I had the good fortune to be able to interview Gaëlle Solal after her concerts at Winchester and Canterbury, and had her interesting views on her career, teaching and future projects.
Well worth 12 minutes of your (and my) time.
Here is also an excerpt of her wonderful private gig in the shed where she plays Gismonti, Nazareth and Garoto.
He had two brothers, one named Verdi, the other Rossine, so it isn’t surprising that his parents had musical ambitions for Mozart Guarnieri. In an act of self effacement (and probably to ward off unkind comments) he changed his name to M.Camargo Guarnieri (Camargo was his mother’s maiden name, and M. stands, of course, for Mozart).
He is arguably the most important Brazilian composer after Heitor Villa-Lobos having written 6 symphonies, 6 piano concertos and many chamber works. Continue reading →
What do you get if you substitute an ‘M’ for a ‘B’ and an ‘n’ for an ‘m’?
You get a virtuosic Brazilian mandolinist whose day job was a pharmacist (and also a public notary) and who was impeccably dressed for concerts. He also wrote many of the Brazilian hits of all time, aptly named Jacob Pick Bittencourt, whose stage name was Jacob do Bandolim, “Jacob Mandolin”.
In addition to his virtuoso playing, he is famous for his many choro compositions, more than 103 tunes, which range from the lyrical melodies of “Noites Cariocas” (“Carioca Nights”), Receita de Samba and “Dôce de Coco” to the aggressively jazzy “Assanhado”, which is reminiscent of bebop. He also researched and attempted to preserve the older choro tradition, as well as that of other Brazilian music styles.
Unfortunately, you might have to work to get the downloads, but if you succeed, this is a treasure trove of the history of ther guitar in Brazil, featuring most, if not all, the important Brazilian guitarists after Villa Lobos.
Knowing how to understand Brazilian is definitely a help!
Yamandu Costa, Brazilian guitarist, composer and iconoclast who takes his 7-string violão places many cannot even imagine, plays this cheeky version of Villa lobos’ Schottich choro with Gutto Wirtti. This demonstrates in an extreme way what Dinu Lipatti was trying to say in his last essay.