Encoded in EAD3 : Encoded Archival Description (EAD), Version 3 : Release: 1.1.1 : Release Date: 2019-12-16. Validating against latest version of schema.
Contact information: https://hdl.loc.gov/loc.music/perform.contact
Catalog Record: https://lccn.loc.gov/2014572481
DACS was used as the primary description standard.
Collection material primarily in Portuguese and French with some German and English.
The Portuguese spellings and diacritics transcribed from original documents and enclosures may not adhere to the Portuguese Language Orthographic Agreement of 1990.
Purchased in 1999 from Violeta Corrêa de Azevedo, widow of Luiz Heitor Corrêa de Azevedo
No further accruals are expected.
Melissa Wertheimer processed and described the Luiz Heitor Corrêa de Azevedo Papers from 2018 to 2020. Jane Cross, Christopher Hartten, and Alicia Patterson coded the finding aid from 2021 to 2022.
In August 2005, Iêda Siqueira Wiarda of the Latin American, Caribbean, and European Division facilitated the transfer of materials related to folk traditions to the American Folklife Center with the assistance of Michael Taft and Sarah Bradley Leighton.
The Laboratório de Etnomusicologia da Escola de Música da Universidade Federal do Rio de Janeiro in Brazil (Ethnomusicology Laboratory of the School of Music of the Federal University of Rio de Janeiro) contains ethnographic music recordings, correspondence, photographs, field notes, and reports related to Azevedo’s ethnographic field recordings projects in Brazil in the 1940s.
The Richard S. Hill Collection includes 1951 correspondence between Azevedo and Hill related to the International Music Council, International Association of Music Libraries (IAML), l’Association internationale des bibliothèques musicales (AIBM), and UNESCO. In the Aaron Copland Collection, Copland’s professional papers related to his 1941 visit to Latin America include a letter from Azevedo to Copland extending welcome greetings to Brazil. The Seeger Family Collection contains correspondence of Charles Seeger regarding the Pan-American Union when Azevedo served as Brazil’s representative in the Music Division. The Lauro Ayestarán Collection is another special collection created by a Latin American musicologist.
The following materials are held by the American Folklife Center, Library of Congress: Luiz Heitor Corrêa de Azevedo Collection on Latin American Folklore; Luiz Heitor Correâ de Azevedo and E. Nogueira França Recordings from Goiânia, Brazil; Luiz Heitor Correâ de Azevedo and E. Nogueira França Recordings from Ceará, Brazil; Luiz Heitor Correâ de Azevedo and E. Silva Novo Collection of Folksongs of Minas Gerais, Brazil; and Luiz Heitor Correâ de Azevedo Photographic Album.
Printed music and publications without marginalia or inscriptions have been incorporated into the Music Division general collections. An inventory of this material is available here.
Materials from the Luiz Heitor Corrêa de Azevedo Papers are governed by the Copyright Law of the United States (Title 17, U.S.C.) and other applicable international copyright laws.
The Luiz Heitor Corrêa de Azevedo Papers are open to research. Researchers are advised to contact the Music Division prior to visiting in order to determine whether the desired materials will be available at that time.
Certain restrictions on using or copying materials may apply.
Researchers wishing to cite this collection should include the following information: [item, date, container number], Luiz Heitor Corrêa de Azevedo Papers, Music Division, Library of Congress, Washington, D.C.
The Luiz Heitor Corrêa de Azevedo Papers document the career and life of Luiz Heitor Corrêa de Azevedo (1905-1992), a Brazilian musicologist, folklorist, music critic, and educator. Azevedo's papers reveal his decades of intense scholarship; close relationships with Brazilian composers, performers, and musicologists; and consistent engagement with Brazilian culture while living abroad. The collection materials span from circa 1865 to 1990 with the bulk of the materials dating from 1930 to 1980.
The Correspondence primarily contains personal and professional correspondence of Luiz Heitor Corrêa de Azevedo. Some additional correspondence is of Violeta Corrêa de Azevedo or sent jointly to both Luiz Heitor and Violeta. Correspondents include ambassadors, composers, performers, conductors, folklorists, and musicologists from mostly the years 1938-1985.
The Writings, Scholarly Presentations, and Teaching Material documents Azevedo’s decades of scholarly output in three subseries. The Writings subseries contains alphabetical and chronological files of notes with drafts and published versions of his articles, reviews, conference lectures, program notes, dictionary and encyclopedia entries, lesson transcripts, and radio program scripts. Scholarly Presentations contains drafts and final versions of speeches, lectures, and conference presentations. Teaching Materials contains drafts and final copies of lecture notes, course syllabi, degree program requirements, and personnel files from Azevedo’s faculty positions.
Azevedo’s 135 Notebooks and Diaries are arranged in two subseries. Azevedo used items in the Notebooks subseries for research, lectures, and lesson plans. The Diaries subseries contains daily calendars of his appointments, activities, and travels.
Azevedo used his Research and Subject Files to maintain reference information and engage with, document, and research Brazilian culture. Materials include concert programs, clippings, publicity materials, correspondence, resumes, photographs, biographical notes, and printed ephemera. The first two subseries consist of Azevedo’s original sets of alphabetical files: Composers and Performers, Teachers, Musicologists. The third subseries, Miscellaneous Subjects, incorporates additional files such as Azevedo’s extensive genealogy research.
Azevedo’s bound Scrapbooks of materials dating from 1919 to 1989 contain published reviews and articles, concert programs, and messages from friends. Loose materials that duplicate or contain similar content in the scrapbooks are also in this series.
The Photographs, Negatives, and Iconography series is arranged in five subseries. Photograph Albums contain images of Azevedo’s travels related to research, leisure, professional conferences, and vacations in retirement. The Group Photographs subseries contains images of Luiz Heitor and Violeta Corrêa de Azevedo in attendance at events related to professional conferences and organizations, many of which are signed by the individuals in the photographs. Photographs, lithographs, copy prints of drawings, and negatives within the Individuals and Subjects subseries depict performers, composers, conductors, music educators, ethnographers, folklorists, and scholars. Many photographs include inscriptions to the Azevedos. Subjects include institutions and organizations such as the Escola Nacional de Música in Rio de Janeiro, the International Music Council, and UNESCO. Illustrations contain ethnographic photographs, copy prints, and negatives used by Azevedo in scholarly communication. Miscellaneous Artwork contains three items, including a commemorative portrait of Frédéric Chopin from the Fryderyk Chopin Institute.
The Music series is further arranged in two subseries. Music by Luiz Heitor Corrêa de Azevedo contains Azevedo’s holograph scores, sketches, and arrangements dating from 1922 to 1937. Music by Others contains compositions, arrangements, and published scores by composers in holograph, facsimile, copyist manuscript, and printed formats. Most composers are Brazilian with additional works by composers from Mexico, Argentina, Cuba, and throughout Europe. This subseries also includes harmonized Brazilian folk songs and rare Brazilian and Mexican imprints of nineteenth- and early twentieth-century music.
Awards and Diplomas include certificates awarded to Luiz Heitor Corrêa de Azevedo from institutions in Brazil and France, including the 1980 Villa-Lobos Medal.
The Collected Publications series contains published material annotated by Azevedo and inscribed monographs and journal article offprints from their respective authors to Azevedo.
The collection is arranged in nine series:
The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically.
This series primarily contains personal and professional correspondence of Luiz Heitor Corrêa de Azevedo. It includes handwritten and typed letters, postcards, and messages or autographs on business cards. Additional correspondence is of Violeta Corrêa de Azevedo or constitutes letters sent jointly to both Luiz Heitor and Violeta. Correspondents include prominent individuals such as ambassadors, composers, performers, conductors, folklorists, and musicologists. Notable Brazilian composers include: Jorge Antunes, Francisco Braga, Radamés Gnattali, João Gomes, Jr., M. Camargo Guarnieri, Eunice Katunda, Francisco Mignone, Marlos Nobre, Henrique Oswald, José Antônio Rezende de Almeida Prado, Arnaldo Rebello, Claudio Santoro, Raul do Valle, and Heitor Villa-Lobos. Notable Brazilian performers and conductors include Yara Bernette, Walter Burle Marx, Eleazar de Carvalho, Francisco Chiaffitelli, Arnaldo Estrella, Anna Stella Schic, and Magdalena Tagliaferro. Additional notable correspondents include Nadia Boulanger, Gérard Behague, Gilbert Chase, Carlos Chávez, Francisco Curt Lange, Aurora Natola Ginastera, and Charles Seeger. Other correspondents include relatives of famous musicians from Brazil and Europe, such as Arminda Villa-Lobos and Rosette Ibert. A business card of William Berrien, Advisor on Latin American Studies for the American Council of Learned Societies, provided Azevedo with contact information for Aaron Copland as a possible professional connection.
Alphabetization of individuals’ names correspond to Library of Congress Name Authority Files which differ in many cases from how Azevedo originally alphabetized those names.
Arranged alphabetically by last name or chronologically.
This series contains Azevedo’s drafts and final versions of writings, speeches, lectures, conference presentations, teaching materials, and radio program scripts. Related correspondence with publication editors, colleagues, and collaborators is present throughout. Materials related to Azevedo’s teaching at the Institute des Hautes Études de l’Amérique latine de l’Université de Paris (IHEAL) are present in both the Writings and Teaching Materials subseries as originally filed.
Organized as three subseries.
Luiz Heitor Corrêa de Azevedo originally described these materials in Portuguese as "Escritos." This subseries contains annotated drafts, notes, final typescripts, and published versions of Azevedo’s articles, concert and music recording reviews, conference lectures, program notes, dictionary and encyclopedia entries, lesson transcripts, radio program scripts, and posters. There are two file groups: the majority of Azevedo’s files are a chronological set of materials followed by a small alphabetical set of French, Brazilian, and Austrian newspaper and magazine clippings; proofs; and off-prints of journal articles, encyclopedia entries, and dictionary entries.
The chronological files contain topics and titles assigned by Luiz Heitor or
Violeta. Files from the 1950s through the 1980s contain writings and Azevedo’s
correspondence with editors related to works such as
Documents of note in the chronological files include both clean and annotated
typescript bibliographies of Luiz Heitor’s complete writings, including
juvenilia and musical compositions, in a 1986 file; radio program scripts,
drafts, and musical examples for Azevedo’s 1944 broadcast series
Arranged chronologically or alphabetically.
This subseries contains Luiz Heitor Corrêa de Azevedo’s drafts and final versions of speeches, lectures, and conference presentations. Documents are typed, handwritten, and annotated. Notable documents relate to his 1941 visit to the United States to address the American Musicological Society and New York State School Music Association.
Arranged chronologically.
This subseries contains drafts and final copies of lecture notes, course syllabi, degree program requirements, and personnel files from Azevedo’s faculty positions, including Escola Nacional de Música da Universidade do Brasil and Institute des Hautes Études de l’Amérique latine de l’Université de Paris (IHEAL). Of note are personnel files from his application to teach folklore courses at Escola Nacional de Música, which include professional recommendations and references, proof of prior employment, correspondence of congratulations, and additional professional documentation. Related materials may be found in the Research and Subject Files series (Miscellaneous Subjects, "Brasil: Escola Nacional de Música" and "Folclore") and Notebooks and Diaries series. Dates on original enclosures indicate that materials were organized by Luiz Heitor and/or Violeta about 1982 November 25.
Arranged chronologically.
This series contains 135 volumes of notebooks and diaries used for research, lectures, lesson planning, and chronicling of daily activities.
Organized as two subseries.
This subseries contains notebooks used by Azevedo for research, lectures, and lesson plans. Many of the notebooks include subjects or titles in Portuguese or French with dated entries, musical incipits, research locations, citations, and material used in his scholarly output. Most notebooks of lecture notes indicate the lecture title, course, and institution or conference.
Arranged chronologically.
This subseries consists of daily calendars of Azevedo’s appointments, activities, and travels in 82 volumes.
Arranged chronologically.
The research and subject files contain materials used by Luiz Heitor Corrêa de Azevedo to engage with, document, and research Brazilian culture and current events, as well as maintain reference information for research.
Organized as three subseries.
Luiz Heitor Corrêa de Azevedo originally described this group of files in Portuguese as "Compositores." These files served as his research and reference files for Brazilian composers. Contents include extensive concert programs in international venues, clippings, correspondence related to research, photographs, and correspondence. Of special note are the files for Heitor Villa-Lobos, which include a collection of Brazilian concert programs dating from 1917-1987 used in exhibits curated by Azevedo and a diagram drawn by Villa-Lobos of the geographical and ethnological origins of Brazilian music. This subseries also contains Azevedo’s scrapbooks related to Brazilian composers Carlos Gomes and Oscar Lorenzo Fernândez. Dates on original enclosures indicate that most materials were organized by Luiz Heitor and/or Violeta between November 1982 and February 1984.
Arranged alphabetically by last name.
Luiz Heitor Corrêa de Azevedo originally described this group of files in Portuguese as "Interpretes, Professores, Musicologos." These files served as his research and reference files for Brazilian performers, music teachers, musicologists, ethnomusicologists, and folklorists. Most concert programs are from Paris performances by Brazilian vocalists, instrumentalists, and conductors while Luiz Heitor worked for UNESCO in Paris. Dates on original enclosures indicate that most materials were organized by Luiz Heitor and/or Violeta between April 1981 and July 1986.
Arranged alphabetically by last name.
This subseries consists of Luiz Heitor Corrêa de Azevedo’s additional research and reference files. Documents of note within the files for composers and performers from Spain, Portugal and Latin American countries other than Brazil include: international clippings and concert programs, a wedding invitation from Alberto and Aurora Natola Ginastera, and ephemera, such as postage stamps of Latin American composers. Azevedo's files on Brazil include an invitation from the Brazilian Ambassador to Paris for the 1980 Villa-Lobos Medal which Luiz Heitor was awarded, as well as clippings, invitations, and letters related to Azevedo’s award of Professor Emeritus status in 1985 from the Universidade Federal do Rio de Janeiro. Additional ephemera of note includes handwritten ballots cast in 1933 to elect delegates to Centro Musical do Rio de Janeiro, including Heitor Villa-Lobos, Francisco Braga, and Paulo Silva.
Arranged alphabetically by subject.
This series contains bound scrapbooks of Luiz Heitor Corrêa de Azevedo’s published
reviews and articles, concert programs, and messages from friends. His original
scrapbooks titles are in Portuguese. Clippings of Azevedo’s reviews and articles
in the scrapbooks appeared in Brazilian publications including
Arranged chronologically.
This series contains photograph albums, loose photographs, negatives, copy prints, iconography, and visual art.
Organized as five subseries.
The photograph albums contain images of Luiz Heitor Corrêa de Azevedo’s travels related to research, leisure, professional conferences, and vacations in retirement. Luiz Heitor’s original album titles for thematic album series were in Portuguese: "Viagens" (Travels) and "Aposentadoria" (Retirement). Individuals, groups, and locations are identified throughout the albums.
Arranged chronologically.
Luiz Heitor Corrêa de Azevedo originally described these materials in Portuguese as "Grupos." Photographs depict Luiz Heitor and Violeta Corrêa de Azevedo in attendance at events related to professional conferences and organizations including the Associação Brasileira de Música, Music Educators National Conference, International Music Council, and UNESCO. Group images also depict social gatherings in honor of prominent Brazilian musicians. Many photographs are signed by the individuals present in the group photographs. UNESCO photographs were taken by official photographers and have multi-lingual descriptions on the verso of images.
Arranged chronologically.
This subseries contains photographs, iconography, and negatives of famous Brazilian performers, composers, conductors, music educators, ethnographers, folklorists, and scholars. Many photographs are inscribed to Luiz Heitor and Violeta Corrêa de Azevedo. Notable photographs include composers Heitor Villa-Lobos and Carlos Gomes lying in open caskets at their funerals and Luiz Heitor interviewing Villa-Lobos during a 1956 UNESCO Radio broadcast. Other images of note include inscribed photographs from Renato Almeida, Francisco Braga, Carlos Chávez, Zoltán Kodály, and Francisco Mignone. Iconography that depicts Brazilian musicians includes lithographs, copy prints of drawings, and photographs of realia. Subjects include interior photographs of the Escola Nacional de Música in Rio de Janeiro and extensive documentation of the International Music Council (Conseil International de Musique/CIM) and UNESCO from 1950-1961.
Arranged alphabetically by last name or subject.
Luiz Heitor Corrêa de Azevedo originally described these materials in Portuguese as "Ilustrações." This series contains ethnographic photographs, copy prints of iconography, and negatives likely used in scholarly publications, research, and teaching.
Arranged alphabetically by subject.
This series contains three items: a color print, a commemorative portrait of Frédéric Chopin from the Fryderyk Chopin Institute, and a pencil drawing inscribed to Luiz Heitor and Violeta Corrêa de Azevedo.
Arranged alphabetically.
This series contains original compositions and arrangements by Luiz Heitor Corrêa de Azevedo, as well as a substantial amount of printed scores by other composers.
Organized as two subseries.
Azevedo composed the majority of the works in this series as an undergraduate student. All music is in his hand in pencil or ink, including corrections and additions. A few ensemble parts contain performance markings likely by others. Some compositions include dedicatees, illustrations on covers by Azevedo and others, and titles decorated with colored pencil or ink designs. Many pieces contain an original composition date on the cover or first page with a later date at the final double barline. Azevedo’s own list of his compositions to 1931 lists such works by the earlier date.
Azevedo originally organized his compositions into six categories: "Canto," secular music for voice with piano or instrumental chamber ensemble accompaniments with words by Brazilian poets; "Música sacra," sacred music for various combinations including solo harmonium, solo voice, multiple voices, and mixed instrumental chamber ensembles; "Piano," works for solo piano and piano four hands; "Violino, outros instrumentos, conjuntos," sacred and secular chamber and orchestral works featuring strings with wind or keyboard instruments; and "Composição esboços, peças abandonadas," musical sketches for completed compositions, incomplete or abandoned compositions, and miscellaneous fragments. Some of the chamber and orchestral works are orchestrated versions of Azevedo’s piano or sacred vocal compositions with the original voice part included. Sketches he originally conceived to be movements of larger works contain marginalia with additional titles in the desired order. This subseries is arranged alphabetically by title. Sketch pages with multiple works are arranged by the first title to appear.
Arranged alphabetically by title.
This subseries contains compositions, arrangements, and published scores by composers in holograph, facsimile, copyist manuscript, and printed formats. Most scores are inscribed to Luiz Heitor, jointly to Luiz Heitor and his wife Violeta, or to Violeta. Most composers are Brazilian with additional works by composers from Mexico, Argentina, and Cuba. Composers of note who inscribed scores include Francis Poulenc, Luciano Gallet, M. Camargo Guarnieri, Gilberto Mendes, Andrzej Panufnik, Jose Geraldo de Souza, and Josip Slavenski. Also of note are multiple holograph scores and sketches of Francisco Mignone, some with personal inscriptions. Additional holograph scores of note were composed for UNESCO’s centenary celebration of Chopin’s death in 1949 by Lennox Berkeley, Oscar Esplá, Jacques Ibert, Andrzej Panufnik, and Alexandre Tansman, as well as a signed facsimile by Gian Francesco Malipiero. Additional holograph and facsimile scores are harmonizations of Brazilian folk songs, including arrangements for Luiz Heitor by Edith Barroso, Guiomar Beltrão Frederico, and Leticia Figueiredo.
Printed scores include Brazilian popular music and chôros; nationalistic songs of Brazil and Portugal; classical works for piano, chamber ensembles, and large ensembles; and songs for voice and piano. Most undated printed compositions are late nineteenth- or early twentieth-century first editions by composers such as Léo Kessler and Augusto Stresser and Brazilian publishers including Arthur Napoleão, Vieira Machado, Lino José Barbosa, Edição E.A.M (Radio Continental Ltd.), and Edição Bevilacqua. A late-nineteenth or early twentieth-century Mexican edition of a piano work by Mexican composer Melesio Morales is also of note. Many published piano editions without inscriptions contain performance markings, including those of Violeta prior to her marriage to Luiz Heitor. Some scores in this subseries have stamps in Portuguese indicating folder ("Pasta") and item or work ("Obra") numbers, a possible indication that Luiz Heitor cataloged, specially filed, or acquired his personal library.
Select published music without marginalia or inscriptions have been incorporated into the general collections of the Music Division with the exception of rare titles or imprints, such as the official hymn of UNESCO and nineteenth- to early twentieth- century sheet music from select Brazilian publishers. Lists of those titles transferred or surplused can be found here.
Arranged alphabetically by composer and title therein.
This series contains certificates and diplomas awarded to Luiz Heitor Corrêa de Azevedo from institutions in Brazil and France.
Arranged chronologically.
This series contains printed monographs and journal article offprints inscribed to Luiz Heitor Corrêa de Azevedo from authors and annotated published material.
Arranged alphabetically by author.
Lists of printed scores and publications transferred from the Luiz Heitor Corrêa de Azevedo Papers to the Music Division general collections or surplused can be found here.