Baden Powell de Aquino: Songbook for Guitar Andrea Monarda

• Baden Powell de Aquino (1937 - 2000): Consolação:
• 1 Aquino: Consolação 02:27
• Valsa Sem Nome:
• 2 Aquino: Valsa Sem Nome 02:59
• Berceuse À Jussara:
• 3 Aquino: Berceuse À Jussara 03:12
• Petite Valse:
• 4 Aquino: Petite Valse 02:33
• Só por Amor:
• 5 Aquino: Só por Amor 02:35
• Insônia:
• 6 Aquino: Insônia 03:24
• Deve Ser Amor:
• 7 Aquino: Deve Ser Amor 02:45
• Sentimentos:
• 8 Aquino: Sentimentos 05:19
• Manhã de Carnaval (Orig. By Luiz Bonfá):
• 9 Aquino: Manhã de Carnaval (Orig. By Luiz Bonfá) 03:41
• Tempo Feliz:
• 10 Aquino: Tempo Feliz 04:26
• Retrato Brasileiro:
• 11 Aquino: Retrato Brasileiro 04:42
• Último Porto (II):
• 12 Aquino: Último Porto (II) 02:24
• Acalanto das Nonas:
• 13 Aquino: Acalanto das Nonas 02:28
• Pra Valer:
• 14 Aquino: Pra Valer 03:36
• Fim da Linha:
• 15 Aquino: Fim da Linha 02:09
• Cidade Vazia:
• 16 Aquino: Cidade Vazia 02:53
• Prelúdio Ao Coração:
• 17 Aquino: Prelúdio Ao Coração 01:16
• Chará:
• 18 Aquino: Chará 01:54
• Total Runtime 54:43

Info for Baden Powell de Aquino: Songbook for Guitar

Baden Powell, guitarist-composer of fundamental crossroads between genres in Brazilian music.

The classical guitar, in Portuguese violão, is certainly the instrument that more than any other encapsulates the essence of Brazilian music, from the popular to the erudite, with all the ‘intermediate’ gradations, typical of a land that tends to mix planes, traditions and social contexts. Thus, albeit with different uses and performing techniques, we see the guitar as a central instrument in genres such as choro, samba and bossa nova.

The choro, a predominantly instrumental genre that arose in the second half of the 19th century through the Brazilianisation of European dances, but was fully codified in the early 20th century, has in the violão and the violão 7 cordas two of its fundamental instruments. Samba is the other basic component of música popular brasileira. The term was already known in the 19th century to indicate a dance practised in roda (= circle) by Afro-descendants in the rural areas of north-east Brazil.

In the process of development of the large metropolises, above all Rio de Janeiro, at the beginning of the 20th century, samba became an urban genre, and after the first recordings, a ‘popular’ genre, which on the one hand would marry with song, and on the other hand, from the 1930s onwards, would become the mainstay of carnival, also developing through the nascent samba schools. Until the end of the 1950s when its further evolution will transform it into bossa nova, through the compositions of Antonio Carlos Jobim and the batida [knockoff?] of João Gilberto’s guitar, who has the intuition to disengage the violão from its contrapuntal role, in order to synthesise the different functions of percussion in the right hand alone.

In the context of the development of these genres, the figure of the guitarist-composer becomes central. Already at the beginning of the 20th century, excluding both the scholarly music composer-guitarists such as Heitor Villa-Lobos and the folkloric traditions, in the context of urban traditions some guitarist-composers assume great prominence: among them João Pernamuco, Dilermando Reis and above all Aníbal Augusto Sardinha (Garoto), an eclectic multi-instrumentalist who experimented with blending choro and jazz. And then in the 40s and 50s Luiz Bonfá, Laurindo Almeida, and later Paulinho Nogueira, Toquinho, up to artists still active today, such as Egberto Gismonti, Marco Pereira, Paulo Bellinati, Toninho Horta, Guinga, Yamandu Costa.

Andrea Monarda, classical guitar

Andrea Monarda
Called ‘guitar virtuoso’ by La Repubblica and ‘a twenty-fingered guitarist!’ by composer Luis De Pablo, Andrea Monarda is one of the most interesting guitarists of his generation. Committed to the diffusion of both traditional and contemporary guitar repertoire, Andrea Monarda received the Golden Guitar Award as a young talent at the 18th International Guitar Conference of Alessandria.

He recently made a film, produced by himself, on Luciano Berio’s Sequenza XI, based on the idea that the piece should also be seen, as well as heard. Graduated as a translator and interpreter at the University of Trieste, he has recently published articles on the polyphonic perception of Sequenza XI for the musicological journal Il Fronimo, with which he also collaborates as a translator.

His constant commitment to the creation of a new repertoire for guitar has led him to collaborate with well-known Italian and American composers, including Bosco, Colombo Taccani, Gaslini and Levine, who have dedicated their most recent works to him, for solo guitar and for two guitars, giving him first performances. Among the works performed in the first Italian performance, the work Turris Eburnea by composer Luis De Pablo stands out, who writes of Andrea Monarda: “I listened to a doubled guitar: two instruments, even more, in one. Different forms of attack, register and sound matter, all evolving in clear speed: a twenty-fingered guitarist! »

After receiving awards in major international competitions (Alirio Diaz, Venezuela and Andrés Segovia, Spain), he has been invited to national and international festivals such as Festival MITO, Festival della Valle d’Itria, Festival Duni, Festival Mozart, Turin Classic Music Festival, URTIcanti and the Kamermuziek Festival in Hoorn, The Netherlands.

He tours in Italy and abroad, giving concerts in prestigious halls such as the Alirio Diaz Theatre in Carora, Venezuela, the Donizetti Theatre in Bergamo, the Gobetti Theatre in Turin and the Central Library of History and Archaeology in Rome. His solo activity has led him to debut in 2014 with the Orquesta de la Universidad de Granada.

He collaborates constantly with soprano Ludmila Ignatova, ranging from Renaissance to 20th century music: the duo is regularly invited to the National Chamber Music Festivals, such as the Mozart Festival and the Turin Classic Music Festival.

Recently active in the composition of music for guitar, he published for the Edizioni Sinfonica the Sette Studi for two guitars (reviewed with five stars by the magazine Seicorde, which defined them seven studies of great musical intelligence) and the Fuguette for four guitars. Graduated cum laude in music didactics, he teaches pre-academic guitar courses at the “P. Mascagni” Institute of Music Studies in Livorno.

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