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the Lp Festa de Ritmos (Copacabana, 1954

Rabeca is a rustic type of violin that could be understand as wire violin


Commenting about the Lp Festa de Ritmos (Copacabana, 1954), Guerra-Peixe says recording the
work "De Viola e Rabeca - cantoria", the text and music are of his own. (Rabeca is a rustic type of
violin that could be understand as wire violin and Cantoria means popular rustic vocal music.
In this composition Guerra-Peixe gave his view of challenge and binomial terms
rabeca or wire violin // violin - wire guitar / guitar.
Guerra-Peixe assumes that guitarists, musicians and poets are the most characteristic expression of
the Brazilian northeast music: they live integrated into the customs of the people and address in
their singing and ambientes places, as tiny events.
Sometimes guitarists are accompanied by the Rabeca (rustic violin) and the interlude performed
by the Rabeca is called rocket or baiao - as it replaces the - wire guitar, and when this happens
that music stretch is called baio-de-viola (Guerra-Peixe, 1954)
Guerra-Peixe taught that the violeiros (Brazilian rustic guitarists ) mean to Brazilian northeast
music as the rhapsodes represented for the Hellenes or ancient Greeks; or the minstrels,
troubadours and masters-singers to the Middle Ages, etc.
The melodic motif "De Viola e Rabeca - cantoria" was created in Recife cty in 1951 by Guerra-Peixe
to serve as background music (without title) for a broadcast program that told the stories about
cangaceiro Lampio and his bandits.
A few years later (1954), residing in Sao Paulo, Guerra-Peixe recorded that theme in his first Lp
record Festa de Ritmos (Copacabana, 1954) and adapted verses of his own to the subject, and
called the song "De Viola e Rabeca" performed by Catulo de Paula a Brazilian singer of northeast
region Cear.
Strangely this Lp was reissued in France in 1958 as a sound ducument collected by Max de Rieux,
and including copyright for Max Rieux, Rythmes brsiliens / documents sonores recueillis pair Max
Rieux au Brsil France Decca - France ( 1958)
And once more reissued by the Bibliothque nationale de France in 2014
Max de Rieux was a prestigious stage director of the Opera of Paris. He was in Brazil in September
1954. He was in the habit of collecting musical originalities and he may have found Festa de
Ritmos Lp in a store in Rio de Janeiro. Guerra-Peixe had no notoriety at the time and just could not
defend his copyright against an international celebrity. The Copacabana lable also did not
"Mourao"
Mourao is an arrangement as classical music for the "De Viola e Rabeca theme.
Mourao is the introductory work for the Guerra-Peixe muisic knowledge. It is an equivalent to "The
Little train of the Caipira" of Heitor Villa-Lobos.
With the creation of brazilian Musical Movement Armorial, the brazilian playwright Ariano
Susassuna, asked Guerra-Peixe authorization for "De Viola e Rabeca becomes a music in one
piece to the Armorial Chamber Orchestra of Pernambuco State (Brazil).
Clovis Pereira - Composer Recife, 03/11/2003 (as his verbal information)
- "Ariano asked by Guerra-Peixe who would make the adaptation for orchestra. He suggested my
name because of my work as a composer with the Armorial Movement, I have been one of the firsts
students of Guerra-Peixe . Guerra-Peixe then gave permission tor me to develop the piece in my free
creation.
I have accurate information that Guerra_Peixe said: -'See there! My student. I made this little song, I
recorded it and nothing ever happened. After Clovis gave that treatment, it became work the
repertoire of chamber orchestras "