{"id":951,"date":"2020-06-16T12:17:27","date_gmt":"2020-06-16T15:17:27","guid":{"rendered":"https:\/\/www.ramiropinheiro.com\/web\/?p=951"},"modified":"2023-11-29T19:03:27","modified_gmt":"2023-11-29T22:03:27","slug":"suite-retratos-anacleto-de-medeiros-brazilian-music-barcelona","status":"publish","type":"post","link":"https:\/\/www.ramiropinheiro.com\/web\/suite-retratos-anacleto-de-medeiros-brazilian-music-barcelona\/","title":{"rendered":"Suite Retratos: Anacleto de Medeiros [Brazilian Music Barcelona]"},"content":{"rendered":"<p><iframe title=\"Brasounds Home Sessions #7 - Suite Retratos: Anacleto de Medeiros (Schottisch)\" width=\"1060\" height=\"596\" src=\"https:\/\/www.youtube.com\/embed\/7qom3PE8qsY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p>Suite Retratos: Anacleto de Medeiros [<strong>Brazilian Music Barcelona<\/strong>]<\/p>\n<p>Quim Oll\u00e9 Freixas &#8211; Flauta Baixo<br \/>\nSanti Burgos &#8211; Bandolim e Arranjo<br \/>\nRamiro Pinheiro &#8211; Violao<\/p>\n<p>Waldemar Ramos &#8211; V\u00eddeo<br \/>\nPablo Andr\u00e9s Gim\u00e9nez &#8211; \u00c1udio<\/p>\n<p>Gravado ao vivo em Barcelona<\/p>\n<p>**********************<\/p>\n<p>Faz algum tempo fui convidado a gravar essa adapta\u00e7\u00e3o da terceira parte da Su\u00edte Retratos de Radam\u00e9s Gnattali &#8211; Retrato a Anacleto de Medeiros (Scottisch), a trio com Quim Oll\u00e9 Freixas (flauta baixo) e Santi Burgos (bandolim), companheiros no projeto &#8220;Novo Rio Antigo&#8221;.<\/p>\n<p>Encontrei um texto interessante (em ingl\u00eas) sobre a Su\u00edte, escrita pela Daniella Thompson, que vale a pena conferir<\/p>\n<p>**********************<\/p>\n<p>&#8220;A prolific composer throughout his life, Radam\u00e9s Gnattali (1906\u20131988) is internationally known primarily for his suite \u201cRetratos,\u201d a composition in four movements honoring four choro pioneers, each in a different genre:<\/p>\n<p>1. Pixinguinha (choro)<br \/>\n2. Ernesto Nazareth (valsa)<br \/>\n3. Anacleto de Medeiros (schottisch)<br \/>\n4. Chiquinha Gonzaga (corta-jaca)<\/p>\n<p>Gnattali did not pay tribute to the veteran composers in name only, but incorporated the style and flavor of their creations into his suite. The first movement, \u201cPixinguinha,\u201d is an elaboration on the choro \u201cCarinhoso\u201d; the second, \u201cErnesto Nazareth,\u201d draws on the waltz \u201cExpansiva\u201d; the third, \u201cAnacleto de Medeiros,\u201d builds on the schottisch \u201cTr\u0119s Estrelinhas\u201d; while the fourth, \u201cChiquinha Gonzaga,\u201d is inspired by the maxixe called \u201cCorta-Jaca\u201d or \u201cGa\u00facho.\u201d<\/p>\n<p>Radam\u00e9s began working on \u201cRetratos\u201d in 1956, in an arrangement for bandolim, conjunto regional, and string orchestra. It was made for Jacob Pick Bittencourt, who recorded it in 1964, accompanied by an orchestra conducted by Radam\u00e9s. The Sambossa website offers both a letter about \u201cRetratos\u201d from Jacob to Radam\u00e9s and mp3s of the second and fourth movements from that first recording.<\/p>\n<p>In 1979\u2014ten years after Jacob\u2019s death\u2014bandolinista Joel Nascimento invited several young musicians to form a group in order to play \u201cRetratos.\u201d They were Raphael and Luciana Rabello, Celsinho Silva, and Mauricio Carrilho (all four from Os Carioquinhas), plus Luiz Ot\u00e1vio Braga from Galo Preto. The new group was baptized Camerata Carioca by Herm\u00ednio Bello de Carvalho and recorded the suite three times, the most recent being a reunion performance in December 2002, included in the CD Ao Jacob, seus Bandolins, where each movement features a different soloist on the bandolim.<\/p>\n<p>Reminiscing about Camerata Carioca in a 2000 interview, Mauricio Carrilho ticked off the various adaptations of the \u201cRetratos\u201d suite:<\/p>\n<p>&#8216;The original recording was made in 1964 by Jacob do Bandolim, string orchestra, two guitars, and cavaquinho; it was released on CBS. Fifteen years later, in 1979, Radam\u00e9s transcribed the string orchestra part for a conjunto regional, whose lineup was two 6-string guitars, one 7-string guitar, one cavaquinho, and pandeiro. In this version, the guitars played not only the harmony but the phrases that had originally been played by the cellos; the cavaquinho replaced the violins, etc. The recording of this version was released in 1980 by WEA.<\/p>\n<p>Radam\u00e9s created a third version for Joel [Nascimento], Camerata Carioca, and string orchestra, recorded on video for TVE. Later he wrote a reduction for two guitars for the Assad brothers, recorded by them in Europe. This same version was recorded, with some modifications made by Raphael [Rabello], by Chiquinho do Acordeon, Rafa himself, and Dininho on bass. In 1995, I did a version for O Trio (clarinet, bandolim, and guitar), that hasn\u2019t yet been recorded. As you can see, \u201cRetratos\u201d is the most adapted suite in the history of Brazilian music.&#8217;<\/p>\n<p>(review by Daniella Thompson&#8217;s &#8211; http:\/\/daniellathompson.com\/Texts\/Reviews\/Grigoryan.htm)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Suite Retratos: Anacleto de Medeiros [Brazilian Music Barcelona] Quim Oll\u00e9 Freixas &#8211; Flauta Baixo Santi Burgos &#8211; Bandolim e Arranjo Ramiro Pinheiro &#8211; Violao Waldemar Ramos &#8211; V\u00eddeo Pablo Andr\u00e9s Gim\u00e9nez &#8211; \u00c1udio Gravado ao vivo em Barcelona ********************** Faz algum tempo fui convidado a&#8230;<\/p>\n","protected":false},"author":2,"featured_media":953,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"cybocfi_hide_featured_image":"yes","footnotes":""},"categories":[17],"tags":[15],"class_list":["post-951","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-brazilian-music-barcelona-news","tag-brazilian-music-barcelona"],"_links":{"self":[{"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/posts\/951","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/comments?post=951"}],"version-history":[{"count":4,"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/posts\/951\/revisions"}],"predecessor-version":[{"id":2174,"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/posts\/951\/revisions\/2174"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/media\/953"}],"wp:attachment":[{"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/media?parent=951"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/categories?post=951"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ramiropinheiro.com\/web\/wp-json\/wp\/v2\/tags?post=951"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}