• On April 15th, the National Symphony Orchestra presents, at the Municipal Theater of Rio de Janeiro, in the first world audition, the Sinfonia popular nº 3 (1969), de Radamés Gnattali, com regência do maestro Mário Tavares. Three days later, the symphony is repeated at TV Globo’s theater in Rio de Janeiro, in the program Concertos para a Juventude, Sunday morning, with live broadcast
  • On June 6, guitarist Laurindo Almeida debuts in Los Angeles, CA (USA), Radamés Gnattali, the Concerto nº 4 (à brasileira) para violão e orquestra de cordas, dedicated to him.
  • Also in June, guitarist Roland Harker presents, in London, the Concerto à Brasileira (nº 4) para violão e orquestra de cordas, by Radames Gnattali, with the Putney Synphony Orchestra, under the regency of Keith Stent.
  • The record label Fermata launches the elepê H. Villa-Lobos, Francisco Mignone, Radamés Gnattali, Cláudio Santoro, Ernest Mahle for Viola and Piano, presenting the duo Perez Dworecki, viola, and Fritz Jank (or Cláudio de Brito), piano, interpreting, among other works, the Sonata para viola e piano(1969), by Radames Gnattali.

  • Radamés composes:
    • Concerto para violino, viola, violoncelo e piano com orquestra de sopros – dedicated to the Guanabara Quartet; the 3rd move is a Homenagem a Vivaldi, as indicated by the author.
    • Introdução e choro para violino com acompanhamento de violão – dedicated to the Paganini Duo
    • Musiquinha para bis [1] para violino, viola, violoncelo e piano (on a theme by Tom Jobim) – dedicated to the Quarteto da Guanabara.
    • Suíte para flauta, oboé, clarinete, fagote e trompa em fá (completed in 1973), also referred to as Suíte para quinteto de sopros – dedicated to the Villa-Lobos Quintet.
  • Dies, in Rio de Janeiro, RJ, the homeopathic doctor, poet and composer Alberto Ribeiro, Radamés’ partner in several songs, as in the samba-canção Amargura (1950).
  • Composer Igor Stravinsky dies in New York.
  • Chico Buarque returns to Brazil, after 15 months of self-exile in Italy, and records Apesar de Você, which is even released and later vetoed by the censors. After this event, a period of violent censorship of the arts and the press began.

[1] Later, Radamés transcribed the piece for different formations, renaming it Meu amigo Tom Jobim. In an arrangement for orchestra, from 1983, he writes under the title: “On music Domingo azul no mar”.