CD release recital propose

Batuque: A Panorama of the Modern Guitar Music from Brazil.

André Simão, Guitar, ©2019

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Paulo Bellinatti (1950-): Emboscada

Marco Pereira (1950-): O choro de Juliana

Ronaldo Miranda (1948-): Appassionata

João Luiz (*1979) Batuque

Sérgio Assad (1952-): Seis Brevidades: Saltitante

About this program

Being a guitarist and composer is almost redundant in Brazil. It seems that the restless artist has the need to create his language, his own voice in this universe of broken rhythms and rippling melodies on this earth. Perhaps the guitarist also has the urge to interpret not only the work, but the reality, his reality. A multiplicity of interpretive voices that can evoke the past; strengthen a characteristic of the present, or hide it by almost annulling it. Thus the composition panorama for the guitar in Brazil is constructed.

André Simão contemplates in this program all this wealth of voices that mixes the spaces and the places. Brazil can be the world. Rock, jazz, Spanish music, anything can fit in this Brazilian guitar that on the one hand synthesizes and on the other expands the influences. We are a miscegenated people, our art is mixed and André knew how to capture in a rare and special way what we are. In a game between the complex and the simple, where the two sometimes tangentiate, André is weaving a panel that covers here 40 years between the composition Jongo by Paulo Bellinati – the oldest piece that was composed between 1978-1982 – and the works Batuque by João Luiz and Dois Lugares by Alberto Mejia, most recent, both composed and dedicated to André Simão in 2015. These last two works, besides Rapsódia dos Malacos, by Marco Pereira were recorded on this album for the first time.

For many years the Brazilian Guitar has been an international musical label, mainly due to the diffusion of musical styles such as choro and bossa nova, and by the relevance of its best known interpreters like Garoto, Baden Powell and most recently Yamandu Costa. The creation of technically innovative works by symphonic composers such as Heitor Villa-Lobos, Marlos Nobre and Radamés Gnattali also reinforced this brand throughout the world: Brazilian Guitar.

The proposal of this program is to go beyond that. In presenting a panorama of the production of the Brazilian guitar, focusing on works inspired by the folkloric and urban rhythms of Brazil, besides pieces that present a fusion of national musical elements with jazz, with the tradition of classical music and with other influences, of course in these times of globalization and post-globalization, this instrument in Brazil has opened up to other sounds, other senses, without the fear of losing its creative force and its originality that never seem to end.

Although the program contains pieces of rhythmic character such as the works of Paulo Bellinati and Marco Pereira, there are works that are defined by the plurality and fusion of several musical influences, where some of them depart from the stereotype of Brazilian music, as is the case of the Appasionata by Ronaldo Miranda and much of the cycle Seis Brevidades composed by Sergio Assad.

Thus, a selection of works is presented in which the personal writing of each of these composers, in which the Brazilian inspiration is present in a more abstract or discreet way, revealing to the listener that the production of the current Brazilian guitar does not necessarily present stereotypes of Brazilian music , but that Brazilian touch may be just one of many other inspirations for the composition of idiomatic works and a sophisticated writing for this instrument.

Alberto Mejia 

English version by Beatriz Mejia