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Homero Dornelas

Author of the common samba “Na Pavuna,” Homero Dornelas also wrote operettas and classical music for cello and piano as well as for tone of voice and piano. Starting at age group seven, Homero Dornelas had taken piano and theory classes along with his dad (the conductor Sophonias Dornellas) and an aunt. In 1916, he enrolled on the Country wide Institute of Music. Five years later on, he remaining the piano for the cello, having analyzed structure with Lorenzo Fernandes. After 1923, he became a dynamic cellist, performing using the Sociedade de Concertos Sinfônicos, the Orquestra Arcângelo Corelli, as well as the Orquestra should i.N.M. At exactly the same time he performed balls, in silent films, in revues, and circuses, where he became a skilled well-known musician. His 1st composition was created in 1923, “Parisete” (with Sallendor, actually his dad; the pseudonym as an anagram for “Dornellas”). As a favorite composer, together with his popular pseudonym Candoca da Anunciação, he also agreed upon as Romeoh Sallendor, Sallendor Filho, and My Personal. After 1926, he began to compose sambas, marchinhas, and foxes. In 1929, he released with much achievement his samba “Na Pavuna” (Candoca da Anunciação/Almirante), documented with the Bando de Tangarás. It had been the very first time a batucada (music performed by percussion equipment) was documented. Dornelas, being a author of the music of composers who didn’t understand notation, added to Noel Rosa’s initial samba, “Com Que Roupa?” The original 12 notes had been exactly like the nationwide anthem, therefore he recommended the edition which continued to be as the definitive one. In the middle-’30s, asked by Villa-Lobos, he was employed with the SEMA (a nationwide section of music with politics/pedagogical attributions), where he continued to be until 1959. He also was accepted by public competition towards the Symphonic Orchestra from the Municipal Movie theater of Rio de Janeiro and, in 1941, towards the Orquestra Sinfônica Brasileira, asked by Eugen Szenkar. In the same calendar year, he was employed with the Rádio Nacional, where he proved helpful before ’60s.

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