{"id":8372,"date":"2022-02-09T18:29:56","date_gmt":"2022-02-09T18:29:56","guid":{"rendered":"https:\/\/radamesgnattali.com.br\/a-few-words-for-radames\/"},"modified":"2022-11-08T13:27:53","modified_gmt":"2022-11-08T13:27:53","slug":"a-few-words-for-radames","status":"publish","type":"page","link":"https:\/\/radamesgnattali.com.br\/en\/a-few-words-for-radames\/","title":{"rendered":"A few words for radam\u00e9s"},"content":{"rendered":"\t\t
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Radam\u00e9s | A few words for Radam\u00e9s<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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How should we classify a musician with the authentic capacity to compose inspired symphonies, concerts for violin, piano, cello, accordion, harmonica and so many other instruments; popular waltzes and choros and still, he sits at the piano and beautifully plays his music, as well as the other\u2019s? A man is recognized for its style, says Buffon. If that is to be acclaimed as a truthful statement, the maestro has created his own and all those who are capable of such achievement should be honored to perform the Radam\u00e9s Gnattali\u2019s style!<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Alceo Bocchino (1918-2013) (Heading Maestro of the Orquestra Sinf\u00f4nica do Paran\u00e1, pianist and composer)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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From the CD Tr\u00eas concertos e uma Brasiliana, by Radam\u00e9s Gnattali, registered by R\u00e1dio MEC\/SOARMEC, 1997.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\u201c(\u2026) Radam\u00e9s gave me a great help in my career. Since I don\u2019t know music, he has written maybe 90% of the orchestrations for my songs. He was a great friend, more than a brother. Brazilian music has become poor now.\u201d<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Braguinha (1907-2006)<\/span> (Carlos Alberto Ferreira Braga, composer, known as Braguinha and also as Jo\u00e3o de Barro.)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Statement by Braguinha to Jornal O Globo, of February 4, 1988, the day after Radam\u00e9s’ death<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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(\u2026) Radam\u00e9s Gnattali stands outside the circle of those who ritualize the bureaucracy. He stands in a sort of dignity level that belongs only to great artists who are born to blossom in a marginal space. The word culture, he worshipped it in his rosary of sounds, in his patu\u00e1s (fetishist object of devotion consisting of two pieces of blessed cloth kept in a small leather bag) adorned with musical notes, in the b\u00fazios (fetishist ritual consisting of throwing small natural shells on a cloth and interpreting the generated diagram) oracle thrown over the pentagrams \u2013 the only altar where he would make any sort of pseudo religious ceremony, detached from the official power, that he despised. Some totems do cohabit in his atheism though: Pixinguinha and Anacleto de Medeiros, for example, lived together with Chagall at an exclusive floor. (\u2026)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Herm\u00ednio Bello de Carvalho (1935)<\/span> (Poet, writer, composer and cultural producer)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In Radam\u00e9s: Marginalidade imposta pelo sistema, by Herm\u00ednio Bello de Carvalho, published on the newspaper Direitos J\u00e1, March\/April edition, 1988.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Radam\u00e9s is impermeable. When he does popular music, that is really popular music. When he does concert music, that is by all means concert music. One does not touch the other.
As the arranger or conductor, he knows how to handle it. Under his command, a symphonic orchestra would play a samba without loosing its spirit and still not sounding as a symphony.
The musician with a distinguishing open mind has no other option: to respect him.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Luciano Perrone (1908-2001)<\/span> (Percussionist, Radam\u00e9s Sextet\u2019s drummer) Luciano Perrone comments during an interview to Museu da Imagem e do Som (Image and Sound Museum), Rio de Janeiro, 1985.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Luciano Perrone comments during an interview to Museu da Imagem e do Som (Image and Sound Museum), Rio de Janeiro, 1985.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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(\u2026) He doesn\u2019t like to talk about his own work. Same as an apple tree for its apples, he\u2019s got a natural detachment for his own fruit. Without Radam\u00e9s\u2019 fruit though Brazilian music would loose one of its most delicious sources of pleasure.<\/p>

“Radam\u00e9s’ eclecticism may bother a purist. But those without prejudice, and with open ears, will easily discover a fabulous craftsman, a great inventor of melodies, an eternal experimenter who fascinates youth with his own youthful spirit (2).”<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Lu\u00edsPaulo Horta (1943-2013)<\/span> (Journalist, music critic)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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From a rough and not dated typed text signed by the author, filed at Radam\u00e9s\u2019 private archive. No data Collection RG<\/p>

2- Trancrito do livro “Radam\u00e9s Gnattali; o eterno experimentador”, de Valdinha Barbosa e Anne Marie Devos. Rio de Janeiro: FUNARTE\/INM\/DMP, 1984.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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A new composer, quiet unknown in S\u00e3o Paulo, should specially to be mentioned, the ga\u00facho Radam\u00e9s Gnattali. Under his extraordinary abilities to conduct the orchestra produces a rare and magnificent sonority. I would say it sounds \u201cjust\u201d a little too much of a jazz style for my taste, which is definitely and defensively national. Although still very young, his control of the orchestra is absolutely outstanding. He is our best hope for the moment<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Mario de Andrade (1893-1945)<\/span> (Writer, poet, composer, musicologist, critic of arts)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Radam\u00e9s has been more than a father for me. I was 14 years old when I first met him. He taught me everything about music and gave me great support on my career. Worldwide known as one of the best composers of his century, his influence has touched a whole generation, from people of my age up to Tom Jobim.<\/p>

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Raphael Rabello (1962-1995)<\/span>(Guitar player, composer)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Statement by Braguinha to Jornal O Globo, of February 4, 1988<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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(\u2026) I always dreamed that Maestro Radam\u00e9s would conduct for me. I wanted to hide behind the piano. All my life I\u2019ve been hiding. This was at the National Radio, I almost fainted, I was so afraid! Those guys were terrible. The union people just watching the time, and interrupting the rehearsals when the time was over! \u201c Stop it \u201c! So, I guess Radam\u00e9s helped me to face those weird situations.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Tom Jobim (1927-1994)<\/span> (Composer, arranger and pianist)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Tom Jobim\u2019s comments during an interview to Museu da Imagem e do Som, (Image and Sound Museum), Rio de Janeiro, 1985.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Radam\u00e9s is a carpenter, born right there in the house carpentry.
Radam\u00e9s lives in a calm street, full of birds.
Radam\u00e9s you are the most beautiful thing anybody has ever known.
I\u2019ll give you a kiss and I will invite you for a nice beer.<\/p>

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Tom Jobim (1927-1994)<\/span> (Composer, arranger and pianist)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Tom Jobim\u2019s comments during an interview to Museu da Imagem e do Som, (Image and Sound Museum), Rio de Janeiro, 1985.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Radam\u00e9s | A few words for Radam\u00e9s How should we classify a musician with the authentic capacity to compose inspired symphonies, concerts for violin, piano, cello, accordion, harmonica and so many other instruments; popular waltzes and choros and still, he sits at the piano and beautifully plays his music, as well as the other\u2019s? A […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-8372","page","type-page","status-publish","hentry"],"yoast_head":"\nA few words for radam\u00e9s - Radam\u00e9s Gnattali<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/radamesgnattali.com.br\/en\/a-few-words-for-radames\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A few words for radam\u00e9s - Radam\u00e9s Gnattali\" \/>\n<meta property=\"og:description\" content=\"Radam\u00e9s | A few words for Radam\u00e9s How should we classify a musician with the authentic capacity to compose inspired symphonies, concerts for violin, piano, cello, accordion, harmonica and so many other instruments; popular waltzes and choros and still, he sits at the piano and beautifully plays his music, as well as the other\u2019s? 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