Waldemar Henrique

Waldemar Henrique can be an awarded musician and author of a lot more than 120 tracks, whose Northern origins gives his function a different taste compared to the mainstream Brazilian popular tracks. The folklore of the region — where he drank as an individual option and in addition due to tips from Villa Lobos and Mário de Andrade — provides its specificity and isn’t as referred to as the folklore of Southeast (Rio, São Paulo, etc.), Northeast (Bahia, Pernambuco, etc.), and South of Brazil. Henrique started his music classes in 1918, learning piano and solfeggio with Nicota de Andrade in Belém. He’d also find out violin, harmony, structure, and performing. His 1923 structure, “Minha Terra,” using its nationalistic personality announced in the name, foreboded his whole production, shortly enriched along with his developing knowledge of music and his personal maturation but still would stay faithful towards the custom. He also researched with Filomena Brandão Baars on the Conservatório Carlos Gomes in 1929. Conductor Ettore Bosio trained him tranquility and structure, and Beatriz Simõha sido trained him piano. In 1933 he shifted to Rio, where he researched with Lorenzo Fernandez, Barroso Neto, and various other distinguished music artists, sharpening his abilities in piano, structure, orchestration, and performing. Henrique was a composer who under no circumstances produced a definitive choice between well-known and erudite music. He was keen on Pixinguinha, Noel Rosa, Ary Barroso, but also cherished the classics. His notion of a fusion was influenced by Villa Lobos, who — as well as great musicologist Mário de Andrade — usually reminded him to focus on the origins. Henrique always experienced a propensity for the track genre, which dominates his creation and features as the main difference between himself and Villa Lobos. Drowning in folklore, he visited Pernambuco and uncovered himself to all or any the maracatus, frevos, and cocos he could deal with. Then he place music in poems by such authors as Manuel Bandeira, Ascenso Ferreira, Jorge de Lima, and by some Portuguese authors aswell. He also performed concertos associated his sister vocalist Mara Costa Pereira (Mara Henrique Ferraz) in Brazil, Argentine, Uruguay, France, Spain, and Portugal. At among these concerts in São Paulo, Mário de Andrade is at the target audience and visited the wings following the presentation. He previously loved one track, “Boi Bumbá,” and thinking that Henrique experienced collected it from your folklore, requested a copy from it. When he found that it was a genuine, he was happy and became an excellent friend, presenting Henrique to his chosen society of performers, intellectuals, and impresarios. Henrique also was appointed with the diplomatic program to try out in 1949 and 1955 in France, Spain, and Portugal along with Paraguay, Uruguay, and Argentine in 1953 and 1954 . As a favorite pianist/arranger, Henrique proved helpful in casinos, theaters, and r / c in Rio, São Paulo, and Minas Gerais. Arriving in Rio in 1933, he instantly had his tracks released and sung, and he quickly begun to function for r / c. He was also a teacher and produced displays for many radio stations combined with the Rádio Roquette Pinto, whose orchestra he directed. His initial LP is certainly from 1956, sung by Jorge Fernandes. The paper Jornal perform Commercio honored the music he constructed for the dramatic poem “Morte e Vida Severina” by João Cabral de Melo Neto the very best theme of the entire year. Upon time for Belém, he aimed the wonderful Teatro da Paz for over a decade. His tune, “Tamba Tajá” (1934), was popular in 1976 in the tone of voice of popular vocalist Fafá de Belém; sadly though, the web publishers didn’t pay out him his privileges until this became open public. In 1978 he was the initial alive composer to become subject from the Funarte monograph competition developed by Hermínio Belo de Carvalho. The champion was released as Valdemar Henrique: o canto da Amazônia by José Claver Filho, Coleção MPB Vol. 2. After that in 1981, he was elected to Academia Brasileira de Música.