His plans would soon be altered, though. A second concert promoted by Dona Laurinda attracted the attention of the São Paulo modernist artists; in it, Villa-Lobos presented his most aesthetically ‘daring’ works, such as the Quartetto Simbolico and the piece A Fiandeira for solo piano, clearly inspired by Debussy’s music. Villa-Lobos’s ‘modernity’ – a Debussian ‘modernity’ – meant he was the only composer invited to present his works at the São Paulo Modern Art After the Week, friends and admirers of Villa-Lobos began to discuss the idea of him visiting Paris – a step seen as expected for a musician who had become a celebrity.
