ABSTRACT
In the early 1920s, the discussion on music had not yet brought Mário de Andrade and Villa-Lobos together, both “actors” who will become protagonists after participating in the Modern Art Week in February 1922. The musicologist from São Paulo became aware of the work of the composer from Rio de Janeiro, curious to discover new possibilities in the realm of musical creation; and the conductor, in turn, aimed to establish his name on new stages, probably wishing to perform in São Paulo. Both had occasional access to the press, whether to publicize concerts - in the case of the composer - or to accompany the season of operas and concerts - in the case of the critic and musicologist. One can see in specific texts their search to crystallize the Brazilian musical language through paths that still keep them very close to Romantic nationalism, impregnated with images of the homeland, nature and the ancestral origin of the country’s people.
KEYWORDS:
Mário de Andrade; Villa-Lobos; Nationalism; Modernism; Brazilian music