completely clear about the conventions in use for abbreviating a sequence of two notes of differing intonations (as in the case of a trill) repeated many times. According to convention, this would require that a sequence repeated for its whole duration of a crotchet should be written by indicating between two crotchets the short value of each single note (two dashes signify 4 semiquavers, three dashes 8 semidemiquavers). Villa-Lobos on the other hand systematically wrote in the abbreviation between two quavers. Once the quavers were cor rected in crotchets, there still remains a doubt as to whether the author wanted an execution in semiquavers or in demisemiquavers.
1 Ms-Gui et Ms-1948e: Modéré Ms-1928: Under the staff, indication Mysterieux and, in brackets, Très /iè et bien chanté. ME-1 953: Modéré followed in brackets by the only metronome in struction in the whole collection (80 at crotchet). The metronome instruction is not present in any of the manuscript sources and was evidently added to ME-1953 during a reprint: in the first printing (in June 1953), in fact, this indication did not appear. 1-16 Ms-1 928: The introduction to the piece contains significant rhythmic differences from Ms-Gui, Ms-1948e and ME-1953. Étude No.8, bars 1-15, Ms- 1928
Étude No.7, bar 47, Ms- 1928 tr--
>
J.
-
@>
·IF
mf
3/i,\'S, '--'
1\1_\'slérieux > (1'r�s li� et bien cJiantt)
�� r.1 >
r
55.1 MS-1928: al/arg. 55-56 Ms-Gui, Ms-1 948e and ME-1953: Abbreviation erroneously annoDF 15851
�31§� 1bfu
1
3F
tij - ·1
i·.t ' ;� 13� -J .-
tr---r
>
�"-'=
·:ir1
G.fo >p
� J-.>-
� ,-J ,
>
raU. - -
-----
117�r ®I mf
rit.
A tempo
1 "'� --
o<"'
if>p
lq 2 ··� F
©>
==-
Étude No.8, Étude No.9 -English
XXXIV
Étude No.8, bars 1- 16, ME- 1953 Modéré (80 = J)
f#u2'r qJtxg
1l
>
.�li#§ ij'iu IJr �? r >
>
4s1;"1
r
r
>
I• 11� f
>
- ijJ l�J2�1 r
it r
>
�j llU �'
t
r
>
ij
>
r
r
>
.:u:"J'
q•
J 14 #'
'
Etude No.9
•
>
rit. 112. rail.
l1. rail.
IJ
>
>
it
1,
79.1 Ms-1928: The slur between the A and G is dashed.
,J 1nJ ,,J :Ill �J IJ .J i r F 1
'7
>
1
>
For this introduction, we opted for the dynamic of Ms-1928 since the score of Ms-Gui, Ms-1948e and ME-1953 is almost free of indications. The only aspect of Ms-1928 that was not maintained is the rhythm of the bichords in the first movement of bars 1, 3 and 4, that in Ms-1928 was the third note (preceded by a crotchet pause) of a triplet while in all other sources it was a second note (preceded by a quaver pause) of a pair of notes of equal length. The difference in the presence of glissandos between the various sources can be attributable to copying oversights. Ms-1928: The Da Capo at bar 14 is, in this source, written out in full. 1 7 .1 Ms-Gui: Un peu Modéré, with the meaning of a slight acceleration compared to the initial movement. 29.1 Ms-Gui and Ms-1928: Bass C without a chord is contained in the other sources. 32.1 Ms-1928: The Bass C has no corona. 33.2 Ms-1928: molto stringendo 35.1 Ms-1928: a tempo 37.2 Ms-1928:f 38.1-39.1 Ms-Gui: The two bass D's are tied and there is an accent on the high G nf 39.1.
Ms-1928: The two bass D's are tied and that in bar 39 has no accent. Accent on the high G. Ms-1948e and ME-1953: The two bass D's are not tied and that of bar 39. 1 has an accent. There is no accent on the treble G. 45.2 Ms-1 948 and ME-1953: The A is omitted. 45-47 Ms-1928: A different lesson that also involved different fingering. Étude No.8, bar 45-48, Ms-1928 vu
l;r:53J
.,
�
>
�
r
-
. >
i 1!'li 1
ar
r
j >
>
1
, >
>
•
[ f
r
>
•
>
>
Ms-1928: roll. 33.3 Ms-1928: rit. 38 Ms-1928: The accents are replaced by a dash. 42-50 Ms-1928: The first note in each group of demisemiquavers has a dash. Ms-1948e and ME-1953: The accent on the first note of each group of demisemiquavers is omitted, probably due to an oversight We opted for the use of the accent, and not dashes for consistency with Ms-1948e and ME-1953. 45.1 Ms-1928: allarg. 47.1 Ms-1928: a tempo and p 50 Ms-1928: different lesson Étude No.9, bar 50, Ms-1928
�· >
>
�·' � t f J r i� ' � � f L ;1· 9
32.4
>
>
0
1 Ms-Gui: No agogic indication. The title is "Estudo de ornamentos" Ms-1928: Un peu animé. Ms-1948e: Très peu animé. The title is "Estudo de ornamentas" 4.3 Ms-1928: rit. 5.1 Ms-1928: a tempo which we felt was logical to bring forward to 4.4 10 Ms-1928: Phrase mark between the first note in the bar and the A in the last sextuplet. 1 7.4 Ms-Gui: Return sign Ms-1928: No return sign. Ms-1948e and ME-1953: Return sign 18.1 Ms-1928: a tempo 21.3 Ms-1928: rit. 22.1 Ms-1928: a tempo which we felt was logical to bring forward to 21.4 26.1 Ms-1928: The bass is F# but it seems to be an error. 30 Ms-1928: Moins
>
51-53 ln all the sources, the bass E of the sixth string has the value crotchet with dot. 59.1 Ms-1 928: 17{f'
of
a
51.4 Ms-1928: cresc. 52.1 Ms-1928: allarg. 54 Ms-1928 and Ms-1 948e: a tempo 58.3 Ms-1948e and ME-1953: Arpeggio sign omitted. Ms-Gui and Ms-1928: Arpeggio sign.
DF 1 5851
Étude No. J O
(ME-1 953).
Érude No. 1 1 -English
XXXV
'
Etude No. 1 O c�1E-1953J 1 Ms-Gui, Ms-1 940c. Ms-Car. Ms-1 948e and ME-1953: Très animé. The at the quaver indication is in Ms-1940c and Ms-Car. Ms-1928 : Animé next to the cancelled-out indication Très animé. Ms-Terân: Animé 1.1 (at the quaver) Ms-1 940c, Ms-1 948e and ME-1953: The F# in the fourth string, found in the gemel bar 3 and in Ms-Gui, is missing. 2.3 (at the quaver) ln almost all sources, every time this figuration appears, the slur un derneath encompasses four semidemiquavers, leaving out the slur before the E bass. Ms-1928 and in Ms-Car: The slurs include the E bass almost systema tically. The five notes should therefore be played with a single gesture of the left hand without playing the E bass again with the right hand. 13.2 (at the crotchet) Ms-Gui and Ms-1928: The last chord is G #-B-C #. ln all the other sources, it is G #-C #-D #. 20-21 Ms-Gui, Ms-1928 and Ms-Terân: Between these two bars in these sources, there are 33 bars that the Author eliminated in all subse quent versions. 21.1 Ms-Gui and Ms-Terân: Très animé. Ms-1928: Très animé. The Très was added on top of the cancelled Un peu. Ms-Car, Ms-1 940c, Ms-1 948e and ME-1953: Un peu animé 28.1 Ms-Gui, Ms-1928 and Ms-1 940c: The G and B of the third and sec ond string are within round brackets. 28.2 Ms-Gui, Ms-1928, Ms-1 940c and Ms-Car: G # Ms-1948e and ME-1953: Natural G. 33.4 Ms-Gui, Ms-1928, Ms-Car, Ms-1 948e and ME-1953: fingering of the left hand 2420. 43.4, 45.4 and 47.4 Ms-1928: A stretch of Gliss between the last B and the harmonie D in the next bar. 46.1 and 48.1 Ms-1 940c: The E bass is only found in this source. 49.4 Ms-1928 and Ms-Terân: A-B-A-E instead of the G-A-G-E in the other sources. Probably an error. 63.2 (at the minim) Ms-1 940c: The slur encompasses three semiquavers instead of only two semiquavers as in the other sources. 64.2 Ms-1948e and ME-1953: The slur encompasses three notes instead of only two semiquavers as in the other sources. Ms-Car: The slur encompasses three notes but we can glimpse a slur on two subsequent notes that was later cancelled. Ms-Gui, Ms-1928 and Ms-1 940c: The slur encompasses two notes. 63.2-64.2 Ms-Gui and Ms-1928: The two semiquavers are F-E instead of F-G as in the other sources. 66-69 Ali of the sources present the last three quavers of every bar with an accent. ln Ms-1 928, bar 69, the author emphasises that the accent refers respectively to the notes E-B-G, written in slightly larger characters and separated from the rest of the chord. ln bars 66-68, it seems that there is the beginning of an annotation in
a different size of note for B-E-B, but the writing is incomplete. Analogously with bar 69, we can deduce that in the last three quavers of bars 66-68, the notes to be emphasised are B-E-B, as noted also in Ms-Terân where these notes are reinforced by a doubled note on the octave. The semiquaver pauses introduced in 68.3 do not seem to have a practical explanation. 69.1 Ms-1 928, Ms-Car, Ms-1 940c and Ms-1948e: Très Vif Ms-1 948e and ME-1953: No agogic indication. 69-71 ln al! sources (except for bars 69 and 71 in Ms.1928), the writing is sim plified and is inconsistent with that of the preceding bars. We felt it was opportune to harmonise this with the outline presented for bars 69-70. 69
J
u >
>
�'--' -"
1
-
=
'
Note
For this Étude, we have an extremely precious source: Ms-1940c (mu 93.21 .740). Written by Villa-Lobos, undated, it has above the title a dedication to Andrés Segovia and besides this, added in pencil, the word Original, certainly written by the author himself. This manu script, that presents Étude No. 10 as it was published in M E-1953, allows us to affirm with certainty that the eut of 33 bars made by Heitor Villa-Lobos on the older versions, Ms-Gui, Ms-1928 and Ms-Te rân, was specifically intended by the author and was not attributable to others (copyists or publishers) or to an error. The manuscript Ms-Car given by Villa-Lobos to the Uruguayan gui tarist Abel Carlevaro at the end of 1 943, confirms that the decision to eut 33 bars was made some years prior to preparation of the published version of 1953. '
Etude No. 1 1 1.2, 2.2, 8.2 and 9.2 Ms-1928: The value of the second movement is crotchet with ex tension slurs on three notes in the chord, followed by a minim pause. 2.1 The obvious necessity of maintaining the thumb of the right hand in melody function sometimes involves the use of an anticipated tech nical E bass that would seem indispensible in this passage, also be cause of the fifth string jump. Villa-Lobos rarely annotated this type of technique in the score, for example in Prélude No 1. Prélude No. 1, bars 129- 130
Ji
,,. 1
11!
rai/.
! 1
1
J.7• - --= � 1 :::p:·
� ----
-� �
3.3, 4.3, 5.3, 6.3, 7.3, 1 0.3, 11.3 and 12.3 Ms-1928: The value of the third movement is crotchet with extension slurs on the three notes in the chord, followed by a crotchet pause. 4.3, 5.3, 11.3, 12.3, 1 3.3, 88.3, 89.3 and 90.3 Ms-1 948 and ME-1953: The value is crotchet followed by a crotchet pause. 7.4 Ms-1928: Portamento (siide) between the F # and the A first beat of the following bar. 11 Ms-1928: Plus Vite 13.1 Ms-Gui: accelerando
DF 15851
XXXVI
Étude No. 11, Étude No. 12 -English
15 Ms-1928: A section that in Ms-Gui, Ms-1948e and ME-1953 is formed of 33 bars while in Ms-1928 it is 39 bars, begins at bar 15.
throughout the piece were deduced in Ms-1928 and were absent in the other sources, with the exception of the signs in bars 35 and 37 (see the relative note).
Villa-Lobos, during writing of Ms 1 928, rearranged his notes and in serted new materials that broke the dramatic tension created by the obstinate G-B of the third and second free strings. The entire section in the Ms-1928 version is proposed page xxxviii.
4.1 Ms-1928: cresc. 5.2 Ms-1948e and ME-1953: A#. This is a misprint 8-9 Ms-Gui: These two bars are written with the repeat sign between the beginning of bar 8 and end of bar 9. 10.3 Ms-1928: The second A bass is not tied to the previous bass and
17 Ms-1928: Original fingering for left hand 32. 19.3-5 Ms-1928: l n this source, the author had grouped the notes together with slurs referring to the fingering of the right hand while in ME1953 the grouping was based on the rhythm. (cfr. the text indicated in the preceding point). This difference occurs every time that this arpeggio appears.
20.1 Ms-1928: p, E bass tied to the previous bar. ME-1953: The bar does not have an E bass tied. Both with regard to the extension of the bass and to the dynamic, we opted for the lesson in Ms-1928 i n this and in all analogous situations in the piece.
24.1 Ms.1928:p 27.4 and 3 1 .4 Ms.1928:pp 51.3 and 78.1 Ms-1928:p 82.1 and 83.1 Ms-1928: sft and p 84 Ms-1928: mf on the last F # 85.2, 86.2, 92.2 and 93.2 Ms-1928: The value of the second movement is crotchet with ex tension slurs on the three notes of the chord followed by a minim pause. 87.3, 88.3, 89.3, 94.3, 95.3, 96.3 and 97.3 Ms-1 928: The value of the third movement is crotchet with extension slurs on the three notes of the chord, followed by a crotchet pa use 88 Ms-1928: Plus Vite 90 Ms-1928: This bar is identical to bar 6. 95 Ms-1928: Plus Vite 95.2 Ms-1928: rai/ et dim. poco a poco 98.4 Ms-1928: Before the double-bar at the end of the bar, there is a similar sign and a 'v' probably indicating a rest.
.
95
carries an accent. Ms-Gui: This bar is written with a repeat sign. This would also explain the absence of the repeated bass and with accent in Ms-1928. Ms-1 940c, Ms-1948e and ME-1953: The two A bass are tied.
13-2 Ms-Teran: A # Ms-Gui, Ms-1928, Ms-1940c, Ms-1948e and ME-1953: A natu ral (without natural sign). We opted for the A# in the Ms-Teran version. ln order to play the A natural one would have to use the following fingering. Étude No. 7 2, bar 13, ME- 1953 ,
vu
v
rv
$1r�t�I!� ·tI� Ji111� n{fj �!Ili�� ..
1 5.3, 1 7.3, 84.3 and 86.3 ln all manuscript sources, the third movement does not have slurs or glissando. However, in the proof correction phase, Villa-Lobos added a double slur and triple glissando in bars 84 and 86 of ME-1953 as ad opted in all analogous situations.
19.1 Ms-1928: cresc. 21.2 Ms-1928: sforzando on the last G. Ms-Terân: sforzando and rit. on the last G. Ms-1 948e and ME-1953: The + sign above the G is a commonly used sign in scores for the cello, i ndicati ng a note to be plucked pizzicato with the left hand. Villa-Lobos also used it in the manus
cript m u 94.21.754 of Prélude No.5 (at the Villa-Lobos' s Museum, Rio de Janeiro).
22.1 Ms-1 928: 'l1ff Ms-Teran : a tempo subito
26.1 Ms-Gui, Ms-1 948e and ME-1953: Accent on th e first B. Ms-1928, Ms-1 940c and Ms-Teran: Staccato dot. 33.1 Ms-1928:1ef 35-38 Ms-Gui, Ms-1948e and ME-1953: The dynamic of these four bars is identical.
99.1 Ms-1928:pp
Étude No. 1 2
1 Ms-1928 and Ms-Teran: Un peu animé Ms-Gui, Ms-1 948e and ME-1953: Animé. The dynamic signs
Ms-1928 and Ms-Terân: The dynamic of the same bars is more variegated.
DF 15851
xxxvii
Étude No. 12, Étude _ - Iü J.!s-1928)-English � mf
f
;...
* j i··= 1'
-·
--/
.,, •
-
...
...
•
-,,, •
-
... •
-
-,,
-,,,
..
i
-
-
... ;
� ..
·� ij j :IJ iA1 i f ..'.
,.,
1'
-f
105 Ms-1928:
.
.;,
Toujours
Etude No. 1 0 (Ms-1920) '
m
i
cresc.
Étude No.10 is presented in this form in three sources:
.
Ms-Gui, Ms-1928 and Ms-Terân. 1 Ms-Gui, Ms-1 940c, Ms-1948e and ME-1953: Très animé Ms-1928: Animé next to the crossed-out indication Très animé Ms-Terân: Animé 46-47 Ms-Gui. Ms-1928 and Ms-Terân: The harmony appears to be sli ghtly modified with the expected G replaced by an F#. We felt it was opportune to reinstate the G since this would have been the only exception to the harmonie treatment reserved at the beginning of the piece. Moreover, the F # would imply a change of fingering of the left hand which would be rather unlikely in a context in which the harmony seems to be dictated by the shift of the same position along the fretboard.
..
35.1-36.1 Ms-Gui, Ms- 1 928, Ms-1 940c and Ms-1948e: The empty B string (third line) in the first chord is written unaligned with the other notes of the chord and with a crotchet value. 38.2 Ms-Terân: rai/. 39 Ms-1928: The im fingering is only indicated in this source. 40 Ms-1928: The fingering of the right hand is intended for the bichord, i.e. one single finger playing two strings simultaneously. 60-61 Ms-1928 and Ms-Terân: These two bars have been omitted. 79.3 Ms-1928: The second A bass is not tied to the previous bass and carried an accent. Ms-1 940c, Ms-1 948e and ME-1953: The two A bass are tied. 88 Ms-1928: cresc. 91.1 Ms-1928: mf Ms-Terân: a tempo subito 95.1 Ms-Gui, Ms-1 948e and ME-1953: Accent on the first B Ms-1928, Ms-1 940c and Ms-Terân: staccato dot 100 Ms-Gui, Ms-1928, Ms-Terân and Ms-1 940c: The second A bass is not tied to the previous bass and carries an accent Ms-1 948e and ME-1953: The two A bass are tied and the second carries the accent. The slur is a misprint.
Étude No.10, bars 46-47, Ms-1928 46
54 Ms-Gui, Ms-1940c, Ms-1948e and ME-1953: Un peu animé Ms-1928: Très animé. The Très was added above the crossed-out Un peu.
Ms-Terân: Très Animé 82.4 Ms-1928 and Ms-Terân: A-B-A-E instead of the G-A-G-E in the other sources. Probably an error. 103-104 Ms-1 928: ln thisversion, as in ail the other sources, the writing of these two bars seems simplified and inconsistent with the model proposed from bar 99. We felt it opportune, as in the case of the 1953 version, to even out the writing of these bars, aligning them with the struc ture of bar 99.
Étude No. 10, version 1928, bars 99-106, Ms-1928
> 101
�
.. u
....
>
>
>
>
F.:"""1 .. o n
vm ������� > ..--
1
'
... 1 .J -1 > -> > � >
@
fff
_,-1 >
Très vif
.J
.I
� x� � � � � � � � � � � � � � > > > 0
.......
�
1> .J l=I_ - -=�> �1"r ---->
�
-
�
>
fff
';!._
i n1
DF 15851
a
.
1
_.;..?1 Y ? ,._ p
-
Il
XXXV111
Étude No. 11, Ms-1928, mesures/ battute/bars 15-54, Ms-1928
Animé
15
"'
"' fi ..
•
, .,,
•
.. , _
.
t)
>
n -
.. •
"
.
.
. .
">
. .
3
'"
. .
. .
. .
fi
f
1
. ,
• "" t)
&
-
:
-
6
f .. 2© '!fo'P-�---:::. ...
m
3@
•
,
,
3
Il
'- - / ........_ .. -
,
-
>o
0
Il
• " "
1:
-
2©
11
lffo p
p
u
-
.
.
mf > .,.
�
�
'
1
lffo p
0 0
0 0
•
lffo p 2 ©4 3@
ii:
.
sfo p
sfo p
.
. .
.
1 • V'.'
: .
.
.
.
-
-
-
p
>. .
-
'
-
-
'- ........_
,
-
r3ï
-
.
�_,
p-
.... :1 >'-' ---
_
f
i
. . =� / �
..--- 6
�
-
1
1
.
1 •
p
r 3 -, -
�
-
m
sfo p
u
.
-
0 n '
-
-
-
. .
pp_ .
.
ivïl·... .__-� ...._.... -
f
li:=1:=1�Eêl >
-
.
�- 6 ---.
..
Il
.
.
-
>
.
>
>
1:
li=�
lffo p
lffo p
>
.._
-
31
� .
-
>
r
� -= --'--'
f
.:1
"" t)
• L
: .
-
i ---. p
'
28
.
a CD
sfo p
-
3@
� • ' 'IJ t)
, _ _ , 11'
:
-
:=--- --::=� -
f
• If
25
-
__ __ __ __ _ '-' >
'";v' :- •:
•
Il
-
.
-,
22
34
2i:. ©
. .
i --� P
19
t)
>
0 0
.
.
·
;:::s
.1
sftp
f
"
u
----
f' • '
.
sfop ,
.,
�= DF 15851
&
i-1
..--- 6
.. .
mf
�
1
:i:• �
sfop r- 3 -,
p
.. _
-
_ , _ ,
.
ïl .ïl'
-
xxxix
V
\'Il
3 40
Il
::::::�
�:
tJ
.. .
43 Il
>
•
, .�
'
-
e
'
-
'
6 -� , 3 -,
1
> ,__ ,.._s
'"•
�
1-
T l _T l T l "
.
sfo p
-
>
>
.
. .
.
-
..
-
...
i:1
..-=--.--
.
Il
tJ
'
#
... �:t • .
>
©
49 Il
�tJ
'
>
,' . 1' '
.1
....
>
• •
T T
>
�-
.. ' ... V , , " '
>
1 >
1
y
--
>
....
Jt . -,
' ., , '" -
:31
1 > -
>
..i
• 1 Tl21 1
r n
•
>
1.
�
>
·1 t"'r z,
-r
>
•
.
. . .
... t=>.., ��
,
-
-
>
�1
1
-
•
�·'�Vû > s/z.> 1 ©p 1
•
� �
�
-
-
-
--------'
1:
.
>
� '
""
e
1,::: �
3 (D
�- 6 -� r- 3 1
...
,'
/ """-..
-
-
sfop
. .
.,. ._ -
li
f
52
Boa
*effet :
.
>
A tempo
1 "'- ,,. . �- .. V
>
-
>
.
-
-
-
String.
46
pu
li "i -
f
>
> ;.i1""".""."
. .
•
,'
/
...
a®
z --- P
.
-
�: 1 tJ -
--
2©sfoP
V
-� ,
VII'
.
-
li
[fi
P=
.
>
>
>
>
>
>
>
>
mf
f
••••••••. . • . . . . . • •.••••.•••
&f Ê f �
DF 15851
première fois par les Editions Max Eschig en 1953, avec une préface du dédi
::i. -=
� G'::.�· a
:a:.;;
·e ��z;·es Segovia, les
Do uze Études d'Heitor Villa-Lobos ont en réalité vu le jour à Paris,
� er :::es a·1ées plus tôt, probablement e n 1924, pour être achevées en octobre 1928.
J5
sa
SO't;e, le recueil fut reconnu comme l'un des chefs-d'œuvre de son auteur et plus
Etudes
argerne11t dJ rép�rtoire pour la guitare d u vingtième siècle. Bien que souvent interprétées ont été conçues comme un tout cohérent, et chacune d'elles est s.éoarément. ces
é:roi�ement liée à celle qui la précède ou la suit par une logique tonale. les
Douze Études montrent toute
la richesse polyédrique des m u l t pies influences cultu
rel:es de Vil la- Lobos, q u i s'étend de la musique de Bach au lyrisme romantique de Chopin, en passant par la musique traditionnelle brésilienne, présente aussi bien dans sa forme uroaine que dans ses ascendances africaines et amazoniennes pour les dernières études.
La présente édition critique est née d'une étude attentive de toutes les sources manuscri
:es, laquelle a permis une nouvelle et pertinente reconstruction des :Jifférentes facettes de la
genèse du recueil. Enfin, le volume comporte un certain nombre de variantes proposées
en annexe ainsi qu'un min utieux commentaire critique. Pubblicate per la prima volta dalle Éditions Max Eschig nel 1953, c:in una prefazione del
dedicatario And rés Segovia, le
Douze Études di
Heitor Villa-Lobos ve 'rnero in rea ltà iniziate
a Parigi moiti anni prima, probabilmente nel 1924, e terminate nell'o:tobre del 1928.
la raccolta venne immediatamente riconosciuta al suo apparire corne uno dei capolavori
Études furono concepite corne un corpo u nit.aria, e ciascuna di esse
di Villa-Lobos e del repertorio chitarristico del Novecento. Anche se spesso eseguite separatamente, queste
e strettamente legata alla precedente e alla successiva d a una logica tonale. Le
Douze Études mostrano tutta
la ricchezza delle poliedriche sugge:stioni culturali di Villa
Lobos, che spaziano dalla musica di Bach al lirismo romantico di Chopin, fino alla musica
Étude n°1
Etude n°2 ,
Étude n°3
Etude n°4
Étude n°5
des arpèges des arpèges des arpèges des accords répétés
Étude n°6 Étude n°7 Étude n°8 Étude n°9
des ornements
Étude n°10
Étude n°11
(1 953)
Étude n°12
Étude n°10 (1 928)
tradizionale brasiliana presente sia nella sua forma urbana sia nelle ascendenze africane e amazzoniche degli ultimi studi. La presente edizione critica é nata da un attento studio d i tutte le fonti manoscritte, studio che ha consentito una nuova e puntuale ricostruzione d i tutte le vicende della genesi della raccolta. Il volume presenta infine alcune varianti inserite in appendice
e
u n minuzioso commento critico.
Published for the first time by Éditions Max Eschig i n 1953, with a preface by Andrés
Segovia to whom the work was dedicated, the composing of the
Douze Études by Heitor
Villa-Lobos had actually commenced in Paris many years previously, probably in 1924, a n d fin ished i n October 1928.
When it appeared, the collection was immediately hailed as one of the masterpieces of its author and of guitar repertoires of the 20'" century. Even though they are often performed
separately, these
Études
were conceived as a unitary body of wcrk, each
being
Douze Études display ail of the wealth of polyhedric cultural suggestion of Villa-Lobos,
closely linked to that preceding and that following, through tonal logic. The
Étude
that extends from the music of Bach to the romantic lyricism of Ctiopin, finally touching on the traditional music of Brazil, present either in its urban form or through its African and Amazonian influences in the last studies. This critical edition has grown out of a painstaking study of a l l of tre manuscript sources, enabli ng a new and precise reconstruction of the events surroundi1g the genesis of th i s collection. Fina lly, the volume presents certain va riants that can be �ound i n the Appendix and a detailed critical commenta ry.
ISMN 979-0-045-04541-8
Produzione, distribuzione e vendita - Production, distribution et vente
1$@:1MHAL•LEONARD1 Production, distr ibution and sales
via Liguria 4
·
20098 Sesto Ulteriano - San Giuliano Milanese (Mil · ltalia
per informazioni suite nostre edizioni în vendîta, consuttare: pour plus d'informations sur nos éditions, consultez:
fOf fvrther information about our pubficatiorn, visit: ,
,.,.... -- ..
�- .....,
--- �-- =:lctr""" :::-::
www.duntnckako.rt.-..et.i9-com www.rioordi..it
9
790045 045418
ÎI !- 1 5851
