Radamés Gnattali

Discussions relating to the classical guitar which don't fit elsewhere.
CGCristian92
Posts: 46
Joined: Sun Jul 03, 2016 3:27 am
Location: NYC

Re: Radamés Gnattali

Post by CGCristian92 » Fri Apr 12, 2019 5:34 am

rafitas123 wrote:
Tue Oct 02, 2018 3:58 pm
markworthi wrote:
Tue Oct 02, 2018 2:42 pm

Excellent-- please do! I can only understand every third of fourth word in Portuguese (the ones that sound like Spanish), and I look forward to hearing, in general, what you find out.

All the best,

Mark
Zanon talks about the end of the barrier the classical and popular forms of arts. It is now a normal practice (at least in Brazil) but 60-70 years ago, the big european influence originated from the immigrants in Brazil was against it.

Gnattali was both a pioneer and a main voice in the academy when bridging concert and the instrumental popular music of the time.

(Dança Brasileira, dedicated to Laurindo Almeida, a concert study comes in)

Even though he was a virtuoso at the piano, Gnattali appreciated the guitar and knew how to play it. In the 40s he got in contact with the great guitar players from the radio that had a classical background (Laurindo Almeida, Zé Menezes and Garoto).

(Toccata em Ritmo de Samba I comes in, the first solo guitar piece from Gnattali) - compares the rhythm from the piece with the samba from the 40s and relates to the syncopation presented in jazz. This piece is significant since it elevates the Samba as a concert music, thing that the population of the time would never even consider about the genre.

(Toccata em Ritmo de Samba II comes in) The first 3 pieces are the concert studies and were made in 31 years.

The 10 studies for the guitar were made in one year, 1967, they are not as complex as the concerts but lay down the styles of the brazilian guitar and present new ideas compared with the other studies of the brazilian guitar (Villa Lobos and Mignone). While the Villa Lobos studies are the most played, Mignone had 30 of ostracism until they were rehabilitated. Gnattali is in between hidden as secret from the students who should have been the target audience.

The first study, which was dedicated to Turibio Santos, consists in a series of syncopated arpeggios heavily influenced by Villa Lobos.

The second study, has a different harmonization process (as a chromatic sequence) which seems to melt. Gnattali was heavily criticized by the Choro player for dismantling the genre. It is a Waltz Seresta (don’t know how to translate this word!) dedicated to Valteo Blanco.

The third study, is an irregular arpeggio study (as opposed to the first study), the main melody follows a Jobim song and is dedicated to Jodacil do Amaceno.

The fourth study, has a pentatonic melody and is a Toada (popular country rhythm). Has 2 variations one based in arpeggios and another in parallelism. The study is dedicated to Nelson Piló.

The fifth study is completely different from the rest of the collection, 3 strings change their tuning to imitate the Viola Caipira (cebolão). The piece incorporate the harmonic mistakes made from the players of this folk instrument and their music (Música Caipira). It is dedicated to Sérgio Abreu, one of the most renowned classical players, showing the sense of humor of the composer.

The sixth study seems like a samba-bossa nova. Since it has no clear tonal center it seems ambiguous and has some elements of improvisation that appears frequently on his work. It is dedicated to Geraldo Vespá.

The study number seven is another piece influenced by Villa Lobos and a tribute to Carlos Barbosa Lima.

The eight study is a song with an interrogative melody, a touch of blues and a chromatic harmonization. The theme gets clearer as the song progresses until it comes back to its original mysterious form. It is dedicated to Darci Villa Verde.

The ninth study, dedicated to Eduardo Abreu, is one of the most challenging of the 10, following a Frevo rhythmic pattern and hard drills.

The last study of the collection is dedicated to Garoto (a close friend of Radamés and revolutionary player) and based on one of his most famous choros, Gracioso.

In the 80s he wrote 2 solo guitar concert pieces, the one played in the program is Brasiliana N13. This piece is divided in 3 movements, Valsa, Choro and Samba, these rhythms are already diluted from their original parts making the piece similar to the jazz compositions of the time.
Hey man, i just wanted to say thanks so much for posting this! I really appreciate it!

User avatar
Henrique Rievers
Posts: 34
Joined: Sat Oct 14, 2017 4:26 pm
Location: Berlin, Germany

Re: Radamés Gnattali

Post by Henrique Rievers » Sun Apr 14, 2019 10:52 am

Luis_Br wrote:
Thu Apr 11, 2019 8:13 pm
About the Gnatalli studies. Here in Brazil a lot of guitar students play several of them. I think it is only not very well known outside Brazil. Besides Villa-Lobos, hardly other Brazilian composers are played outside Brazil. But I think it is natural. It also happens in other countries. Only the most famous ones are generally played.
you are correct! and its a shame Gnatalli is not well known outside Brazil. He wrote many wonderful solo pieces, chamber music with guitar and 4 concerts for guitar and orchestra
Henrique Rievers

Samuel Carvalho 2006 SP/BR
Irmãos Carvalho 7S6 2014 CD

rafitas123
Posts: 48
Joined: Wed May 03, 2017 3:27 pm

Re: Radamés Gnattali

Post by rafitas123 » Fri Apr 26, 2019 8:25 am

Luis_Br wrote:
Thu Apr 11, 2019 8:13 pm
rafitas123 wrote:
Tue Oct 02, 2018 3:58 pm
The second study, has a different harmonization process (as a chromatic sequence) which seems to melt. Gnattali was heavily criticized by the Choro player for dismantling the genre. It is a Waltz Seresta (don’t know how to translate this word!) dedicated to Valteo Blanco.
Just a correction, the correct name is Waltel Branco, who was an important Brazilian composer, arranger and guitarrist. Waltel met Henry Mancini and was part of his crew. For example, Waltel is the arranger of the famous Pink Panther Theme. In Brazil there was a recent pubication of Waltel pieces for solo guitar, distributed for free to musicians. Mostly short pieces. Edson Lopes plays a few pieces by Waltel in his youtube channel.

About the Gnatalli studies. Here in Brazil a lot of guitar students play several of them. I think it is only not very well known outside Brazil. Besides Villa-Lobos, hardly other Brazilian composers are played outside Brazil. But I think it is natural. It also happens in other countries. Only the most famous ones are generally played.
Thank you for the information Luis, I did not knew about Waltel's work, I am going to check that! Even though I am from Brazil, most of my musical education happened outside the country so it is really nice to know that people value Radamés!

Abraços,
Rafael

rafitas123
Posts: 48
Joined: Wed May 03, 2017 3:27 pm

Re: Radamés Gnattali

Post by rafitas123 » Fri Apr 26, 2019 8:26 am

CGCristian92 wrote:
Fri Apr 12, 2019 5:34 am
rafitas123 wrote:
Tue Oct 02, 2018 3:58 pm
markworthi wrote:
Tue Oct 02, 2018 2:42 pm

Excellent-- please do! I can only understand every third of fourth word in Portuguese (the ones that sound like Spanish), and I look forward to hearing, in general, what you find out.

All the best,

Mark
Zanon talks about the end of the barrier the classical and popular forms of arts. It is now a normal practice (at least in Brazil) but 60-70 years ago, the big european influence originated from the immigrants in Brazil was against it.

Gnattali was both a pioneer and a main voice in the academy when bridging concert and the instrumental popular music of the time.

(Dança Brasileira, dedicated to Laurindo Almeida, a concert study comes in)

Even though he was a virtuoso at the piano, Gnattali appreciated the guitar and knew how to play it. In the 40s he got in contact with the great guitar players from the radio that had a classical background (Laurindo Almeida, Zé Menezes and Garoto).

(Toccata em Ritmo de Samba I comes in, the first solo guitar piece from Gnattali) - compares the rhythm from the piece with the samba from the 40s and relates to the syncopation presented in jazz. This piece is significant since it elevates the Samba as a concert music, thing that the population of the time would never even consider about the genre.

(Toccata em Ritmo de Samba II comes in) The first 3 pieces are the concert studies and were made in 31 years.

The 10 studies for the guitar were made in one year, 1967, they are not as complex as the concerts but lay down the styles of the brazilian guitar and present new ideas compared with the other studies of the brazilian guitar (Villa Lobos and Mignone). While the Villa Lobos studies are the most played, Mignone had 30 of ostracism until they were rehabilitated. Gnattali is in between hidden as secret from the students who should have been the target audience.

The first study, which was dedicated to Turibio Santos, consists in a series of syncopated arpeggios heavily influenced by Villa Lobos.

The second study, has a different harmonization process (as a chromatic sequence) which seems to melt. Gnattali was heavily criticized by the Choro player for dismantling the genre. It is a Waltz Seresta (don’t know how to translate this word!) dedicated to Valteo Blanco.

The third study, is an irregular arpeggio study (as opposed to the first study), the main melody follows a Jobim song and is dedicated to Jodacil do Amaceno.

The fourth study, has a pentatonic melody and is a Toada (popular country rhythm). Has 2 variations one based in arpeggios and another in parallelism. The study is dedicated to Nelson Piló.

The fifth study is completely different from the rest of the collection, 3 strings change their tuning to imitate the Viola Caipira (cebolão). The piece incorporate the harmonic mistakes made from the players of this folk instrument and their music (Música Caipira). It is dedicated to Sérgio Abreu, one of the most renowned classical players, showing the sense of humor of the composer.

The sixth study seems like a samba-bossa nova. Since it has no clear tonal center it seems ambiguous and has some elements of improvisation that appears frequently on his work. It is dedicated to Geraldo Vespá.

The study number seven is another piece influenced by Villa Lobos and a tribute to Carlos Barbosa Lima.

The eight study is a song with an interrogative melody, a touch of blues and a chromatic harmonization. The theme gets clearer as the song progresses until it comes back to its original mysterious form. It is dedicated to Darci Villa Verde.

The ninth study, dedicated to Eduardo Abreu, is one of the most challenging of the 10, following a Frevo rhythmic pattern and hard drills.

The last study of the collection is dedicated to Garoto (a close friend of Radamés and revolutionary player) and based on one of his most famous choros, Gracioso.

In the 80s he wrote 2 solo guitar concert pieces, the one played in the program is Brasiliana N13. This piece is divided in 3 movements, Valsa, Choro and Samba, these rhythms are already diluted from their original parts making the piece similar to the jazz compositions of the time.
Hey man, i just wanted to say thanks so much for posting this! I really appreciate it!
My pleasure!

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