of new gramophone players at the Ministry of Education in Rio de Janeiro, a recording of the work was used as an example. Martins initiated a breach of copyright action against Villa-Lobos, which was finally resolved only in 1956—in the composer's favour. Nevertheless, the performance of the work Villa-Lobos recorded in Paris in May 1957 substituted neutral syllables for Catulo's text, and when the publisher Max Eschig reissued the score in 1975, the text was likewise removed. Most performances since then, however, have restored the words of Catulo's poem.. Analysis Chôros No. 10 falls into two main sections, the first for orchestra alone, the second adding a mixed choir. The question of the further subdivision of part one is less certain. It can be regarded as falling into two subdivisions: a rhythmically energetic impetus (page numbers 1–18) and an impressionistic noctume, with the tempo marking Lent (page numbers 18–35). The composer describes Amazonian birdsong as an important source of motivic material in the opening portion of Chôros No.10. The first thematic fragment, presented in the flute in bar 3, is "a transfigured melodic cell characteristic of the song of a rare bird of the Brazilian forests, called in some places Azulão da mata"—in English called blue-black grosbeak. References Footnotes Further reading External links villalobos.iu.edu Villa-Lobos site at Indiana University: Maintained by the Latin American Music Center Compositions by Heitor Villa-Lobos 1926 compositions Music with dedications