Rudepoêma
Encyclopedia
Rudepoêma is a composition by Heitor Villa-Lobos
. It was written from 1921 to 1926 and is the largest and most challenging work Villa-Lobos wrote for the solo piano
. It is in one continuous movement and runs about 19–20 minutes. The piece has been described (with license) as "Le Sacre du Printemps meets the Brazilian jungle" (Davis [n.d.
ted by the composer, and premiered under his baton in Rio de Janeiro
on July 15, 1942 (Slonimsky 1945, 148).
The piece was intended as a tonal portrait of the Polish-American pianist Arthur Rubinstein
. It is rhapsodic
in style and elastic in its structure. It is filled with varied rhythms and dynamic tempo
changes which are meant to portray Rubinstein's brilliant and varied personality.
The two main themes of the work are presented at the outset, the first one in the bass register in the left hand, the second answering it in the right hand. Fragments of both themes are clearly audible throughout the composition, which reaches its climax only five bars from the end, with the right hand raining four fortissimo blows on three low notes, C, B, and A (Mariz 1963, 53).
Heitor Villa-Lobos
Heitor Villa-Lobos was a Brazilian composer, described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has become the best-known and most significant Latin American composer to date. He wrote numerous orchestral, chamber, instrumental and vocal works...
. It was written from 1921 to 1926 and is the largest and most challenging work Villa-Lobos wrote for the solo piano
Piano
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
. It is in one continuous movement and runs about 19–20 minutes. The piece has been described (with license) as "Le Sacre du Printemps meets the Brazilian jungle" (Davis [n.d.
Orchestra
An orchestra is a sizable instrumental ensemble that contains sections of string, brass, woodwind, and percussion instruments. The term orchestra derives from the Greek ορχήστρα, the name for the area in front of an ancient Greek stage reserved for the Greek chorus...
ted by the composer, and premiered under his baton in Rio de Janeiro
Rio de Janeiro
Rio de Janeiro , commonly referred to simply as Rio, is the capital city of the State of Rio de Janeiro, the second largest city of Brazil, and the third largest metropolitan area and agglomeration in South America, boasting approximately 6.3 million people within the city proper, making it the 6th...
on July 15, 1942 (Slonimsky 1945, 148).
The piece was intended as a tonal portrait of the Polish-American pianist Arthur Rubinstein
Arthur Rubinstein
Arthur Rubinstein KBE was a Polish-American pianist. He received international acclaim for his performances of the music of a variety of composers...
. It is rhapsodic
Rhapsody (music)
A rhapsody in music is a one-movement work that is episodic yet integrated, free-flowing in structure, featuring a range of highly contrasted moods, colour and tonality. An air of spontaneous inspiration and a sense of improvisation make it freer in form than a set of variations...
in style and elastic in its structure. It is filled with varied rhythms and dynamic tempo
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
changes which are meant to portray Rubinstein's brilliant and varied personality.
The two main themes of the work are presented at the outset, the first one in the bass register in the left hand, the second answering it in the right hand. Fragments of both themes are clearly audible throughout the composition, which reaches its climax only five bars from the end, with the right hand raining four fortissimo blows on three low notes, C, B, and A (Mariz 1963, 53).
Further reading
- Kater, Carlos. 1987. "Villa-Lobos de Rubinstein". Latin American Music Review / Revista de Música Latinoamericana 8, no. 2 (Autumn-Winter): 246–53.
- Oliveira, Jamary. 1984. "Black Key versus White Key: A Villa-Lobos Device". Latin American Music Review / Revista de Música Latinoamericana 5, no. 1 (Spring-Summer): 33–47.