Primeiro Movimento Do Quarteto De Cordas N.3 De Heitor Villa-Lobos: uma correspondência da forma sonata clássica numa conjuntura atonal

Abstract

This article presents comments on a possible interpretation of the classical sonata form adapted to an atonal context, in the first movement of The String Quartet No. 3 by Heitor Villa-Lobos. In the context of Brazilian music, Villa-Lobos was the composer who wrote string quartets the most. In the international music scene, his production is in second place, in quantitative terms. However, some older analyses, based only on tonal music parameters, defend the idea that Villa-Lobos did not use the sonata form in his string quartets. However, more recent analyses demonstrate Villa-Lobos’ ability to adapt the sonata form to a non-tonal context, as did other avant-garde composers. In the case of the first movement of String Quartet n. 3, it is possible to notice the manipulation of the pitches that demarcate the entries of the sections, replacing the tonal relations of the classical sonata form. Thus, Villa-Lobos’ compositional proficiency becomes evident, by handling one of the most established genres of European chamber music (String Quartet) and one of the most significant formal structures of Western music (Forma Sonata).