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Villa-Lobos’ late period instrumental works have suffered from a lack of understanding and appreciation in general, but also from a failure on the parts of musicians and scholars to examine and comprehend the musical and instrumental languages employed therein.  This study examines the Cello Concerto no. 2, composed in 1954, focusing on the unique cello language developed over the composer’s career and crystallized in his final years.  By approaching the topic through the perspectives of music history (WRIGHT, 1992; PEPPERCORN, 1994), analysis (SALLES, 2009 and 2018), and especially cello performance (PARISOT, 1962; AQUINO, 2000; PILGER, 2013), I hope to reveal the wealth of invention and artistry latent in Villa-Lobos’ late period cello writing and contribute to a much-deserved awakening of exploration and investigation into his late period instrumental works.

Villa-Lobos; Período tardio; Concertos para violoncelo e orquestra; Cello performance.