• First audition of Sonata No. 1 for cello and piano (1935), by Radamés Gnattali, at the Escola Nacional de Música, in Rio de Janeiro, performed by cellist Iberê Gomes Grosso (to whom the piece is dedicated), accompanied on the piano by the author.

Sonata No. 1 for cello and piano
I. Movido (excerpt)
Antonio Del Claro, cello
Glacy Antunes de Oliveira, piano
(Paulus – 11558-4. São Paulo, 1997)

• In its April 14th issue, the Correio da Manhã newspaper publishes the results of the 1936 ‘piano suite composition contest’ held by the Brazilian Artists Association. The prize for best composition is awarded in key, tied, to Radamés Gnattali, for the suite Waltz, Modinha and Jongo [1] and Brasílio Itiberê, for the suite Invocation, Choral and Dance. The jury was composed by the composers Lorenzo Fernandes and Francisco Mignone, the music critic and professor Octavio Bevilacqua, the president of A.A.B. Andrade Muricy, and the pianist Noemi Coelho Bittencourt.
• First world audition of
  Concerto No. 2 for piano and orchestra
  (1936), by Radamés Gnattali, at Rádio Nacional in Rio de Janeiro, with pianist Arnaldo Estrela as soloist, with the radio symphony orchestra conducted by the author.
• Revista Turismo organizes the program Meia Hora de Música Brasileira, with conductor Simon Bountman’s orchestra, broadcasted worldwide by Rádio Nacional. With arrangements by Radamés, the songs Cidade Maravilhosa, by André Filho, Carinhoso, by Pixinguinha, No Tabuleiro da Baiana, by Ary Barroso, and, for the first time, Fantasia Brasileira [nº 1] for piano and orchestra, by Radamés himself, are presented. The latter had its score edited and distributed by Revista Turismo to all Brazilian embassies and delegations abroad.
• The record label Victor releases, by Radamés, the choros Cabulosoand Recordando with the Trio Carioca, formed by Luiz Americano (clarinet), Radamés Gnattali (piano) and Luciano Perrone (drums).
  
• Radamés uses for the first time, at the request of the young singer Orlando Silva, a string orchestra in the arrangements of the songs Lábios que beijei and Juramento falso, both by J. Cascata and Leonel Azevedo. Despite the purists’ criticism of the arrangements as Americanized, Orlando sells thousands of records.

Radamés composes:

• • 
    Brazilian Fantasy
    [nº 1]
    for piano and orchestra
    
  • Legend no. 2 for violin, cello and piano
  • 
    Modinha for song and piano –
    on a poem by Manoel Bandeira – dedicated to Christina Maristany.
  • Valsa, modinha e jongo – suíte para piano (Missing work, quoted in newspapers of the time) [2]

• Mandolinist and composer Joel Nascimento was born in Rio de Janeiro (RJ), to whom Radamés dedicates, among other works, theConcerto para bandolim e orquestra de cordas, em 1985.
• Composer Maurice Ravel (Maurice Joseph Ravel), whom Radamés admired as one of the three greatest composers of the 20th century, along with Rachmaninoff and Béla Bartók, dies in Paris.
• Composer George Gershwin dies in Beverly Hills (California, USA).
• The radioteatro, which until then presented short humorous dialogues, began to broadcast complete plays on Rádio Nacional.
• The Estado Novo (New State) begins. Getúlio Vargas closes Congress and assumes dictatorial powers. A new constitution, the so-called Polack, with fascist characteristics, is imposed on the country.