Duo Siqueira Lima

In an obvious wink to Pixinguinha’s chôro “um a zero”, the choice of Um a Um as title for this album evokes the meeting of Uruguayan Cecilia Siqueira and Brazilian Fernando de Lima at the International Guitar Competition of Caxias do Sul, Brazil, when they won first prize ex aequo in 2001. So, no rivalry here but a common victory decisive for both: duo on stage and couple in life, Cecilia and Fernando’s destinies are now just one.

The chôro has a distinguished ambassador in the person of Alfredo da Rocha Vianna Filho, born in Rio de Janeiro in 1897, and internationally renowned by the name « Pixinguinha ». In Um a zero (one zero), he commemorates the victory of the Brazilian football team playing against Uruguay in 1919. The unbearable suspense suffered during this historical match, until the very late goal of “El Tigre” in favor of Brazil, is expressed exuberantly in this joyous chôro which stands the test of time. Immortalized in 1946 on a recording where Pixinguinha plays the flute part, Um a zero seduced many other interpreters such as Jacob do Bandolim, Benedito Lacerda, Altamiro Carrilho and Garôto. One can even hear, nowadays, this chôro played by musicians belonging to the classical world, far from Brazilian borders!

Another great success of the Brazilian chorões’ repertoire, André de sapato novo illustrates with humor the torments suffered by its author, André Victor Correia, wearing too new shoes during a ball. The recording of this chôro by Pixinguinha on saxophone and Benedito Lacerda on flute in 1947 conferred to it a particular glory.

Chôro is also present along with forró and baião in more than forty recordings crystallizing Dominguinho’s musical journey. Born in 1941 in the state of Pernambuco, José Domingos de Morais is a composer, a singer and he plays on his accordion typical Brazilian music, alone or with prestigious partners such as Caetano Veloso, Gilberto Gil, Gal Costa, Toquinho, Maria Bethânia or Yamandu Costa with whom he recorded one of his most recent albums.

To his creativity as a composer and renowned arranger, Gilson Peranzzetta adds the qualities of a versatile musician whose main instrument is the piano. Born in a family of musicians, this pure carioca broaches the chôro (Cheio de graça,1985), the baião (Lado a lado, 1988) and the samba (Pontes,1985) in an elegant jazzy style.

Geraldo Ribeiro was born, in 1939, in the state of Bahia, in a family of farmers. He discovered the guitar as a self-taught musician before studying in São Paulo. Popular music and classical music mark his personal journey; he helped safeguard the work of popular guitarists such as Garôto, Armandinho and Antonio Rago by transcribing it, recording and publishing it. Among other things, he recorded transcriptions for viola caipira of music by Bach made by Theodoro Nogueira, calling attention to this Brazilian kind of guitar that was a little neglected. Geraldo Ribeiro wrote more than 400 compositions for the guitar. He created a guitar class at Brasilia University.

Eleven years younger, Paulo Bellinati learnt classical guitar with Isaías Sávio at São Paulo conservatory before studying in Switzerland and living there for fifteen years. His career is entirely dedicated to Brazilian music and to the different types of Brazilian guitars which he plays solo and in several groups such as the excellent quintet Pau Brasil. His compositions are inspired by lundu, chôro, baião, maxixe and other typical rhythms.

César Camargo Mariano is a brilliant composer, arranger and pianist. He created with Humberto Clayber (bass) and Airto Moreira (drums) the ephemeral Sambalanço Trio which inaugurates, in 1964, the famous nightclub « João Sebastião Bar », temple of bossa nova in São Paulo. He develops in a very personal way the samba-chôro style to which his famous compositions Cristal and Samambaia make part.

Remarkable figure in the Brazilian music landscape, Radamés Gnattali was about 25 years old when he left his birth place Porto Alegre (South Brazil) to make a living in Rio de Janeiro. He worked for many years at the Rádio Nacional, first as a pianist, then as the composer and conductor attached to the radio symphony orchestra, responsible for thousands of arrangements of popular music. Afterwards, he would occupy the same position at TV Globo for almost 20 years. This is how Radamés Gnattali gave to posterity a large and emblematic work where classical language and popular expression dialogue in perfect harmony.