Guerra-Peixe

on the concept of “folkloric objectivity”

Authors

  • Clayton Vetromilla Federal University of the State of Rio de Janeiro

DOI:

https://doi.org/10.35699/2317-6377.2006.55284

Keywords:

Guerra-Peixe, brazilian Nationalism, “armorial” movement, classic guitar

Abstract

In this paper we examine the meaning of “folkloric objectivity” (and, thus, of direct folklore and diluted folklore), an expression coined by Brazilian composer César Guerra-Peixe (1914-1993) between the 1950s and 1970s. Attempting to detect the presence of folklore in his compositions for the classic guitar, we also consider the genesis of the works Sonata for Guitar (1969), and Characteristic Duet for Violin and Guitar (1970).

Author Biography

  • Clayton Vetromilla , Federal University of the State of Rio de Janeiro

    Clayton Vetromilla was a professor at UEMG (1995-1997) and UFPel (1997-2004) and, since September 2004, has been a guitar professor at UNIRIO. He holds a Master's degree in Music/Interpretative Practices (Guitar) from UFRJ, supervised by Professor Turíbio Santos, and a Bachelor's degree in Music (Guitar) from UFMG, under Professor José Lucena Vaz. He also studied with Edelton Gloeden (1996-1997, SP) and Eduardo Isaac (1998-1999, Argentina). As a chamber musician, he worked with the Quinteto Tempos, with which he recorded the CD Tocata del Alba. Currently, he is part of the Quinteto Sescontu. As a guitar soloist, his recitals at the Dilermando Reis Festival (Guaratinguetá, SP, 2003) and the Sarau do Museu Villa-Lobos Program (RJ, 2001) are particularly notable.

References

GUERRA-PEIXE, César. O índio das arábias [1987]. Revista do Brasil, Rio de Janeiro: RIOARTE, nº1, p.41-44, 1988.

______. Das obras. Rio de Janeiro: texto datilografado, 1985. 3p.

______. Sonata para violão. (I. Allegro, II. Larghetto. III. Vivacissimo). São Paulo / Rio de Janeiro: Irmãos Vitale, 1984. 283-Violão (11p., 1 partitura)

______. Guerra-Peixe, um nacionalista ferrenho (uma entrevista). In: HORTA, Luis Paulo. Caderno de música - cenas da vida musical. Rio e Janeiro: Zahar, 1983.

______.Sumidouro [1980] (texto do encarte do CD) In: GUERRA-PEIXE, César (compositor). Música de câmara - Guerra-Peixe. Rio de Janeiro: Rioartedigital, 1996. (CD)

______.Relacionamento cultural e artístico de Guerra-Peixe com Pernambuco. Rio de Janeiro: texto datilografado, 1974. 6p.

______.Prelúdios para violão (Lua Cheia, Isocronia, Dança negra, Canto do mar, Ponteado nordestino). Rio de Janeiro: Arthur Napoleão (únicos distribuidores: Fermata do Brasil), 1973. NA 2109 (13p., 5 partituras)

______. [Curriculum Vitae, 1971]. Rio de Janeiro: texto datilografado, 1971. 52p.

______.Dueto característico - no estilo popular nordestino (I. Allegro Moderato, II. Andantino e III. Allegro Comodo) para violino e violão. Rio de Janeiro: manuscrito (DIMAS), 1970. (10p., 1 partitura)

______.Sonata para violão (I. Allegro, II. Larghetto. III. Vivacissimo). Rio de Janeiro: cópia heliográfica, 1969. (11p., 1 partitura)

______.Festa de Ritmos (texto na contracapa do LP). In: GUERRA-PEIXE, César (organizador e diretor). Festa de Ritmos. Rio de Janeiro: Discos Copacabana, 1954. (LP)

Downloads

Published

2025-03-26

Issue

No. 14 (2006): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2025 Per Musi

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Licença Creative Commons
Except where otherwise noted, contents on this site are licensed under a  Creative Commons - Atribuição 4.0 Internacional.

How to Cite

“Guerra-Peixe: On the Concept of ‘folkloric objectivity’”. 2025. Per Musi, no. 14 (March): 82-92. https://doi.org/10.35699/2317-6377.2006.55284.