Mrio da Silva (mariodasilvaoi@hotmail.

com) THE CLASSICAL GUITAR IN PARANA STATE: A HISTORICAL STYLISTIC APPROACH

Mrio 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 Schoenbergs 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,

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 instruments 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 (19161994), Waltel Branco (b.1929), Jaime Mirtenbaum Zenamon (b.1953), Chico Mello (b.1957), Norton Dudeque (b.1958), Rogrio Budasz (b.1964), Guilherme Campos (b.1966), Octvio Camargo (b.1967), Arrigo Barnab (b.1951), Joo Jos Flix Pereira (b.1957), Carmo Bartoloni (b.1956), Harry Crowl (b.1958), Maurcio 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 Brancos aesthetic earned maturity. Waltel Branco has a close relationship with:
Henry Mancini (1923-1994), during this contact, Branco recorded a Long Play in

Mrio da Silva (mariodasilvaoi@hotmail.com)

1966 MANCINI TAMBM SAMBA (Mancini also means samba). Mrio 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 Brancos 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.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Joo Teixeira Guimares (1883-1947), or Joo 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), Radams Gnatalli (1906-1988), Camargo Guarnieri (1907-1993) and Guerra-Peixe (1914-1993). 2.1 Heitor Villa-Lobos1

Ano 1899 1900 1904 1908-12

Ttulo Mazurka in D Panqueca Valsa Concerto n 2 Sute Popular Brasileira Mazurka-Choro, Schottish-Choro, Valse-Choro, Gavotta-Choro, Chorinho Cano Brasileira Dobrado Pitoresco Quadrilha Tarantela Mazurka Simples Sexteto Mstico Choro n1 Modinha Doze Estudos Introduo ao Choros Distribuio de Flores ria da Bachiana n 5 Seis Preldios

Instrumentao Violo solo (partitura no localizada) Violo solo (partitura no localizada) Violo solo (partitura no localizada) Violo solo

1910 1910 1910 1910 1911 1917 1920 1925 1929 1929 1937 1938 1940

Violo e canto (partitura no localizada) Violo solo (partitura no localizada) Violo solo (partitura no localizada) Violo solo (partitura no localizada) Violo solo (partitura no localizada) Flauta, obo, sax alto, harpa, celesta e violo Violo solo Violo e canto Violo e canto Violo inserido na orquestra Violo e flauta Violo e canto Violo solo (Preldio 6, partitura no localizada)

FRAGA, Orlando. Heitor Villa-Lobos: A Survey on his Guitar http://www.rem.ufpr.br/REMv1.1/vol1.1/villa.html Last access November, 3rd, 2004.

Music.

See

Mrio da Silva (mariodasilvaoi@hotmail.com)

1943 1951 1958 Melodia potica do Sculo XVIII Concerto para violo e pequena orquestra Green Mansions Violo e canto Vioo e orquestra Violo inserido na orquestra

The guitar Brazilian scenery got impulse for its development after Heitor VillaLobos, 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 , Sute Popular Brasileira (1913), 12 Estudos (1929) and 5 Preldios (1941), chamber music, such as Sexteto Mstico (1917), for flute, oboe, saxophone, harp, celesta and guitar and Distribuio de Flores (1937), for flute and guitar, until the Concerto para violo 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 VillaLobos are: open strings followed by parallel chords that, even resulting in dissonance, improve the quality of guitars 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).

Mrio da Silva (mariodasilvaoi@hotmail.com)

2.2 Francisco Mignone

Ano S/ data 1953 1953 1953 1953 1970 1970 1970 1974 1975 1976 1976 1976 1976 1976 1980 1980 1981

Ttulo Cano da garoa e 4 Valsas Choro Minueto Fantasia Modinha Repinicando Brazilian Song 12 Estudos 12 Valsas Brasileiras em Forma de Estudos Preldio e Fuga Concerto Valsa de Esquina Variaes sobre o tema Luar do Serto de Catulo da Paixo Cearense Choro Dialogando O Impossvel Carinho Batuque 3 Valsas Brasileiras Choro

Instrumentao Duo de violes Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Duo de violes Violo e orquestra Violo solo Violo solo Voz e violo Voz e violo Voz e violo Violo solo Violo solo Duo de violes

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-Loboss 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 didnt 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.

Disponvel em http://planeta.terra.com.br/arte/violao_intercambio/ . Acesso em

01/01/02.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Radams Gnatalli

Ano 1933 1934 1943 1944 1946 1948 1948 1952 1954 1957 1957 1959 1959 1960 1960 1964 1966 1967 Ttulo Divertimento para 6 instrumentos Retratos Dana Brasileira Seresta Quarteto de Violes Concertino n 3 Concerto n 2 Concerto n 1 Uma rosa para Pixinguinha Brasiliana n 8 Concerto n 2 para violo e piano Sonata Sonata Sonatina Sonatina Concerto de Copacabana (Concerto no. 3) Sonatina Dez estudos para violo Estudo 1 para Turbio Santos. Estudo 2 para Waltel Branco, Estudo 3 para Jodacil Damaceno, Estudo 4 para Nelson Pil, Estudo 5 para Srgio 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. Concerto Brasileira n 4 Dedicado a Laurindo de Almeida Concerto para dois violes e orquestra Concerto para dois violes e orquestra de cordas Introduo e Choro Toccata em ritmo de samba para Waltel Branco Brasiliana n 13 Dedicado a Turbio Santos Suite 1.Pastoril 2.Toada 3. Frevo Instrumentao Violo, 2 pianos, acordeom, baixo e bateria 2 violes (Transcrio) Violo solo Violo, flauta e quarteto de cordas Transcrio para 4 violes do Quarteto no. 1 Violo, orquestra de cordas, flauta e tmpano Violo (7 cordas) e orquestra Violo e orquestra Violo, piano, 2 violes 2 violes, transcrio da formao original para 2 pianos Transcrio do Concerto no. 2 Flauta e violo Violoncelo e violo Cravo e violo Piano e violo Violo e orquestra de cordas Violoncelo e dois violes Violo solo

1967 1968 1968 1971 1981 1983 1988

Violo e orquestra de cordas Dois violes e orquestra Dois violes e orquestra de cordas Violino e violo Violo solo Violo solo Violo solo

Mrio da Silva (mariodasilvaoi@hotmail.com) Radams 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, Bartk and VillaLobos examples, because [...] they werent didatics, but composition focused in particular technical skills developed by his friends guitarists3. 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 Brasileira n 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.

GNATALLI, Radams. Dez Estudos para violo. Paris: Chanterelle Verlag, 1988. 1 partitura. Prefcio de Gennady ZALKOWITSCH, p.1. 4 WOLFF, Daniel. Encarte do Compact Disc Concerto Brasileira. Daniel Wolff, violo. Orquestra da Universidade Luterana do Brasil, Tiago Flores, regente. Porto Alegre: Fumproarte, 2000.

Mrio da Silva (mariodasilvaoi@hotmail.com)

2.4 Mozart Camargo Guarnieri

Ano 1944 1982 1982 1986

Ttulo Ponteio (dedicado a Abel Carlevaro) Estudo no. 2 Tranqilo Estudo no. 3 Sem Pressa Valsa Choro no. 2

Instrumentao Violo solo Violo solo Violo solo Violo 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-Loboss 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 Guarnieris 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 50s5.

TEIXEIRA NETO, Moacyr Garcia. Op. Cit, p. 35.

Mrio da Silva (mariodasilvaoi@hotmail.com) 2.2.5 Csar Guerra-Peixe

Ano 1946 1948 1966 1969 1969 1970 1970 1970 1973 1973 1979 1979 1979 1979 1979 1979 1979 1980 1980 1980 1981 1981 1981 1981 1981 1981 1983 Ttulo Trs Peas - I. Ponteio II. Acalanto III. Chro Sute - I. Ponteio II. Acalanto III. Chro Ponteado Sonata I. Allegro II. Larghetto III. Vivacissimo Dedicada a Turbio Santos Preldio n / Dedicada a Lo Soares Preldio n 2 (em forma de Estudo) Dedicada a Geraldo Verpar Preldio n 3 Dedicada a Slvio Serpa Costa Preldio n 4 Dedicada a Waltel Blanco Preldio n 1 Preldios I. Lua Cheia II. Isocronia III. Dana Fantstica IV.Canto do Mar V. Ponteado Nordestino Ldicas n 1 Fantasieta Dedicada a Nlio Rodrigues Ldicas n 2 Dana Dedicada a Nlio Rodrigues Ldicas n 3 Organum Dedicada a Nlio Rodrigues Ldicas n 4 Berimbau Dedicada a Nlio Rodrigues Ldicas n 5 Modinha Dedicada a Nlio Rodrigues Ldicas n 6 Ponteado Dedicada a Nlio Rodrigues Ldicas n 7 Dilogo Dedicada a Nlio Rodrigues Ldicas n 8 Diferencias Brasileas Dedicada a Nlio Rodrigues Ldicas n 9 Notas repetidas Dedicada a Nlio Rodrigues Ldicas n 10 Urbana Dedicada a Nlio Rodrigues Breves 1- I. Preldio alegre II. Breve cantiga III.Em cinco tempos Breves 2- I. Ligaduras II. Harmnicos naturais III. Arpejado Breves 3- I. Quatro ligadas II. Imperial III. Repetidas Breves 4- I. Unssonos II. Segundas III. Teras Breves 5- I. Quartas II. Quintas III. Sextas, tempo de paso-doble Breves 6- I. Stimas II. Oitavas III.Sucessivas Caderno de Mariza para violo - I. Entrada II. Violo a bordo III. Caprichosa IV.O menino da congada Instrumentao Violo solo Violo solo Violo solo (ou viola) Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo Violo solo

Quite the opposite of Radams Gnatalli, who has a huge production for chamber music with guitar and guitar concerts, Csar 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, GuerraPeixe, when writing to guitar, treats the instrument with autonomy, attaching specific skills that guitar evoques producing various and peculiars sonorities6. 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
VETROMILLA, Clayton Daunis. Introduo obra para violo solo de GuerraPeixe. Dissertao de Mestrado em Msica, Escola de Msica - UFRJ, 2002, p. 23.
6

Mrio da Silva (mariodasilvaoi@hotmail.com) with Brazilian popular music. He created a kind of Brazilian serialism named sries 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 chords8. 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 Turbio Santos (b.1943), the Duo Abreu - composed by brothers Srgio Abreu (b.1944) and Eduardo Abreu (b.1949), and the Duo Assad composed by brothers Srgio Assad and Odair Assad both duos from Rio de Janeiro. Turbio Santos made in November, 16th, 1962, the debut of Sexteto Mstico (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, Radams 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 Ceclia Meireles Theater (Rio de Janeiro), with Iber Gomes Grosso playing Cello, and the Concerto for Guitar Duo and Orchestra to Duo Assad (1968)9. Csar Guerra-Peixe dedicated the Sonata (1969) to Turbio Santos. Henrique Pinto (b.1941), Antnio Carlos Barbosa Lima (b.1944), Maria Lvia

NEVES, Jos Maria. Msica contempornea brasileira. So Paulo: Ricordi Brasileira, 1977,

p. 102. WOLFF Daniel. Encarte de Compact Disc Fbio Shiro: Recital Brasileiro (RBM 463 022)Porto Alegre, 2000.Disponvel em: www.assovio.com.br. Acesso em 28/06/2002. BARBOSA, V.; DEVOS, A. M. Radams Gnatalli: o eterno experimentador. Rio de Janeiro: FUNARTE/Instituto Nacional de Msica, 1984. Gravado pelo Duo Assad pela Continental com Orquestra Armorial de Pernambuco (no consta data), p.56.
9 8

Mrio da Silva (mariodasilvaoi@hotmail.com) So 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 Lvia So Marcos played the Concerto para violo 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.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Victrio (b.1959), Arthur Kampela (b.1960) and Alexandre Faria (b.1972). So Paulo: Srgio Vasconcellos Corra (1934-), Almeida Prado (b.1943), Paulo Bellinati (b.1950), Paulo Porto Alegre (b.1953) and Gicomo Bartoloni (b.1957). Rio Grande do Sul: Bruno Kiefer (1923-1987), Antnio Carlos Borges Cunha (b.1952), Fernando Lewis de Mattos (b.1966), Vincius Corra (b.1965) and Daniel Wolff (b.1967). Paran: Admar Garcia (1916-1994), Waltel Branco (b.1929), Arrigo Barnab (b.1951), Jaime Mirtenbaum Zenamon (b.1953), Carmo Bartoloni (b.1956), Chico Mello (b.1957), Joo Jos Flix Pereira (b.1957), Harry Crowl (b.1958), Norton Dudeque (b.1958), Maurcio Dottori (b.1960), Rogrio Budasz (b.1964), Guilherme Campos (b.1966), Octvio Camargo (b.1967) and Fernando Riederer (b.1977).

Mrio da Silva (mariodasilvaoi@hotmail.com)

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 diversification10. 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 1956 1974 1987 1994 2002 2002

Ttulo Preldio Ritmata Romanceiro Concerto Passacalha para Fred Schneiter Sonancias IV

Instrumentao Violo solo Violo solo Dois violes Dois violes e orquestra de cordas Violo solo Dois violes 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

TACUCHIAN, Ricardo. Duas dcadas de msica de concerto no Brasil: tendncias estticas. ANAIS DO XI ENCONTRO NACIONAL DA ANPPOM, Universidade de Campinas (UNICAMP), 24 a 28 de agosto 1998. Rio de Janeiro: UNICAMP, 1998, p. 2.

10

Mrio da Silva (mariodasilvaoi@hotmail.com) 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.

Mrio da Silva (mariodasilvaoi@hotmail.com) 3.1.2 Marlos Nobre11

Ano 1960 1960 1963 1966 1966 1966 1966 1968 1968 1968 1968 1968 1968 1968 1968 1968 1974 1975 1976 1977 1980 1980 1980 1982 1982 1983 1984 1984 1984 1985 1989 1989 1989 1990 1993 1993 1994

Ttulo 1 Ciclo Nordestino Op. 5b 1 Ciclo Nordestino Op. 5c 2 Ciclo Nordestino Op. 13b Dengues da Mulata Desinteressada Op.20b Beiramar Op.21c 3 Ciclo Nordestino Op.22b Modinha, op. 23 Desafio XVIII (Amaznia I) Op. 31/18 Desafio XIX Op.31/19 Desafio XX Op.31/20 Desafio XXI Op.31/21 Desafio XXII Op. 31/22 Desafio XXIII Op. 31/23 Desafio XXIII Op. 31/23b Desafio XXIV Op.31/24 Dia da Graa op. 32 Momentos I Op.41/1 Momentos II Op.41/2 Momentos III Op.41/3 Homenagem a Villa-Lobos Op. 46 Yanomami Op. 47 Sonncias II op. 48 Concerto Opus 51 Momentos IV Opus 54 Momentos V Opus 55 Trs Danas Brasileiras Op. 57 Momento VI Op. 62 Momentos VII Op. 63 Prlogo e Toccata Op. 65 Entrada e Tango Op. 67 Fandango Op. 69 Duo op. 71 Sonatina Op. 76 Reminiscncias Op. 78 Op. 31/18 (Amaznia I) Rememrias Op. 79 Concerto duplo Op. 82

Instrumentao Dois violes Violo solo Dois violes Voz e violo Voz e violo Dois violes Voz, flauta e violo Voz e violo Violino,violo e violoncelo Flauta,violo e violoncelo Violo e harpa Dois violes Violo e orquestra de cordas Violo e piano Conjunto de violes Voz e violo Violo solo Violo solo Violo solo Violo solo Coro misto, tenor solo e violo Flauta, violo, piano e percusso Violo e orquestra Violo solo Violo solo Dois violes Violo solo Violo solo Violo solo Violo solo Conjunto de violes Violo e percusso Dois violes Violo solo Voz e violo Violo Dois violes 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

NOBRE, Marlos. Lista de obras. http://sites.uol.com.br/marlosnobre/listaobras.html. Acesso em: 09/02/2002.

11

Disponvel

em:

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Srgio ASSAD dont use any limitation or restriction, techniqueal or stylistic, leaving the solution to the guitarists12. The Momentoss 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 Bartk played fortssimo, a shocking sound with great impact with umbigous interpretation: the imitation of berimbau (the instrument that has been used in Bahia by the capoeiras 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 dont think the guitars timbristic possibilities are yet totally understood by contemporary composers13. 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 inter-

COOPER, Colin. Marlos Nobre: Speaking Internationally, Colin views with Marlos Nobre, CLASSICAL GUITAR 12 n3, November, 1993, p. 13.
13

Ibid., p. 14.

Mrio da Silva (mariodasilvaoi@hotmail.com)

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 instrument14.

3.1.3 Ricardo Tacuchian

Ano 1964 /66 1978

Ttulo Canes Ingnuas (com 2a verso em 2000) Libertas quae sera tamen

Instrumentao Violo e voz mdia Flautas doce (soprano 3, contralto 1, tenor 1), violo, 3 percussionistas (atabaque, agog, tringulo, guizos e sinos), narrador e pblico Dois violes Violo solo Violo solo Violo solo Violo solo Dois violes Quatro violes Violo solo Violo solo Violo solo Violo solo Violo solo Violo e flauta Violo solo

1980 1981 1986 1986 1986 1986 1987 1988 1996 1996 1996 1996 1997 1999

Impulsos n 1 Ldica I (a Turbio Santos) Ldica II (a Hans J. Koellreutter) Evocando Manuel Bandeira (a Paulo Pedrassoli, 2a. verso em 1996) Maxixando (a Graa Allan, 2a. verso em 1996) Impulsos n 2 (a Jos Siqueira) Imagem Carioca Profiles (a Michael McCormick) Nos Tempos do Bonde (a Turbio Santos) Largo do Boticrio (a Maria Haro) Festas da Igreja da Penha (a Edelton Gloeden) Parque do Flamengo (a Nicolas de Souza Barros) Evocao a Lorenzo Fernandez Pprica (a Bartholomeu Wiese)

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 Ldica I (1981), Impulsos I (1984) for guitar duo, Ldica II (1986) and Profiles (1988). On the other hand, the composer doesnt give up nationalist features. In his cycle Srie Rio de Janeiro, TACUCHIAN affirmed to make a musical synthesis starting with genres that was born and grew up in Rio de Janeiro,

14 15

Ibid., p. 14. TEIXEIRA NETO, op. Cit, p. 28.

Mrio da Silva (mariodasilvaoi@hotmail.com) becoming a prototype of Brazilian popular music16. The works from this cycle are Evocando Manuel Bandeira, Maxixando, Nos Tempos do Bonde, Largo do Boticrio, Festas da Igreja da Penha e Parque do Flamengo, all written for brazilian guitarists.

TACUCHIAN, Ricardo. Texto do encarte do Compact Disc Imagem carioca, obras para violo. Rio de Janeiro: ABM Digital, 2000.

16

Mrio da Silva (mariodasilvaoi@hotmail.com) 3.1.4 Roberto Victrio

Ano 1980 1984 1984 1986 1986 1987 1988 1989 1989 1990 1994 1994 1997 1998 Ttulo Para Flores e Estrelas 5 Miniaturas Colnia de Pssego 5 Miniaturas Trs Peas Cantantes Estudos Sintticos Dois Cnticos para o Sol Miniaturas Choro Misto Tretraktys Cruzar e Bifurcaes Concerto de Cmara Introsfera Cerrados Instrumentao Voz aguda e violo Dois violes Flauta e dois violes Quatro violes Trs violes Violo solo Voz mdia e violo Grupo de choro Grupo de choro Violo solo Flauta, clarinete, trombone baixo, violino, contrabaixo, violo e bartono Flauta, violo e grupo de cmara Clarinete, violo, cello e percusso Grupo de choro

Roberto Victrio17 (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 Cuiab, 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, Grznjan 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 Grznjan, Yugoslavia. In 1995 his Concerto for Flute, guitar and Chamber Ensemble was premiered by Duo Most-Kunz and Grupo Novo Horizonte de So Paulo directed by Graham Griffiths in the studios of Danish Radio Copenhagen and was later broadcast. He wrote several works for guitar,

EGG, Andr. Tetraktys para violo de Roberto Victrio. Monografia (Curso de Especializao em Estticas e Interpretao na Msica do Sculo XX), EMBAP, Curitiba, 2001.

17

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 date18.

3.1.5 Arthur Kampela

Ano 1981/2 1983 1988 1990/3 1994

Ttulo Balada Fandango Polimetria Percussion Study I e II Textorias

Instrumentao Violo solo Violo solo Quarteto de violes preparado Violo solo Gerao por computador e violo

Arthur Kampela (b.1960) studied private classes of composition with HansJoachim 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.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 1992 1993 1996 1997 1999 2001

Ttulo Orao Entoada Concerto n.1 Preldio n.1 "Olhos de uma Lembrana" Concerto n.2 "Mikulov" Preldio n.2 "A morte do desejo"

Instrumentao Fagote e violo (transcrio pelo autor para violino e violo) Violo solo Violo e orquestra Violo solo Violo e orquestra de cordas Violo 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 Kings 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 Violo e Orquestra de Cordas (1999), this last one Fbio 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 20

See more about The Tapping technique in: www.kampela.com/bio.htm Declarao feita por Alexandre FARIA em 05/05/01.

Mrio da Silva (mariodasilvaoi@hotmail.com) 3.2 So Paulo

The output by new generation composers from So 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 Gicomo Bartoloni.

3.2.2 Almeida Prado

Ano 1972

Ttulo Ritual da Palavra

1973 1974 1980 1980 1983 1987

Portrait de Dagoberto Livro para Seis Cordas Sonata Celebratio Amoris et Gaudii (Celebracion de Iamour et de la joie) Poesildio no.1 Lira de Dona Brbara Eliodora Cantata Colonial

1996 1996 1997

As 4 Estaes Sonata Tropical (Com muita Alegria, Scherzo, Modinha, Batucada) Louvor Universal Salmo 148

Instrumentao Bartono, coral (soprano, contralto, tenor e baixo); flauta, obo, clarinete, , 2 pianos, violino e violoncelo Violo solo Violo solo Violo solo Coral (soprano, contralto, tenor e baixo)e violo Violo solo Soprano e Tenor coral (soprano, contralto, tenor e baixo). Orquestra [2 flautas, 2 obo, 2 clarinetes, 2 fagotes, 4 trompas, 2 trombones, 2 percussionistas: vibrafone, tam-tam, marimba, campana, tmpano, piano, 3 violes, violinos 1 e 2, viola, violoncelo e contra-baixo] Violino e Violo Dois violes Piano, sax soprano (ou clarinete), sax alto, 3 sax tenor, sax bartono, 5 trumpetes, 4 trombones, vibrafone, xilofone, campana, tubular, prato suspenso, .5 ton-tons, 4 timpanos, glocken spiel, violo e contrabaixo

Almeida Prado (b.1943) (Jos 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.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Turbio Santos. Forward, in the 1980s, Prado wrote polarizing different skill levels: a) Sonate n1 (1981), to Dagoberto Linhares, in which Almeida Prado uses expanding tonality, syncopated rhythm cells, changes of time signature and shifted artificial stressing; b) and Poesildio n1 (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 Gicomo Bartoloni (b.1957), from So Paulo; Bruno Kiefer (1923-1987), Antnio Carlos Borges Cunha (b.1952), Fernando Lewis de Mattos (b.1966), Vincius Corra (b.1965) and Daniel Wolff (b.1967), from Rio Grande do Sul.

Mrio da Silva (mariodasilvaoi@hotmail.com) 4 THE GUITAR IN PARANA STATE 4.1 HISTORICAL TIME LINE AND APPROACH
Waltel Branco (b.1929) Composer, arrangment and guitar teacher Walter Pereira da Silva Constncio de Sousa Eugnio Martins Cecy Mascarenhas Mrcio Ferreira da Luz Teachers and performers Admar Garcia (1916-1994) Founded the first Guitar Association in Curitiba

1947 ESCOLA DE MSICA E BELAS ARTES DO PARAN (EMBAP). The first music college estabilished in Parana. June-1953, Concert given by Andrs Segovia in Curitiba

Valdomiro Prodssimo (b.1944) Guitar teacher and VillaLobos Conservatoire director

Jaime M. Zenamon (b.1953) Composer. Created the first guitar course at EMBAP in 1978

Jos 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.

Joo Jos Felix (b.1957) Composer and Counterpoint teacher at EMBAP

Arrigo Barnab (b.1951) Composer Mrio da Silva (b.1962) Performer, researcher and guitar teacher at EMBAP Rogrio Budasz (b.1964) Scholar and Music History Teacher at EMBAP Guilherme Campos (b.1966) Composer. Guitar and Music Education Teacher at EMBAP Luiz Cludio Ferreira (b.1965) Performer and guitar teacher at EMBAP.

Carmo Bartoloni (b.1956) Composer and Percussion teacher at EMBAP

Harry Crowl (b.1958)

Maurcio Dottori (b.1960)

Octvio Camargo (b.1967)

Composer and Music History Teacher at EMBAP

Composer and Counterpoint teacher at EMBAP

Composer and Harmoy teacher at EMBAP

Fernando Riederer (b.1977) Student of Composition at EMBAP em 2002

Mrio da Silva (mariodasilvaoi@hotmail.com) The first recordings written concerning classical guitar activities in Paran State are from 1930s. We can proof that according with a document found at Professor Admar Garcias (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 Trrega. This arrangement was made by Walter Pereira da Silva in September, 11th, 1934 in Curitiba and Isaias Svio (signed by Svio in Belo Horizonte, Capital of Minas Geraes State). A second important document found from Garcias 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 Constncio 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: Mrcio Ferreira da Luz (Constncio de Sousas student) and Admar Garcia (Eugnio Martinss 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 Paran. In February of 1965, the State Department of Culture sponsored a master class given by the fine Brazilian guitarist Maria Lvia So Marcos (b.1946). Other recordings concerning classical guitar activities in Paran in the middle of 20th century were the Radio Programs, in which the Choro Groups and Brazilian Popular Music Ensemble played mainly at PRB2, Tingi and Guayrac Radios. But, it was just in the 1960s that Radio Programs improved the musical issues and brought more information about classical guitar. In 1965, Mrcio 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, Andrs 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 crnica encontra-se na ntegra no tem ANEXO 2.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Braslio Itiber) in 1952. Curitiba became part of guitar history in Brazil when in June, 10th, 1953, SCABI sponsored a concert given by Andrs Segovia. The recital was number 207 from the 9th season and happened at Clube Concrdia Hall22. In spite of is difficult to affirm, the relationship between the concert by Andrs 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 Mara Luisa Anido (19071996) 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 Concrdia 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.

SCABI. Andrs Segovia a histria do violo: Recital (Andrs Segovia is the history of guitar: Guitar Recital. Gazeta do Povo Newspapper, June, 9. 1953, p. 3. SAMPAIO, Marisa Ferraro. Reminiscncias musicais de Charlotte Frank (Music remembrances by Charlotte Frank). Curitiba: Ltero Tcnica, 1984, p. 199.
23

22

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Constncio 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 So 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 Violo (APV, guitar academy of Parana) and guitar teacher at Conservatrio Carlos Wesley, is probably the first to be included into a respectable music institution in Paran. Although his pedagogic concepts were closely to Tarregas 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 Prodssimo. Valdomiro Prodssimo (b.1944)25 nowadays is Director of Conservatrio VillaLobos in Curitiba, institution that was created in 1981 by him and the pianist Jane Soares de Souza Prodssimo, 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 Prodssimo since 1992, with 14 musicians and one CD recorded alive. In this CD the orchestra recorded traditional repertory like Concerto em R 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).

Informations provided on a interview given by choro guitar player Oscar Fraga to Mrio da Silva , in 5 June 2001. Until this moment, it couldnt find any recordings or documents concerning Cecy Mascarenhas and Constncio de Sousa in Curitiba and Rio de Janeiro. Informations provided on a interview given by Valdomiro Prodssimo at Conservatrio VillaLobos, Curitiba, 28 May 2001.
25

24

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Amrica went there to give classes like Jorge Martinez Zarate (1923-1993) and Roberto Aussel (b.1954), from Argentina, and Abel Carlevaro and Eduardo Fernndez (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 So 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 Bolvia but now living in Curitiba since 1970, organised and created the basic guitar course at EMBAP in 1978. The brightest Zenamons 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 Fundao 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 Gicomo Bartoloni (So Paulo), and other countries like Srgio Fernandes Cabrera, Eduardo Baranzano and Jos Fernandez (Uruguay). Orlando Fraga did special effort to put Classical Guitar Course at Oficina de Msica de Curitiba in 1983. This Festival is very traditional with worldwide reputation. Fraga also did the same with the Festival de Msica de Londrina in 1984. Besides Fraga, most Zenamons students had fine position at the musical life such as Norton Dudeque and Chico Mello. Norton Dudeque was guitarist until 1988, and since

Mrio da Silva (mariodasilvaoi@hotmail.com) 1993 he has been working with composition and musicology. Chico Mello, in Paran, 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 Paran, born around 1960s, were Orlando Fragas students. They are working nowadays into many fields of music activities in Paran: Composition, Performing, Teaching and Researching. Mrio da Silva has been working in those four fields and his recordings on compact discs did special attention on Paran guitar production; Guilherme Campos works with music education and composition altogether; Rogrio Budasz, guitar player in the past until 1992, today has been working with musicology and teaching; Luiz Cludio Ferreira (b.1965) (He attended classes with Prodssimo 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 Albniz 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 Cludio Ferreira and Mrio da Silva, attended at guitar lessons by Henrique Pinto in private classes, guitar festivals, seminars or master classes. The Henrique Pintos background is diversified. Although he has knowledge of South Amrica and European Guitar School, he had an accurate sense of observation during his friendship with Abreus 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 Paran with a wordy and worldwide production, Jos 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. Jos Penalva was professor at EMBAP in

26

It could find a short piece for mezzo soprano and guitar by Jos Penalva named Hino ao Beato

Mrio da Silva (mariodasilvaoi@hotmail.com) classes of Counterpoint and Fugue, Contemporary Music, Analysis and Aesthetic. In addition, Penalva cooperated with the foundation of Pr-Msica 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 Msica de Curitiba. Composers who have been taking part of this research and were oriented towards Penalvas teaching: Chico Mello, in private lessons of Composition and Counterpoint; Norton Dudeque and Joo Jos Flix Pereira, Counterpoint studies at EMBAP; and Guilherme Campos, in 20th Century Music and Composition classes at Oficina de Msica de Curitiba. Jos Penalva was an intellectual mentor and responsable for many features of contemporary guitar repertory in Paran, 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 Joo Jos Flix 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 Maurcio 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 Barnab studied piano class at EMBAP from 1971 to 1973, but did his master degree in Composition at USP (So Paulo University) in 1974. Although Arrigo

Jos Manyanet (1988). PROSSER, E. S. Um olhar sobre a msica de Jos Penalva: catlogo comentado. (A look over Penalvas music: catalogue) Curitiba: Champagnat, 2000.

Mrio da Silva (mariodasilvaoi@hotmail.com) Barnab 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.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Paran after 1953, with a career started in the 80s: Chico Mello, Norton Dudeque, Rogrio Budasz, Guilherme Campos and Octvio Camargo; and (3) non-guitarrist composers born after 1953, concerning mainly composers from another States: Arrigo Barnab, Joo Jos Flix Pereira, Carmo Bartoloni, Harry Crowl, Maurcio 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 instruments 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 instruments possibilities. The Faculty of the Graduate Course in Composition and Conducting at EMBAP is: composers Maurcio Dottori (b.1960), Harry Crowl (b.1958), Joo Jos Flix Pereira and Octvio Camargo (b.1967), and the composer and musicologist Rogrio Budasz and others. In 1997, the Composition and Conducting Department received significant contribution given by the German composer Bertold Trcke (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

Mrio da Silva (mariodasilvaoi@hotmail.com) course, from Parana. Besides composers linked to Composition and Conducting Department of EMBAP, others have been producing for guitar, such as Carmo Bartoloni from So Paulo, but living in Curitiba since 1985.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Paran from 1940s. He studied guitar with Eugnio 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 Garcias student was Valdomiro Prodssimo, 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 Brancos piece whom Garcia had relationship with. Five pieces are from the 1940s, written in the countryside of Paran. The two last ones, in 1964 and in 1971, written in Curitiba. The Garcias 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

It couldnt find any information about Eugnio Martins. This information is based upon a review by APV anonymous and without date.

27

Mrio da Silva (mariodasilvaoi@hotmail.com) 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).

Mrio da Silva (mariodasilvaoi@hotmail.com)

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

Mrio da Silva (mariodasilvaoi@hotmail.com) 4.2.1.2 Waltel Branco

a) Biography Waltel Branco28 was Born in November, 22, 1929, in Paranagu (an important harbor at Parana State). He studied guitar with Oscar Cceres and Othon Salero (Andrs Segovias student), in Rio de Janeiro in the 50s.29 In 1953, Branco took the place of Jos Menezes in the Radams Gnatalli Sextet in Rio de Janeiro. In the same year, Branco met Garoto (Anbal Augusto Sardinha) and was his step at Surdina Trio, with the following members: Garoto (guitar), Faf Lemos (violin) and Chiquinho do Acordeom (Acordeom). In 1962 he enrolled at Lorenzo Fernandes Conservatoire (Rio de Janeiro), where he studied Composition with Cludio 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 Andrs Segovias 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 Artstica in So Paulo, Branco performed pieces by Radams Gnatalli and Guerra-Peixe for guitar solo, his own and by Jos Menezes chamber music composition.

Biography information of Waltel Branco got from the: (1) interview with Mrio da Silva Junior in May, 30, 2001, at Brancos home in Curitiba; (2) Magazine Cine Radio ACTUALIDAD MONTEVIDU. MAR/1955. Year II no. 972; (3) Magazine DIREO (Brasil), 1955. 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.
29

28

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Paran and, in that year, Director of Fundao 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 So 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 Brancos works is the combination between traditional classical styles with popular music genres like waltzs, milongas, choros and sambas. S Nata Brasileira no. 1 (1991) in three movements, (Preldio, 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).

Mrio da Silva (mariodasilvaoi@hotmail.com)

Example 2: Waltel Branco: S Nata Brasileira 2a) Preldio cc. 1-4, 2b) Acalanto cc. 1-4 e 2c) Ponteio cc. 1-4.

Preldio

Acalanto

Ponteio

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Hermnio Belo de Carvalho, popular music show producer; and Ninho de Cobra, to Jacob do Bandolims Choro Group. One of the Brancos 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 Clssico (Melonome Turbio Santos), Choro no. 2 Lembranas (Melonome Rafael Rabello) and Valsa Amorosa (Melonome Laurindo de Almeida). (Example 3).

Example 3. Waltel Branco: Chorojongo no. 3 a Nlio Rodrigues, cc. 1-4.

Mrio da Silva (mariodasilvaoi@hotmail.com) 4.2.1.3 Arrigo Barnab a) Biography Arrigo Barnab was Born in Londrina, Paran, in 1951. He studied piano at EMBAP from 1971 to 1973, did Graduate Degree in Composition at Escola de Comunicao 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 Barnab made composition with atonal and twelve-tone technique features. His avant-garde works were recorded on Long-Plays Clara Crocodilo (1980) and Tubares 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 Pea para dois pianos, percusso 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 Paran. In 2001 Barnab with So Paulo Orchestra debuted his first opera O Homem dos Crocodilos - Um Caso Clnico em Dois Atos (The Crocodile Man Combining Psychoanalysis with Contemporary Music), a with Argentinian play writer Alberto Muoz. In 2003 Barnab wrote a Mass to Arthur Bispo do Rosrio (Dedicated to his best friend Itamar Assuno).

b) Guitar works Arrigo Barnab 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 composio musical. So Paulo: EDUSP, 1993, p.186.

Mrio da Silva (mariodasilvaoi@hotmail.com)

Example 4. Arrigo Barnab: 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.

Mrio da Silva (mariodasilvaoi@hotmail.com)

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, Paran. 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.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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) Seduo c. 1; 5b) Dana cc. 1-3; 5c) Satisfao cc 1-2.

Mrio da Silva (mariodasilvaoi@hotmail.com) From the instrument aspect, it is possible notice influences from Heitor VillaLobos 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 Zenamons catalogue of hundred works, the occupies a central

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Zenamonss 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 n 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 sense31.

31

ZENAMON, J.M. Epigramme, 20 leicht Stcke fr Gitarre. Berlin: Margeaux, 1989. Preface,

p.1.

Mrio da Silva (mariodasilvaoi@hotmail.com)

Example 7. Jaime Zenamon: Epigramas n 17 e 13 cc.1-2; Estampas n 13 cc. 1-2 e Estampas 15 - cc. 1-3.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Jos Penalva and HansJoachin 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 Tedescos (1895-1968) guitar concert Concerto in D (with piano accompaniment). During his final concert to obtain Bachelor Degree (1984) at Escola de Msica e Belas Artes do Paran (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 Brando (1985), recording composition for chamber music gua and Matraca; and the first recording of Dana (1984) for guitar quartet. From 1987 to 1992, he was enrolled at Berlin Hochschule der Knste 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 So 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.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Penalvas classes, and unstructured pieces and experimenters searching for a new style, observed in procedures made by John Cage and new generation of Latin Amrica composers such as Leo Brouwer, Oscar Bazn and Coriun Aharonin.32. In Do Lado do Dedo for solo guitar, the performer is instructed to change the guitars 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 guitars 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 Cages 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.

MELLO, Laura Ritzmann de Oliveira. Comparaes entre os procedimentos estticos em Julio Cortzar 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. MELLO/OCOUGNE, C. S. Msica brasileira de(s)composta. Chico Mello and Silva Ocougne, violo. Berlin: Wandelweisers, 1996. 1 CD (5619): copact digital. Preface of Compact Disc cover written by Chico Mello.
33

32

Mrio da Silva (mariodasilvaoi@hotmail.com)

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

Mrio da Silva (mariodasilvaoi@hotmail.com)

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 Silncio 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).

Mrio da Silva (mariodasilvaoi@hotmail.com)

Picture 1. Chico Mello: Entre Cadeiras.

Mrio da Silva (mariodasilvaoi@hotmail.com)

Example 9. Chico Mello: Entre Cadeiras (1999) 9a) Cadeira 1 cc.1-3, 9b) Cadeira 2 cc.1-2, 9c) Cadeira 3 cc. 12.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Universitria de Msica de Montevidu, Uruguay, where he studied guitar with Eduardo Fernndez, 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 Paran (University of Paran, 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 Histria do Violo (1994) (Guitar History), the first book published concerning this subject in portuguese language, and organised the Msica Contempornea 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 (Dana for guitar quartet) and Rodolfo Richter (Piece for Piano and Violin). Dudeque also did Master Degree in Musicology (1997) at Universidade de So Paulo, USP, with Arnold Schoenbergs 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

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Pea Para Violo 2 continuum (1996) and Pintando o 7 (1997); b) system which consists organizing irregularly intervals and duration in Pea para Violo 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: Pea para Violo 1 (1995) para violo solo - cc. 1-9.

Concerning reiteration process, Pea para Violo 2 (1999) (cc. 1-9) is developed

Mrio da Silva (mariodasilvaoi@hotmail.com) 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: Pea para Violo 2 Continuum (1996) para violo solo - cc. 1 - 9.

Mrio da Silva (mariodasilvaoi@hotmail.com) 4.2.2.3 Rogrio Budasz

a) Biography Rogrio 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 So Paulo (USP) and PhD in Musicology (2001) at University of Southern California. Although he was active as a performer at Quarteto de Violes 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 (19931995) 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. Rogrio 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 Jos 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 Msica no tempo de Gregria de Matos with Banza Group, which he was founder. Nowadays, Rogrio Budasz gives classes at Universidade Federal do Paran (University of Paran, Art Academic Department), in Music Education Program. b) Guitar works Rogrio Budasz output for guitar is amount only 3 pieces for guitar, all of then

Mrio da Silva (mariodasilvaoi@hotmail.com) 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. Rogrio Budasz: Ritos para quatro violes 1a. seo.

Mrio da Silva (mariodasilvaoi@hotmail.com)

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. Rogrio Budasz: Ritos para quatro violes 2a e 3a seo.

Mrio da Silva (mariodasilvaoi@hotmail.com)

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 time34.

34

Declarao feita por Rogrio Budasz atravs de correio eletrnico, em 16 de janeiro de 2002.

Mrio da Silva (mariodasilvaoi@hotmail.com) 4.2.2.4 Guilherme Campos

a) Biography Guilherme Campos (Guilherme Jos 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 So Paulo State, Gicomo Bartoloni, ngella Mner, Henrique Pinto, Tadeu do Amaral and Leo Soares (Rio de Janeiro State). He studied composition with Aylton Escobar (1985), Jos Penalva (1989) and Joo Jos Flix Pereira (1991). He has been an active performer since 1987, recording his first Long Play with Quarteto de Violes 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 Msica e Belas Artes do Paran. 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

Mrio da Silva (mariodasilvaoi@hotmail.com) patterns (Example 14).

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

Mrio da Silva (mariodasilvaoi@hotmail.com) 4.2.2.5 Octvio Camargo

a) Biography Octvio Camargo was born in Curitiba, in 1967. He did bachelor diploma in Classical Guitar (1992) attending classes of Orlando Fraga at EMBAP. Octvio Camargo is teacher of Harmony and Composition at Composition and Conducting Course at Escola de Msica e Belas Artes do Paran. 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 P com cabea (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 35 globe .

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.

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

35

Mrio da Silva (mariodasilvaoi@hotmail.com) 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. Octvio Camargo: Desafignado (1996) para violo solo, mm. 1-9.

Mrio da Silva (mariodasilvaoi@hotmail.com) 4.2.3 Compositores no-violonistas da nova gerao nascidos aps 1953

4.2.3.1 Joo Jos Flix Pereira

a) Biography Joo Jos Flix Pereira was born in Curitiba, in 1957, He did Bachelor Diploma in Piano (1972) at Escola de Msica e Belas Artes do Paran. He did Bachelor in Singin (1980) at Faculdade Paulista de Artes (School of Arts in So Paulo), where he was attending at Snia 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 Jos Penalva and Henrique Morozowiczs 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 Rogrio Budasz. He did Master degree in Semiology (1992) at PUC (Catholic University of So Paulo), where he developed researchs inside Indian from Itatins Mountains, south of So Paulo State. He translated from andva idiom to portuguese the statement Ara Pyau, concerning about the great migration of andva 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 Joo Jos Flix Pereiras36 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 Mendona. Um signo em expresso: maestro Joo Jos de Flix Pereira, Biografia e Catlogo 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.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Joo Jos Flix 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 Sute para Violo: Preldio, Alman, Corranto, Sarabande, Pavane Venetiana e Gigg (1979), blended suite form with serialism organization; and Dois Fragmentos Microsseriais (1981) (Example 16).

Example 16. Joo Jos Flix Pereira: Sute Antiga (1979) para dois violes. Preldio cc. 1-2; Alman cc. 1-2.

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 dinmica (IIo Movement - cc. 19-20); (3) different articulation procedures (IIo Movement -c. 60) (Example 17a, 17b e 17c).

Example 17. Joo Jos Flix Pereira: Toccata 1987 para violo solo - I Movimento 17a ) cc. 29-31, II Movimento 17b) cc. 19-20 e 17c) c. 60.

Mrio da Silva (mariodasilvaoi@hotmail.com) It is important to emphasize that Flix Pereira developed planimetria notation system which he uses horizontal and vertical lines to represent form, texture, duration, harmony, melody and rhythm.

Mrio da Silva (mariodasilvaoi@hotmail.com) 4.2.3.2 Carmo Bartoloni a) Trajetria Carmo Bartoloni was born in So Paulo, in 1956. He did Bachelor Diploma in Percussion (1984) at Arts Institute of UNESP (University of So 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 Sinfnica do Paran since 1985 and gives Percussion classes at EMBAP since 1986. He has been percussionist of the Akros Contemporary Music Group in So 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 Gicomo 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 violo e um percussionista, cc. 21-26

Mrio da Silva (mariodasilvaoi@hotmail.com) 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 Braslia (DC), where he was violist at Orquestra Sinfnica de Braslia (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.

Interview given by Harry Crowl between e-mail, in 19/04/02.The work was recorded by Mrio da Silva into de Double CD Sonatas Austrais. HARRY CROWL, 2001

37

Mrio da Silva (mariodasilvaoi@hotmail.com)

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

Mrio da Silva (mariodasilvaoi@hotmail.com) 4.2.3.4 Maurcio Dottori

a) Trajetria Maurcio Dottori38 was born in Rio de Janeiro, in 1960. He did Bachelor Diploma in Clarinet (1980) at Escola de Msica Villa-Lobos attending Jos 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 So 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.

PROSSER, Elisabeth Seraphim. Tendncias da msica contempornea em Curitiba na segunda metade do sculo XX (Tendences in Contemporary Music from Curitiba after 1950). III SIMPSIO LATINO AMERICANO DE MUSICOLOGIA, Fundao Cultural de Curitiba, 2000. p. 309321.

38

Mrio da Silva (mariodasilvaoi@hotmail.com)

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

Mrio da Silva (mariodasilvaoi@hotmail.com)

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) Trajetria 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 Maurco Dottori, Aesthetic and Experimental Music with Octvio 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 Victrio. He was encouraged to write for many groups such as Quarteto de Cordas Araucria (Araucria 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 1 Movement is a great variation made with excerts of Concerto for flute and oboe by Gyrgy Ligeti, wrote originally for string quartet in 1998.

Mrio da Silva (mariodasilvaoi@hotmail.com) The 2 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 harmony39.
Example 21. Fernando Riederer: Dois Tempos. (Para Orlando Fraga), cc. 20-31.

39

Interview with the composer given in 08/10/2002.

Mrio da Silva (mariodasilvaoi@hotmail.com) BIBLIOGRAPHY Books sources 1 Azevedo, Luiz Heitor Correia. 150 anos de Msica no Brasil (1800-1950). Rio de Janeiro: Jos Olympo, 1956. 2 Barbosa, Devos; Valdinha and Anne Marie. Radams Gantalli: o eterno experimentador. Rio de Janeiro: FUNARTE/ Instituto Nacional de Msica, 1984. 3 Carlevaro, Abel. Escuela de La Guitarra - Expoposicin de La Teora Instrumental. Buenos Aires: Barry, 1979. 4 Digenes de, O. J. Violo Brasileiro, 80 anos. Prefeitura Municipal de Paulicia, 1981. 5 Dudeque, Norton Eloy Histria do violo. Curitiba: UFPR, 1997. 6 Mariz, Vasco. Cludio Santoro. Rio de Janeiro: Civilizao Brasileira, 1994. 7 _____. Histria da msica no Brasil. 5 ed. rev. ampl. Rio de Janeiro: Nova Fronteira, 2000. 8 Neves, Jos Maria. Msica contempornea brasileira. So Paulo: Ricordi Brasileira, 1977. 9 ______. Villa-Lobos, sua obra. 3. ed. Rio de Janeiro: Museu Villa-Lobos, 1989, 3a. ed. 10 Prosser, Elisabeth Seraphim. Um olhar sobre a msica de Jos Penalva: catlogo comentado. Curitiba: Champagnat, 2000. 11 Sampaio, Marisa Ferraro. Reminiscncias musicais de Charlotte Frank. Curitiba: Ltero Tcnica, 1984. 12 Schoenberg,Arnold. Fundamentos da composio musical. Trad. De: Eduardo Seincman. So Paulo: Universidade de So Paulo, 1993. 13 Teixeira, Moacyr Garcia Neto. Msica contempornea brasileira para violo. Vitria: A1, 1996. 14 Turnbull, H.; HECK, T.F. Guitar. The New Groves Dictionary, Londres, 1983.

Mrio da Silva (mariodasilvaoi@hotmail.com) Magazine interview, pappers and web pages sources 15 Aharonin, Coriun . Some relationships between revolutionary movements in Latin America and popular music creator; Marxism and music as seen from the far south. Festival de Oldenburg, Denmark, 5-7/11/1999. 16 Barnab, Arrigo. Available www.entrecantos.com/arrigo. 17 Bhague, Gerard. The search to Brazilian Soul: Villa-Lobos 18 Branco, Waltel Branco. Entrevista concedida ao autor. Curitiba 10 abr. 1998/30 maio 2001. 19 Budasz, Rogrio. Sobre a msica no Paran. Gazeta do Povo, Curitiba, 25 set. 1995. Caderno G. 20 Carvalho, Leandro. A msica para violo de Heitor Villa-Lobos e Joo Pernambuco. ANAIS DO I SIMPSIO LATINO-AMERICANO DE MUSICOLOGIA. Fundao Cultural de Curitiba, 1998, p. 255-264. 21 Costa Lima, Paulo. Ernest Widmer e o ensino de composio musical na Bahia. Salvador: Fazcultura/Copene, 1999. 22 Dudeque, Norton Eloy. Schoenberg e a funo tonal. REM-Revista Eletrnica de Musicologia, Disponvel em: www.cce.ufpr.br/~rem Acesso em 14/05/2001 v. 2.1 out. 1997 . 23 Egg, Andr. A obra para violo de Roberto Victrio. Violo Intercmbio, Santos, n. 47, 7, p. 23-26, 2001. 24 Fraga, Orlando. O violo no Paran. REM-Revista Eletrnica de Musicologia. Disponvel em: www.cce.ufpr.br/~rem; http://www.cce.ufpr.br/~ofraga/disc.html Acesso em: 22/02/2001. 25 Fraga, Oscar. Entrevista concedida ao autor. Curitiba, 5 jun. 2001. 26 Nobre, Marlos. Lista de obras. Disponvel em: http://sites.uol.com.br/marlosnobre/listaobras.html Acesso em: 09/02/2002 27 Pscoa, Mrcio. Cludio Santoro. Disponvel em: http://www.visitamazonas.com.br/Acesso em: 15/12/2001.

Mrio da Silva (mariodasilvaoi@hotmail.com) 28 Prodssimo, Valdomiro. Entrevista concedida ao autor. Curitiba, 28 maio 2001. Conservatrio Villa-Lobos. 29 Prosser, Elisabeth Seraphim. Tendncias da msica contempornea em Curitiba na segunda metade do sculo XX. ANAIS III SIMPSIO LATINO AMERICANO DE MUSICOLOGIA, Fundao Cultural de Curitiba, 2000. p. 309-321. 30 Silva Jr, Mrio. Msica para Violo no Paran. Violo Intercmbio, Santos, n. 36, Ano 7, p. 23-25., jul./ago. 1999. 31 Simes, Ronoel. The Guitar in Brazil. Guitar Review, Nova Iorque, n. 22, p .6, 1958. 32 Souza, Marcio. Entrevista com Daniel Wolff. Violo Intercmbio, Santos, n. 40, a. 7, p. 4-8, mar./abr. 2000. 33 Tacuchian, Ricardo. Duas dcadas de msica de concerto no Brasil: tendncias estticas. ANAIS DO XI ENCONTRO NACIONAL DA ANPPOM, Universidade de Campinas (UNICAMP), 24 A 28 de agosto 1998. Rio de Janeiro: UNICAMP, 1998, 1-4. 34 Teixeira, Moacyr Garcia Neto. Msica contempornea brasileira para violo Dissertao (Mestrado em Msica), UFRJ, 1996.

Mrio da Silva (mariodasilvaoi@hotmail.com) Thesis, Dissertations and Monographies Sources 35 Bartoloni, Gicomo. Violo: a imagem que fez escola. Tese (Doutorado em Msica ) UNESP, 1995 36 Dudeque, Norton Eloy. Harmonia tonal e o conceito de monotonalidade nos escritos de Arnold Schoenberg. Dissertao de Mestrado em Musicologia - ECA-USP, 1997. 197 f. 37 Egg, Andr. Tetraktys para violo de Roberto Victrio. Monografia (Curso de Especializao em Estticas e Interpretao na Msica do Sculo XX), EMBAP, Curitiba, 2001. 38 Graas, Maria R J. Violo carioca: nas ruas, nos sales, na universidade - uma trajetria. Dissertao de Mestrado em Msica, UFRJ, 1995. 39 Mantelli, Ricardo. Jaime Zenamon: catlogo temtico violo solo (1974-1998). Monografia (Curso de Especializao em Esttica e Interpretao da Msica do Sculo XX). EMBAP, 2001. 40 Mello, Laura Ritzmann de Oliveira. Comparaes entre os procedimentos estticos em Jlio Cortazar em o Jogo da Amarelinha e Chico Mello em Amarelinha. Monografia (Curso de Especializao em Esttica e Interpretao da Msica do Sculo XX), EMBAP, 2001. 41 Petraca, Ricardo Mendona. Um signo em expresso: maestro Joo Jos de Flix Pereira, Biografia e Catlogo de Obras: 1957-1995. Monografia (Curso de Especializao em Histria da Arte e Msica na EMBAP), 1996. 42 Silva Jr, Mrio. A msica experimental paranaense e o repertrio de grupos de cmara com violo. Monografia (Curso de Especializao em Msica de Cmara), EMBAP, 1998. 43 Silva Jr, Mrio. O Violo no Paran: Uma abordagem Histrico-Estilstica. Monografia (Mestrado em Msica), UNIRIO, 2002. 44 Vetromilla, Clayton Daunis. Introduo obra para violo solo de Guerra-Peixe. Dissertao de Mestrado em Msica, Escola de Msica - UFRJ, 2002.

Mrio da Silva (mariodasilvaoi@hotmail.com) Compact Discs Cover Texts and Scores Preface Sources 45 Cameron, Pedro. Estudo programado de violo. So Paulo: Irmos Vitale, 1978. 46 Dudeque, Norton Eloy. Msica Contempornea Paranaense. Partitura, Curitiba: UFPR, 1994. 47 Mattos, Fernando. Sons perdidos. O violo na obra musical de Bruno Kiefer. Porto Alegre, Encarte de Compact Disc, 2000. 48 Mello/Ocougne, C. S. Msica brasileira de(s)composta. Berlim: Wandelweisers Records,1996. Encarte de Compact Disc. 49 Pinto, Henrique. Iniciao ao violo. So Paulo: Ricordi Brasileira, 1978. 50 _____. Curso progressivo de violo. So Paulo: Ricordi Brasileira, 1982. 51 Svio, Isaas. Escola moderna de violo. So Paulo: Ricordi Brasileira, 1961. 52 Silva Jr, Mrio. Nova msica brasileira. Curitiba, Encarte de Compact Disc, 1997. 53 _____. Msica contempornea para violo desconstruda sob encomenda, Curitiba, Encarte de Compat Disc, 2000. 54 Tacuchian, Ricardo. Imagem carioca, obras para violo. Escrito por Ricardo Tacuchian, Rio de Janeiro, 2000. Encarte de Compact Disc. 55 Wolff, Daniel. Concerto Brasileira. Porto Alegre, Encarte de Compact Disc, 2000. 56 Zanon, Fbio. Prefcio. In: SILVA JR, Mrio. Msica contempornea para violo desconstruda. Curitiba: Fundao Cultural de Curitiba, 2001. 57 Zenamon, Jaime M. 20 Epigramas. Partitura. Berlim: Ed. Margaux, Neue Musik, 1989