This is a brief (true to its name) and very pretty assortment of miniatures for Villa-Lobos' own instrument, the cello. Despite having six movements, it is less than ten minutes long in most performances. At the time the composer wrote it, he was mainly working as a freelance musician, often including playing in street bands. He had also taken a number of trips to different regions of Brazil to hear the local popular and folk music. This would have a strong influence in his future music, but barely emerges here. What is present is an interest in musical forms that date to the Baroque -- a fugato and a gavotte appear in the list of movements -- presaging the structure of the Bachianas Brasilerias, a series that began in the 1930s. It was also in 1913 that he married his first wife, pianist Lucilla Guimarães, who remained one of his musical champions even after their separation in 1936. The first movement is called "Romancette," or Little Romance. It has one of those long, lovely legato melodies that seemingly dropped from Villa-Lobos' pen more readily than ash from his cigars. It is a rich song in the warm middle register of the cello, with a discreet accompaniment that has a little contrapuntal interest. A light touch characterizes the second movement, "Legendária" (Legendary). It is faster, but still primarily melodic, and ends with a bright flourish on the piano. The musical style changes from late Romantic to Impressionistic in "Harmonias Solitas" (Solitary Harmonies). "Lonely Harmonies" would be a credible translation, as well, and in keeping with the mood of this slow movement. It starts with misty, unconnected chords à la Debussy. When the dark, low-register melody on cello begins, the harmony becomes more functional and less "modern." Through double-stopping, the cello manages two melodic lines. The first look back at the Baroque comes in the "Fugato (All'antica)" movement, a lively piece with the cello and piano chasing around the fugal path to a light rhythm. A fugato is a short fugal movement; "All'antica" means "in old style." Debussyian chords keep up a constant alternation in fast tempo while the cello unwinds yet another long, flowing Villa-Lobos melody, which gives the movement its name: "Melodia." Another reminiscence of oldtime music closes the suite in the "Gavotte-Scherzo," a light and sometimes lyrical evocation of an old European court dance. The middle section keeps the gentle scherzo rhythm in the piano, while the cello gets yet another long-limbed melody. The most florid writing in the suite for both movements then leads to the crisp rhythms and dance-like tune that started the movement. If there is any weakness to this music, it lies in the fact that the ideas are so good, but have little done to them; they should be played at length and with some development. ~ All Music Guide
