• The broadcast Hora do Brasil (Instantâneos Sonoros) was launched in Argentina, by the Municipal Radio of Buenos Aires, transmitted in net work with the National Radio of Montevidéu (Uruguai). Radamés is invited to organize the radio orchestra and to participate in its lives. In March, he moves with his family to Buenos Aires, remaining thea whole semester. To reinforce the orchestra, Radamés takes some of his friends with him: Aristides Zacarias (saxophone), Marino Pissiali (trumpet), Fernando Herman (violin) and Luciano Perrone (drums) [1].



1941. Sintonia




Reception of local artists when Radamés arrived in Argentina, in March 1941.



  • In Argentina, the Rosario Symphonic Association and the Argentinian Institute of Integral Culture pay homage to Radamés performing some of his compositions, such as Concerto nº 1 para piano e orquestra (for piano and orchestra, from 1934).


  • At Cristiano Beato Angélico Art School, Argentina, a recital is presented with a sequency of Radamés’ songs, such as Três poemas de Augusto Meyer (1931-1935) performed by the Brazilian soprano Christina Maristany and the author himself at the piano.


  • Still in Argentina, the Argentinian Institute of Integral Culture presents a recital featuring Radamés’ concert music, such as Rapsódia Brasileira (1930), the Quarteto n.º 1 (1939). Solo performances by Cuarteto Renascimiento, the Brazilian soprano Christina Maristany, the drums player Luciano Perrone and the author himself at the piano.





  • Back to Brasil, Radamés is honored with the Roquete Pinto Award, for services rendered and for enlargement of Brazilian radio and music.




  • Radamés composes:
    • Concerto para violoncelo e orquestra de câmara – (for cello and chamber orchestra, dedicated to Iberê Gomes Grosso)
    • Concerto para violoncelo e piano (for cello and piano, reduction from the original orchestral grid).
    • Divertimento para quarteto de cordas e piano (for string quartet and piano, composed in Buenos Aires)
    • Morena, morena para canto e piano (for voice and piano)
    • Música para rádio (collection of 8 original pieces, arranged for orchestra, and composed between 1941 and 1959)
    • Ninando, para canto e piano (for voice and piano), com José Tisbierek (inspired by Brazilian popular theme)
    • Poema relativo para canto e piano – (for  voice and piano, inspired by Jorge de Lima’s poem
    • Prelúdios nº 3 para piano – dedicated to the Spanish pianist Tomás Terán
    • Prenda Minha para canto e piano (for voice and piano, polka time, inspired by popular theme harmonized by Radamés)
    • Tayeras (chula) para canto e piano (for voice and piano, popular theme from the North of Brazil, harmonized  by Radamés Gnattali) – dedicated to Gastón Talamón.




  • Born in Porto Alegre (Capital of Rio Grande do Sul State, RS), the pianist Roberto Szidon (José Roberto Szidon) who performs in 1978, the LP Radamés Gnattali – obras para piano / Piano Works, recorded by the Deutsche Grammophon.



  • President Getúlio Vargas receives in his palace a board of distinguished musicians, having Villa-Lobos ahead, composed by Oscar Lorenzo Fernandes, Brasílio Itiberê, Arnaldo Estrela and Radamés Gnattali, among others. Villa-Lobos, reads the Brazilian Musicians Memorial.





  • Atlântida Cinematográfica is created, meaning a great incentive to Brazilian movie industry.


  • Walt Disney and his team come to Brazil, aligned with the “Good Neighborhood Policy and Cooperation with American Countries” create by the USA Government since 1933. During that visit, the designers have created the character Zé Carioca, presented in the film Alô Amigos, from 1943 and Você já foi à Bahia? from 1944. Disney chooses the samba song Aquarela do Brasil, by Ary Barroso, as the soundtrack of his film Alô Amigos.


  • President Getúlio Vargas creates the National Steel Company (CSN), in Volta Redonda, (Rio de Janeiro State, RJ) [2].




  • [1] Read more in Press cutouts > 1941. Sintonia. Radamés Gnattali animará las Instantáneas sonoras del Brasil”
  • [2] FGV/CPDOC :  CSN Foundation