Papper Violao Brasil Mario Da Silva

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,


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


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.


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.


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).


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.


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


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.


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.


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.


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.


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.


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).


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.


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.


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.


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 interviews with Marlos Nobre, CLASSICAL GUITAR 12 n°3, November, 1993, p. 13. 13 Ibid., p. 14.


“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.


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.


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.


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.


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.


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.


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.


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


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.


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.


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.


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


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


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.


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.


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


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.


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.


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).


Example 1. Admar Garcia: Piece Without Title (1945).


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.


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).


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


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.


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.


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.


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.


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.


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


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.


Example 7. Jaime Zenamon: Epigramas nº 17 e 13 cc.1-2; Estampas nº 13 – cc. 1-2 e Estampas 15 - cc. 1-3.


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.


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.


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


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).


Picture 1. Chico Mello: Entre Cadeiras.


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.


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


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


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.


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


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.


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.


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.


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


patterns (Example 14).

Example 14. Guilherme Campos: Balacubaco para violão solo – cc. 1-44


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


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.


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.


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.


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.


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.


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


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


Example 19. Harry Crowl: Assimetrias para violão solo, cc. 1-21


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.


Example 20. Maurício Dottori: And now the storm blast comes. (1a. parte células 1 a 8)


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.


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.


BIBLIOGRAPHY

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