April 3, 1901:
Heitor Villa-Lobos (14) enters Pedro II College in Rio de Janeiro.
January 12, 1903:
Heitor Villa-Lobos (15) organizes a concert at the home of a wealthy citizen of Rio de Janeiro. It is well received and garners a press notice.
April 26, 1908:
Recouli for orchestra by Heitor Villa-Lobos (21) is performed for the first time, in Teatro Santa Isabel, Paranguá, the composer conducting.
November 1, 1912:
Invited by a friend to the home of the Guimarães family in Rio de Janeiro, Heitor Villa-Lobos (25) meets their daughter, Lucília, a piano teacher. A little over a year from now, they will marry.
November 12, 1913:
Heitor Villa-Lobos (26) marries Lucília Guimarães, a pianist, in the Tijuca section of Rio de Janeiro.
January 29, 1915:
Several works by Heitor Villa-Lobos (27) are performed for the first time, in the Teatro Dona Eugênia, Nova Friburgo, 100 km northeast of Rio de Janeiro. They include a Trio for flute, cello, and piano, Pequena Sonata op.20 for cello and piano, Farrapos op.47, Danças caractaristicas africanas no.1 for piano, Ibericárabe op.40 for piano, and Capriccio op.49 for violin or cello and piano. The performers are the composer as cellist, his wife Lucília, piano and Agenor Bens, flute.
June 12, 1915:
Marcha religiosa no.1 for orchestra by Heitor Villa-Lobos (28) is performed for the first time, in São Paulo the composer conducting.
July 31, 1915:
Suite Característica for strings by Heitor Villa-Lobos (28) is performed for the first time, at a concert of the Sociedade de Concêrtos Sinfônicos, Rio de Janeiro. Reviews are generally positive.
November 13, 1915:
Several works by Heitor Villa-Lobos (28) are performed for the first time, in the Salão Nobre da Associção do Empregados do Comércio, Rio de Janeiro, in the first concert made up entirely of his music: Valsa Scherzo op.17 for piano, Berceuse op.50 for violin or cello and piano, the Sonata Fantasia no.2 for violin and piano, and five songs for solo voice and piano: Confidência to words of Bastos de Carvalho, Mal secreto to words of Correa, Fleur fanée to words of Gallay, A virgem to words of de Quental, and A cegonha to words of Teôfilo. Although reviews are mixed, it is the first major performance of the works of Villa-Lobos and catapults him onto the national musical scene. See 8 February 1925 and 13 November 1950.
November 17, 1916:
Sonata no.2 for cello and piano by Heitor Villa-Lobos (29) is performed for the first time, in the Salão Nobre, Rio de Janeiro.
February 1, 1917:
Paul Claudel arrives in Rio de Janeiro as the minister of France to Brazil. He has brought with him Darius Milhaud (24). Milhaud will remain two years in Brazil and become good friends with Heitor Villa-Lobos (29).
February 3, 1917:
Several works by Heitor Villa-Lobos (29) are performed for the first time, in the Salão Nobre do Jornal do Comércio, Rio de Janeiro: Preludio no.2 for cello and piano, Sonata fantasia no.1 for violin and piano, Elégie for violin or cello and piano, the String Quartet no.2, Fábulas características for piano and five songs for voice and piano: Noite de luar to words of Junior, L’oiseau blessé d’une flèche, Les Mères to words of Hugo, Il bove to words of Carducci and Il nome di Maria to words of Stechetti.
May 15, 1917:
Two orchestral works by Heitor Villa-Lobos (30) are performed for the first time, the composer conducting: the symphonic poem Naufrágio de Kleônikos and the overture to his unperformed opera Izaht. See 13 December 1958.
November 10, 1917:
Elégie for orchestra by Heitor Villa-Lobos (30) is performed for the first time, in the Teatro Municipal, Rio de Janeiro. See 3 February 1917.
November 17, 1917:
Several new works by Heitor Villa-Lobos (30) are performed for the first time, in the Salão Nobre, Rio de Janeiro, including the piano pieces Movimento de Tarantella (2 pianos), Kankikis and Suite Floral Idîlio na Rêde, Improviso no.7 and Martíro dos insetos, both for violin and piano, and Cromo no.2 for solo voice and piano.
August 15, 1918:
The fourth act of Izaht, an opera by Heitor Villa-Lobos (31) to words of Junior and Villalba Filho (pseud. Villa-Lobos), is performed for the first time, in the Teatro Municipal, Rio de Janeiro. Also on the program are premieres of two orchestral works by Villa-Lobos: the symphonic poem Myremis and Tédio de alvorada. An artistic triumph, the concert is a financial disaster. See 16 November 1921 and 13 November 1958.
May 10, 1919:
Cello Concerto no.1 by Heitor Villa-Lobos (32) is performed for the first time, in the Teatro Municipal, Rio de Janeiro, under the baton of the composer.
July 31, 1919:
Symphony no.3 “A Guera” by Heitor Villa-Lobos (32) is performed for the first time, in Rio de Janeiro, at a concert in honor of King Albert of Belgium. The composer receives five curtain calls.
September 5, 1919:
Three sections of the Pequena Suite for cello and orchestra by Heitor Villa-Lobos (32), is performed for the first time, in the Salão Nobre, Rio de Janeiro. The composer is soloist.
September 29, 1919:
The first and fourth movements of the Symphony no.1 “O Imprevisto” by Heitor Villa-Lobos (32) are performed for the first time, in Rio de Janeiro. See 30 August 1920.
November 12, 1919:
Several chamber works by Heitor Villa-Lobos (32) are performed for the first time, in the Teatro Municipal, Rio de Janeiro: Valsa musica from the Simples coletânea for piano, the Piano Trio no.2, the String Quartet no.3, and the songs Festin pagão to words of de Carvalho, Cascavel to words of Júnior, and the Cromo no.3 .
November 17, 1919:
Cançao árabe for voice and piano by Heitor Villa-Lobos (32) to words of de Carvalho, is performed for the first time.
July 27, 1920:
The symphonic poem and ballet Naufragio de Kleônicos by Heitor Villa-Lobos (33) is performed for the first time, in the Teatro Municipal, Rio de Janeiro.
August 30, 1920:
The Symphony no. 1 “O Imprevisto” of Heitor Villa-Lobos (33) is given its first complete performance in the Teatro Municipal, Rio de Janeiro, under the baton of the composer. See 29 September 1919.
November 1, 1920:
La Revue Musicale begins publication in Paris. In it, a review of the music of Heitor Villa-Lobos (33) appears, written by Darius Milhaud (28). It is the first notice of the music of Villa-Lobos in a European periodical.
June 11, 1921:
Two works by Heitor Villa-Lobos (34) are performed for the first time, in the Teatro Municipal, Rio de Janeiro: A Lenda do Caboclo for piano, and Sertáo no estico for voice and orchestra to words of Iberê Lemos. See 13 June 1921.
June 13, 1921:
The third act of the opera Izaht by Heitor Villa-Lobos (34) to words of Junior and Villalba Filho (pseud. Villa-Lobos), is performed for the first time, in the Teatro São Pedro de Alcântara, Rio de Janeiro along with the orchestral version of the composer’s A Lenda do Caboclo. See 11 June 1921.
August 11, 1921:
Le petit peloton from the cycle for voice and piano Historietas by Heitor Villa-Lobos (34), is performed for the first time.
October 21, 1921:
Several works by Heitor Villa-Lobos (34) are performed for the first time in the Salão Nobre, Rio de Janeiro: the Piano Trio no.3, the Quatour for harp, celesta, flute, alto saxophone, and female chorus (performed under the title Quarteto simbólico), A Fiandeira for piano, and the complete song cycle Historietas.
February 11, 1922:
A “Week of Modern Art” begins in São Paulo to help celebrate the centennial of Brazil. Heitor Villa-Lobos (34) is featured as the foremost composer of modern Brazilian music.
February 17, 1922:
Simples coletânea: Num Berço oncantado for piano by Heitor Villa-Lobos (34) is performed for the first time.
March 7, 1922:
Dança frenética for orchestra by Heitor Villa-Lobos (35) is performed for the first time, in the Teatro Municipal, Rio de Janeiro, conducted by the composer.
July 5, 1922:
A prole do bebê no.1 for piano by Heitor Villa-Lobos (35) is performed for the first time, in the Teatro Municipal, Rio de Janeiro, by the composer’s friend, Artur Rubinstein. Although Rubinstein’s concert is loudly cheered, the audience find Villa-Lobos too “modern” and boo the music.
November 11, 1922:
Several works by Heitor Villa-Lobos (35) are performed for the first time, at the Teatro Municipal, Rio de Janeiro: the motets Tantum ergo and Salutaris hostia for chorus and Memorare for chorus and organ, orchestral works Marcha solene no.6 and Marcha religiosa no.7, Ave Maria for solo voice and strings, and Vidapura for vocal soloists, chorus, and orchestra (performed under the title Second Mass), conducted by the composer.
December 9, 1922:
Works for violin and orchestra by Heitor Villa-Lobos (35) are performed for the first time, in the Teatro Municipal, Rio de Janeiro: the second movement of Fantasia de movimentos mistos, conducted by the composer, and Martírio dos insetos. See 17 November 1917 and 23 April 1941.
December 13, 1922:
Danças africanas for two violins, viola, cello, continuo, flute, clarinet, and piano by Heitor Villa-Lobos (35) is performed for the first time, in the Teatro Municipal, São Paulo.
March 17, 1923:
Movements three and four of the Suite infantil for piano by Heitor Villa-Lobos (36) are performed for the first time, in São Paulo.
April 14, 1923:
Divertimento verde Velhice for orchestra by Heitor Villa-Lobos (36) is performed for the first time, in São Paulo.
April 21, 1923:
Suite for piano and orchestra by Heitor Villa-Lobos (36) is performed for the first time, in São Paulo, the composer conducting.
June 30, 1923:
Heitor Villa-Lobos (36) leaves Brazil aboard the French ship Croix, bound for Europe. Not wealthy enough to afford both of them, his wife Lucília remains home. He tells reporters, “I do not go to France to study. I go to show them what I have done.”
October 23, 1923:
Two movements of the Suite for voice and violin by Heitor Villa-Lobos (36) is performed for the first time, at the Salle des agriculteurs, Paris. See 9 April 1924.
February 15, 1924:
Heitor Villa-Lobos (36) conducts a concert of Latin American music in Paris. None of his own compositions are included.
March 9, 1924:
Heitor Villa-Lobos (37) conducts his own music, and that of other Brazilian composers, with the Orquestra Sinfônica Portuguêsa in the Teatro São Luiz, Lisbon.
April 9, 1924:
The first complete performance of the Suite for violin and piano by Heitor Villa-Lobos (37) takes place in the Salle des agriculteurs, Paris. Also on the program is the premiere of the Trio for oboe, clarinet, and bassoon by Villa-Lobos. See 23 October 1923.
May 30, 1924:
In a concert devoted to the works of Heitor Villa-Lobos (37) in the Salle des agriculteurs, Paris, Noneto for chorus, flute, oboe, clarinet, saxophone, bassoon, harp, and percussion is performed for the first time.
October 8, 1924:
Heitor Villa-Lobos (37) signs a contract with the French publisher Max Eschig to produce his Suite for voice and violin. It is his first contract with a European publisher.
February 8, 1925:
Louco, in a setting for voice and orchestra, by Heitor Villa-Lobos (37) to words of Cadelhe, is performed for the first time, in the Teatro Municipal, São Paulo, the composer conducting. See 13 November 1915.
February 18, 1925:
Two works by Heitor Villa-Lobos (37) are performed for the first time, in Teatro Sant’Ana, São Paulo: Choros no.2 for flute and clarinet and Coleção brasileira for voice and orchestra, to words of da Silva Telles, conducted by the composer.
September 17, 1925:
Four works by Heitor Villa-Lobos (38) are performed for the first time, in the Instituto Nacional de Música, Rio de Janeiro: the Double String Quartet, Carnaval das crianças for piano, Suíte para canto e violino to words of de Andrade, and Choros no.7 for instrumental ensemble.
September 22, 1925:
Folia du um bloco infantil for piano and orchestra by Heitor Villa-Lobos (38) is performed for the first time, in São Paulo, conducted by the composer.
November 30, 1925:
Choros no.3 for male choir, clarinet, saxophone, bassoon, and three horns by Heitor Villa-Lobos (38) is performed for the first time, in São Paulo.
November 15, 1926:
Meu país for chorus and orchestra by Heitor Villa-Lobos (39) to words of Zé Povo (pseud. of Villa-Lobos) is performed for the first time, in the Teatro Municipal, Rio de Janeiro. Also premiered is Villa-Lobos’ Choro no.10 for chorus and orchestra to words of da Paixão Cearense, the composer conducting.
October 24, 1927:
Three new works by Heitor Villa-Lobos (40) are performed for the first time in a major concert of his music at the Salle des concerts, Maison Gaveau, Paris: Chôro no.4 for three horns and trombone, Chôro no.8 for two pianos and orchestra, and Rudepoema for piano. See 15 July 1942.
December 5, 1927:
Two works by Heitor Villa-Lobos (40) are performed for the first time, at the Salle des concerts, Maison Gaveau, Paris: A Prole do Bebê no.2 for piano and Très poemas Indígenas for voice and orchestra to anonymous words and those of de Andrade. The last work is conducted by the composer.
November 23, 1928:
The first known performance of orchestral music by Heitor Villa-Lobos (41) in the United States takes place when Leopold Stokowski directs the Philadelphia Orchestra in Danças características africanas in Philadelphia.
May 30, 1929:
The greatly revised and edited second version of Amériques by Edgard Varèse (45) is performed for the first time, in the Maison Gaveau, Paris. On the same program is the premiere of Amazonas, a ballet by Heitor Villa-Lobos (42).
August 13, 1929:
Cirandas, a piano cycle by Heitor Villa-Lobos (42), is performed for the first time, in Teatro Lírico, Rio de Janeiro.
August 26, 1929:
Two works by Heitor Villa-Lobos (42) are performed for the first time, in Teatro Lirico, Rio de Janeiro: Epigramas irônicos e sentimentais for voice and orchestra to words of de Carvalho, and Suíte sugestiva for voice and piano to words of Andrade, Chalupt, and Bandeira. See 3 April 1930.
October 18, 1929:
Heitor Villa-Lobos (42) departs Rio de Janeiro for Barcelona and Paris.
February 23, 1930:
Momoprecoce for piano and orchestra by Heitor Villa-Lobos (42) is performed for the first time, in the Salle Pleyel, Paris.
March 14, 1930:
New works by Heitor Villa-Lobos (43) are performed for the first time, in the Salle Chopin, Paris: Quinteto em forma de chôros for woodwind quintet, three of the cycle for voice and orchestra Canções típicas brasileiras (Mokocê-cê-maká, Nozani-ná and Xangô), Poème de l’enfant et de sa mère for solo voice, flute, clarinet, and cello to words of Vallalba Filho (pseud. of Villa-Lobos), Saudades das selvas brasileiras for piano, Chôros bis for violin and cello, and Canções indígenas for voice and orchestra to words of Valalocê conducted by the composer.
April 3, 1930:
Suite sugestiva for soprano, baritone, and chamber orchestra by Heitor Villa-Lobos (43) is performed for the first time, in the Paris home of Mme Frédéric Moreau. See 26 August 1929.
June 15, 1930:
Heitor Villa-Lobos (43) arrives back in Rio de Janeiro from Paris.
January 20, 1931:
Heitor Villa-Lobos (43) and several well-known Brazilian musicians begin the Excursão Artística Villa-Lobos, 54 concerts in São Paulo State, designed to bring serious music to the people.
April 18, 1931:
The new government of Brazil creates the Superintendência de Educação Musical e Artística to make the teaching of music compulsory in every school in Rio de Janeiro. The appointment to head the program will go to Heitor Villa-Lobos (44).
May 24, 1931:
Heitor Villa-Lobos (44) presents the first of his Civic Exhortations in São Paulo. It is a concert of 12,000 voices made of up workers, students, and soldiers.
October 6, 1931:
Caixinha de Música Quebrada for piano by Heitor Villa-Lobos (44) is performed for the first time.
January 14, 1932:
Although not yet officially named to head music education in Rio de Janeiro, Heitor Villa-Lobos (44) lays out his plan of canto orfeônico to attain widespread group singing in the capital.
September 7, 1932:
As costureiras, for female chorus by Heitor Villa-Lobos (45) to his own words, is performed for the first time, in Rio de Janeiro, the composer conducting.
September 12, 1932:
Bachiana Brasileira no.1 for at least eight cellos by Heitor Villa-Lobos (45) is performed for the first time, in Rio de Janeiro.
September 14, 1932:
Two works by Heitor Villa-Lobos (45) are performed for the first time, in Rio de Janeiro directed by the composer: Elégie for soprano, tenor, and chorus, and Moteto for chorus.
November 23, 1932:
Caixinha de boas festas, an unfinished ballet by Heitor Villa-Lobos (45), is performed for the first time, in Rio de Janeiro. See 8 December 1932.
December 8, 1932:
Caixinha de boas festas, an ballet by Heitor Villa-Lobos (45), is performed completely for the first time, in the Teatro Municipal, Rio de Janeiro. See 23 November 1932.
May 8, 1933:
Cantiga de roda for female chorus and orchestra by Heitor Villa-Lobos (46) is performed for the first time, in Rio de Janeiro, the composer conducting.
May 13, 1933:
A canção do barqueiro do Volga for voice and orchestra by Heitor Villa-Lobos (46) is performed for the first time, in the Teatro Municipal, Rio de Janeiro the composer conducting.
June 23, 1933:
Invocação à cruz for chorus by Heitor Villa-Lobos (46) to words of Estrada, is performed for the first time, conducted by the composer.
October 10, 1933:
Two works by Heitor Villa-Lobos (46) are performed for the first time, in Rio de Janeiro, under the baton of the composer: Canção da saudade for chorus, and O contra-baixo for children’s chorus to words of Salema.
June 20, 1934:
Three works by Heitor Villa-Lobos (47) are performed for the first time, in the Teatro João Caetano, Rio de Janeiro, under the baton of the composer: Concerto brasileiro for two pianos and chorus, Ena-Môkôcê for solo voice, chorus, and percussion, and Papi curumiassú for solo voice and chorus.
September 3, 1934:
Bachianas brasileiras no.2 for orchestra by Heitor Villa-Lobos (47) is performed for the first time, in Venice.
May 25, 1935:
Uirapuru, a ballet by Heitor Villa-Lobos (48), is performed for the first time, in the Teatro Colón, Buenos Aires, under the baton of the composer. The occasion is a visit by Brazilian President Getúlio Vargas to Argentina.
May 28, 1935:
Canções típicas brasileiras for voice and piano by Heitor Villa-Lobos (48) to words of Itabaiana are performed for the first time, in Buenos Aires.
June 24, 1935:
A roseira for piccolo, flute, clarinet, saxophone, and B flat contrabass saxophone by Heitor Villa-Lobos (48) is performed for the first time, in Rio de Janeiro.
June 26, 1935:
A cançaõ do barqueiro do Volga for chorus by Heitor Villa-Lobos (48) to words of Viana, is performed for the first time, in Rio de Janeiro, conducted by the composer.
December 11, 1935:
To celebrate the 250th anniversary of the birth of Johann Sebastian Bach (†185), Heitor Villa-Lobos (48) directs the first performance in Brazil of the Mass in b minor.
May 28, 1936:
While in Berlin, on his way to Prague to attend the First International Congress of Music Education, Heitor Villa-Lobos (49) writes to his wife, Lucília Guimarães, in Rio de Janeiro. He declares their marriage over and informs her of his resolve not to live with her anymore. At present, she makes more money than he does.
August 11, 1936:
Although not divorced from his wife (not possible under Brazilian law), Heitor Villa-Lobos (49) and Arminda Neves de Almeida are “married before God.” She is a music teacher, 20 years his junior.
November 6, 1936:
Serestas for voice and orchestra by Heitor Villa-Lobos (49) is performed for the first time, in Rio de Janeiro, under the baton of the composer.
November 13, 1937:
Two works by Heitor Villa-Lobos (50) are performed for the first time, in the Teatro Municipal, Rio de Janeiro: Missa Sâo Sebastião for chorus, and Motivos gregos for flute, guitar, and female chorus.
December 15, 1937:
Regozijo de uma raça for tenor, chorus, and percussion by Heitor Villa-Lobos (50) to words of Baptista, is performed for the first time, conducted by the composer.
May 25, 1938:
Chile-Brasil for chorus by Heitor Villa-Lobos (51) is performed for the first time, directed by the composer.
November 13, 1938:
Bachianas brasileiras no.1 for at least eight cellos by Heitor Villa-Lobos (51) is performed completely for the first time, at the Casa d’Italia, Rio de Janeiro. See 22 September 1932.
March 25, 1939:
The aria from Bachianas Brasileiras no.5 for soprano and eight cellos by Heitor Villa-Lobos (52) is performed for the first time, in Rio de Janeiro. See 10 October 1947.
May 6, 1939:
String Quartet no.5 by Heitor Villa-Lobos (52) is performed for the first time, in Rio de Janeiro.
October 10, 1939:
Trenzinho for chorus by Heitor Villa-Lobos (52) to words of Santoro, is performed for the first time, under the baton of the composer.
November 11, 1939:
Numbers 1, 2, 3, and 5 from Album 1 of the Guia prático for children’s voices by Heitor Villa-Lobos (52) are performed for the first time, in Rio de Janeiro.
November 19, 1939:
The first suite from the film score Descobrimento do Brasil by Heitor Villa-Lobos (52) is performed for the first time, in the Teatro Municipal, Rio de Janeiro conducted by the composer. The score was commissioned by the Brazilian Cacao Institute of Bahia.
November 27, 1939:
Several works for piano by Heitor Villa-Lobos (52) are performed for the first time, in Rio de Janeiro: Bachianas Brasileiras no.4; Valsa da dor; Plantio do Caboclo and Festa no sertão from the Ciclo brasileiro; As très Marias; and several selections from the series Guia prático for children’s voices--Album 2 (nos.1,2,4,5), Album 3 (nos.2,4,5), Album 5 (no.3), Album 7 (no.2), and Album 9 (nos.1,4,6).
April 6, 1940:
Izaht, an opera by Heitor Villa-Lobos (53) to words of Azevedo, Júnior, and the composer, is performed completely for the first time, in a concert setting, in the Teatro Municipal, Rio de Janeiro under the baton of the composer. See 13 December 1958.
August 27, 1940:
Serenata from Serestas, a cycle for voice and piano by Heitor Villa-Lobos (53), is performed for the first time.
April 23, 1941:
Fantasia de movimentos mistos for violin and orchestra by Heitor Villa-Lobos (54) is performed completely for the first time, in Rio de Janeiro. See 9 December 1922.
September 7, 1941:
Gondoleiro for chorus and band by Heitor Villa-Lobos (54) to words of Alves is performed for the first time, in Vasco da Gama stadium, Rio de Janeiro. The composer conducts 30,000 singers and 500 instrumentalists.
November 13, 1941:
Several selections from the series for piano Guia prática by Heitor Villa-Lobos (54) are performed for the first time, in Rio de Janeiro: Album 1 (no.4), Album 5 (nos.1,2), Album 7 (nos. 1,3), Album 9 (nos.2,5), Album 10 (nos.2,6).
June 6, 1942:
Bachianas Brasileiras no.4 in an arrangement for orchestra by Heitor Villa-Lobos (55) is performed for the first time, in New York under the baton of the composer.
July 15, 1942:
Chôros no.9 for orchestra and the orchestration of Rudepoema by Heitor Villa-Lobos (55) are performed for the first time, in Rio de Janeiro, conducted by the composer.
July 18, 1942:
Chôros no.11 for piano and orchestra and Chôros no.6 for orchestra by Heitor Villa-Lobos (55) are performed for the first time, in Rio de Janeiro conducted by the composer.
October 11, 1942:
The third suite from Descobrimento do Brasil, a film with music by Heitor Villa-Lobos (55), is performed for the first time, in the Teatro Municipal, Rio de Janeiro the composer conducting. The film was commissioned by the Brazilian Cacao Institute of Bahia.
November 26, 1942:
The Conservatório Nacional de Canto Orfeônico is inaugurated in Rio de Janeiro by Heitor Villa-Lobos (55).
September 7, 1943:
Dança da terra for chorus and percussion by Heitor Villa-Lobos (56) is performed for the first time, in Rio de Janeiro, conducted by the composer.
November 30, 1943:
String Quartet no.6 “Il quarteto brasileiro” by Heitor Villa-Lobos (56) is performed for the first time, in Rio de Janeiro.
December 11, 1943:
Prelúdios for guitar by Heitor Villa-Lobos (56) are performed for the first time, in Montevideo.
March 13, 1944:
Bachianas Brasileiras no.7 for strings by Heitor Villa-Lobos (57) is performed for the first time, in Rio de Janeiro under the baton of the composer.
May 6, 1944:
Symphony no.2 “Ascensão” by Heitor Villa-Lobos (57) is performed for the first time, in Rio de Janeiro under the baton of the composer 27 years after it was written.
July 27, 1944:
US Secretary of State Cordell Hull invites Heitor Villa-Lobos (57) to come to Washington and serve as “Consultant on Brazilian Music” for the Library of Congress. It also includes a commission for a string quartet and allowance to conduct in the United States.
July 31, 1944:
Vira, a song for voice and piano by Heitor Villa-Lobos (57), is performed for the first time, in Rio de Janeiro.
August 25, 1944:
The US embassy in Rio de Janeiro sends a response to Cordell Hull’s telegram of 27 July. The Brazilian government will allow Villa-Lobos (57) out of the country for only three months. He will not accept unless he is allowed to visit other countries and if the conducting engagements are definite.
November 21, 1944:
Occidental College in Los Angeles awards an honorary Doctorate in Law to Heitor Villa-Lobos (57). It is his first public appearance in the United States.
November 26, 1944:
Heitor Villa-Lobos (57) conducts his music in Los Angeles at the beginning of a highly successful United States tour.
December 10, 1944:
Uirapuru for chorus by Heitor Villa-Lobos (57) is performed for the first time, in Rio de Janeiro.
December 12, 1944:
Heitor Villa-Lobos (57) arrives in New York by train from Los Angeles.
January 28, 1945:
Heitor Villa-Lobos (57) appears in a concert of his music at the Metropolitan Museum of Art, New York presented by the New York League of Composers.
February 8, 1945:
Heitor Villa-Lobos (57) conducts the New York Philharmonic in New York, in a performance of his Chôros nos.8 & 9.
February 23, 1945:
Heitor Villa-Lobos (57) conducts the Boston Symphony Orchestra in his own music in Symphony Hall, Boston.
March 14, 1945:
A reception in honor of the visiting Heitor Villa-Lobos (58) takes place in the Waldorf Astoria Hotel, New York. Among those attending are composers Aaron Copland (44), Cole Porter, Sigmund Romberg, and Morton Gould; conductors Walter Damrosch, Arthur Rodzinski, Leopold Stokowski, George Szell, Arturo Toscanini, and Eugene Ormandy; singers Marian Anderson, Bidú Sayão, and Ezio Pinza; instrumentalists Benny Goodman, Duke Ellington (45), Joseph Szigeti, Claudio Arrau, Yehudi Menhuin, and José Iturbi; as well as Fiorello La Guardia, Deems Taylor, and Nelson Rockefeller.
May 30, 1945:
String Quartet no.7 by Heitor Villa-Lobos (58) is performed for the first time, in the Teatro Municipal, Rio de Janeiro.
July 14, 1945:
Heitor Villa-Lobos (58) founds the Academia Brasileira de Música in Rio de Janeiro.
September 24, 1945:
Bachianas Brasileiras no.6 for flute and bassoon by Heitor Villa-Lobos (58) is performed for the first time, at the Escola Nacional de Música, Rio de Janeiro.
October 30, 1945:
Trio for violin, viola, and cello by Heitor Villa-Lobos (58) is performed for the first time, at the Library of Congress, Washington.
August 7, 1946:
String Quartet no.1 by Heitor Villa-Lobos (59) is performed in public for the first time, in Rio de Janeiro, 31 years after it was composed.
September 5, 1946:
String Quartet no.8 by Heitor Villa-Lobos (59) is performed for the first time, in Rio de Janeiro.
October 8, 1946:
Two works by Heitor Villa-Lobos (59) are performed for the first time, in Rio de Janeiro, conducted by the composer: Fantasia for cello and orchestra, and the symphonic poem Madona.
October 11, 1946:
Piano Concerto no.1 by Heitor Villa-Lobos (59) is performed for the first time in the Teatro Municipal, Rio de Janeiro, along with the premiere of the second suite from his film score Descobrimento do Brasil for orchestra and Mandu çarará, a cantata for children’s voices, chorus, and orchestra, the composer conducting.
December 18, 1946:
Canções de cordialidade by Heitor Villa-Lobos (59) to words of Bandeira is performed for the first time, in Rio de Janeiro, in settings for solo voice and piano, and solo voice and orchestra.
December 30, 1946:
Poema de Itabira for voice and orchestra by Heitor Villa-Lobos (59) to words of Drumond de Andrade, is performed for the first time, in Rio de Janeiro, conducted by the composer.
February 19, 1947:
Bachianas Brasileiras no.3 for piano and orchestra by Heitor Villa-Lobos (59) is performed for the first time, in New York, conducted by the composer.
August 6, 1947:
Bachianas Brasileiras no.8 for orchestra by Heitor Villa-Lobos (60) is performed for the first time, in Rome the composer conducting.
October 10, 1947:
Bachianas Brasileiras no.5 for soprano and eight cellos by Heitor Villa-Lobos (60) is performed completely for the first time, in Paris. See 25 March 1939.
March 15, 1948:
Sinfonietta no.2 for orchestra by Heitor Villa-Lobos (61) is performed for the first time, in Rome conducted by the composer.
March 21, 1948:
Papagaio do moleque for orchestra by Heitor Villa-Lobos (61) is performed for the first time, in the Maison Gaveau, Paris, under the baton of the composer.
July 9, 1948:
Heitor Villa-Lobos (61) enters Memorial Hospital of Sloan-Kettering Institute in New York where he will undergo surgery to treat cancer of the bladder.
July 25, 1948:
Canção do marinheiro, the first of the Modinhas e canções Album no.1 for voice and piano by Heitor Villa-Lobos (61), to words of Vicente, is performed for the first time, in the Salão Leopoldo Miguez, Escola Nacional de Música, Rio de Janeiro.
November 17, 1948:
Bachianas Brasileiras no.9 for string orchestra by Heitor Villa-Lobos (61) is performed for the first time, in the Teatro Municipal, Rio de Janeiro.
December 30, 1948:
Two suites for solo voices, chorus, and orchestra from the musical comedy Magdalena by Heitor Villa-Lobos (61) are performed for the first time, in Rio de Janeiro.
March 27, 1949:
Symphony no.7 by Heitor Villa-Lobos (62) is performed for the first time, in London the composer conducting.
August 29, 1949:
Hommage à Chopin for piano by Heitor Villa-Lobos (62) is performed for the first time. The work was commissioned by UNESCO to mark the centennial of the death of Chopin.
October 8, 1949:
String Quartet no.4 by Heitor Villa-Lobos (62) is performed for the first time, in Rio de Janeiro, 32 years after it was composed.
October 12, 1949:
Selections from the Guia prática for piano, from albums ten and eleven, by Heitor Villa-Lobos (62), are performed for the first time, in Rio de Janeiro.
February 12, 1950:
String Quartet no.10 by Heitor Villa-Lobos (62) is performed for the first time, in Paris.
March 13, 1950:
Assobio a jato for flute and cello by Heitor Villa-Lobos (63) is performed for the first time, in the Auditório do Ministério da Educação e Cultura, Rio de Janeiro.
April 21, 1950:
Piano Concerto no.2 by Heitor Villa-Lobos (63) is performed for the first time, in Teatro Municipal, Rio de Janeiro, the composer conducting.
April 29, 1950:
Symphony no.6 “Sobre a linha das montanhas do Brasil” by Heitor Villa-Lobos (63) is performed for the first time, in Rio de Janeiro, conducted by the composer.
May 18, 1950:
Redondilha for chorus by Heitor Villa-Lobos (63) to words of de Anchieta, is performed for the first time, in Rio de Janeiro.
June 18, 1950:
Saudade de juventude suite no.1 for orchestra by Heitor Villa-Lobos (63) is performed for the first time, in Teatro Santa Isabel, Recife the composer conducting.
October 27, 1951:
Divagação for cello, piano, and drum by Heitor Villa-Lobos (64) is performed for the first time, in Rio de Janeiro.
November 7, 1951:
Erosão (Origem do rio Amazonas), a symphonic poem by Heitor Villa-Lobos (64), is performed for the first time, in Louisville, Kentucky.
November 9, 1951:
String Quartet no.12 by Heitor Villa-Lobos (64) is performed for the first time, in Rio de Janeiro.
November 17, 1951:
Fantasia for saxophone (soprano or tenor) by Heitor Villa-Lobos (64) is performed for the first time, in the Auditório do Ministério da Educação e Cultura, the composer conducting.
February 26, 1952:
The fourth suite from the score to the film Descobrimento do Brasil by Heitor Villa-Lobos (64) is performed for the first time, in the Théâtre des Champs-Elysées, Paris.
June 25, 1952:
Ouverture de l’homme tel for orchestra by Heitor Villa-Lobos (65) is performed for the first time, in Lisbon, conducted by the composer.
January 9, 1953:
Piano Concerto no.4 by Heitor Villa-Lobos (65) is performed for the first time, in Pittsburgh, the composer conducting.
January 23, 1954:
Alvorado na Floresta Tropical, an overture by Heitor Villa-Lobos (66), is performed for the first time, in Louisville.
May 30, 1954:
Odisséia de uma raça, a symphonic poem by Heitor Villa-Lobos (67) dedicated to the State of Israel, is performed for the first time, in Haifa.
August 11, 1954:
String Quartet no.14 by Heitor Villa-Lobos (67) is performed for the first time.
August 30, 1954:
Rudá, a ballet by Heitor Villa-Lobos (67), is performed for the first time, in the Théâtre des Champs-Elysées, Paris, the composer conducting.
January 14, 1955:
Two works by Heitor Villa-Lobos (67) are performed for the first time, in Philadelphia, the composer conducting: Symphony no.8 and Concerto for harp and orchestra.
February 5, 1955:
Cello Concerto no.2 by Heitor Villa-Lobos (67) is performed for the first time, in New York.
May 8, 1955:
Piano Concerto no.5 by Heitor Villa-Lobos (68) is performed for the first time, in Royal Festival Hall, London.
June 14, 1955:
Dinga-donga for voice and piano by Heitor Villa-Lobos (68) to his own words is performed for the first time.
February 6, 1956:
Concerto para violão for guitar and orchestra by Heitor Villa-Lobos (68) is performed for the first time, in Houston under the baton of the composer.
March 2, 1956:
Symphony no.11 by Heitor Villa-Lobos (68) is performed for the first time, in Boston the composer conducting. Critics are very positive.
July 12, 1956:
Emperor Jones, a ballet by Heitor Villa-Lobos (69) after O’Neill, is performed for the first time, in Ellenville, New York, conducted by the composer.
January 1, 1957:
Today begins “Villa-Lobos (69) Year” as proclaimed by the Brazilian Ministry of Education and Culture.
April 4, 1957:
Symphony no.10 “Sinfonia amerindia” for tenor, baritone, bass, chorus, and orchestra by Heitor Villa-Lobos (70) to words of de Anchieta, commissioned to celebrate the 400th anniversary of the founding of São Paulo, is performed for the first time, in the Théâtre des Champs-Elysées, Paris under the baton of the composer.
April 28, 1957:
Canção das águas claras for voice and orchestra by Heitor Villa-Lobos (70) to words of Amado, is performed for the first time, in London, directed by the composer.
August 24, 1957:
Piano Concerto no.3 by Heitor Villa-Lobos (70) is performed for the first time, in Teatro Municipal, Rio de Janeiro.
September 27, 1957:
The Conservatório Villa-Lobos (70) is opened in São Paulo during “Villa-Lobos Week” in the city, celebrating his 70th birthday.
April 19, 1958:
String Quartet no.2 op.26 by Alberto Ginastera (42) is performed for the first time, in Coolidge Auditorium, Washington. Also premiered is String Quartet no.15 by Heitor Villa-Lobos (71).
April 20, 1958:
Symphony no.12 by Heitor Villa-Lobos (71) is performed for the first time, in Lisner Auditorium, Washington.
June 29, 1958:
Fantasia em trés movimentos for orchestra by Heitor Villa-Lobos (70) is performed for the first time, in Pittsburgh.
September 13, 1958:
String Quartet no.16 by Heitor Villa-Lobos (71) is performed for the first time, in Rio de Janeiro.
November 3, 1958:
Bendita sabedoria for chorus by Heitor Villa-Lobos (71) to words of the Bible is performed for the first time, at the opening of the new UNESCO building in Paris.
November 8, 1958:
Magnificat alleluia for solo voice and orchestra by Heitor Villa-Lobos (71) is performed for the first time, in the Teatro Municipal, Rio de Janeiro.
December 13, 1958:
Izaht, an opera by Heitor Villa-Lobos (71) to words of Azevedo, Júnior, and Villalba Filho (pseud. Villa-Lobos), is performed completely for the first time, at the Teatro Municipal, Rio de Janeiro, 44 years after it was composed. See 15 August 1918 and 16 November 1921.
March 19, 1959:
Green Mansions, a film with some music by Heitor Villa-Lobos (72), is shown for the first time, in New York.
July 5, 1959:
Concerto grosso for winds by Heitor Villa-Lobos (72) is performed for the first time, in Pittsburgh.
July 12, 1959:
Four excerpts from Florestan do Amazonas, music from the film Green Mansions by Heitor Villa-Lobos (72), is performed for the first time, at Bear Mountain, New York. This is the last appearance by Villa-Lobos as conductor.
July 14, 1959:
Heitor Villa-Lobos (72) is awarded the Carlos Gomes (†62) medal in Rio de Janeiro.
August 30, 1959:
Heitor Villa-Lobos (72) enters Hospital dos Estrangeiros in Rio de Janeiro suffering from kidney failure.
September 2, 1959:
Unable to cure his kidney ailment, doctors release Heitor Villa-Lobos (72) from hospital in Rio de Janeiro. He goes to the family home of his companion, Arminda Neves de Almeida.
September 7, 1959:
On Independence Day, Heitor Villa-Lobos (72) attends a concert for the last time, in the Teatro Municipal, Rio de Janeiro. He hears his Magnificat Aleluia.
October 16, 1959:
String Quartet no.17 by Heitor Villa-Lobos (72) is performed for the first time, in Washington.
October 27, 1959:
Harmonica Concerto by Heitor Villa-Lobos (72) is performed for the first time, in Edison Hall, Jerusalem.
June 2, 1960:
Sete vezes for voice and piano by Heitor Villa-Lobos (†0) to words of Vasconcellos, is performed for the first time, in Rio de Janeiro. See 29 January 1962.
June 22, 1960:
President Juscelino Kubitscheck de Oliveira of Brazil establishes the Museu Villa-Lobos (†0) in Rio de Janeiro.
November 21, 1960:
Suites nos. 1 and 2 for chamber orchestra by Heitor Villa-Lobos (†1) are performed for the first time, in the Teatro Municipal, Rio de Janeiro.
November 29, 1960:
A menina das nuvens, a musical adventure by Heitor Villa-Lobos (†1) to words of Benedetti, is performed for the first time, at the Teatro Municipal, Rio de Janeiro.
January 20, 1961:
The Museu Villa-Lobos (†3) opens in Rio de Janeiro.
April 24, 1961:
Symphony no.9 by Heitor Villa-Lobos (†1) is performed for the first time, in Washington.
November 23, 1961:
Francette a Piá for orchestra by Heitor Villa-Lobos (†2) is performed for the first time, in Rio de Janeiro.
January 29, 1962:
Sete vezes for voice and orchestra by Heitor Villa-Lobos (†2) to words of Vasconcellos is performed for the first time, in Rio de Janeiro. See 2 June 1960.
November 10, 1962:
Canção do poeta do século XVIII for voice and guitar by Heitor Villa-Lobos (†2) to words of Ferreira is performed for the first time, in the Auditório do Ministério da Educaçao e Cultura, Rio de Janeiro.
November 12, 1962:
Modinha for solo voice and guitar by Heitor Villa-Lobos (†2) to words of Bandeira is performed for the first time, in the Auditório do Palácio da Cultura MEC, Rio de Janeiro.
November 19, 1967:
Duo for oboe and bassoon by Heitor Villa-Lobos (†8) is performed for the first time, in Rio de Janeiro.
November 20, 1967:
Two works for chorus by Heitor Villa-Lobos (†8) are performed for the first time, in the Teatro Municipal, Rio de Janeiro: Duas lendas ameríndas and Panis angelicus.
November 19, 1968:
Fantasia concertante for piano, clarinet, and bassoon by Heitor Villa-Lobos (†9) is performed for the first time, in Sala Cecilia Meireles, Rio de Janeiro.
November 20, 1968:
Tristorosa for piano by Heitor Villa-Lobos (†9) is performed for the first time, in Rio de Janeiro 58 years after it was composed.
November 21, 1969:
Gênesis, a symphonic poem and ballet by Heitor Villa-Lobos (†10) is performed for the first time, in the Teatro Municipal, Rio de Janeiro.
August 12, 1971:
Yerma, an opera by Heitor Villa-Lobos (†11) after Garcia Lorca, is performed for the first time, in Santa Fe, New Mexico.
November 23, 1974:
Dança dos mosquitos for orchestra by Heitor Villa-Lobos (†15) is performed for the first time, in the Teatro Municipal, Rio de Janeiro, 52 years after it was composed.