Brazilian choro ensemble, formed by soloist mandolin, cavaquinho, 2 guitars, 7 strings guitar, percussion, eventually enriched by piano and, in its last formation flute or saxophone.
In the catalogs hereby we have adopted Camerata Carioca as an instrumental sextet for the significant number of works and arrangements that Radamés has dedicated to his group.

The Camerata Carioca emerged in Rio de Janeiro, 1979, formed by very young group of musicians coming from the well-known choro ensemble Carioquinhas, whose main star was the mandolinist Joel Nascimento. The poet and writer Hermínio Bello de Carvalho, who baptized their artistic name, was their great mentor, as well as Radamés Gnattali, as a composer, pianist, arranger and maestro, was their musical mentor.

Besides Radamés (piano and arrangements) and Joel Nascimento (solo mandolim), Luciana Rabello (then Henrique Cazes), cavaquinho; Mauricio Carrilho and João Pedro Borges (then Joaquim Santos), guitars; Raphael Rabello (then Luiz Otávio Braga), 7 strings guitar; Celso Silva (then Beto Cazes), percussion. The flutist and saxophonist Edgar Gonçalves, nick-name Dazinho, has joined the group for several times in collaboration.


Although the ensemble may be considered a traditional chamber orchestra we have adopted in the catalogs hereby their specification as a String Orchestra (Orquestra de cordas), based on the numerous pieces that Radamés dedicated to this group, which will also facilitate the search in instrumental formation session.


Names used by Radamés to designate an orchestra smaller than a symphony, with the omission of one or more sections.


Classic formation: 2 violins, viola and cello


Classic formation: flute, oboe, clarinet, bassoon and horn.


Instrumental ensemble formed by 2 pianos, electric guitar, accordion, cello, and drums. The group also performed as a Quintet, with 1 piano only.

We have adopted in the catalogs hereby the specification Radamés Sextet and Radamés Quintet due to the numerous pieces of work and arrangements he has composed to these groups, which will also facilitate the search in instrumental formation session.

Led by our maestro, Radamés Gnattali Sextet was founded in 1955 at the National Radio of Rio de Janeiro, with Radamés and his sister Aída at the pianos, José Menezes, guitar player, Chiquinho do Acordeom (Romeu Seibel), accordion, Pedro Vidal Ramos, contrabass and Luciano Perrone, drums.

According to Aída, the pianistic duo Radamés e Aida Gnattali was born in 1954, (before the sextet), among the radioactivities, starting with Dialongando, a choro by Radamés, arranged for two pianos. Based on the wonderful acceptation of the public, the critics and the radio producers They felt confident to create the sextet, by joining the piano duo to the instrumental quartet he has been working at Continental Records and with the National Radio Orchestra.

In 1960, the Sextet was invited to perform in Europe, with the project Caravanas de Música Brasileira na Europa (Brazilian Music in Europe: Caravan Project) supported by the government, performing in Portugal, France, Italy and England, always considered as a great accomplishment. Besides the Sextet, Edu da Gaita (harmonic) Luiz Bandeira (composer) joined the group, plus the play writer Joracy Camargo, as their master of ceremonies.

When his sister Aída decided to leave in 1965, the group has continued performing as a quintet. Around the middle of the seventies, the pianist Laércio de Freitas has joined the group, which has temporarily turned back into their sextet formation. In those times, Pedro Vidal Ramos (contrabass) had to leave for health conditions and he has been replaced by Zeca Assumpção. In 1985, after 30 years of fruitful activity The Radamés GnattaliQuintet has performed for the last time at Sala Funarte Sidney Miller, in Rio de Janeiro and at Sala Funarte in Brasília.


Sonata, for 2 guitars (and optional 3rd guitar) is classified at the item Duo and Trio.