Gilberto Mendes was born in Brazil in 1922. He learned piano with Antonieta Rudge and harmony with Sabino de Benedictis. The influence of Villa-Lobos is evident in his early works, in some way preceding the advent of bossa-nova in his early songs. His contact with the poets of the Noigandres-group gave him the ideological inspiration to feed his talent.
Gilberto Mendes started his musical education in the Conservatorio de Santos (Santos Conservatory, Brazil), his native city, where he studied piano and harmony. He was practically autodidact in composition, though he was, in contact with Claudio Santoro and Oliver Toni and attended to the Ferienkurse für Neue Musik de Darmstadt, Germany in 1962 y 1968.
In 1963 he participated in signing the Manifesto Música Nova (New Music Manifesto) in Sao Paulo, becoming one of the pioneers of the music of experimental invention, including random resources, concrete and electronic music, the use of phonemes, vocals noises, etc; new graphemes, theatric resources and mixed media.
University professor, conference speaker and collaborator of magazines and the main newspapers of Brazil, he founded in 1962 the Festival Musica Nova de Santos (New Music Festival of Santos), the oldest of its kind in Latin America.
He has been Invited Professor in several Universities of the USA. His diverse writings have been published in Encyclopedias and specialized Dictionaries, in England, Germany, France, Sweden and USA. His works have been the subject of study in Doctoral and master Theses.
Gilberto Mendes has a Doctor's degree by Universidad de Sao Paulo (University of Sao Paulo) and is a Honorary Member of Academia Brasileira de la Música (Brazilian Academy of Music). In 2002 he was elected as Corporate Member of Colegio de Compositores Latinoamericanos de Música de Arte (Collegium of Latin American Composers of Art Music).
He is undoubtedly one of the pioneering fathers of New Consonant Music.
Beginning in a tonal way, the speed increases without changing the andamento, in a large structural development by inversions, retrogrades of the musical material exposed, always changing the tonal levels, in a pentonal way, coming back at the end to a very tonal C major.
Funny but equally caustic in its political message, the poem by Décio Pignatari is the centre of the most iconic choral work of Latin America.
O meu amigo Koellreutter [ voice mar pf ] (1998) MENDES, Gilberto
avk073 score 2+1+1 pages
9.5 € VAT incl.
« My friend Koellreutter lived in India and Japan. So, this musical homage has some oriental, exotic atmosphere, some reference to the Japanese scale and to the movies of the thirties, the series Road with Bing Crosby and Dorothy Lamour. »
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