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Nicanor Teixeira

Unanimously regarded simply by masters of classical guitar such as for example Oscar Cáceres among the top composers from the Brazilian violão (guitar) ever, Nicanor Teixeira wrote pieces in diverse genres inside a curious dialectic between classical music and Brazilian folklore of choros, lundus, cateretês, sambas, batuques, valsas, ponteios, baiões, and modinhas. His masterpieces have been released in Brazil, France, and Germany. In 1998, Cláudio Tupinambá documented “Cateretê das Farinhas” and “Estudo No. 2.” In 2000, mandolinist/arranger Afonso Machado and Bartholomeu Wiese (violão), users from the Galo Preto, created the tribute Compact disc Nicanor Teixeira por 28 Grandes Intérpretes with Teixeira’s music interpreted by observed music artists like Turíbio Santos, Egberto Gismonti, Guinga, Jodacil Damasceno, Léo Soares, Cláudio Tupinambá, Afonso Machado, Galo Preto, Bartholomeu Wiese, Marcos Llerena, Nicolas de Souza Barros, Maria Haro, Luiz Otávio Braga, Graça Alan, among others. Currently an amateur participant, Teixeira found Rio de Janeiro in 1948, where he had taken classes with Dilermando Reis. In 1952, Teixeira performed at Ary Barroso’s present, winning first award. In those days, he was an associate from the Orquestra de Violõha sido de Dilermando Reis (Dilermando Reis Electric guitar Orchestra). His debut being a concerto participant is at 1958 at ABI (Brazilian Press Association), when he had been a busy teacher on the Brazilian conservatory and various other music academic institutions. Through Hermínio Bello de Carvalho, Teixeira found online backup Clementina de Jesus, Ismael Silva, Zé Kéti, Aracy de Almeida, and various other performers. In 1961, a sickness in the index-finger of his best hand compelled him to abandon the job of musician. For the reason that period, he and various other violão players designed the curriculum from the device for the Brazilian Conservatory of Music. Through intense work, Teixeira overcame the issue in his hands and continued to execute sporadically, documenting in 1977 the indie O Violão Brasileiro de Nicanor Teixeira; it had been distributed as something special by a firm and was hardly ever commercialized. After 1985, he composed several parts for the Quarteto Carioca de Violõha sido (produced by Maria Haro and Nicolas de Souza Barros), such as for example “Mariquinhas Duas Covas,” regarded a vintage of today’s violão ensembles. In 2000, he was paid tribute on the Sesc RioArte when many of his compositions had been interpreted by Turíbio Santos, Jodacil Damasceno, Afonso Machado, and Galo Preto, amongst others.

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