Investigation of score omissions and conflicting performance decisions pertaining to Heitor Villa-Lobos' Fantasia, for soprano saxophone and chamber orchestra
Amanda M. Fratangeli · Cardinal Scholar (Ball State University) · 2012
Heitor Villa-Lobos's Fantasia for soprano saxophone and chamber orchestra contains numerous vague tempo markings, implied but unmarked "quasi-cadenza" passages, and sections that appear to be unedited with regards to articulation. The researcher aimed to provide an interpretative guide for saxophonists studying and performing this composition. The research methods included conversations with performers, pedagogues, and conductors regarding their interpretive decisions. In addition, articles, books, dissertations, and recordings pertaining to Villa-Lobos, his compositional style, biography, and the Fantasia were examined. I concluded that, if the performer wishes to highlight the Brazilian features of this composition, more liberties can be taken with their interpretation. If the soloist desires to emphasize the neoclassical aspects of the piece, the performer should take a less rhapsodic approach to performing Fantasia.