Brazilian Guitar

Brazilian Guitar – Violão Brasileiro

If there is an instrument that is considered very Brazilian, we can say it is the violão or the acoustic guitar. At least in the hearts of Brazilian the guitar, o violão, is Brazilian. The guitar has its origins in Europe, Spain, Portugal and Italy. The vihuela, as it was known in Spanish, was called the viola de mà in Catalan, viola da mano in Italian and viola de mão in Portuguese. The vihuela was a guitar-shaped instrument with six double-strings (paired courses) made of gut. Plucked vihuelas, being essentially flat-backed lutes, evolved in the mid-15th century, in the Kingdom of Aragón, located in north-eastern Iberia (Spain). In Spain, Portugal, and Italy the vihuela was in common use by the late 15th through to the late 16th centuries. In the second half of the 15th century some vihuela players began using a bow, leading to the development of the violin. 

The first person to publish a collection of music for the vihuela was the Spanish composer Luis Milán, with his volume titled Libro de música de vihuela de mano intitulado El maestro of 1536 dedicated to King John III of Portugal. The guitar was brought to Brazil by the Portuguese early on during the colonial times (1530 – 1700).

In Spanish, the guitar is called guitarra. It also happens that the Portuguese have an instrument very similar to the Spanish guitar, which would be equivalent to the Brazilian Viola Caipira: It is the Portuguese Viola. It has the same forms and characteristics of the guitar, being only slightly smaller. When the Portuguese encountered the “guitarra” (Spanish), they saw that it was equal to their viola, being only slightly larger. Then they put the name of the instrument in the augmentative, that is, the “Viola” came to be called violão.
The first known musical string instrument brought to Brazil was the viola of ten strings – or five double strings – brought by the Portuguese Jesuits whose goal was to convert the Indians to Christianity and used the instrument during this process.

The characteristic of urban use of the “violão”, in its current form was established at the end of the nineteenth century. Because of this, the guitar became the favorite instrument for vocal accompaniment, as in the case of the “modinhas”, romantic tunes brought to Brazil by the Portuguese, and, also, in instrumental music, accompanying the flute and the cavaquinho, forming the basis of choro ensembles developing in the late 1800’s in Rio de Janeiro.

The guitar, being an instrument widely used in Brazilian popular music, and by people in general, came to have a bad reputation, being considered by many as an instrument of bohemians, used in serenades, chorões, and becoming a symbol of vagrancy. This stigma lasted for many years. Due to this discrimination, the first musicians who tried to demystify it and promote it as a serious instrument were considered true heroes. One of the forerunners of the modern guitar in Brazil was the founder of the magazine “O Violão”, published in 1928, Joaquim Santos (1873-1935) or Quincas Laranjeira. He was considered the “father of the modern guitar” and in the last years of his life was dedicated to teaching guitar by the method of Tárrega.

Maestro Heitor Villa-Lobos, one of Brazil’s foremost classical composers, also wrote his famed “Etudes for Guitar “(1929), dedicated to Andres Segovia.

The viola of ten strings – or five double strings – brought to Brazil by the Portuguese Jesuits in the sixteenth century, was the first musical instrument sold in the country, and had a very high price at the time: Two thousand reis! This instrument belonged to a “bandeirante” (pioneer) called Sebastião Paes de Barros.

We can say the violão is found in many Brazilian music styles. In choro, samba, boss nova, as well as instrumental Brazilian music.
It is hard to imagine samba and bossa nova without a guitar/violão.
The pioneers of Bossa Nova all played the guitar: Laurindo Almeida, Luiz Bonfá and João Gilberto, Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra. Nara Leão.Who can forget the guitar style of Baden Powell, Paulinho Nogueira, Dilermando Reis, João Pernambuco. And later, Luiz Bonfá and Laurindo Almeida took the Brazilian guitar styles around the world.
The seven-string guitar is also very popular in Brazil used in many styles of music. Some seven-string guitarists who contributed to Brazilian music with their compositions and guitar technique: Dino 7 Cordas, Rafael Rabello and Yamandú Costa.

As we look at the evolution of the guitar and techniques we also remember Egberto Gismonti with performance and compositions for a nylon and steel ten-string guitar.

Because of its history and our history, the guitar/violão seems to be indeed Brazilian. The guitar is used in the music of the gauchos in Southern Brazil and with the seringueiros, rubber tappers in the villages of the Amazon region. It’s in the sounds of the street vendors in the Northeast, the caipira music, or country music in the States of São Paulo and Minas Gerais, as well as in concert halls throughout Brazil. It was part of the protest songs and MPB of the 60’s and 70’s. It was central to the Bossa Nova being developed in the apartments of Copacabana by Roberto Menescal, and Carlos Lyra, and it’s hard to imagine Milton Nascimento, Chico Buarque, Dori Caymmi, Joyce, Rosinha de Valença, Paulinho da Viola, Cartola and João Bosco without a guitar.

The guitar seems to be part of the collective spirit and heart of Brazilians – it is part of the sound track of our history.

Join us for a very special Brazilian Music Get Together at the Vinicius de Moraes Gallery at the Brazilian Consulate in Los Angeles on August 16 at 6:30 PM for a Night of Guitar featuring: Fabiano do Nascimento, JP Mourão, Marcel Camargo, and Capital.

Brazilian Consulate General
8484 Wilshire Blvd., Suite 300
Beverly Hills, CA., 90211

RSVP

Upcoming Get Together: A Night of Brazilian Guitar

Brazilian Music Get Together:
A night of Master Brazilian Guitarists
6:30pm | August 16, 2017 | All Ages | Free with RSVP
Another first in our ongoing series of musical explorations, we bring together four amazing musicians performing as a group for the first time. Enjoy an evening of masterful performances covering traditional and modern guitar compositions featuring Fabiano do Nascimento, JP Mourão, Marcel Camargo, João Pedro Mourão and Capital.

VIDEO FROM THE EVENT! https://www.facebook.com/sergio.mielniczenko/videos/10155550108819705/

Art on Exhibit
Didu Lasso is a fine art painter, curator, and musician, born and raised in São Paulo, Brazil. His own work reflects his personality: simple, clear and direct, from Japanese traditional paintings with acrylic ink and sand, to pointillism and airbrush and clothing.

Art exhibit opening at 6:30 PM.

CLICK HERE TO RSVP

This Evening’s Honoree 
Our Honorees for this evening are Viver Brazil dance company artistic directors Linda Yudin and Luiz Badaró. Viver Brasil celebrating their 20th Anniversary honors Brazil’s African legacy through bold contemporary dance theater and increases awareness of the rich history of Afro-Brazilian dance and music.

From Choro to Jazz!

When we think of instrumental Brazilian music we can certainly go back in time with the introduction of African instruments and the polyphonic rhythms and melodies that were brought to Brazil during the slave trade in the early 1500’s. The African religious songs and the religious syncretism that prevails throughout our history as well as the enduring presence of rhythms and African rituals, contributed to the development of music and dance such as Jongo, Lundu, Maxixe, the instrumental choro and samba.

During the colonial times, 1500 – 1812, Christian Church music was very influential in the formation of Brazilian music. It was the basis of future orchestral works and Brazilian Baroque music. The compositions of Padre José Mauricio Nunes Garcia are a good example of ecclesiastic music of Brazil. Padre José Mauricio Nunes Garcia, the son of African slaves, is the first of the great Brazilian composers of this time. The music of late 1800 in Rio de Janeiro was marked by the choros of Ernesto Nazareth, Chiquinha Gonzaga, and later Pixinguinha’s. Samba emerges in the early 1900’s. Donga – Ernesto dos Santos and Mauro de Almeida have the samba “Pelo Telefone” copyrighted and recorded in 1916. It was composed at the Casa da Tia Ciata or “Aunt Ciata’s Home,” which was a musicians meeting place in downtown Rio de Janeiro.

Choro, a style of music genre developed in Rio de Janeiro at the end of the 1800’s beginning of the 1900’s, also plays an essential role in Brazilian music as a whole, particularly in Brazilian instrumental music. Choro is the blending of afro-Brazilian rhythms, especially Lundú and European styles of music such as waltz, polka, schottische, and mazurka.

Painting by Portinari

Choro has survived the times, and it is very much present in Brazilian music still today.
Musicians who created Bossa Nova such as Antonio Carlos Jobim have used choro in his Bossa Nova songs. Listen to “Chega de Saudade” (No More Blues); its introduction is a good example of a choro used in Bossa Nova.

The instrumental Bossa Nova with its sophisticated harmony, rhythm syncopation and seducing melodies is a result of the fusion of samba, instrumental music, classical music, and jazz. There would not be Bossa Nova without the existence of Samba and choro.
Choro has also inspired the foremost Brazilian classical composer Heitor Villa-Lobos who wrote his “Choro Series.”
The music of chorões provided the initial inspiration for his Villa-Lobos choros, a series of compositions written between 1920 and 1929. The first European performance of Choros No. 10 in Paris caused a storm!

 

It’s impressive how Bossa Nova has been present in American Jazz and how the West Coast Cool Jazz has been part of Bossa Nova. Every musician I met and interviewed in the past years mention jazz and how inspiring that has been to them. Samba, Bossa Nova, Choro and Jazz have the same musical DNA – similar musical roots. When we listen to early jazz, ragtime the compositions of American composers such as Jelly Roll Morton, Scott Joplin and the Brazilians Chiquinha Gonzaga, Ernesto Nazareth and Pixinguinha we find similar musical elements. Choro precedes jazz and both genres were evolving independently like two brothers and sisters from the same parents being raised in two different countries and a chance to keeping their original traditions.
We have a chance to experience all of this live this coming June 27 at 6:30 pm.

It’s the Brazilian Music Get Together!

Seating is limited – It’s FREE with RSVP – Brazilian Music Get Together at The Consulate, Los Angeles
June 27, 2017 at 6:30pm
Join us for an exciting evening  featuring the instrumental trio formed by Sandro Rebel on keyboards, José Bruno Eisenberg on drums, and José Marino on bass and the sounds of choro, samba, bossa nova and Brazilian jazz.
Also, enjoy an art installation and performance show “Roots & Patisserie” by Cheila Ferlin from Brazil and a few words on the different musical periods by Brazilian Hour Radio host Sergio Mielniczenko.

Airto Moreira
Our honoree for this evening is world-renown Brazilian percussionist Airto Moreira. Among his endless contributions to music, he is known for his works with luminaries such as Miles Davis, Joe Zawinul, the jazz fusion of Weather Report, numerous releases with his wife, Flora Purim, and Chick Corea’s Return to Forever. Airto’s composition, “Tombo” has been one of the most sampled and influential songs for many contemporary artists, and his contributions in film include the award winning films, Apocalypse Now, and Last Tango In Paris. He has been voted number one percussionist in Down Beat Magazine’s Critics Poll for the years 1975 through 1983 and most recently in 1993. For his immeasurable contributions to Brazilian Music internationally, he and his wife Flora Purim were awarded the “Order of Rio Branco,” one of the highest honors bestowed by the Brazilian Government. Join us in celebrating his life in music!

Time: 6:30pm

Brazilian Consulate, Los Angeles
8484 Wilshire Blvd., Suite 300
Beverly Hills, CA., 90211
RSVP: contact@brazilianhour.org

Support Our Work

In order to continue supporting these programs, we need your contribution. Even a small tax deductible donation of $10 can make a huge difference. Join our growing community of supporters to continue enjoying these events.

The first 20 people to donate will receive a Kingston Technology USB drive full of music as well as The Tourists Guide To Brasil, an incredible 497 page e-book full of maps, photos, and attractions across all 27 states in Brazil. We’re counting on you.

Brazil Arts Connection is one-of-a-kind – an independent organization with goal of raising funds to support the cultural events produced by the Brazilian Consulate in Los Angeles. With your support, we can help the Brazilian artists you love and cultivate interest in the community about our uniquely curated programs.

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Three pioneers of Brazilian Music

When we think of early Brazilian music, late 1800’s and early 1900’s, there is a style that readily comes to mind – choro. There are three outstanding choro composers of this era: Chiquinha Gonzaga, Ernesto Nazareth, and Pixinguinha.

Chiquinha Gonzaga (October 17, 1847, Rio de Janeiro – February 28, 1935 Rio de Janeiro) lived in many worlds with the fluidity to go from the elite of Rio de Janeiro, as well as the urban bars where you would find the “chorões” (choro players). She was the first woman conductor of Brazil and wrote the first major carnaval hit known as “Abre Alas.”

Ernesto Nazareth (March 20, 1863, Rio de Janeiro – February 4, 1934 Rio de Janeiro) had a classical music background and wrote choros as well as what he called “Tango Brasileiro,” a term he used to disguise the “street music and dance” which was in fact, maxixe – a sensual style that contrasted with his classical training. Interestingly enough, Ernesto used to perform his compositions in the foyer of the Odeon movie theater in Rio – for which he wrote the famous piece, “Odeon.”

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Alfredo da Rocha Viana, Jr. (April 23, 1897 Rio de Janeiro – February 17, 1973, Ipanema, Rio de Janeiro, Brazil), widely known as Pixinguinha, is one of the all time most respected Brazilian instrumentalists and composers. He got his nickname from his African grandmother who called him “Pizinguim” which means “good boy” in African dialect. He was able to decode Brazilian rhythms and phrasing so that sheet reading musicians could perform them. Therefore, establishing the basis for a truly instrumental style of Brazilian music. His composition “Carinhoso” became one of the top three most famous Brazilian songs at the turn of the century along with Aquarela do Brasil, and The Girl from Ipanema.

If you look into the progression of popular Brazilian music, we see lundu, maxixe, choro, and samba – all which have an important presence of afro-brazilian elements. Each of them with their social relevance. For example, maxixe was among the most popular styles around the world in the early 1900’s in Paris and even in Fred Astair films. We have an opportunity to experience this music on April 26th at 7pm. Click here to RSVP.

“Jazz is the American choro” – Hamilton de Holanda

Brazilian Music Get Together April 26, 7pm

Brazilian Music Get Together at The Consulate
Featuring Early Brazilian music with J.P Mourão (Guitar) and Luis Mascaro (Violin)

Wednesday, April 26pm – 7:00pm | Free with RSVP

Two members of the musical group, Farofa, J.P Mourão (Guitar) and Luis Mascaro (Violin), join forces to bring us early Brazilian music, rarely performed outside of Brazil. Enjoy an evening of early music from Mondinhas, Lundu, Maxixe, and Choro with compositions by Ernesto Nazareth, Chiquinha Gonzaga and Pixinguinha. The basis of instrumental Brazilian music. This evening will be an opportunity for learning and conversation about this period and styles of Brazilian music. Sergio Mielniczenko will lead the discussion and share stories and anecdotes on the subject.

Hosted by: The Brazilian Consulate Los Angeles, Cultural Affairs Sector
Location: 8484 Wilshire Blvd. 3rd floor, Suite 300, Beverly Hills, CA. 90211

RSVP BELOW

3rd. Annual Bloco Carnavalesco in Venice

3rd Annual Bloco Carnavalesco – Brazilian Carnaval Parade
Saturday February 25, 2017 at 12pm
Meeting at Rose Ave. and Ocean Front boardwalk (at the public parking lot)
Venice, CA


Celebrating Carnaval Season in Brasil!
Celebrating Carnaval Season in Brasil! Join us for our Carnaval Parade down the Boardwalk in Venice Beach. Dance to choreography by Linda Yudin / Luiz Badaró of Viver Brasil, and Vida Vierra with Swing Brazil Tribe. Enjoy classic Carnaval tunes with Katia Moraes who will be joined with a rousing Batucada made of some of LA ‘s great Bateria, “Samba Da Mudança” led by Ali, Lexa, Samba Soul Dancers from Global Dance Arts. Also joining us will be the Fabio Santana De Souza Brass Band, Capoeira Batuque, and more! We encourage you to wear face paint / masks/costumes and beads. Let’s make this a great Venice Party! Families and kids are very much welcome! See you then. Forró After Party with “Forró in LA”!

Forró Afterparty with ‘Forró in LA’ at The Townhouse
57 Windward Ave. Venice CA
3pm

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Brazilian Music Get Together Featuring Bruno Mangueira and DCastro

Brazilian Music Get Together at The Brazilian Consulate
Thursday February 2, 6pm – 8:30pm | Free with RSVP
Featuring Bruno Mangueira (guitar/violão)
Artwork by DCastro


Bruno Mangueira is a foremost Brazilian guitarist composer and arranger. With a brilliant career not only in Brazil but abroad as well, he has performed with some of the top musicians Brazilian musicians such as Toninho Horta, Nelson Ayres, Gilson Peranzzetta, Paulo Jobim, Filó Machado, Sizão Machado and Helio Alves. His work with American artists has included Phil DeGreg, Rick DellaRatta, Mandy Gaines, Kim Pensyl and Paul Keller. In Paris, he has played with Leonardo Montana, Bruno Schorp and Fred Pasqua. The Consulate General of Brazil in Los Angeles, Cultural Affairs continues its cultural program with Bruno Mangueira for a very unique solo performance.

DCastro has an extensive body of work and has innovated the use of metal on canvas to create his “Metal” series. In 2010, he started to create paintings guided by a new artistic philosophy consisting of 7 major elements: Modernity, Contemporaneity, Innocence, Simplicity, Spirituality, Happiness, and Poetry. The result of the seven elements combining with his unique style makes his work not just painting but also dance, Music, movement, and poetry on canvases. His work can be found featured in various popular television shows as “Californication”, House of Lies, CSI Cyber, Ray Donavan and others. DCastro has also been written about in a New York Times article about artist influence in Venice Beach.

Don’t miss it! RSVP Below!

 

Brazilian Samba Soul! | Featuring Os Zagueiros

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Enjoy an evening of vintage Brazilian funk and soul with L.A’s very own Os Zagueiros and DJs Marlon Fuentes, and Potira. We are celebrating the end of the year as well as all of the great work we have accomplished this year as a nonprofit organization. Our work is aimed at supporting the work done by the Brazilian Consulate in L.A. to bolster Brazilian Arts in L.A. By brokering relationships with strategic partners, we can bolster the efforts and ensure the long-term sustainability of cultural programming currently being offered by the Consulate to the community at large. We generate awareness and sponsorship for already established projects as well as create opportunities for cultural dialogue among diverse community stakeholders. The programs we support range from radio to live events. Join us in this celebration and support our mission!

Brazil Arts Connection is proud to bring you this exciting program that’s sure to please lovers of funky beats and vintage brazilian vinyl! Featuring members of Brazilian bands in L.A. such as Samba Society, MoForró, and Delta Nove, Os Zagueiros will bring back the original sound of Brazilian afro soul with an energizing and uplifting stage presence you don’t want to miss.

It’s all happening on December 4th, 2016 at the famous Del Monte Speakeasy in the heart of Venice, CA

Time: 8pm
Ages: 21+
Location: 52 Winward Ave. Venice, CA 90291
No Cover 

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Click to enjoy an all Brazilian Redbull Panamerika mix by DJ Marlon Fuentes!

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