o violão no brasil
DESCRIPTION
um panorama sobre o violão no Brasil e suas diversificadas atividades.TRANSCRIPT
Mário da Silva ([email protected])
THE CLASSICAL GUITAR IN PARANA STATE: A HISTORICAL STYLISTIC
APPROACH
Mário da Silva Junior
Classical Guitar Department, School of Music and Fine Arts, Parana State,
BRAZIL.
Abstract
An overview of the classical guitar output with diversified languages, style and
short biographies is given.
1 INTRODUCTION
This study aims to examine the repertory for classical guitar by composers from
Parana State (South of Brazil) that have been produced after Villa-Lobos and it inquires if
the new stylistic and aesthetic procedures of composition have been made improvement.
Due to, become necessary understand profoundly the way how those prominent
composers work with system, style and structures of composition.
The work presented, shows excerpts from my dissertation concerning the title
above. Part 2 and 3 show procedures concerning nationalistic style in Brazil and its
consequences and influences into the repertory from Parana. The relationship between
Brazilian Music of the Nationalism and the guitar is inevitable. The guitar represents an
icon of the popular culture in Brazil. On the other hand, the introduction of Schoenberg’s
twelve-tone technique of composition in Brazil polarized two groups: those who followed
the nationalist school headed by the composer Camargo Guarnieri against who followed
the avant-garde brought to Brazil by the German professor and composer Hans-Joaquin
Koellreutter. Nevertheless, although this generation has been writing works for guitar in a
strong influence from the nationalist school and from the new experimentation of
structuring sound, it is noticeable that instead of polarization nationalism/avant-guarde,
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besides other contradictions, the composition started to show a plural aesthetic with more
diversification. The music language and resources displayed in the production is free
tonality, serialism, experimentalism, indeterminate techniques, prepared guitar, graphism
and noise music. The rhythmic structures using percussion striking the soundboard is an
idiomatic tendence that it can see in most of composers from this generation. The
repertory also exhibits a wide variety of textures and styles such as hybrid system (tonal
and modal), electroacoustic and multimidia. Experimenters have introduced unexpected
sonorities, free forms, prepared guitar and extended the instrument’s percussive and
idiophonic sources.
Part 4 it consists an overview of composers from Parana State to delimit the
subject. It starts with biography approaching followed by the mainly features of their
styles enriched by music examples. They altogether are fourteen: Admar Garcia (1916-
1994), Waltel Branco (b.1929), Jaime Mirtenbaum Zenamon (b.1953), Chico Mello
(b.1957), Norton Dudeque (b.1958), Rogério Budasz (b.1964), Guilherme Campos
(b.1966), Octávio Camargo (b.1967), Arrigo Barnabé (b.1951), João José Félix Pereira
(b.1957), Carmo Bartoloni (b.1956), Harry Crowl (b.1958), Maurício Dottori (b.1960)
and Fernando Riederer (b.1977). These composers are classified into three groups: (1)
composers born between 1916 and 1953; (2) guitarist composers born after 1953; and (3)
non-guitarrist composers born after 1953. At the end, it shows the catalogue (appendix)
with the repertoire collected including information such as instrumentation, movements,
dedications, timing, premier, and available recordings.
It is important to emphasize the contribution of Waltel Branco, one of the most
prominent composers from Parana with a huge output. The catalogue of pieces for solo
guitar by Waltel Branco overtakes the amazing number of 70 pieces. In the guitar with
orchestra category Branco wrote two concerts. The purpose is to record (in pappers,
recitals, reviews, cds recordings and dvd program) his activities as a composer, guitar
player and arrangement of soundtrack maker. It was in United States that Branco’s
aesthetic earned maturity. Waltel Branco has a close relationship with:
• Henry Mancini (1923-1994), during this contact, Branco recorded a Long Play in
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1966 “MANCINI TAMBÉM É SAMBA” (Mancini also means samba).
• Mário Castelnuovo Tedesco (1895-1968), American composer born in Italy, with
whom Branco was influenced by the “Melonome” composition system.
• Laurindo de Almeida, the Brazilian guitar player that lived in America from the
60s, with whom Branco played together.
The mainly feature in Branco’s pieces is the combination between traditional
classical styles with popular music genres like waltzs, milongas, choros and sambas.
The second purpose is concerning Music analysis method. The PhD Programs in
Music, with concentrations in musicology in United States are designed to train students
in many fields and subfields of musical scholarship. Due to Schoenberg lived in United
States until his dead and realize that the most of the Universities has Schenkerian musical
analysis method into their program, it makes easier to research and analyze the object that
might answer the question qualifying, organize in levels, list and record this important
repertory . These procedure and result will be available at library and will help a
generation of students in guitar interpretation, history, pedagogy and literature at School
where I teach.
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2 THE GUITAR LITERATURE FROM THE BRAZILIAN MUSIC OF THE
NATIONALISM
The relationship between Brazilian Music of the Nationalism and the guitar is
inevitable. The guitar is a kind of icon of the popular culture in Brazil. Earlier players and
composers such as Joaquim dos Santos (1873-1935), or Quincas Laranjeiras (nickname),
and João Teixeira Guimarães (1883-1947), or João Pernambuco, became from the folk
music from the popular areas. The Brazilian nationalist generation of composers made an
extensive repertory for guitar, inspired and influenced by those folk composers
generation. The first contribution was made by Heitor Villa-Lobos (1887-1959), followed
by Francisco Mignone (1897-1976), Radamés Gnatalli (1906-1988), Camargo Guarnieri
(1907-1993) and Guerra-Peixe (1914-1993).
2.1 Heitor Villa-Lobos1
Ano Título Instrumentação 1899 Mazurka in D Violão solo (partitura não localizada) 1900 Panqueca Violão solo (partitura não localizada) 1904 Valsa Concerto n° 2 Violão solo (partitura não localizada)
1908-12 Suíte Popular Brasileira – Mazurka-Choro, Schottish-Choro, Valse-Choro, Gavotta-Choro, Chorinho
Violão solo
1910 Canção Brasileira Violão e canto (partitura não localizada) 1910 Dobrado Pitoresco Violão solo (partitura não localizada) 1910 Quadrilha Violão solo (partitura não localizada) 1910 Tarantela Violão solo (partitura não localizada) 1911 Mazurka Simples Violão solo (partitura não localizada) 1917 Sexteto Místico Flauta, oboé, sax alto, harpa, celesta e violão 1920 Choro n°1 Violão solo 1925 Modinha Violão e canto 1929 Doze Estudos Violão e canto 1929 Introdução ao Choros Violão inserido na orquestra 1937 Distribuição de Flores Violão e flauta 1938 Ária da Bachiana n° 5 Violão e canto 1940 Seis Prelúdios Violão solo (Prelúdio 6, partitura não localizada)
1 FRAGA, Orlando. Heitor Villa-Lobos: A Survey on his Guitar Music. See
http://www.rem.ufpr.br/REMv1.1/vol1.1/villa.html Last access November, 3rd, 2004.
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1943 Melodia poética do Século XVIII Violão e canto 1951 Concerto para violão e pequena orquestra Vioão e orquestra 1958 Green Mansions Violão inserido na orquestra
The guitar Brazilian scenery got impulse for its development after Heitor Villa-
Lobos, one of the most important composers from the 20th Century. This happened, first,
because of the quantity of works for guitar by the composer, concerning since solo
repertory , Suíte Popular Brasileira (1913), 12 Estudos (1929) and 5 Prelúdios (1941),
chamber music, such as Sexteto Místico (1917), for flute, oboe, saxophone, harp, celesta
and guitar and Distribuição de Flores (1937), for flute and guitar, until the Concerto para
violão e Orquestra (1951); and, second, because of the idiomatism of new sonorities on
guitar, definitely standing the guitar into the context of the erudite Brazilian music. Many
of the most important features proposing new sonorities on guitar started up by Villa-
Lobos are: open strings followed by parallel chords that, even resulting in dissonance,
improve the quality of guitar´s sonority; use of artificial and natural harmonics; slurs used
as an idiophonism and sound effect. The idiomatism of new sonority on guitar introduced
by Villa-Lobos was utilized by the follow generation like Alberto Ginastera (1916-1983),
Edino Krieger (b.1928) and Leo Brouwer (b.1939).
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2.2 Francisco Mignone
Ano Título Instrumentação S/ data Canção da garoa e 4 Valsas Duo de violões 1953 Choro Violão solo 1953 Minueto Fantasia Violão solo 1953 Modinha Violão solo 1953 Repinicando Violão solo 1970 Brazilian Song Violão solo 1970 12 Estudos Violão solo 1970 12 Valsas Brasileiras em Forma de Estudos Violão solo 1974 Prelúdio e Fuga Duo de violões 1975 Concerto Violão e orquestra 1976 Valsa de Esquina Violão solo 1976 Variações sobre o tema Luar do Sertão de Catulo da
Paixão Cearense Violão solo
1976 Choro Voz e violão 1976 Dialogando Voz e violão 1976 O Impossível Carinho Voz e violão 1980 Batuque Violão solo 1980 3 Valsas Brasileiras Violão solo 1981 Choro Duo de violões
The first experimentation on guitar by Francisco Mignone (1897-1986) started
out by the 1950s, using nationalist styles such as choro, for example Repinicando (1953),
songs, “modinhas” and waltz. In 1970, 12 Estudos for example, Mignone followed the
Villa-Lobos’s style, paying attention on the guitar idiomatism and exploring diatonic and
chromatic systems. Mignone explores the universe of tempered system in Valsas
Brasileiras em forma de estudo for solo guitar. According to Edelton GLOEDEN:
Francisco Mignone wrote systematically his 12 Valsas Brasileiras em Forma de Estudos for solo guitar into twelve minor key signature, in a cromatic sequence, starting from Cminor to Bminor. In spite of the work didn´t concern about 24 tonalities, it certify us that they are one of the rare examples, between guitar works, which explores the universe of tempered system2.
2 Disponível em http://planeta.terra.com.br/arte/violao_intercambio/ . Acesso em
01/01/02.
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In 1975 Mignone made the Concerto for guitar and orchestra. In this work, he
employees prevailingly tonal harmony, chromaticism, frequent syncopated rhythms
developed within the soloist instrument that he utilizes in 12 Estudos, changing often the
time signature (4/4, 3/4, 2/4, 3/8).
2.3 Radamés Gnatalli
Ano Título Instrumentação 1933 Divertimento para 6 instrumentos Violão, 2 pianos, acordeom, baixo e
bateria 1934 Retratos 2 violões (Transcrição) 1943 Dança Brasileira Violão solo 1944 Seresta Violão, flauta e quarteto de cordas 1946 Quarteto de Violões Transcrição para 4 violões do Quarteto
no. 1 1948 Concertino nº 3 Violão, orquestra de cordas, flauta e
tímpano 1948 Concerto nº 2 Violão (7 cordas) e orquestra 1952 Concerto nº 1 Violão e orquestra 1954 Uma rosa para Pixinguinha Violão, piano, 2 violões 1957 Brasiliana nº 8 2 violões, transcrição da formação
original para 2 pianos 1957 Concerto nº 2 para violão e piano Transcrição do Concerto no. 2 1959 Sonata Flauta e violão 1959 Sonata Violoncelo e violão 1960 Sonatina Cravo e violão 1960 Sonatina Piano e violão 1964 Concerto de Copacabana (Concerto no. 3) Violão e orquestra de cordas 1966 Sonatina Violoncelo e dois violões 1967 Dez estudos para violão
Estudo 1 para Turíbio Santos. Estudo 2 para Waltel Branco, Estudo 3 para Jodacil Damaceno, Estudo 4 para Nelson Piló, Estudo 5 para Sérgio Abreu, Estudo 6 para Geraldo Vespar, Estudo 7 para Barbosa Lima, Estudo 8 para Darci Vilaverde, Estudo 9 para Eduardo Abreu, Estudo 10 in memoriam Garoto.
Violão solo
1967 Concerto à Brasileira nº 4 “Dedicado a Laurindo de Almeida
Violão e orquestra de cordas
1968 Concerto para dois violões e orquestra Dois violões e orquestra 1968 Concerto para dois violões e orquestra de cordas Dois violões e orquestra de cordas 1971 Introdução e Choro Violino e violão 1981 Toccata em ritmo de samba – para Waltel Branco Violão solo 1983 Brasiliana nº 13 “Dedicado a Turíbio Santos” Violão solo 1988 Suite – 1.Pastoril 2.Toada 3. Frevo Violão solo
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Radamés Gnatalli (1906-1988) exerted considerable influence on the thinking of
Brazilian popular guitar means and he was director of the Camerata Carioca. He was in
touch with Brazilian classical guitar players too, dedicating to some of them the Dez
Estudos for solo guitar. In those Estudos “Gnatalli followed the Chopin, Bartók and Villa-
Lobos examples, because [...] they weren´t didatics, but composition focused in particular
technical skills developed by his friends guitarists”3. He employees in general, in his
guitar works, syncopated rhythms, changing the time signature (3/8 and 2/4), and melodic
patterns. The three guitar concertos show his turned to Neo-Romantic and Neo-Classical
moulds while maintaining the light style often associated with Symphonic Jazz. Those
models are presented in works like Sonata for cello and guitar, Sonatina for flute and
guitar, and the guitar Concerto à Brasileira nº 4. According to Daniel WOLFF:
This Concerto, in three parts, combines drawing harmony with syncopated rhythms of Brazilian popular music. Gnatalli has a broad domain of guitar technique features. He attachs special functions within the concert, sometimes by the soloist, other, the guitar accompaning the orchestra, though always putting the guitar as an icon of the Brazilian culture4.
The best contribution made by Gnatalli to the guitar literature was his numerous
production of guitar Concertos.
3 GNATALLI, Radamés. Dez Estudos para violão. Paris: Chanterelle Verlag, 1988. 1
partitura. Prefácio de Gennady ZALKOWITSCH, p.1. 4 WOLFF, Daniel. Encarte do Compact Disc Concerto à Brasileira. Daniel Wolff, violão.
Orquestra da Universidade Luterana do Brasil, Tiago Flores, regente. Porto Alegre: Fumproarte, 2000.
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2.4 Mozart Camargo Guarnieri
Ano Título Instrumentação 1944 Ponteio (dedicado a Abel Carlevaro) Violão solo 1982 Estudo no. 2 “Tranqüilo” Violão solo 1982 Estudo no. 3 “Sem Pressa” Violão solo 1986 Valsa Choro no. 2 Violão solo
Camargo Guarnieri (1907-1993) wrote only four works for solo guitar, but with
representative contribution to the guitar literature. His style is featured by exploring
chromaticism between parallel movements of the left hand, showing an evident influence
from Villa-Lobos´s technique. In general, the rhythmic is subordinated by chromatic
melodies drawing. The first work by Camargo Guarnieri for guitar was written in 1944
named Ponteio dedicated to Abel Carlevaro; he uses a polyphonic nationalistic style. The
composer came back to guitar again only 38 years late, written the other three works in
the 80s. Moacyr TEIXEIRA NETO told us that Guarnieri´s style from this period,
concerns about a “musical type that we could call as ‘experimentalist’, because his works
are closely to the twelve-tone technique which he criticised int the 50s”5.
5 TEIXEIRA NETO, Moacyr Garcia. Op. Cit, p. 35.
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2.2.5 César Guerra-Peixe
Ano Título Instrumentação 1946 Três Peças - I. Ponteio II. Acalanto III. Chôro Violão solo 1948 Suíte - I. Ponteio II. Acalanto III. Chôro Violão solo 1966 Ponteado Violão solo (ou viola) 1969 Sonata – I. Allegro II. Larghetto III. Vivacissimo
“Dedicada a Turíbio Santos Violão solo
1969 Prelúdio nº / “Dedicada a Léo Soares” Violão solo 1970 Prelúdio nº 2 (em forma de Estudo)
“Dedicada a Geraldo Verpar” Violão solo
1970 Prelúdio nº 3 “Dedicada a Sílvio Serpa Costa” Violão solo 1970 Prelúdio nº 4 “Dedicada a Waltel Blanco” Violão solo 1973 Prelúdio nº 1 Violão solo 1973 Prelúdios – I. Lua Cheia II. Isocronia III. Dança Fantástica IV.Canto
do Mar V. Ponteado Nordestino Violão solo
1979 Lúdicas nº 1 Fantasieta “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 2 Dança “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 3 Organum “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 4 Berimbau “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 5 Modinha “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 6 Ponteado “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 7 Diálogo “Dedicada a Nélio Rodrigues” Violão solo 1980 Lúdicas nº 8 Diferencias Brasileñas “Dedicada a Nélio Rodrigues” Violão solo 1980 Lúdicas nº 9 Notas repetidas “Dedicada a Nélio Rodrigues” Violão solo 1980 Lúdicas nº 10 Urbana “Dedicada a Nélio Rodrigues” Violão solo 1981 Breves 1- I. Prelúdio alegre II. Breve cantiga III.Em cinco tempos Violão solo 1981 Breves 2- I. Ligaduras II. Harmônicos naturais III. Arpejado Violão solo 1981 Breves 3- I. Quatro ligadas II. Imperial III. Repetidas Violão solo 1981 Breves 4- I. Uníssonos II. Segundas III. Terças Violão solo 1981 Breves 5- I. Quartas II. Quintas III. Sextas, tempo de paso-doble Violão solo 1981 Breves 6- I. Sétimas II. Oitavas III.Sucessivas Violão solo 1983 Caderno de Mariza para violão - I. Entrada II. Violão a bordo III.
Caprichosa IV.O menino da congada Violão solo
Quite the opposite of Radamés Gnatalli, who has a huge production for chamber
music with guitar and guitar concerts, César Guerra-Peixe (1914-1993) did special
attention to solo guitar, written 29 compositions. Guerra-Peixe researchs unusual
sonorities of the instrument. According to Clayton Daunis VETROMILLA, “Guerra-
Peixe, when writing to guitar, treats the instrument with autonomy, attaching specific
skills that guitar evoques producing various and peculiars sonorities”6. Guerra-Peixe
introduced the guitar in the twelve-note technique for the first time in Brazil with Suite
(1948) for solo guitar. In fact, this time, Guerra-Peixe was trying to conciliate serialism 6 VETROMILLA, Clayton Daunis. Introdução à obra para violão solo de Guerra-
Peixe. Dissertação de Mestrado em Música, Escola de Música - UFRJ, 2002, p. 23.
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with Brazilian popular music. He created a kind of Brazilian serialism named “séries
defectivas” (incomplete series that have less than 12-note)”7. In the 1960s, Guerra-Peixe
wrote Sonata (1969) for solo guitar, indicating a turning away from direct preoccupation
with national sources and neo-classic style giving up the twelve-note technique. Sonata
has “three movements with cycle aspects, exploring deeply the guitarist virtuosity on the
first and third movement. The harmony idiom shows a Brazilian north-east popular music
style, enriched by chromaticism procedures and ninth chords”8.
The repertory of the nationalist composers, as well as the follow generation, had
the best support of the Brazilian guitarist worldwide known. These performers include
Turíbio Santos (b.1943), the Duo Abreu - composed by brothers Sérgio Abreu (b.1944)
and Eduardo Abreu (b.1949), and the Duo Assad – composed by brothers Sérgio Assad
and Odair Assad both duos from Rio de Janeiro. Turíbio Santos made in November, 16th,
1962, the debut of Sexteto Místico (1917), by Heitor Villa-Lobos, and in November, 21st,
1963, he played the entire version of 12 Estudos (1929) for guitar solo, both in Rio de
Janeiro. Many of those works were dedicated to performers. For example, Radamés
Gnatalli– that uses popular genres, such as “choro” and songs, mixed with the clear
national influences and neo-classic idiom – wrote the Sonatina for Guitar Duo and Cello
(1966), to Duo Abreu, made the debut in march, 25th, 1968, at Sala Cecília Meireles
Theater (Rio de Janeiro), with Iberê Gomes Grosso playing Cello, and the Concerto for
Guitar Duo and Orchestra to Duo Assad (1968)9. César Guerra-Peixe dedicated the
Sonata (1969) to Turíbio Santos.
Henrique Pinto (b.1941), Antônio Carlos Barbosa Lima (b.1944), Maria Lívia
7 NEVES, José Maria. Música contemporânea brasileira. São Paulo: Ricordi Brasileira, 1977,
p. 102. 8 WOLFF Daniel. Encarte de Compact Disc Fábio Shiro: Recital Brasileiro (RBM 463
022)Porto Alegre, 2000.Disponível em: www.assovio.com.br. Acesso em 28/06/2002. 9 BARBOSA, V.; DEVOS, A. M. Radamés Gnatalli: o eterno experimentador. Rio de Janeiro:
FUNARTE/Instituto Nacional de Música, 1984. Gravado pelo Duo Assad pela Continental com Orquestra Armorial de Pernambuco (não consta data), p.56.
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São Marcos (b.1946) and Dagoberto Linhares (b.1953) are the guitar players from Sao
Paulo responsible to introduce the Brazilian repertory to audiences. In 1961, Maria Lívia
São Marcos played the Concerto para violão e pequena orquestra by Heitor Villa-Lobos,
Barbosa Lima made the debut of Concerto for guitar and orchestra by Francisco Mignone.
Dagoberto Linhares performed and recorded the pieces Sonata and Portrait toDagoberto
by Almeida Prado and Yanomami by Marlos Nobre.
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3 THE GUITAR LITERATURE AND THE CONTEMPORARY COMPOSERS FROM
SOUTH AND SOUTH-EAST OF BRAZIL.
From the 1960s, the repertory for guitar has been enlarged with a great number of
composers came from another States of Brazil.
Belonging to these States of South and South-east, we have:
Rio de Janeiro: Edino Krieger (b.1928), Marlos Nobre (b.1939), Ricardo
Tacuchian (b.1939), Roberto Victório (b.1959), Arthur Kampela (b.1960) and Alexandre
Faria (b.1972).
São Paulo: Sérgio Vasconcellos Corrêa (1934-), Almeida Prado (b.1943), Paulo
Bellinati (b.1950), Paulo Porto Alegre (b.1953) and Giácomo Bartoloni (b.1957).
Rio Grande do Sul: Bruno Kiefer (1923-1987), Antônio Carlos Borges Cunha
(b.1952), Fernando Lewis de Mattos (b.1966), Vinícius Corrêa (b.1965) and Daniel Wolff
(b.1967).
Paraná: Admar Garcia (1916-1994), Waltel Branco (b.1929), Arrigo Barnabé
(b.1951), Jaime Mirtenbaum Zenamon (b.1953), Carmo Bartoloni (b.1956), Chico Mello
(b.1957), João José Félix Pereira (b.1957), Harry Crowl (b.1958), Norton Dudeque
(b.1958), Maurício Dottori (b.1960), Rogério Budasz (b.1964), Guilherme Campos
(b.1966), Octávio Camargo (b.1967) and Fernando Riederer (b.1977).
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3.1 Rio de Janeiro
The “carioca” (born in Rio) generation after Villa-Lobos has been writing works
for guitar in a strong influence from the nationalist school. Therefore “instead of
polarization nationalism/avant-guarde, besides another contradiction
(antinomia=antinomy), the composition started to show a plural aesthetic with more
diversification”10. The music style and resource displayed in the production of composers
from Rio de Janeiro show free tonality, serialism, experimentalism, indeterminate
techniques, ‘prepared guitar’, graphism and ruidismo. The rhythmic structures using
percussion striking the soundboard is an idiomatic tendence that it can see in most of
composers from this generation.
3.1.1 Edino Krieger
Ano Título Instrumentação 1956 Prelúdio Violão solo 1974 Ritmata Violão solo 1987 Romanceiro Dois violões 1994 Concerto Dois violões e orquestra de cordas 2002 Passacalha para Fred Schneiter Violão solo 2002 Sonancias IV Dois violões e violino
Edino Krieger (b.1928) did rare attention to the guitar production, but his few
works have been included within the contemporary program by known guitarists. His
most played work Ritmata (1974), for solo guitar, has been choosen as a set piece of
important guitar contests in Brazil and abroad. In this work, Krieger employs serialism
jointed with idiomatic features of the instrument. The main theme-motive of the work is
organised in fourths (D, A, E [B] descendant) showing a close idea of the guitar tune.
This theme-motive is transformed repeatedly inserted with a second cromatic material
10 TACUCHIAN, Ricardo. Duas décadas de música de concerto no Brasil: tendências estéticas.
ANAIS DO XI ENCONTRO NACIONAL DA ANPPOM, Universidade de Campinas (UNICAMP), 24 a 28 de agosto 1998. Rio de Janeiro: UNICAMP, 1998, p. 2.
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developed with counterpoint.
During the piece similar rhythm motives are showed enriched by percussive
effects played with right and left hand on the soundboard and against the frets. The often
change of time signature is also the feature of the piece.
In Concerto for Two Guitars and Strings (1994), Krieger spreads outwards some
ideas from the Ritmata making improvements for an orchestral atmosphere. The thematic
material is transformed many times, with the main theme reappearing now in augmented
chords with progressions and counterpoint treatments between two guitars and inside the
orchestra.
In the Coda, percussions on the soundboard of the instruments are inserted one
time by the orchestra and another by the soloist instruments.
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3.1.2 Marlos Nobre11
Ano Título Instrumentação 1960 1° Ciclo Nordestino Op. 5b Dois violões 1960 1° Ciclo Nordestino Op. 5c Violão solo 1963 2° Ciclo Nordestino Op. 13b Dois violões 1966 Dengues da Mulata Desinteressada Op.20b Voz e violão 1966 Beiramar Op.21c Voz e violão 1966 3° Ciclo Nordestino Op.22b Dois violões 1966 Modinha, op. 23 Voz, flauta e violão 1968 Desafio XVIII (Amazônia I) Op. 31/18 Voz e violão 1968 Desafio XIX Op.31/19 Violino,violão e violoncelo 1968 Desafio XX Op.31/20 Flauta,violão e violoncelo 1968 Desafio XXI Op.31/21 Violão e harpa 1968 Desafio XXII Op. 31/22 Dois violões 1968 Desafio XXIII Op. 31/23 Violão e orquestra de cordas 1968 Desafio XXIII Op. 31/23b Violão e piano 1968 Desafio XXIV Op.31/24 Conjunto de violões 1968 Dia da Graça op. 32 Voz e violão 1974 Momentos I Op.41/1 Violão solo 1975 Momentos II Op.41/2 Violão solo 1976 Momentos III Op.41/3 Violão solo 1977 Homenagem a Villa-Lobos Op. 46 Violão solo 1980 Yanomami Op. 47 Coro misto, tenor solo e violão 1980 Sonâncias II op. 48 Flauta, violão, piano e percussão 1980 Concerto Opus 51 Violão e orquestra 1982 Momentos IV Opus 54 Violão solo 1982 Momentos V Opus 55 Violão solo 1983 Três Danças Brasileiras Op. 57 Dois violões 1984 Momento VI Op. 62 Violão solo 1984 Momentos VII Op. 63 Violão solo 1984 Prólogo e Toccata Op. 65 Violão solo 1985 Entrada e Tango Op. 67 Violão solo 1989 Fandango Op. 69 Conjunto de violões 1989 Duo op. 71 Violão e percussão 1989 Sonatina Op. 76 Dois violões 1990 Reminiscências Op. 78 Violão solo 1993 Op. 31/18 (Amazônia I) Voz e violão 1993 Rememórias Op. 79 Violão 1994 Concerto duplo Op. 82 Dois violões e orquestra
Marlos Nobre (Recife, b.1939) lives in Rio de Janeiro, where produced the most
part of his work for guitar. He diversifies the instrumentation and concentrate to produce
for many chamber ensembles, including guitar and percussion and guitar and choir. His
11 NOBRE, Marlos. Lista de obras. Disponível em:
http://sites.uol.com.br/marlosnobre/listaobras.html. Acesso em: 09/02/2002.
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early works are from the 1960s and in spite of we see his own style inside the pieces, he
also uses elements borrowed from the rhythmic and structure of the popular and folk
groups in the streets of Recife (North-east of Brazil). Those procedures are showed in
Ciclos Nordestinos (1960-1966). During the composition of these works, the composer
took the advice by the guitarist Sérgio ASSAD “don’t use any limitation or restriction,
techniqueal or stylistic, leaving the solution to the guitarists”12. The Momentos’s cycle
(1974-1984) showed distinctive features comparing with the early works, using rather
chromatic and intensity structures than folk rhythm elements. It is interesting to
emphasize that in Momentos’ cycle Nobre will explores the dynamic potencial of the
instrument until the saturation, resulting in a energic sonority and transcending the stigma
of the guitar as an instrument only for accompaniment of popular songs. In Momentos I
(1974) the composer begins the piece with “pizzicatto a la Bartók” played fortíssimo, a
shocking sound with great impact with umbigous interpretation: the imitation of berimbau
(the instrument that has been used in Bahia by the capoeira’s players) by the guitar, and at
the same time, the greatest sonority of the guitar showing a kind of declamatory and
dramatic piece. In Chamber Music, Nobre also explores percussive characteristcs of the
instrument such as in Yanomami (for choir, solo tenor and guitar) in which he uses
Brazilian indians rituals organised with dynamic developments. In this work, the guitarist
has to stroke the soundfrets of the guitar with fixed and repeated beats, and the tenor sings
a vowel “o” with a fixed note and stressed very strong with diaphragm. According to
NOBRE “As an ensemble instrument, I don’t think the guitar’s timbristic possibilities are
yet totally understood by contemporary composers”13. In his work In Memoriam (1976),
for guitar and orchestra, NOBRE spoke that used the guitar in a most simple way: the
enunciation, at a very dramatic moment of the work, of the open strings of the guitar as an
ascending arpeggio:
12 Available in: www.uol.com.br/marlosnobre;listaobras.html. Last acess in Feb,/2002.
COOPER, Colin. Marlos Nobre: Speaking Internationally, Colin Cooper inter- views with Marlos Nobre, CLASSICAL GUITAR 12 n°3, November, 1993, p. 13. 13 Ibid., p. 14.
Mário da Silva ([email protected])
“The tremendous impact and the evocative feeling that provoked this simple procedure, in a very complex orchestral texture, is clear proof of the enormous emotional and expressive power of the guitar, not only as a solo but as an ensemble and orchestral instrument”14.
3.1.3 Ricardo Tacuchian
Ano Título Instrumentação 1964/66
Canções Ingênuas (com 2a versão em 2000) Violão e voz média
1978 Libertas quae sera tamen Flautas doce (soprano 3, contralto 1, tenor 1), violão, 3 percussionistas (atabaque, agogô, triângulo, guizos e sinos), narrador e público
1980 Impulsos nº 1 Dois violões 1981 Lúdica I (a Turíbio Santos) Violão solo 1986 Lúdica II (a Hans J. Koellreutter) Violão solo 1986 Evocando Manuel Bandeira (a Paulo Pedrassoli, 2a.
versão em 1996) Violão solo
1986 Maxixando (a Graça Allan, 2a. versão em 1996) Violão solo 1986 Impulsos nº 2 (a José Siqueira) Dois violões 1987 Imagem Carioca Quatro violões 1988 Profiles (a Michael McCormick) Violão solo 1996 Nos Tempos do Bonde (a Turíbio Santos) Violão solo 1996 Largo do Boticário (a Maria Haro) Violão solo 1996 Festas da Igreja da Penha (a Edelton Gloeden) Violão solo 1996 Parque do Flamengo (a Nicolas de Souza Barros) Violão solo 1997 Evocação a Lorenzo Fernandez Violão e flauta 1999 Páprica (a Bartholomeu Wiese) Violão solo
Ricardo Tacuchian (b.1939) presents a numerous production for guitar, including
solo and chamber music. According to Moacyr TEIXEIRA NETO, “with an avant-garde
style, worried with logical structures, the composer uses several possibilities such as
timbristics effects, percussion on the soundboard and differents scordaturas (change of
tunes)”15. We can find those features in Lúdica I (1981), Impulsos I (1984) for guitar duo,
Lúdica II (1986) and Profiles (1988). On the other hand, the composer doesn’t give up
nationalist features. In his cycle Série Rio de Janeiro, TACUCHIAN affirmed “to make a
musical synthesis starting with genres that was born and grew up in Rio de Janeiro,
14 Ibid., p. 14. 15 TEIXEIRA NETO, op. Cit, p. 28.
Mário da Silva ([email protected])
becoming a prototype of Brazilian popular music”16. The works from this cycle are
Evocando Manuel Bandeira, Maxixando, Nos Tempos do Bonde, Largo do Boticário,
Festas da Igreja da Penha e Parque do Flamengo, all written for brazilian guitarists.
16 TACUCHIAN, Ricardo. Texto do encarte do Compact Disc Imagem carioca, obras para
violão. Rio de Janeiro: ABM Digital, 2000.
Mário da Silva ([email protected])
3.1.4 Roberto Victório
Ano Título Instrumentação 1980 Para Flores e Estrelas Voz aguda e violão 1984 5 Miniaturas Dois violões 1984 Colônia de Pêssego Flauta e dois violões 1986 5 Miniaturas Quatro violões 1986 Três Peças Cantantes Três violões 1987 Estudos Sintéticos Violão solo 1988 Dois Cânticos para o Sol Voz média e violão 1989 Miniaturas Grupo de choro 1989 Choro Misto Grupo de choro 1990 Tretraktys Violão solo 1994 Cruzar e Bifurcações Flauta, clarinete, trombone baixo, violino, contrabaixo,
violão e barítono 1994 Concerto de Câmara Flauta, violão e grupo de câmara 1997 Introsfera Clarinete, violão, cello e percussão 1998 Cerrados Grupo de choro
Roberto Victório17 (b.1959) did Bachelor Diploma on Guitar, Composition and
Conducting at UFRJ (1986). He did Master Degree in Composition at UFRJ (1991). Since
1994 he left Rio de Janeiro for Cuiabá, capital of the Mato Grosso State, where he is
conductor of the Federal University of Mato Grosso Symphonic Orchestra and lecturer in
the Department of Arts. He has composed over 100 works and his music is regularly
featured at the principal contemporary music festivals in Brazil. His compositions have
been selected for performance at the following international festivals: Zurich, Hamburg,
New York, Budapest, Montevideu, Santiago, Gröznjan and Stockholm. He was awarded
First Prize in 1985 international Montevideu Competition for new orchestral works; an
Honourable Mention at the Budapeste Festival; Second Prize at the 500 years of the
Americas Festival in Rio de Janeiro in 1992; his music was chosen to represent Brazil at
the 1988 international Seminar “Time in Music” in Gröznjan, Yugoslavia. In 1995 his
Concerto for Flute, guitar and Chamber Ensemble was premiered by Duo Most-Kunz and
Grupo Novo Horizonte de São Paulo directed by Graham Griffiths – in the studios of
Danish Radio Copenhagen and was later broadcast. He wrote several works for guitar,
17 EGG, André. “Tetraktys” para violão de Roberto Victório. Monografia (Curso de
Especialização em Estéticas e Interpretação na Música do Século XX), EMBAP, Curitiba, 2001.
Mário da Silva ([email protected])
including mainly the guitar inside chamber ensemble. According to Moacyr TEIXEIRA
NETO, “his most worldwide piece is Tetraktys, demanding an upper artistic level by the
guitarist, exploring free mobiles with control showing a new tendence on guitar
composition up to date”18.
3.1.5 Arthur Kampela
Ano Título Instrumentação 1981/2 Balada Violão solo 1983 Fandango Violão solo 1988 Polimetria Quarteto de violões preparado 1990/3 Percussion Study I e II Violão solo 1994 Textorias Geração por computador e violão
Arthur Kampela (b.1960) studied private classes of composition with Hans-
Joachim Koellreutter and Ricardo Tacuchian in Brazil. He got a scholarship from CNPq
and did Master Degree in Composition at Manhattan School of Music (1992). He
attending at Brian Ferneyhough (b.1943) master classes. Arthur Kampela employs
percussive effects on guitar played with fingers, nails on the soundboard, fretboard and
arms. He used percussive tools made by plastic, glass and metal. Using the same
combination in percussive elements, during the piece Kampela structured this sounds with
complexity causing unpredictability. This complexity is organised with different rhythmic
patterns combining changes of time signature (1/4, 3/16, 5/4). In Percussion Study I
Kampela uses two systems: (1) the system above for determinate sounds; and (2) the
system below, prescripted guitar notation for each finger and each percussive effect.
Therefore, in his series of "Percussion Studies" for solo guitar, Kampela has created an
entirely new playing technique, denominated "Tapping Technique", combining in a
compelling and seamless manner, traditional techniques and noise oriented, percussive
18 TEIXEIRA NETO, Op. cit. p. 29.
Mário da Silva ([email protected])
effects.19 Kampela named the system as micro metric modulation, and according to him, it
is an extension of metric modulation developed by Elliott Carter (1908).
3.1.6 Alexandre Faria
Ano Título Instrumentação 1992 Oração Fagote e violão (transcrição pelo
autor para violino e violão) 1993 Entoada Violão solo 1996 Concerto n.1 Violão e orquestra 1997 Prelúdio n.1 "Olhos de uma Lembrança" Violão solo 1999 Concerto n.2 "Mikulov" Violão e orquestra de cordas 2001 Prelúdio n.2 "A morte do desejo" Violão solo
Alexandre Faria (b.1972) did Bachelor Diploma on guitar at UNIRIO (1993),
attending at Nicolas de Souza Barros classes. He did Bachelor in Composition (1996) at
King’s College in London, attending at Robert Keeley, Silvina Meinstein and Harrison
Birtwistle classes. He was the winner of Segovia International Composition Competition
in 1996 with the piece Entoada (1993) for guitar solo. His output for guitar concert has
earned notoriety such as Concerto no. 1 (1996) and Concerto Mikulov para Violão e
Orquestra de Cordas (1999), this last one Fábio Zanon (1966) made debut at Czech
Republic in 2000. According to Faria20, his style is based upon three elements: (1)
repetitive elements with Gestalts organization inside a macro music-discourse through
math relationship; (2) pitch significance, determinating to each sound extra-musical
significance; and (3) motifs as structural elements, not thematic development and,
because of this, they result in a static timing. As a composer for guitar he does not let the
natural limitations of the instrument interfere with his harmonic imagination.
19 See more about “The Tapping technique” in: www.kampela.com/bio.htm 20 Declaração feita por Alexandre FARIA em 05/05/01.
Mário da Silva ([email protected])
3.2 São Paulo
The output by new generation composers from São Paulo State can be traced by
diversified languages from composers guitarists. Some composers such as Almeida Prado,
appears to search for a new sonority style enriching color patterns into his pieces. This
kind of procedures is possible to find in composers guitarists such as Paulo Bellinati,
Paulo Porto Alegre and Giácomo Bartoloni.
3.2.2 Almeida Prado
Ano Título Instrumentação 1972 Ritual da Palavra Barítono, coral (soprano, contralto, tenor e
baixo); flauta, oboé, clarinete, , 2 pianos, violino e violoncelo
1973 Portrait de Dagoberto Violão solo 1974 Livro para Seis Cordas Violão solo 1980 Sonata Violão solo 1980 Celebratio Amoris et Gaudii (Celebracion de
I’amour et de la joie) Coral (soprano, contralto, tenor e baixo)e violão
1983 Poesilúdio no.1 Violão solo 1987 Lira de Dona Bárbara Eliodora – Cantata
Colonial Soprano e Tenor coral (soprano, contralto, tenor e baixo). Orquestra [2 flautas, 2 oboé, 2 clarinetes, 2 fagotes, 4 trompas, 2 trombones, 2 percussionistas: vibrafone, tam-tam, marimba, campana, tímpano, piano, 3 violões, violinos 1 e 2, viola, violoncelo e contra-baixo]
1996 As 4 Estações Violino e Violão 1996 Sonata Tropical (Com muita Alegria, Scherzo,
Modinha, Batucada) Dois violões
1997 Louvor Universal – Salmo 148 Piano, sax soprano (ou clarinete), sax alto, 3 sax tenor, sax barítono, 5 trumpetes, 4 trombones, vibrafone, xilofone, campana, tubular, prato suspenso, .5 ton-tons, 4 timpanos, glocken spiel, violão e contrabaixo
Almeida Prado (b.1943) (José Antonio de Almeida Prado) wrote tem works for
guitar, exploring since intimate instrumentation for solo and guitar duo, duos, until guitar
inside great ensembles like percussion, orchestra and choir. In general his style is featured
by timbre effects, rhythm complexity (changing often 5/8 e 3/4) and expanding tonalities.
Mário da Silva ([email protected])
The first piece by Almeida Prado is Ritual da Palavra (1972), and belong to a period in
which the composer was researching for an own style. During this piece it can realize a
surch for new sonorities and free timing. In the 1970s, Almeida Prado wrote Portrait
(1973) for solo guitar to Dagoberto Linhares and Livro para Seis Cordas (1974) to
Turíbio Santos. Forward, in the 1980s, Prado wrote polarizing different skill levels: a)
Sonate nº1 (1981), to Dagoberto Linhares, in which Almeida Prado uses expanding
tonality, syncopated rhythm cells, changes of time signature and shifted artificial
stressing; b) and Poesilúdio nº1 (1983), in one movement, Prado uses simple tonality
during the piece (E Major) with steady rhythmic pattern. It is possible to find
experimenters and timbristic researchs in Sonata Tropical (1986) for guitar duo, in which
he also uses free timing and instructed the guitarist to play with a bow. The work shows a
modal style with a softly Northeast Brazilian athmosphere.
It important to emphasize that fine works has been written during the second half
of 20th century by composer from South and Southeast of Brazil. Altogether they have
favoured to produce works with guitar features upon a nationalistic and experimental
style. The most important guitarist from those states are Paulo Bellinati (b.1950), Paulo
Porto Alegre (b.1953) and Giácomo Bartoloni (b.1957), from São Paulo; Bruno Kiefer
(1923-1987), Antônio Carlos Borges Cunha (b.1952), Fernando Lewis de Mattos
(b.1966), Vinícius Corrêa (b.1965) and Daniel Wolff (b.1967), from Rio Grande do Sul.
Mário da Silva ([email protected])
4 THE GUITAR IN PARANA STATE
4.1 HISTORICAL TIME LINE AND APPROACH
Waltel Branco (b.1929)
Composer, arrangment and guitar teacher
Jaime M. Zenamon (b.1953) Composer. Created the first guitar course at EMBAP in
1978
Admar Garcia (1916-1994)
Founded the first Guitar Association in Curitiba
José Penalva (1924-2002) Composer. Professor of
Counterpoint and Composition at EMBAP
Henrique de Curitiba (b.1934) Composer. Professor of
Harmony and Composition at EMBAP
Orlando Fraga (b.1956) Performer and guitar teacher at EMBAP.
Estabilished the bachelor course on guitar in 1985
Chico Mello (b.1957) Composer. Guitar and Harmony teacher at EMBAP until 1987
Norton Dudeque (b.1958)
Composer. Professor of Post-Graduate course at
EMBAP.
João José Felix (b.1957)
Composer and Counterpoint teacher
at EMBAP
Valdomiro Prodóssimo (b.1944)
Guitar teacher and Villa-Lobos Conservatoire director
1947 –ESCOLA DE MÚSICA E BELAS ARTES DO PARANÁ (EMBAP). The first music college
estabilished in Parana.
Guilherme Campos (b.1966)
Composer. Guitar and Music Education
Teacher at EMBAP
Rogério Budasz (b.1964)
Scholar and Music History Teacher at
EMBAP
Luiz Cláudio Ferreira (b.1965)
Performer and guitar teacher at EMBAP.
Mário da Silva (b.1962)
Performer, researcher and
guitar teacher at EMBAP
Arrigo Barnabé (b.1951)
Composer
June-1953, Concert given by Andrés Segovia in Curitiba
Walter Pereira da Silva Constâncio de Sousa
Eugênio Martins Cecy Mascarenhas
Márcio Ferreira da Luz Teachers and performers
Maurício Dottori (b.1960)
Composer and Counterpoint
teacher at EMBAP
Harry Crowl (b.1958)
Composer and Music History
Teacher at EMBAP
Octávio Camargo (b.1967)
Composer and Harmoy teacher
at EMBAP
Carmo Bartoloni (b.1956)
Composer and Percussion teacher
at EMBAP
Fernando Riederer (b.1977)
Student of Composition at
EMBAP em 2002
Mário da Silva ([email protected])
The first recordings written concerning classical guitar activities in
Paraná State are from 1930s. We can proof that according with a document found at
Professor Admar Garcia’s (1916-1994) library, one of the pioneer s of classical guitar
teaching in Parana. The document is a manuscript of an arrangment for two guitars of the
piece Lagrima by Francisco Tárrega. This arrangement was made by Walter Pereira da
Silva in September, 11th, 1934 in Curitiba and Isaias Sávio (signed by Sávio in Belo
Horizonte, Capital of Minas Geraes State). A second important document found from
Garcia’s library is an anonymous review, which concernig approachs about the classical
guitar activities in Parana State in the middle of the 20th century:
Until 1960 we had few guitarists in Curitiba who knows music scores. We may count three teachers: Eugenio Martins, Waldemar Silva and Constâncio de Sousa. Although the town has some teachers, a young generation of students disagrees with the poor situation of the guitar in Curitiba. They are: Márcio Ferreira da Luz (Constâncio de Sousa’s student) and Admar Garcia (Eugênio Martins’s student). They started a new procedure to improve. 21
The guitar activities from those pioneer s were to produce master-classes by
foreign and known guitarists. This procedure arouse the attention from the government of
Paraná. In February of 1965, the State Department of Culture sponsored a master class
given by the fine Brazilian guitarist Maria Lívia São Marcos (b.1946).
Other recordings concerning classical guitar activities in Paraná in the middle of
20th century were the Radio Programs, in which the Choro Groups and Brazilian Popular
Music Ensemble played mainly at PRB2, Tingüi and Guayracá Radios. But, it was just in
the 1960s that Radio Programs improved the musical issues and brought more
information about classical guitar. In 1965, Márcio Ferreira da Luz created a Radio
Program at State High School Radio which included exclusively guitar history,
interviews, listen new recordings and biographies from the most prominent guitarist up to
that date and, of course, Andrés Segovia.
The concerts sponsored by High Society Clubs were a little bit prejudice with
guitar. A very remarkable event in Curitiba changed the behaviour of concert society. In
21 Esta crônica encontra-se na íntegra no ítem ANEXO 2.
Mário da Silva ([email protected])
September, 4th, 1949 happened, sponsored by Culture Department of Academic Affair of
Engineer, a guitar lecture recital given by the Spanish guitar player Albor Maruenda. A
particular reference about early guitar activities in Parana State is the composer and
guitarist Waltel Branco (b.1929). Branco was very commited with important events in
Curitiba like his participation playing the Cantata O Negrinho do Pastoreio, by Eunice
Catunda (1915-1990), ending the 8th season of SCABI (Society of Culture Brasílio
Itiberê) in 1952.
Curitiba became part of guitar history in Brazil when in June, 10th, 1953, SCABI
sponsored a concert given by Andrés Segovia. The recital was number 207 from the 9th
season and happened at Clube Concórdia Hall22. In spite of is difficult to affirm, the
relationship between the concert by Andrés Segovia and the improvement of the guitar
activities in Curitiba is noticeable. This concert might be responsible for the insertion of
the guitar recital into the culture of Curitiba. We notice important concerts sponsored by
SCABI after that. In April, 10th,1958, the argentinian guitarist María Luisa Anido (1907-
1996) gave a recital at State High School Auditorium in the 14th SCABI Season in June,
16th, 1962, and the German guitar player Sigfried Behrend (1933-1990) gave a concert in
the 18th SCABI Season. Behrend came back in 1965, playing a chamber music concert
with the singer Belina Behrend. The guitarist Marga Beuml and the violinist Walter
Klasinc, in September, 1969 at Clube Concórdia Hall, gave the last guitar recital
sponsored by SCABI23. Although those recitals were sporadics, undoubtedly they had
artistic quality and had attention of some newspappers.
22 SCABI. Andrés Segovia é a história do violão: Recital (Andrés Segovia is the history of guitar:
Guitar Recital. Gazeta do Povo Newspapper, June, 9. 1953, p. 3. 23 SAMPAIO, Marisa Ferraro. Reminiscências musicais de Charlotte Frank (Music
remembrances by Charlotte Frank). Curitiba: Lítero Técnica, 1984, p. 199.
Mário da Silva ([email protected])
The recitals and pedagogic activities done by foreign guitar players spread the
interest of people from Curitiba to study guitar. Cecy Mascarenhas24 was the first guitar
teacher in Curitiba and she took guitar lessons with Constâncio de Sousa, First Sargent of
the Brazilian Armyand an amateur flutist. Mascarenhas gave private guitar lessons at her
own residence. She was very talented and gave few recitals in São Paulo and Rio de
Janeiro. She moved to Rio de Janeiro in 1946 (or 1947), with her husband, where she
published a guitar method.
From the 1960s, the guitar activities in Curitiba concentrated on Conservatoires
with guitar pedagogy. Admar Garcia, founder of Academia Paranaense de Violão (APV,
guitar academy of Parana) and guitar teacher at Conservatório Carlos Wesley, is probably
the first to be included into a respectable music institution in Paraná. Although his
pedagogic concepts were closely to Tarrega’s School, Garcia developed himself as a
performer and teacher, giving popular and classical musical genres. Garcia was
responsable for the graduation of guitar teachers with remarkable notoriety, such as
Valdomiro Prodóssimo.
Valdomiro Prodóssimo (b.1944)25 nowadays is Director of Conservatório Villa-
Lobos in Curitiba, institution that was created in 1981 by him and the pianist Jane Soares
de Souza Prodóssimo, from Minas Gerais State. The Villa-Lobos Conservatoire is an
exception of the rules because opposite to have many pianists and violinists registred, it
has mainly classical guitar students. Beside this, the Conservatoire has a guitar orchestra,
conducted and organised by Prodóssimo since 1992, with 14 musicians and one CD
recorded alive. In this CD the orchestra recorded traditional repertory like Concerto em
Ré Maior for Strings and Lute, by Antonio Vivaldi (1678-1741); La Boda, by Luis
Alonso (1889-1968); and Introduction and Fandango, by Luigi Bocherini (1743-1805).
24 Informations provided on a interview given by choro guitar player Oscar Fraga to Mário da Silva
, in 5 June 2001. Until this moment, it couldn’t find any recordings or documents concerning Cecy Mascarenhas and Constâncio de Sousa in Curitiba and Rio de Janeiro.
25 Informations provided on a interview given by Valdomiro Prodóssimo at Conservatório Villa-Lobos, Curitiba, 28 May 2001.
Mário da Silva ([email protected])
The guitar became estabilished in Instituition and College, such as EMBAP,
because the effort of students. Some of them were searching for knowledge abroad,
mainly in Countries of Latin America like Argentina and Uruguay. The guitar school in
Curitiba had strong influence from the guitar school of those countries and the
interchange of knowledge had happen on Guitar Seminar of Porto Alegre (1969-1982)
where guitarists from Parana received information within a decade.
During these Festivals, great names from South América went there to give
classes like Jorge Martinez Zarate (1923-1993) and Roberto Aussel (b.1954), from
Argentina, and Abel Carlevaro and Eduardo Fernández (b.1952), from Uruguay. Many
Brazilian guitarists attended those classes and they are nowadays known musicians such
as Henrique Pinto (b.1941), Paulo Porto Alegre (b.1953), Edelton Gloeden (b.1955), and
Everton Gloeden (b.1957), from São Paulo; Leo Soares and Nicolas Souza Barros, from
Rio de Janeiro; and Jaime Mirtenbaum Zenamon, Orlando Fraga and Norton Dudeque,
from Curitiba.
Jaime Mirtenbaum Zenamon, born in Bolívia but now living in Curitiba since
1970, organised and created the basic guitar course at EMBAP in 1978. The brightest
Zenamon’s student as a teacher and performer was Orlando Fraga, who organised the
Graduate Classical Guitar Department at EMBAP in 1985. Nowadays Fraga is the
Chairman of Classical Guitar Department. Besides his contribution as a guitarist and
teacher, Fraga (inspired in Porto Alegre Festivals) created and coordenated the EMBAP
Guitar Festivals (1982-1990) in Curitiba, sponsored by Fundação Cultural de Curitiba and
EMBAP. In those Festivals participated since his beginners students until known guitar
players from other States like Henrique Pinto, Fabio Zanon and Giácomo Bartoloni (São
Paulo), and other countries like Sérgio Fernandes Cabrera, Eduardo Baranzano and José
Fernandez (Uruguay). Orlando Fraga did special effort to put Classical Guitar Course at
Oficina de Música de Curitiba in 1983. This Festival is very traditional with worldwide
reputation. Fraga also did the same with the Festival de Música de Londrina in 1984.
Besides Fraga, most Zenamon’s students had fine position at the musical life such
as Norton Dudeque and Chico Mello. Norton Dudeque was guitarist until 1988, and since
Mário da Silva ([email protected])
1993 he has been working with composition and musicology. Chico Mello, in Paraná, did
some important concerts as a guitarist from 1978 to 1987 besides being simultaneously
teacher of Guitar, Harmony and Composition at EMBAP. In 1987, he had moved to
Berlim to study Composition, where he has been developing his carrier as a composer.
The most part of guitar generation from Paraná, born around 1960s, were Orlando
Fraga’s students. They are working nowadays into many fields of music activities in
Paraná: Composition, Performing, Teaching and Researching. Mário da Silva has been
working in those four fields and his recordings on compact discs did special attention on
Paraná guitar production; Guilherme Campos works with music education and
composition altogether; Rogério Budasz, guitar player in the past until 1992, today has
been working with musicology and teaching; Luiz Cláudio Ferreira (b.1965) (He attended
classes with Prodóssimo and, nowadays, is guitar teacher at EMBAP), works as a
performer and teacher since 1989. In his recording production developed a traditional
repertory like pieces by Isaac Albéniz and John Dowland.
With the goal to improve its guitar technique and music interpretation, this
generation searched for knowledge with Professor Henrique Pinto, who gave fine
contribution to many Brazilian guitar players. A sort of guitarist from Parana, known
nowadays, like Orlando Fraga, Luiz Cláudio Ferreira and Mário da Silva, attended at
guitar lessons by Henrique Pinto in private classes, guitar festivals, seminars or master
classes. The Henrique Pinto’s background is diversified. Although he has knowledge of
South América and European Guitar School, he had an accurate sense of observation
during his friendship with Abreu’s brother guitar duo and Antonio Carlos Barbosa Lima,
transfering those sonorities, choice of interpretation and musical aspects to his students.
Concerning the most prominent composers from Paraná with a wordy and
worldwide production, José Penalva (1924-2002) and Henrique Morozowicz (b.1934),
they never wrote for guitar. However, they influenced, in a close relationship, many
young guitarists and composers from Parana26. José Penalva was professor at EMBAP in
26 It could find a short piece for mezzo soprano and guitar by José Penalva named Hino ao Beato
Mário da Silva ([email protected])
classes of Counterpoint and Fugue, Contemporary Music, Analysis and Aesthetic. In
addition, Penalva cooperated with the foundation of Pró-Música de Curitiba, an important
institution responsible for many concert SCABI seasons during the 1970s. He was
professor of 20th Century Music and Composition at Oficina de Música de Curitiba.
Composers who have been taking part of this research and were oriented towards
Penalva’s teaching: Chico Mello, in private lessons of Composition and Counterpoint;
Norton Dudeque and João José Félix Pereira, Counterpoint studies at EMBAP; and
Guilherme Campos, in 20th Century Music and Composition classes at Oficina de Música
de Curitiba. José Penalva was an intellectual mentor and responsable for many features of
contemporary guitar repertory in Paraná, bringing new ideas from the composers that
have shaped the 20th century music.
Henrique Morozowicz gave Harmony and Composition classes at EMBAP and
Chico Mello and João José Félix Pereira studied with him.
Penalva and Morozowicz structured the graduate center of Composition and
Conducting at EMBAP in the 1970s, but unfortunately the number of declined students
and the neglected policy from the state department of education might be contribute to
close the course. The restructuring of the course only happened in 1990 and arouse the
interest of composers and professors, also from other states such as Harry Crowl (Minas
Gerais State) and Maurício Dottori (Rio de Janeiro State), to work at EMBAP. The course
grew up and it had as its first graduate student Helma Heller (b.1950) in 1996 and,
nowadays, a known composer. The second generation did the graduate degree in 2000
and some of pieces produced were performed by the EMBAP Orchestra. As an example
of this young generation which has been producing for guitar, Fernando Riederer has
given contribution with a considerable number of works for chamber music and guitar.
Arrigo Barnabé studied piano class at EMBAP from 1971 to 1973, but did his
master degree in Composition at USP (São Paulo University) in 1974. Although Arrigo
José Manyanet (1988). PROSSER, E. S. Um olhar sobre a música de José Penalva: catálogo comentado. (A look over Penalva’s music: catalogue) Curitiba: Champagnat, 2000.
Mário da Silva ([email protected])
Barnabé has produced only one original piece for solo guitar, he will be included in this
research because of the position as a Brazilian worldwide known composer.
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4.2 COMPOSERS FROM PARANA STATE AND GUITAR REPERTORY
These composers are classified into three groups: (1) composers born between
1916 and 1953 comprehending since the pioneer Admar Garcia (1916-1994) until
composers with activities up to date like Waltel Branco and Jaime Mirtenbaum Zenamon;
(2) guitarist composers from new generation born in Paraná after 1953, with a career
started in the 80s: Chico Mello, Norton Dudeque, Rogério Budasz, Guilherme Campos
and Octávio Camargo; and (3) non-guitarrist composers born after 1953, concerning
mainly composers from another States: Arrigo Barnabé, João José Félix Pereira, Carmo
Bartoloni, Harry Crowl, Maurício Dottori and Fernando Riederer. The Second and Third
group repertory exhibits a wide variety of textures and styles such as serial technique,
hybrid system (tonal and modal), electroacoustic and multimidia. Those groups also have
been soffering influences from folk music, and experimenters have introduced unexpected
sonorities, free forms, prepared guitar, indeterminate system pieces and extended the
instrument’s percussive and idiophonic sources.
The third group has close relationship with the restructuring of Composition and
Conducting Department of EMBAP, in 1992. This course spread new conceptions in
composition for guitar in Curitiba, following one of the most interesting aspects of the
guitar in the 20th century, that extent to which its literature has been vitalized in the
transition from music composed by guitarists (or written to the restriction of a guitarist) to
composition not determined by a conventional conception of the instrument’s
possibilities. The Faculty of the Graduate Course in Composition and Conducting at
EMBAP is: composers Maurício Dottori (b.1960), Harry Crowl (b.1958), João José Félix
Pereira and Octávio Camargo (b.1967), and the composer and musicologist Rogério
Budasz and others. In 1997, the Composition and Conducting Department received
significant contribution given by the German composer Bertold Türcke (b.1957). He was
founder and director of Grupo Contemposonoro (Contemporary Music Ensemble), a
Chamber Music Group of EMBAP that aims to perform contemporary pieces by
composers like Berio and Webern, as soon as composers and students at EMBAP and, of
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course, from Parana. Besides composers linked to Composition and Conducting
Department of EMBAP, others have been producing for guitar, such as Carmo Bartoloni
from São Paulo, but living in Curitiba since 1985.
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4.2.1 Composers born between 1916 and 1953
4.2.1.1 Admar Garcia
a) Biography
Admar Garcia was Born in Pelotas, Rio Grande do Sul, in 1916. According to
dated manuscripts signed, it could be notice that Garcia moved to Paraná from 1940s. He
studied guitar with Eugênio Martins27. He estabilshed in Curitiba in 1944, where he
dedicated all his life teaching guitar in private lessons, Conservatoires and at APV (Guitar
Academy from Parana) from 1960 to 1971. The APV had the amazing number of 386
guitar pupils. One of the most prominent Garcia’s student was Valdomiro Prodóssimo,
nowadays director of Villa-Lobos Conservatoire in After the Academy finished its
activities, Garcia started to teach private classes and at Carlos Wesley Institute until his
retirement. He died in 1994 and never stoped to work.
b) Guitar works
The works for guitar by Admar Garcia are unknown until 2002, probably because
he was not interested to publish it. I found into his own library a group of seven pieces for
solo guitar, one work for voice and guitar, and one manuscript by Waltel Branco’s piece
whom Garcia had relationship with. Five pieces are from the 1940s, written in the
countryside of Paraná. The two last ones, in 1964 and in 1971, written in Curitiba. The
Garcia’s style is featured by tonal system, mainly binary forms such as ABA. The genres
are dances very popular in Brazil like Waltzes, Tango and “Rancheiras”. The composer
also used free froms such as Preludes inspired in Bach style and One Piece Without Title.
This last one shows the following structure: ABCA CODA, in which A is featured by a
melody in parallel sixties in Tonic Functin (D minor) (Examplo 8a); B, a transposition of
27 It couldn´t find any information about Eugênio Martins. This information is based upon a review
by APV anonymous and without date.
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the same melody in F major on the relative grade; and C showing slurs progression
organised into different rhythm patterns in the Tonic Function (Examplo 1).
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Example 1. Admar Garcia: Piece Without Title (1945).
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4.2.1.2 Waltel Branco
a) Biography
Waltel Branco28 was Born in November, 22, 1929, in Paranaguá (an important
harbor at Parana State). He studied guitar with Oscar Cáceres and Othon Salero (Andrés
Segovia’s student), in Rio de Janeiro in the 50s.29 In 1953, Branco took the place of José
Menezes in the Radamés Gnatalli Sextet in Rio de Janeiro. In the same year, Branco met
Garoto (Aníbal Augusto Sardinha) and was his step at Surdina Trio, with the following
members: Garoto (guitar), Fafá Lemos (violin) and Chiquinho do Acordeom (Acordeom).
In 1962 he enrolled at Lorenzo Fernandes Conservatoire (Rio de Janeiro), where he
studied Composition with Cláudio Santoro and Paulo Silva (1892-1967), Conducting and
Composition with Alceo Bochino (Born in Curitiba in 1918). Branco also had contact
personally with Francisco Mignone, who gave him manuscripts of Menuetto and Fantasia
(1953) and Repinicando (1953) for guitar solo. Branco did a concert at Royal Palace in
1971 when he met Federico Moreno Torroba who introduced him to Segovia. At the same
year, Branco was invited to participate of Musica en Compostela Festival (Santiago de
Compostela, Spain) and under Andrés Segovia’s teaching he played Prelude 1 and Study
3, by Heitor Villa-Lobos, and Sonata E minor (Albada and Fandango) by Frederico
Moreno Torroba.
Although Branco developed musical activities mainly as a composer and
orchestra arrangment maker during the 70s and 80s, he did fine concerts as a guitar
player. In 1986, at Esther Mesquita Hall of Teatro Cultura Artística in São Paulo, Branco
performed pieces by Radamés Gnatalli and Guerra-Peixe for guitar solo, his own and by
José Menezes chamber music composition.
28 Biography information of Waltel Branco got from the: (1) interview with Mário da Silva Junior
in May, 30, 2001, at Branco’s home in Curitiba; (2) Magazine Cine Radio ACTUALIDAD MONTEVIDÉU. MAR/1955. Year II no. 972; (3) Magazine DIREÇÃO (Brasil), 1955.
29 According to Waltel Branco, it was Othon Salero who run to him music elements such as correct usage of phrasal drawing, melody and rhythm articulation.
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Branco came back to Curitiba in 1995, after a prominent carrier as an
arrangement maker and composer of many soundtracks and songs for Soup Opera
produced by Globo Broadcast Television (Rede Globo) in Rio de Janeiro between 1965 e
1994. Branco was invited by Alice Ruiz (Poet from Paraná and, in that year, Director of
Fundação Cultural de Curitiba [Foundation of Culture in Curitiba]) to organize a program
placed at TUC Theater (Students Theater of Curitiba)and named Entre Amigos (Between
Friends). This program has been happening once a month, concerning first part with
Branco playing and, the second, with a musician special guest. Waltel Branco, today with
75 years old, besides to coordinate the Entre Amigos Project, he still works as a composer,
guitar teacher at Casa de Cultura de Ponta Grossa since 1998 and conductor of Ponta
Grossa Symphony Orchestra. Branco has been strong influenced the guitar repertory at
State of Parana, although he developed his main musical activities in São Paulo and Rio
de Janeiro.
b) Guitar works
The catalogue of Works for solo guitar by Waltel Branco overtakes the amazing
number of 70 pieces. In the guitar with orchestra category Branco wrote two concerts.
The mainly feature in Branco’s works is the combination between traditional classical
styles with popular music genres like waltzs, milongas, choros and sambas. Só Nata
Brasileira no. 1 (1991) in three movements, (Prelúdio, Acalanto e Ponteio), it is
dedicated to very know Brazilian musicians, Noel Rosa and Vadico and shows this
resource. Although Branco named the work as a “Sonata”, suggesting the classical style
form, it consists in a group of opposite songs with free variation combined with
idiophonic patterns of guitar such as tremolo and arpeggios (Example 2).
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Example 2: Waltel Branco: Só Nata Brasileira – 2a) Prelúdio cc. 1-4, 2b) Acalanto cc. 1-4 e 2c) Ponteio cc. 1-4.
Prelúdio
Acalanto
Ponteio
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Due to his position as a broadcast television worker, Waltel Branco made a enthusiastic
relationship and honoured 29 of his 50 works for solo guitar to important person widely
known as a musicians, producers, writers and poets. It is the case of Valsa, to Paraguayan
guitarist Agustin Barrios (1885-1944); Argamassa (song), to Hermínio Belo de Carvalho,
popular music show producer; and Ninho de Cobra, to Jacob do Bandolim’s Choro
Group.
One of the Branco’s procedures of composition is the “Melonome”
(name/melody), a process in which the notes sequence is equivalent to the alphabet. The
base of compostition is to organize the correspondence between notes and letters. This
procedure was very used by Mario Castelnuovo-Tedesco. In some cases Branco made
pieces manipulating names of known Brazilian guitar players such as Choro Clássico
(Melonome Turíbio Santos), Choro no. 2 Lembranças (Melonome Rafael Rabello) and
Valsa Amorosa (Melonome Laurindo de Almeida). (Example 3).
Example 3. Waltel Branco: Chorojongo no. 3 a Nélio Rodrigues, cc. 1-4.
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4.2.1.3 Arrigo Barnabé
a) Biography
Arrigo Barnabé was Born in Londrina, Paraná, in 1951. He studied piano at
EMBAP from 1971 to 1973, did Graduate Degree in Composition at Escola de
Comunicação e Artes (USP) in 1979, and studied in private lessons in the 70s with the
German composer, living in Brazil since 1937, Hans Joachim Koellreutter. Between
Contemporary Classical Music and Contemporary Brazilian Popular Music frontier,
Arrigo Barnabé made composition with atonal and twelve-tone technique features. His
avant-garde works were recorded on Long-Plays Clara Crocodilo (1980) and Tubarões
Voadores (1984); soundtrack and songs for movies such as Estrela Nua (1985), Cidade
Oculta (1985), Vera (1987) and Lua Cheia (1988), all of them winners of award academy
in Brazil at soundtrack category. His most recent works in contemporary music are Peça
para dois pianos, percussão e quarteto de cordas e banda de Rock (Piano, Orchestra and
Jazz Band,1995), Ed Mort compact disc (1997) soundtrack for the movie Oriundi (1998),
produced by Antony Quinn in Paraná. In 2001 Barnabé with São Paulo Orchestra debuted
his first opera O Homem dos Crocodilos - Um Caso Clínico em Dois Atos (The Crocodile
Man – Combining Psychoanalysis with Contemporary Music), a with Argentinian play
writer Alberto Muñoz. In 2003 Barnabé wrote a Mass to Arthur Bispo do Rosário
(Dedicated to his best friend Itamar Assunção).
b) Guitar works
Arrigo Barnabé wrote a piece for solo in 1999 guitar named Fragmento. In this
piece, the composer uses atonal writings, serialism and counterpoint altogether,
combining incomplete series (less than twelve-notes) organised with special articulation
and alternated time signature. The work is organised between three sections with
differents structural functions: first, the series exposition (cc. 5-6); second, polyphonic
development (cc. 13-16); and third, the liquidation of matter (cc. 53-56) (Example 4)30.
30 SCHOENBERG, A. Fundamentos da composição musical. São Paulo: EDUSP, 1993, p.186.
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Example 4. Arrigo Barnabé: Fragmento (1999) - 4a), cc. 5-6, 4b) 13-16, 4c) 53-56.
Liquidation aim to deprive gradually the motive-patterns of its features, dissolving them to become formless, such as in scales and arpegios passage. According to Schoenberg, the intent of liquidation is to neutralize the endless extension.
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4.2.1.4 Jaime Mirtenbaum Zenamon
a) Biography
Jaime Mirtenbaum Zenamon was born in La Paz, Bolivia, in February, 20, 1953.
He studied classical guitar with Avner Brender in Israel and Abel Carlevaro (1918-2001)
in Uruguay. He also studied Composition with Guido Santorsola (Italy, 1904 - Uruguay,
1994). He lived in Curitiba in the 1970s where he was active as a teacher. He did
enthusiastic contribution persuading his students to look for Abel Carlevaro new
knowledge in the Guitar Festivals in Porto Alegre and Uruguay. Zenamon believed that
Carlevaro brought new issues to guitar interpretation, specially to the contemporary
music. Zenamon, who has been producing considerably important works for guitar and,
step by step, started to earn the trust by the “Curitiban” Musical Society, organised in
1978, the Guitar Preparatory Course at EMBAP. The next year, he participated from the
long play recording Casamento Campestre by Jean de Roteterre, with Camerata Antiqua
de Curitiba, an important Orchestra and Choir specialized in Baroque Music. From 1980
– 1992 he lived in Berlin where he was active as a teacher at Hochschule der Kunste and
as a composer. He did concerts in many Concert Halls around the world and recorded
many long plays and compact discs. In 1991-1992 he was the conductor of the Parana 12
piece Guitar Orchestra. In 1993 he returned to Brazil, where he now lives for part of the
year, and continues to teach and compose in the town of Curitiba, Paraná. For the rest of
year Jaime Zenamon lives in Berlin, where he continues his activities as an active
performer and prolific composer with the most of his works published at Verlag Neue
Musik (Margeaux, Berlin, Germany). In May 1996 he was commissioned by the Berlin
Symphony Orchestra to compose the piece Orakel for violin and orchestra. This
composition won first prize as best composition of the year in a competition organised by
Paul Woitschash Institute in Berlin. Besides his guitar productin, he has also composed
many works for cello, flute, oboe, chamber music, electroacoustic music and orchestra.
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b) Guitar works
Zenamon combines traditional and programatic styles of classical composition,
most of them inspired in literature and paintings. Besides to be a portraying the mating
ritual of the black widow spider and all its metaphoric meanings how women survive in a
sexist environment, the piece The Black Widow is organised with the following:
“Seduction”, a little elegiac prelude with free ornamentation pattern; “Dance and Love”,
with alternated rhythm patterns between binary and ternary, seventh chords and guitar
idiomatic effects; “Satisfaction” a pleasant song that symbolize the delightful feeling
when male is devoured by the female at the end (Example 12).
Example 5. Jaime Mirtenbaum Zenamon: The Black Widow. 5a) Sedução c. 1; 5b) Dança cc. 1-3;
5c) Satisfação cc 1-2.
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From the instrument aspect, it is possible notice influences from Heitor Villa-
Lobos and Leo Brouwer idiom, mainly between idiophonic resources, unexpected effects
using slurs and arpegios, natural and artificial harmonics, open strings in paralell chords
sequence improving the intensity and dynamic of the guitar. (Example 6).
Example 6 a) Jaime Mirtenbaum Zenamon: Homenagem a Ravel, IIo Lento – cc. 27-28
Example 6 b) Heitor Villa-Lobos: Estudo 11- cc. 23-25
Among Jaime Zenamon’s catalogue of hundred works, the occupies a central
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place, in aesthetic quality as well as in variety of instrumental combinantion. Until now, it
is possible to count more than 120 titles for guitar solo, guitar inside chamber music
groups, guitar concerts for string orchestras and large orchestra for one, duo and quartett
as a soloist, guitar combined with non-conventional instruments, as fan toys, and
electroacoustic music, great part of them published in Neue Verlag Music (A specif
department for contemporary music of the Margeaux Publisher, Berlin). Dispite his
knowledge as a guitar player, it is significant that so many of Zenamons’s known
composition are for guitar solo, duo, trio, quartet and guitar ensemble and they have been
recorded around the world by guitarist such as The Black Widow for solo guitar by Robert
Brightmore (U.K.) and Mario da Silva (Brazil), as soon as Casablanca and Monogamy for
guitar duo by Duo Amadeus. Besides his commitment to produce master pieces, like
Orakel for violin and orchestra comissioned by Berlin Symphony Orchestra in 1996,
Zenamon has created pieces with pedagogic goals. The Epigramas (1989) series consists
two volumes with 10 short pieces, each one showing specific issues for students such as
slurs (a very idiomatic guitar procedure to accomplish legatos) in Epigrama 17; melodic
line at down voice that must be detached by the thumb (right hand) and when alternated at
upper voice, detached with different means to strum the strings, stressed or strummed,
(coined by Carlevaro as toques apoyando and tirando), in Epigrama nº 13. In 24
Estampas, are applicable to guitar students of and according to ZENAMON the pieces
aim two basic musical functions: “to improve musical skills increasing gradually the
knowledge of 20th Century Music; and, to improve guitar technique skills, without forget
melodic, sonorities, rhythmic and dynamic sense”31.
31 ZENAMON, J.M. Epigramme, 20 leicht Stücke für Gitarre. Berlin: Margeaux, 1989. Preface,
p.1.
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Example 7. Jaime Zenamon: Epigramas nº 17 e 13 cc.1-2; Estampas nº 13 – cc. 1-2 e Estampas 15 - cc. 1-3.
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4.2.2 Guitarists from new generation born after 1953
4.2.2.1 Chico Mello
a) Biography
Chico Mello (Luiz Francisco Garcez de Oliveira Mello) Born in 1957 in Curitiba.
He studied private classes of counterpoint and composition with José Penalva and Hans-
Joachin Koellreutter (1978) respectively. Although his prime interest has been
composition, he developed career as a performer and played pieces with noticeable degree
as Mario Castelnuovo Tedesco’s (1895-1968) guitar concert Concerto in D (with piano
accompaniment). During his final concert to obtain Bachelor Degree (1984) at Escola de
Música e Belas Artes do Paraná (EMBAP), where he studied guitar with Jaime Zenamon
and Orlando Fraga, he played pieces by Garoto, Heitor Villa-Lobos (Studies no 5 and 12)
and debut his piece Do Lado do Dedo for guitar solo. From 1982 to 1985 he was
Harmony and Guitar Teacher at EMBAP and during those times his career as a composer
got increased. He recorded his first long play named Chico Mello e Helinho Brandão
(1985), recording composition for chamber music Água and Matraca; and the first
recording of Dança (1984) for guitar quartet. From 1987 to 1992, he was enrolled at
Berlin Hochschule der Künste where he attended Composition Classes with Dieter
Schnebel (b.1930) and Witold Szalonek (b. 1927). He still lives in Berlin since then, and
regulargly has been invited to participate as a composer and performer of his composition
in many contemporary music festivals such as Contemporary Music Festival in São
Paulo, Contemporary Music Meeting in Curitiba, New Music Festivalof
Donnaueschingen (Germany), Bourges Music Festival (France) and “Bang in a Can”
(New York, USA). Chico Mello got many scholarships and he had works commissioned
by instituitions like State Department of Culture (Berlin). Nowadays, he has been
envolved in a tour concert to show his last CD Do Lado da Voz (2000) given also lectures
concerning Brazilian Contemporary Music.
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b) Guitar works
The Chico Mello guitar output concentrats in pieces for chamber music with
guitar. Chico Mello style may be seen as a structure synthesis of composition procedures
learned in Penalva’s classes, and unstructured pieces and experimenters searching for a
new style, observed in procedures made by John Cage and new generation of Latin
América composers such as Leo Brouwer, Oscar Bazán and Coriun Aharonián.32. In Do
Lado do Dedo for solo guitar, the performer is instructed to change the guitar’s tune as
similar as in “viola caipira”, a popular instrument played in countrieside of Brazil brought
by the portugueses after 1500 (Example 8). The sound result is an ambiguous taste
between the cithara (oriental instrument) and the viola caipira. The resources used are
prepared instrument, in which the performer also is instructed to introduce a pen between
guitar’s frets and strings. Another unexpected sonority is when performer plays
percussions back to the fretboard, on the neck of the guitar. According to Chico MELLO
quem afirma:
Do Lado do Dedo concerns about the sensation of “finger tact” experience to play the guitar, expanding its limits as strummed and percussive instrument and, sometime, “preparing” the instrument in a “Cage’s sense”. The quick vibration due to microtonal tune during the slowly and repetitive percussion seems to bring the guitar closer to the body, simultaneously producing sound which remind Brazilian popular instruments, like berimbau and viola caipira. The guitar is an extension of ourselves. A friendly hand, a friend to sing together. Someone strumms it, caresses its strings, asks something, and a sound is the answer33.
32 MELLO, Laura Ritzmann de Oliveira. Comparações entre os procedimentos estéticos em
Julio Cortázar em o Jogo da Amarelinha e Chico Mello em Amarelinha (Comparisons between aesthetic procedures made by Julio Cortazar (Child Games Amarelinha) and Chico Mello (Amarelinha). Monography (Specialization Course in Aesthetic and Interpretation of 20th Century Music), EMBAP, Curitiba, 2001.
33 MELLO/OCOUGNE, C. S. Música brasileira de(s)composta. Chico Mello and Silva Ocougne, violão. Berlin: Wandelweisers, 1996. 1 CD (56’19): copact digital. Preface of Compact Disc cover written by Chico Mello.
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Example 8. Chico Mello: Do Lado do Dedo - 8a) c. 1, 15b) c. 2, 8c) c. 5, 8d) c. 15, 8e) c. 49
The system above is the sound resulting and the system below is the Scordatura - sound reading
Measure 13
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Percussion back to the soundboard
Chico Mello has benn experienced in many plays making composition and music
direction. Beside this, he has been involved with Theatre Music in which he also takes
part performing. Occasionaly, this procedure reflects in his works for guitar. Entre
Cadeiras (Between chairs, 1999) is a piece in which Mello uses elements obtained from
the scenic technique: the guitarist is instructed to play fragmented popular songs
interlinked between changes of chairs. The chairs are separated by more or less three
meters in a triangle position into the stage. The steps during the chairs changes are
organised in number and speed. In the chair 2, the guitarist plays and sings Minha Meia
Preta song, which is organised from the beggining, with short fragments, and when
noticeable features of the song entirely seems to apper at the end, it is interrupted; chair 3
, the guitarist plays and sings the tango Silêncio em La Noche by Carlos Gardel in a
opposite organization; and in the chair 1, both songs are performed simultaneously as
follow: guitar, with tango accompaniment played in staccato with long rests; song Minha
Meia Preta sung articulated only with percussive movement of lips and tongue, making
mouth seems to be a kind of soundboard (Example 9). The performer position at the stage
has instructed on the score (see Picture 1).
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Picture 1. Chico Mello: Entre Cadeiras.
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Example 9. Chico Mello: Entre Cadeiras (1999) –9a) Cadeira 1 – cc.1-3, 9b) Cadeira 2 – cc.1-2, 9c) Cadeira 3 – cc. 1-
2.
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4.2.2.2 Norton Dudeque
a) Biography
Norton Dudeque was born in Curitiba in 1958. From 1977 to 1978 he studied
classical guitar wiht Jaime Mirtenbaum Zenamon. In 1979, he was enrolled at Escuela
Universitária de Música de Montevidéu, Uruguay, where he studied guitar with Eduardo
Fernández, Abel Carlevaro and Harmony with Guido Santorsola. As his skills in analysis
improved in Uruguay, back to Curitiba he still studied Harmony, Counterpoint and
Analysis with conductor Osvaldo Colarusso in 1983. He did Bachelor on Guitar (1985) at
EMBAP and Master Degree on Guitar (1991) at University of Western Ontario, Canada,
attended at Alan Torok guitar class. From 1986 to 1989, he gave Guitar and Harmony
classes at EMBAP, and when returned from Canada, he gave guitar classes on the first
Specialization Music Graduate Course at EMBAP (Concerning 20th Century Music,
1992). Since 1992, he became faculty member of the Universidade Federal do Paraná
(University of Paraná, Art Academic Department), in Music Education Program, given
Advanced Form and Analysis classes. In 1994 he started to study composition in private
lessons with Hans-Joachim Koellreutter. He pusblished História do Violão (1994) (Guitar
History), the first book published concerning this subject in portuguese language, and
organised the Música Contemporânea Paranaense (Contemporary Music in Parana
State,1995) from the serie Parana Music Scores, sponsored by University of Parana.
Many active composers from the new generation had their works published into those
volumes such as Chico Mello (Dança for guitar quartet) and Rodolfo Richter (Piece for
Piano and Violin). Dudeque also did Master Degree in Musicology (1997) at
Universidade de São Paulo, USP, with Arnold Schoenberg’s writings as a subject. He did
PhD in Musicology (2002) at University of Reading (U.K.) under Jonathan Dunsby
tuttorial. Nowadays, he gives at University, besides his commitment as a composer,
musicologist and publisher.
b) Guitar works
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Although Norton Dudeque has a small output on guitar, it is important to
emphasize that his first piece wrote for guitar named Quarteto (1993) was recorded in
1998, by the world-renowed international guitar quartet Quarteto a Quatro from
Switzerland. It has been a tendency in Curitiba that part of guitar players migrates from
performance to composition activities. It happens also with Dudeque who has a
distinctive output previously with assimilated influences of american minimalism and
german serialism, structuring variation on thematic material, dynamic and texture. On the
other hand, in several pieces Dudeque created his own system to organize pitch combined
with duration, making melody and rhythm unpredictable. Example of these composition
process may be seem as: a) reiteration in Peça Para Violão 2 continuum (1996) and
Pintando o 7 (1997); b) system which consists organizing irregularly intervals and
duration in Peça para Violão 1 (1995). In this piece, the intervals chosen are 2nd and 9th
major and minor, and 7th major. The rests are organised from largest to smallest space
during the sound occurrence (Example 10).
Example 10. Norton Dudeque: Peça para Violão 1 (1995) para violão solo - cc. 1-9.
Concerning reiteration process, Peça para Violão 2 (1999) (cc. 1-9) is developed
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in modal style, combining ostinatos in 3th and 4th with a large melody line overlapped by
9th and 5th intervals (Example 11).
Example 11. Norton Dudeque: Peça para Violão 2 – Continuum (1996) para violão solo - cc. 1 - 9.
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4.2.2.3 Rogério Budasz
a) Biography
Rogério Budasz was Born in Curitiba, in 1964. He did bachelor diploma in
Classical Guitar (1992) at EMBAP, master degree in Musicology (1996) at Universidade
de São Paulo (USP) and PhD in Musicology (2001) at University of Southern California.
Although he was active as a performer at Quarteto de Violões de Curitiba, from 1987 to
1991, and Grupo Terra Canora (Early Music Group, 1991), he started to write pieces for
guitar and research in music history. Due to, he got a scholarship to the CNPq (1993-
1995) and Calouste Gulbenkian Foundation (1995-1996) to research in Portugal the
relationship between Colonial Brazilian Music and Iberian Music, and to the Foundation
Vitae (1997) to research changes of the Brazilian and Portuguese Music from the Baroque
period for guitar caused by the portuguese expeditions carrying and bringing instrument
which, transformed the music.
Rogério Budasz has been participating in music seminars giving lectures and also
publishing reviews and statements in music magazines. Moreover, an interesting research
by Budasz is a dissertation concerning the relationship between the jesuit priest José de
Anchieta and Iberian Cancioneiro. This research revealed a repertory praticated in Brazil
in XVIIth century and now the most up-to-date information available. The results was
showed in concerts and recordings by performers like Ana Maria Kiefer, Ricardo Kanji,
Grupo Vox Brasiliensis and Grupo Continens Paradisi. His PhD dissertation examines the
Portuguese Baroque guitar literature, concentrating relationship between Portugal, Brazil
and African Continent. He idealized and recorded the CD Música no tempo de Gregória
de Matos with Banza Group, which he was founder. Nowadays, Rogério Budasz gives
classes at Universidade Federal do Paraná (University of Paraná, Art Academic
Department), in Music Education Program.
b) Guitar works
Rogério Budasz output for guitar is amount only 3 pieces for guitar, all of then
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are featured by guitar idiophonic resources due to the domain of the classical and
contemporary guitar repertory studied by the composer in attending classes of Chico
Mello and Orlando Fraga. In Ritos (1991) for guitar quartet, the first section is constructed
with short notes reiteration, producing a moto continuo and creating gravitational fields
around note A (c.1), later D Sharp and B (c. 53, e cc. 75-78) (Example 12).
Example 12. Rogério Budasz: Ritos para quatro violões – 1a. seção.
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At the second section, the moto continuo is abandoned and a rhythmic motivic
material, developed later, takes place. (cc.94-97). The third section is featured with an
isorhythm structure (cc. 138-140) (Example 13).
Example 13. Rogério Budasz: Ritos para quatro violões – 2a e 3a seção.
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According to Budasz, the title Ritos (Rites) was chosen after he outlined the
structure of the first section, what it may seems like a “mystical music”. The introspective
and visionary aspect of this mystical sound taste is explored on the second section,
meanwhile the third section is stronger, more physical with a corporal state. Budasz adding:
“on the other hand, besides those obvious association, today I feel that the piece is more
related to the idea of circularity (and suspension, even in a illusion way) of the time”34.
34 Declaração feita por Rogério Budasz através de correio eletrônico, em 16 de janeiro de 2002.
Mário da Silva ([email protected])
4.2.2.4 Guilherme Campos
a) Biography
Guilherme Campos (Guilherme José Campos da Silva) was born in Curitiba, in
1966. He did bachelor diploma in Classical Guitar (1992) attending classes of Orlando
Fraga at EMBAP. He studied, in guitar courses and seminar, with Jaime Mirtenbaum
Zenamon, with guitar teachers from São Paulo State, Giácomo Bartoloni, Ângella Müner,
Henrique Pinto, Tadeu do Amaral and Leo Soares (Rio de Janeiro State). He studied
composition with Aylton Escobar (1985), José Penalva (1989) and João José Félix Pereira
(1991). He has been an active performer since 1987, recording his first Long Play with
Quarteto de Violões de Curitiba (1991), including his own composition Cidade 1987 for
guitar quartet. He has been working in music education and wrote a book concerning
teenagers subjects. Nowadays, he teachs music theory at Dom Bosco Elementary and
High School and guitar at Escola de Música e Belas Artes do Paraná.
b) Guitar works
Although the initial impetus was to write works with serialism style, Guilherme
Campos gave more interest to the indeterminate techniques combined with Brazilian
popular style. Due to, he coined a characteristic of his personal style in questioning, with
sense of humour, what is the real function of the traditional classical music concert?
Campos argues that recording technology contributes to deteriorate the critical and
reflexive hearing by the audience. In Balacubaco (1998) (cc. 1-44) after to play the guitar,
the performer starts the piece playing a match box (an “instrument” used to play samba at
favelas and poor comunities in Brazil) and, after finished the sequence, he throws the
match to the audience telling to them segura essa (that means: hold like this). It is very
commom in samba and choro groups practicing that some of the musician tells to
everybody segura essa! (that means: hold like this). The challenge of the fortunate
audience who catchs the match, is to make a good accompaniment of the follow section
on the guitar, with quick strong colors chords, complex articulation and irregular rhythm
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patterns (Example 14).
Example 14. Guilherme Campos: Balacubaco para violão solo – cc. 1-44
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4.2.2.5 Octávio Camargo
a) Biography
Octávio Camargo was born in Curitiba, in 1967. He did bachelor diploma in
Classical Guitar (1992) attending classes of Orlando Fraga at EMBAP. Octávio Camargo
is teacher of Harmony and Composition at Composition and Conducting Course at Escola
de Música e Belas Artes do Paraná. He developed works based on performance art which
can involve the audience with taste, smell and sounds available in the streets and not
practical with conventional theater. He has been working with four basic elements that
involves performance art: time, space, the performer's body and a relationship between
performer and audience. He created spectacles and intervention not advertised. The most
sucessfull performance created by him was Pé com cabeça (Foot with head), that earned
the recognition of the project Surface Tension: Problematics of Site Edited by Ken
Ehrlich & Brandon LaBelle. Besides his performance was chosen into this project, the
photography of the work was chosen too to be the cover book.
Surface Tension examines the conversations that occur as negotiations between cultural production and the place of its reception. Such conversations are underscored as inherently complex, embodying intersections of the imagined and the real, and the intensities surrounding art, performance and architectural productions that seek public potential. The anthology explores site-specific practice and its legacy through critical and creative essays by leading theorists, architects, and artists from around the globe35.
Camargo makes amalgamation of sound, scene and literary association, elements
that became an aesthetic action which significance is surfaced because of the corporal
presence of the performer.
35 Ken Ehrlich & Brandon LaBelle. Surface Tension: Problematics of Site, Edited by CD
selection by Stephen Vitiello Design by Louise Sandhaus Published by Errant Bodies Press with Ground Fault Recordings. Available in http://www.selektion.com/news/default.htm
Mário da Silva ([email protected])
b) Guitar works
Camargo output for guitar may be seen as a strong influence of the popular
Brazilian music and reiteration process. In Desafignado (1997) Camargo made a new
version of the worldwide song by Tom Jobim in which the lyrics (absent) is musically
commented between strangers bodies insertion, such as letter “g” on the title. The
structure of the piece is free and improvisatory. The melody line, always in arpegios,
seeks to explore the idiophonic sonority of the guitar, what the composer obtained
attended guitar classes and seminars (Example 15).
Example 15. Octávio Camargo: Desafignado (1996) para violão solo, mm. 1-9.
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4.2.3 Compositores não-violonistas da nova geração nascidos após 1953
4.2.3.1 João José Félix Pereira
a) Biography
João José Félix Pereira was born in Curitiba, in 1957, He did Bachelor Diploma
in Piano (1972) at Escola de Música e Belas Artes do Paraná. He did Bachelor in Singin
(1980) at Faculdade Paulista de Artes (School of Arts in São Paulo), where he was
attending at Sônia Kerkezian (Sing Classes), Bernardo Federowski (Conducting classes)
and Achille Pichi (Harmony and arrangements classes). Meanwhile doing the course he
started to attend at private Composition classes with Hans-Joachim Koellreutter. He
entered as a faculty member of EMBAP teaching Counterpoint (1983) and Harmony
(1984), as a substitute in José Penalva and Henrique Morozowicz’s chairs respectively.
He created the extension courses of Composition (1988) at EMBAP, which during many
students, it may be seen guitarists from Parana State as Guilherme Campos and Rogério
Budasz. He did Master degree in Semiology (1992) at PUC (Catholic University of São
Paulo), where he developed researchs inside Indian from Itatins Mountains, south of São
Paulo State. He translated from Ñandéva idiom to portuguese the statement “Ara Pyau”,
concerning about the great migration of Ñandéva tribe towards Atlantic Sea. Nowadays
he gives Counterpoint and Composition at EMBAP and gives lectures and master classes
concerning the art to make and to play the bambu (bamboo) flute. The João José Félix
Pereira’s36 output has 45 titles with a great variety of instrumentation. Besides works for
guitar solo, it can be seen: guitar inside chamber groups; piano and guitar; two pianos;
clarinet and piano; guitar duo and strings ensembles; flute, piano and percussion; piano,
saxophone and guitar, guitar quartets, choir and orchestra, orchestra with soloist
instruments, sing and instruments, chamber sing, choir with instruments. Due to his
36 PETRACA, Ricardo Mendonça. Um signo em expressão: maestro João José de Félix Pereira,
“Biografia e Catálogo de Obras: 1957-1995” (A sign of expression: J.J.Felix Pereira, Biography and Output. Monography (Specialization Course in Art History and Music) EMBAP, 1996. p. 48.
Mário da Silva ([email protected])
research concerning the wisdom of Guarani Indians in Brazil and their music practicing,
he made experimenters using indeterminate process, improvisation and unstructured
music.
b) Guitar works
The guitar production by João José Félix Pereira amounts 9 pieces: two for solo
guitar and others, chamber music with guitar inside, all of them with his first approach to
the serialism style. The first experimenters came with Suíte para Violão: Prelúdio,
Alman, Corranto, Sarabande, Pavane – Venetiana e Gigg (1979), blended suite form with
serialism organization; and Dois Fragmentos Microsseriais (1981) (Example 16).
Example 16. João José Félix Pereira: Suíte Antiga (1979) para dois violões. Prelúdio – cc. 1-2; Alman cc. 1-2.
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It would have been understandable, however, that while seeing most of guitarists
given opportunities to play contemporary music, he started to research more about the
instrument and wrote his master piece for guitar Toccata (1989), commissioned by
Orlando Fraga. The instrument gave him a range of new sonorities and figurations which
challenged his inventiveness, now in a huge proportion master piece. Therefore, it may be
seen in Toccata, a freedom of form and guitar idiomatic notation better than in earlier
pieces. The elements developed are: (1) artificial harmonic employed (Io Movement - cc.
29-31); (2) using pizzicatto a la Bartok para contraste de dinâmica (IIo Movement - cc.
19-20); (3) different articulation procedures (IIo Movement -c. 60) (Example 17a, 17b e
17c).
Example 17. João José Félix Pereira: Toccata 1987 para violão solo - Iº Movimento 17a ) cc. 29-31, IIº Movimento
17b) cc. 19-20 e 17c) c. 60.
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It is important to emphasize that Félix Pereira developed planimetria notation
system which he uses horizontal and vertical lines to represent form, texture, duration,
harmony, melody and rhythm.
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4.2.3.2 Carmo Bartoloni
a) Trajetória
Carmo Bartoloni was born in São Paulo, in 1956. He did Bachelor Diploma in
Percussion (1984) at Arts Institute of UNESP (University of São Paulo State), attending at
Composition and Conducting classes with Aylton Escobar, Henrique Gregori and Celso
Majola. He moved to Curitiba, where he is percussionist of Orquestra Sinfônica do Paraná
since 1985 and gives Percussion classes at EMBAP since 1986. He has been percussionist
of the Akros Contemporary Music Group in São Paulo. Nowadays he has doing Master
Degree in Musicology at UNESP.
b) Guitar works
The output for guitar by Carmo Bartoloni was wrote by the influence of chamber
music activities made with his brother and guitarist Giácomo Bartoloni. Carmo Bartoloni
uses traditional forms with tonal system. In Divertimento (1985), for guitar and
percussion, he developed ascendant melodic line in two voices on the vibraphone and an
ostinato (fa#, mi) at the central voice. The guitar acts as an ostinato in opposite direction
to the melodic line on the percussion. The 2nd major and the rhythmic structure of the
guitar instigates spanish features sonorities.
Example 18. Carmo Bartoloni: Divertimento (1985) para violão e um percussionista, cc. 21-26
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4.2.3.3 Harry Crowl
a) Biography
Harry Lamott Crowl Jr. Was born in Belo Horizonte, Minas Gerais State in 1958.
He went to United States in 1977 to study Viola at Westport School of Music and
Composition at Juilliard School of Music attending to Charles Jones classes. When
returned to Brasil in 1979, he studied Composition (1980) with Rufo Herrera and Willy
Correia de Oliveira at USP in Sao Paulo. In 1983 he moved to Brasília (DC), where he
was violist at Orquestra Sinfônica de Brasília (FOSB). He lived in Curitiba since 1994,
given Contemporary Music classes at EMBAP.
b) Works for guitar
Into his output for guitar has included works for guitar solo, great chamber music
groups with guitar inside. Among his works, Crowl shows serialism style with occasional
and almost unrecognizable tonal and modal procedures as it may be seen in Assimetrias
(1998) for guitar solo (Example 19). According to Harry Crowl:
The symphonic Idea of Assimetrias" is opposite to the intimist idea of the guitar.[…] The guitar is able for great music processes which, until now, belong to whom exclusively plays and writesto the instrument. Following a Brazilian Latin American tradition, I aimed create a work which could take the guitar possibilities with exceedingly sonorities as it may be seen in syntaxs used by Villa-Lobos, Ginastera and Brouwer. The genre of this work was a great challenge to me, because I am not guitarist. The result is a continue and bright sonority from this sonorous panel full of unexpected contrasts 37.
37 Interview given by Harry Crowl between e-mail, in 19/04/02.The work was recorded by Mário
da Silva into de Double CD Sonatas Austrais. HARRY CROWL, 2001
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Example 19. Harry Crowl: Assimetrias para violão solo, cc. 1-21
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4.2.3.4 Maurício Dottori
a) Trajetória
Maurício Dottori38 was born in Rio de Janeiro, in 1960. He did Bachelor Diploma
in Clarinet (1980) at Escola de Música Villa-Lobos attending José Botelho classes. He did
Composition course (1985) at Teatro Musical na Scuola di Musica di Fiesole, Italy. He
graduated Master Degree in Musicology (1991) at USP (University of São Paulo State)
and PhD in Musicology (1997) at University of Cardiff, Wales. He lived in Curitiba since
1992, when he became membership of faculty at EMBAP given Composition and
Counterpoint classes.
b) Works for guitar
He created startig by closed sets of non-traditional chords between
unconventional melody lines fragmented. The rhythm is organised alternating measured
and unmeasured duration simultanouosly. In And now the storm blast comes (1992) for
guitar quartet, Dottori uses mobiles which varies according to a maze. The work has
indeterminate procedures chosen by the guitarists with number organizazed from 1 to 8.
After the cell choice, the guitarist plays it endlessly. Although the procedure seems to be
indeterminate and improvisatory, the thinking of the piece is according to math principles.
38 PROSSER, Elisabeth Seraphim. Tendências da música contemporânea em Curitiba na
segunda metade do século XX (Tendences in Contemporary Music from Curitiba after 1950). III SIMPÓSIO LATINO AMERICANO DE MUSICOLOGIA, Fundação Cultural de Curitiba, 2000. p. 309-321.
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Example 20. Maurício Dottori: And now the storm blast comes. (1a. parte células 1 a 8)
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It is important to emphasize that the great contribution for guitar by Dottori, is
the creation of All that you know not to be is utterly true (2001), a piece in which the
guitar was included, with eletroacoustic and indeterminate procedures influenced by
Polish school of Krzystoff Penderecki (1933) and Witold Lutoslawski (1913). Probably,
this piece might be the first recording of an electroacoustic composition with guitar made
in Curitiba.
4.2.3.5 Fernando Riederer
a) Trajetória
Fernando Riederer was born in Rio de Janeiro, in 1977. He did Bachelor Diploma
in Composition and Conducting (2001) at EMBAP. He studied Composition and
Electroacoustic Music with Mauríco Dottori, Aesthetic and Experimental Music with
Octávio Camargo and Music History and Orchestration with Harry Crowl. He got a
scholarship from CAPES (1998), to study with the American composer Roger Reynolds
in extension course at UFGRS in Porto Alegre. He did extension courses at EMBAP
(1988), attending to Music History 1900-1950, given by Celso Loureiro Chaves, New
Technology: Music approach, by Fernando Iazzeta, and Contemporary Music Performing,
by Roberto Victório. He was encouraged to write for many groups such as Quarteto de
Cordas Araucária (Araucária String Quartet), and from unknown performers like Leilah
Paiva (piano), Denise Sartori (mezzo-soprano) and from the guitarist Orlando Fraga.
Riederer belongs to a new generation of composers from Parana State which become
from the Composition course at EMBAP.
b) Works for guitar
Fernando Riederer has as a style free serialism procedures, using indeterminate
process and open sections non-measurable. Dois Tempos (2002) is a work in two
movements for 4 flutes, guitar and 4 cellos, was commissioned by Orlando Fraga.
According to composer, the 1º Movement is a great variation made with excerts of
Concerto for flute and oboe by György Ligeti, wrote originally for string quartet in 1998.
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The 2º Movement, the guitar shows a quick ostinato with pitch independence from the
other voices which realize intervals inversion (Example 21). Riederer uses “distinctive
plans”, a term in which he concludes as a “poli-atonality”, according to Hindemith and
Dallapicolla theory about atonal harmony”39.
Example 21. Fernando Riederer: Dois Tempos. (Para Orlando Fraga), cc. 20-31.
39 Interview with the composer given in 08/10/2002.
Mário da Silva ([email protected])
BIBLIOGRAPHY
Books sources 1 Azevedo, Luiz Heitor Correia. 150 anos de Música no Brasil (1800-1950). Rio de
Janeiro: José Olympo, 1956. 2 Barbosa, Devos; Valdinha and Anne Marie. Radamés Gantalli: o eterno
experimentador. Rio de Janeiro: FUNARTE/ Instituto Nacional de Música, 1984. 3 Carlevaro, Abel. Escuela de La Guitarra - Expoposición de La Teoría Instrumental.
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America and popular music creator”; “Marxism and music as seen from the far south”. Festival de Oldenburg, Denmark, 5-7/11/1999.
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28 Prodóssimo, Valdomiro. Entrevista concedida ao autor. Curitiba, 28 maio 2001. Conservatório Villa-Lobos.
29 Prosser, Elisabeth Seraphim. Tendências da música contemporânea em Curitiba na
segunda metade do século XX. ANAIS III SIMPÓSIO LATINO AMERICANO DE MUSICOLOGIA, Fundação Cultural de Curitiba, 2000. p. 309-321.
30 Silva Jr, Mário. Música para Violão no Paraná. Violão Intercâmbio, Santos, n. 36,
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p. 4-8, mar./abr. 2000. 33 Tacuchian, Ricardo. Duas décadas de música de concerto no Brasil: tendências
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34 Teixeira, Moacyr Garcia Neto. Música contemporânea brasileira para violão
Dissertação (Mestrado em Música), UFRJ, 1996.
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Thesis, Dissertations and Monographies Sources 35 Bartoloni, Giácomo. Violão: a imagem que fez escola. Tese (Doutorado em Música )
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de Arnold Schoenberg. Dissertação de Mestrado em Musicologia - ECA-USP, 1997. 197 f.
37 Egg, André. “Tetraktys” para violão de Roberto Victório. Monografia (Curso de
Especialização em Estéticas e Interpretação na Música do Século XX), EMBAP, Curitiba, 2001.
38 Graças, Maria R J. Violão carioca: nas ruas, nos salões, na universidade - uma
trajetória. Dissertação de Mestrado em Música, UFRJ, 1995. 39 Mantelli, Ricardo. Jaime Zenamon: catálogo temático – violão solo (1974-1998).
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40 Mello, Laura Ritzmann de Oliveira. Comparações entre os procedimentos estéticos em Júlio Cortazar em o Jogo da Amarelinha e Chico Mello em Amarelinha. Monografia (Curso de Especialização em Estética e Interpretação da Música do Século XX), EMBAP, 2001.
41 Petraca, Ricardo Mendonça. Um signo em expressão: maestro João José de Félix
Pereira, Biografia e Catálogo de Obras: 1957-1995. Monografia (Curso de Especialização em História da Arte e Música na EMBAP), 1996.
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câmara com violão. Monografia (Curso de Especialização em Música de Câmara), EMBAP, 1998.
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Monografia (Mestrado em Música), UNIRIO, 2002. 44 Vetromilla, Clayton Daunis. Introdução à obra para violão solo de Guerra-Peixe.
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Compact Discs Cover Texts and Scores Preface Sources 45 Cameron, Pedro. Estudo programado de violão. São Paulo: Irmãos Vitale, 1978. 46 Dudeque, Norton Eloy. Música Contemporânea Paranaense. Partitura, Curitiba:
UFPR, 1994. 47 Mattos, Fernando. Sons perdidos. O violão na obra musical de Bruno Kiefer. Porto
Alegre, Encarte de Compact Disc, 2000.
48 Mello/Ocougne, C. S. Música brasileira de(s)composta. Berlim: Wandelweisers Records,1996. Encarte de Compact Disc.
49 Pinto, Henrique. Iniciação ao violão. São Paulo: Ricordi Brasileira, 1978. 50 _____. Curso progressivo de violão. São Paulo: Ricordi Brasileira, 1982. 51 Sávio, Isaías. Escola moderna de violão. São Paulo: Ricordi Brasileira, 1961. 52 Silva Jr, Mário. Nova música brasileira. Curitiba, Encarte de Compact Disc, 1997. 53 _____. Música contemporânea para violão desconstruída sob encomenda, Curitiba,
Encarte de Compat Disc, 2000. 54 Tacuchian, Ricardo. Imagem carioca, obras para violão. Escrito por Ricardo
Tacuchian, Rio de Janeiro, 2000. Encarte de Compact Disc. 55 Wolff, Daniel. Concerto à Brasileira. Porto Alegre, Encarte de Compact Disc, 2000. 56 Zanon, Fábio. Prefácio. In: SILVA JR, Mário. Música contemporânea para violão
desconstruída. Curitiba: Fundação Cultural de Curitiba, 2001. 57 Zenamon, Jaime M. 20 Epigramas. Partitura. Berlim: Ed. Margaux, Neue Musik, 1989