His earliest pieces originated in guitar improvisations, for example "Panqueca" (Pancake) of 1900. The concert series of 191521 included first performances of pieces demonstrating originality and virtuosic technique. Some of these pieces are early examples of elements of importance throughout his œuvre. His attachment to the Iberian Peninsula is demonstrated in "Canção Ibéria" of 1914 and in orchestral transcriptions of some of Enrique Granados' piano "Goyescas" (1918, now lost). Other themes that were to recur in his later work include the anguish and despair of the piece "Desesperança— Sonata Phantastica e Capricciosa no. 1" (1915), a violin sonata including "histrionic and violently contrasting emotions", the birds of "L'oiseau blessé d'une flèche" (1913), the mother–child relationship (not usually a happy one in Villa-Lobos's music) in "Les mères" of 1914, and the flowers of "Suíte floral" for piano of 191618 which reappeared in "Distribuição de flores" for flute and guitar] of 1937.