Heitor Villa-Lobos’s mother dismissed the guitar as “an instrument played by scoundrels”, but his earliest surviving work, Dime perché, comes from a time when he was composing almost exclusively on this instrument. +By completing his unfinished Valsa Concerto No. 2, Andrea Bissoli brings to life the subject of a notorious anecdote between Segovia and Miguel Llobet, and the Sexteto místico echoes Brazilian street band sounds, anticipating Villa-Lobos’s “new form” of the mystical Choros. +The intimate serenade Canção do Amor is from his soundtrack for the film Green Mansions.
