In all likelihood, tonight's rendition of Fantasia para Saxofone Soprano (em Sib) e Orquestra represents the first time the work has been performed as originally conceived by Heitor Villa-Lobos. This opportunity to play Fantasia from the composer's original manuscript is courtesy of Dale Underwood, who provided photocopies obtained from the Villa-Lobos Museum in Rio de Janeiro, Brazil. Surprisingly, this score is in a different key from the published version saxophonists have relied on since the premier of the piece over a half-century ago.

     Dale discovered the "lost" version of the Fantasia during a recent trip to Brazil (ironically to record the currently published version). A gentleman in Rio presented Dale with a copy of the original manuscript score, apparently obtained from the Villa-Lobos museum. Upon inspection, Dale noticed a difference in key: the manuscript was one step up from the published version saxophonists had always assumed to be definitive. Dale visited the museum himself and was given access to the original orchestral score and parts, which confirmed that Villa-Lobos had indeed composed the Fantasia a major 2nd higher. Fortuitously, the museum staff was kind enough to present Dale with copies of everything for his personal use.

     For unknown reasons, legendary saxophonist Marcel Mule, to whom the piece is dedicated, was not particularly enthused by the Fantasia. Villa-Lobos approached a saxophonist friend, Waldemar Szpilman, who consented to play the piece on two conditions. Szpilman didn't own a soprano, and asked to play the piece on tenor saxophone. Also, he asked that it be transposed down one step, since he couldn't play several prominent notes above the common range of the saxophone (these altissimo notes were especially difficult at the time, when instruments lacked today's modern features). Villa-Lobos agreed, and the Fantasia was premiered under the baton of the composer on November 17th, 1951. It was then sent off to the publisher in the new key, with the title adjusted to "soprano or tenor saxophone and chamber orchestra". The original score was filed away and the key change forgotten, until Dale's trip to Brazil and his chance meeting with a Villa-Lobos aficionado.

     The higher key is certainly more satisfactory for the strings, especially since the transposition down took the viola out of its range, forcing the substitution of notes an octave higher. There is also a third horn part, which for some unknown reason never made its way into the published version. Most importantly, however, is the fact that careful examination of the original score and parts uncovered a number of errors in both the solo and orchestra accompaniment of the published Fantasia, including several prominent wrong notes. These curious dissonances, unknowingly written off as part of Villa-Lobos' eccentric style, have been played in countless live performances and on all the known recordings of the piece. We now know that in reality they were simply copy errors!

     My sincerest thanks go to Dale Underwood for allowing me the first crack at performing the original Fantasia with orchestra, to Thom Sleeper for programming the piece on tonight's concert, and to the members of the Frost Symphony Orchestra for their hard work in preparation. Enjoy!

   Gary Keller

REVIEW:

Frost adjunct faculty member Gary Keller stepped onto the stage with a tiny soprano saxophone to perform Villa-Lobos’ rarely heard Fantasia for Saxophone, Three Horns and Strings, a three-movement mini-concerto. According to the program, this performance may be the first to offer the work as written, using a manuscript from the Villa-Lobos Museum in Rio de Janeiro to restore the work to its original key and eliminate several prominent wrong notes that appear in the printed version.

As you’d expect from Villa-Lobos, the work is lyrical, atmospheric and marked by strong, unusual rhythms. Keller played with an easy virtuosity, bringing out the melancholy aspects of the work without any apparent struggles with the rapid cascades of notes.

South Florida Classical Review April 19, 2009