Abstract
Abstract During the 1930s, Heitor Villa-Lobos concentrated his efforts on coordinating Brazilian musical education. As such, he changed his compositional style and did not travel to Europe again until 1936. This article examines Villa-Lobos's trip to Europe in 1936, drawing on Florencia Garramuño's call to ‘incorporate avant-garde voyages as founding moments’ for an autochthonous national character in music. During his journey, Villa-Lobos represented Brazil in different settings: as a deputy at the International Congress of Music Education in Prague and as a composer in under-the-radar political negotiations with Nazi Germany in Berlin. Considering the authoritarian Vargas Regime, Brazilian modernism, and the dialectical relation between nationalism and internationalism, I argue that this trip served as a catalyst for a new creative phase, culminating in the series of Bachianas brasileiras, a resignification of J. S. Bach's music and legacy in the context of his interpretation of Brazilian Antropofagia (cultural cannibalism).
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