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This article hypothesizes that a lost score by Villa-Lobos, the Trio for flute, cello and piano in C minor, Op. 25 (1913) would be an adaptation of Trio #1 for violin, cello and piano (1911), also in C minor, Op. 25. The coincidences observed in tonality, opus numbering and movement titles are indications that this adaptation was made in order to accommodate the instrumental formation of the chamber music concerts performed by Villa-Lobos in Friburgo in 1915, with the participation of his wife Lucília Guimarães on the piano and flutist Agenor Bens. The possible collaboration of Agenor Bens in the adaptation of the original violin part for flute gave rise to the research of the biographical profile of this musician, who transited between the universe of choro and concert music. In addition, an adaptation for flute is offered, proposing that the performance of the work can provide more support for the hypothesis formulated here. [ABSTRACT FROM AUTHOR]

Villa-Lobos, in his first steps as a composer tried in different genres, as popular music, as well classic styles like opera, sacred and chamber music; since 1914, he knew and studied the Cours de Composition Musicale (1909) de Vincent d'Indy. This paper analyses his symphonies and string quartets composed and premiered between 1915 and 1919. During this time, one can see the "Frenchness" growing in Villa-Lobos's style, as an acceptance strategy in the Rio de Janeiro musical environment. I intend to rediscuss a Paulo Guérios's thesis, according to whom Villa-Lobos became a Brazilian musician only after his arrival at Paris. [ABSTRACT FROM AUTHOR]