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Text about a rustic bowed string instrument of Brazil's Northeast. The notes are part of the cover of an old LP recorded by Guerra-Peixe called Festa de Ritmos, which contains the first ever recorded version of "Mourão".
Text about a rustic bowed string instrument of Brazil's Northeast. The notes are part of the cover of an old LP recorded by Guerra-Peixe called Festa de Ritmos, which contains the first ever recorded version of "Mourão".
Text about a rustic bowed string instrument of Brazil's Northeast. The notes are part of the cover of an old LP recorded by Guerra-Peixe called Festa de Ritmos, which contains the first ever recorded version of "Mourão".
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 "