produtos
por Luciano Hortencio
O maestro Guerra Peixe provavelmente não tinha, artista que era, um olho no peixe e o outro no gato, ou então não teve a possibilidade de exigir seus direitos de autor ao verificar que sua criação, disco acima, havia sido copiado pelo francês Max de Rieux, que se arvorou e conseguiu os direitos autorais sobre a obra, dois anos depois de ter sido lançada no Brasil.
É de salientar que uma das composições contidas no disco é o motivo melódico da peça MOURÃO, criada pelo maestro em 1951 para música de fundo de um programa de rádio sobre o cangaço e Lampião. O tema foi regravado e interpretado pelo cantor e compositor cearense Catulo de Paula e ganhou o título de DE VIOLA E RABECA.
Posteriormente, com o advento do Movimento Musical Armorial, Ariano Suassuna pediu a Guerra Peixe a devida autorização para que o maestro Clóvis Pereira transformasse a música gravada por Catulo de Paula em peça a ser executada pela Orquestra Armorial de Pernambuco.
Aqui apresentamos as duas composições, a denominada DE VIOLA E RABECA e MOURÃO, a primeira interpretada pelo cantor e compositor cearense e a segunda pelo Quinteto Armorial.
Por oportuno, trago à colação o texto abaixo, porém ser saber ao certo seu autor. Seria Fausto Neves, que enviou o disco para o site The Music Parallel Realities?
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 baião-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” Lampião 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 Ceará.
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 brésiliens / documents sonores recueillis pair Max Rieux au Brésil France Decca – France (© 1958)
And once more reissued by the Bibliothèque 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 “
Fontes:
http://parallelrealitiesmusic.blogspot.com.br/2015/08/guerra-peixe-festa-de-ritmos-1956.html
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Fui descendo rua abaixo…
[video:https://www.youtube.com/watch?v=alSapEfUH6w%5D
Gato do Ceará
ARTE: Romero Britto
Gato do Ceará:
Você vende gatinho?
Você é boa praça?
Vai sentar praça ou já sentou na praça?
Falar verdade é preciso!!!
[video:https://www.youtube.com/watch?v=DwHG-RZzvNE%5D
Eu sou apaixonado por isso!
Eu sou apaixonado por isso! Valeu, Luciano!
Ao José de Almeida Bispo
[video:https://www.youtube.com/watch?v=wN9WIIYpFsc%5D
Merci
Absolument génial! Indications Mercis Mille Versent TOUTES CES. Je me suis regale.
C’est très doux de la partie Votre, je apprecié beaucoup.
Je vous souhaite une belle journée ensoleillée.
François