Sato, Eduardo2024-09-302024-09-302023-08-111478-5722https://hdl.handle.net/10919/121219During 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 Garramuno'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).33 page(s)application/pdfenCreative Commons Attribution 4.0 InternationalVilla-Lobos, HeitorMusic historyArticle - Refereedhttps://doi.org/10.1017/S1478572223000129Sato, Eduardo [0000-0003-2374-2851]1478-5730