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Heckel Tavares

A traditional composer, Hekel Tavares created some sort of music which blurry the boundaries between well-known and traditional music. Against the will of his dad, who wished him to become an accountant, Tavares began his musical research with an aunt. He found its way to Rio in 1921 and examined orchestration with J. Otaviano. He previously the initial strike of his a lot more than 100 compositions with “Sussuarana” (lyrics by Luís Peixoto) in 1927. Afterwards emerged “Casa de Caboclo” (his biggest strike, lyrics by Luís Peixoto, documented by Gastão Formenti in 1928), “Guacira” (with Joraci Camargo), “Leilão” (with Joraci Camargo, documented by Jorge Fernandes in 1933), “Favela” (with Joraci Camargo), “Chove!…Chuva!…” (with Ascenso Ferreira), “Bahia” (with Álvaro Moreira), “Banzo” (with Murilo Araújo), “Na Minha Terra Tem” (with Luís Peixoto), “Felicidade” (with Luís Peixoto), “Minha Terra,” “Leilão,” “O Que european union Queria Dizer ao Teu Ouvido” (lyrics by Mendonça Júnior, documented in 1933 by Jorge Fernandes), “Caboclo Bom” (with Raul Pederneiras, documented by Jorge Fernandes in 1942), “Felicidade,” yet others. The impact from the Semana de Arte Moderna (Contemporary Artwork Week, 1922) upon Tavares focused his visit a synthesis between your sophistication of traditional music and Brazilian folk styles. Professionally, he began being a composer in revues, the initial getting for Stá na Hora, by Goulart de Andrade (1926). In the same season he executed the orchestra from the Teatro Glória in the revue Plus-ultra. In 1927 he composed the music and proved helpful like a pianist for the starting play in the Teatro de Brinquedo, carrying on to function there like a pianist. In 1928, Patrício Teixeira documented “European union Ri da Lagartixa.” His 1st traditional structure was the symphonic poem André de Leão eo Demônio de Cabelo Encarnado, predicated on a poem by Cassiano Ricardo, that was documented and released. From 1949 to 1953, he explored a number of different Brazilian areas researching folklore. The outcomes can be seen in his traditional pieces just like the symphonic piece O Anhangüperiod, for orchestra, choir, and soloists, where Tavares used the culture from the Tucuna Indians, or Alto Solimõsera, including their percussion devices and melodic motifs, for Oração perform Guerreiro. He also published Concerto for piano and orchestra, Concerto em Formas Brasileiras, for violin and orchestra, O Sapo Domado, and A Lenda perform Gaúcho. Fernando de Bortoli published in 1996 Hekel Tavares — O Mais Lindo Concerto Em virtude de Piano e Orquestra (São Paulo).

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