Tristorosa, a title derived by combining the Portuguese words for "sad" and "rose", was written by Heitor Villa-Lobos in 1910 when he was 23 years of age under the name of Epaminondas Villaba Filho. This pseudonym had also been previously used by his father, Raúl, a writer and amateur cellist. It is one of Heitor’s earliest compositions and the style of the waltz is typical of those of the period.

"Tristorosa", a title derived by combining the Portuguese words for "sad" and "rose", was written by Heitor Villa-Lobos in 1910 when he was 23 years of age under the name of Epaminondas Villaba Filho. This pseudonym had also been previously used by his father, Raúl, a writer and amateur cellist. It is one of Heitor's earliest compositions and the style of the waltz is typical of those of the period.

One of the most prolific composers of the 20th century, Heitor Villa-Lobos' influence on the music of Latin America was enormous. This bio-bibliography, published to coincide with the centennial celebration of the composer's birth, contains comprehensive information about his life and work heretofore unavailable in a single source in any language. The book is divided into four principal sections: Biography, Works and Performances, Discography, and Bibliography. Designed as a basic research tool for scholars interested in Latin American music and culture, performing musicians, and music students, the volume also includes helpful appendixes containing alphabetical and classified lists of compositions.

The life and death, but also the creative work of famous musicians is closely linked to their personal medical histories. In "Famous Composers – Diseases Reloaded" these case histories are vividly reconstructed on the basis of authentic biographical testimonies and closely linked to the personalities of the musicians. The latest research findings on the pathophysiology of these composers will be woven into the overall picture. Was Paganini's "devilishness" caused by a hereditary disease? Did Scarlatti have strange signs of illness on his fingers? What did Bach really die of? How did "Christel" from a dubious milieu change Schumann's entire life? What aggravated Ravel's underlying illness so that he did not complete a single composition in the last five years before his death? How did Tárrega manage to play the guitar again after his stroke with hemiplegia? Did the Brazilian Villa-Lobos' worldwide reputation help him live longer thanks to the best treatment available to him? Andreas Otte, physician and musician, has incorporated the latest medical history research into the composers' pathographies. This book is an exciting and "well-tempered" reading experience not only for physicians, music lovers, musicologists and musicians, but for all readers who want to develop a basic understanding of the pathophysiology and life scores of these great masters under current conditions from today's perspective.