Forest Of The Amazon
Heitor Villa-Lobos conducting the
Symphony of the Air & Chorus
Bidu Sayao, Soprano
Recording Engineer & Tape Editing: Robert E. Blake
Recording Advisor to Mr. Villa-Lobos: Dr. Burle Marx
Supervised by Ernest Werner
Cover Design: Stephen Hass Studio
Photo by Thurston Hatcher of Shostal
United Artists 8007
1959
From the back cover: Heitor Villa-Lobos is, undoubtedly, one of the greatest composers of our times. He was born in Rio de Janeiro, Brazil, in 1887, although the exact year of his birth is still a controversial matter. From his earliest age, Villa-Lobos' stern father forced him to participate in concerts of a small chamber orchestra composed of his father and friends and which played in the homes of the different members of the ensemble. Even though forced to participate in such concerts, many times even being taken out of bed by his father to do so, Villa-Lobos grew up to be a fierce young composer, unafraid of his beliefs and the mission he knew he had to fulfill, critics notwithstanding. And we should not forget that his musical ideas at the time were simply unconceivable.
He weathered difficult times, playing cello, his favorite instrument, and piano in theaters and movie houses. But in 1922, persons who believed in his musical mission sponsored a trip to Paris. There he was an overnight success. He came under the influence of the Group of Six of France. His success in Paris projected him as a leading world composer. His music was different and fascinating: strange and driving rhythms, beautiful and plaintive melodies. The melodies and rhythms sounded. strange, for they came from a strange land, Brazil, of which only a few had an idea of what it was. But those Brazilian characteristics were brought to the fore and enhanced by the composer.
Before leaving for Europe, Villa-Lobos had participated in the Movement of Modern Art in Brazil, which marked the in- troduction of modernism in all forms of art in Brazil. He had been one of the leading exponents of this movement.
Since his trip to Europe, Villa-Lobos has increasingly be- come a leading composer not only of Brazil or of the Americas, but recognized all over the world as one of the leading exponents in the field of music.
With Villa-Lobos, the nationalistic expression of art reached its height in Brazil. He was not the one who started the trend, but he was the one responsible for giving it its full meaning.
Since 1945 he has come every year to the United States where he is very well known.
His most striking and original works are the series of BACHIANAS BRASILEIRAS and the CHOROS, many of which have been recorded and played in the United States. The Forest of the Amazon is Villa-Lobos' latest creation. It is based, as is the MGM motion picture, on Hudson's novel GREEN MANSIONS.
Motion picture producers had tried to convince Villa-Lobos, for two years, to write the music for the film. However, he was opposed to the idea, for he was against writing background music for a motion picture. But he finally consented, probably due to the insistence of his wife Mindinha.
It should be pointed out that the musical sections of this record do not follow the order of the book.
One thing that should be mentioned is the fact that Villa-Lobos does not try to describe the story in his music. He uses the story only as a basis of reference. At most there is a suggestion of the mood and atmosphere of the story.
One thing that strikes the listener at once is the overall serenity and sadness of the music. However, the serenity is that of a passionate sunset, it is a serenity that packs a great deal of emotion, which brings many unsaid things to the ear. Amidst this serenity and sadness there come outbursts of power, violence, and force.
For these are the moods of Villa-Lobos' music: tenderness, love, restraint but also passion, turbulence and violence. For it is a soul that communicates with other souls and transmits to them all its joys, anxieties, and intimate emotions. That is the reason why it can be so well understood.
Another very striking feature of Villa-Lobos' music is the sentiment that pervades it. Although often looked down upon today, Villa-Lobos is not afraid to show sentiment in his music. Let us take a brief look at the different sections of Forest of the Amazon:
SIDE ONE
DEEP IN THE FOREST (Em Plena Floresta) - it starts with an Indian-like melody, and savage rhythm, which is sung by a male chorus employing words which, onomatopeically, are identical to Indian words. There is a middle section which sug- gests the forest, especially the birds and the river. We return then to the first theme, the Indian-like melody.
Excitement among the Indians (Excitação entre os Indios) - This is a short passage characterized by dissonances and driving rhythm.
Nature's Dance (Dança da Natureza) - In contrast to the above, this passage is very quiet and subdued. In the middle section there is an outery, proclaimed by the full orchestra. Then, against a soft orchestral background, the soprano voice enters. In its plaintive chant, it suggests the loneliness of the forest and of the soul.
Savage War Dance (Dança Selvagem Guerreira) - is vibrant and forceful. Its melody is like Brazilian folk music; its rhythm restless, untamed.
Sails (Veleiros) - is a love song, a ballad type of song set to a most unusual rhythmic accompaniment. Here is what the song says:
"Sails on the sea, let go by, the deep blue dusk, that other waves come to take away, Ah. There is always in sorrow, the sweet remains of a sad love, Ah. Oh, how much sadness, waves of the sea, moving to and fro, without taking me, Ah. I always used, my greatest care, not to hurt your tender heart, Ah. Far in the sky, the wave takes to destroy, all that is mine, into the sea, forgetting me, Ah. Moon, little silvery moon, crescent moon, come slowly, Ah."
On the Way to the Hunt (A Caminho da Caçada) - This is a short section which, as Nature's Dance, has the soprano voice pitted against the orchestral background.
SIDE TWO
Twilight Song (Cair da Tarde) - This is an idyllic song. It is a sorrowful observation of nature at twilight, with its peculiar coloring. Although the lyrics are live and vibrant, the mood of the melody and the accompaniment bring on a feeling of melancholy:
"The heron flew, the shadow remained, the night fell, taking away the whiteness. The bush slept, the wind died out, the leaf fell, provoking a rumor in touching. The branch cried, the nest vibrated, the river drank the clouds of the sky. The echo passed nearby, it carried the voices, tearing apart mornings in dying." Indians in Search of the Girl (Os Indios à Procura de Moça) - once again we have the lonely voice pitted against the orchestral background. Once more the melody is different. However, the feeling of loneliness is always the same.
Head Hunters (Os Caçadores de Cabeça) - the theme of Deep in the Forest, the Indian-like melody sung by the male chorus and with the driving rhythm, is restated.
Blue Dusk (Tarde Azul) - This is a beautiful love song, which expresses sorrow over an absent love. The most striking feature of this song, apart from its splendid lyrics, is the restrained and beautifully conceived accompaniment, which includes a solo guitar in counterpoint with the voice:
"To dream in the blue light of dusk, of your love that is so far away, to endure the cruel grief, with such an increasing sorrow, time only deepens in me this torment, my love. So far away from you, defeated by misery, in the sad loneliness, I still long to find you, oh love, oh my love. How good is to know how to mute and allow oneself to see reality. I live, sad, crying out; when, oh when, will you come at last? I still can feel your burning kisses in me, any small hope or little burning surprise comes only to torment me. So sweet was that hour, in which of love I dreamed, unhappy, alone, and now very much in love I am, feeling in me the urging of your claim, my love. So far away from you, wanting all your warmth, my lonely heart will always yearn for you, oh love, oh my love."
Love Song (Canção de Amor) - this is a song written in the manner of a Brazilian serenade, "seresta." It is a sentimental melody full of emotion and desire:
"Awaken, come see the moon, which sleeps in the dark of night, refulging so white and pure, unfolding sweetness, a clear and silent flame, that sets afire all my dreams. The wings of the night that sleeps, flee through the deep of space, oh sweet beloved, awaken, come give all your warmth to the moonlight. I wanted to know you are mine, in the calm and silent hour, the shadow confides to the wind, the outline of the waiting, when in the midst of the night I claim all your love. Awaken, come see the moon, which shines in the dark of night. Dearest, you are sweet and lovely; my love for you is but a dream."
Forest Fire (0 Fogo na Floresta) - a poignant description, achieved through masterful orchestration, powerful orchestral outbursts and use of dissonances. There is a sudden change in tempo, and a serene though anguished melody suggests the aftermath of the fire. A violin solo accentuates this impression of utter desolation.
The work ends with a restatement of the wordless melody of the Love Song, sung by the soprano with a dazzling orchestral accompaniment. – JOSE ROBERTO CORDEIRO
DORA VASCONCELLOS is the author of the lyrics. She has collaborated already a few times with Heitor Villa-Lobos. She is a poetess, born in Rio de Janeiro, Brazil, and came to the United States in 1952, She has published two books of poems Palavra Sem Eco (1952) and A Suxdina do Contemplado (1958) and has also completed two more books of poems which will be published in the near future. Due to her close friendship with Villa-Lobos, her lyrics are in perfect accord with the spirit and mood of his music.
BIDU SAYAO - is the greatest soprano ever to come out of Brazil. She is well known throughout the United States, having been one of the leading singers of the Metropolitan Opera for ten years. Born in Rio de Janeiro, Brazil, she made her debut at the age of 18, and since then had a fantastically successful career, having appeared in opera and concert all over the world.
