GISELA NOGUEIRA – wire guitar, guitar. Lattes.
Gisela studied classical guitar with master Isaías Sávio in São Paulo. She holds a PhD in Communication Sciences from the University of São Paulo, with the dissertation The Viola with Anima: A Symbolic Construction. She completed a specialization and received the title of Master of Music in Performance from the Royal Northern College of Music in agreement with The Victoria University of Manchester. She currently teaches music in Brazil in the Music Department at UNESP Institute of Arts. Nogueira has performed as a guitarist and interpreter of guitar family instruments in tours throughout Brazil, England and other European countries. At the invitation of Anna Maria Kieffer, Gisela specialized in the technique of Brazilian Baroque guitar to participate in the phonographic documentation of eighteenth – and nineteenth – century Brazilian music. Gisela has recorded several works with the following artists: Luiza Sawaya, Anna Maria Kieffer, Edelton Gloeden, Gustavo Costa and with the groups Carmina de música antiga and ANIMA. She was a member of the medieval music group Núcleo Tálea, led by singer and medievalist Fernando Carvalhaes.
Brazilian baroque guitar made by Roberto Gomes, São João del Rey, MG, 1988, after an original model found in Tiradentes, Fazenda Capivari, 1765.
HUGO PIERI – voice. Lattes.
The baritone Hugo Pieri, was born in Belo Horizonte, Minas Gerais. He has a degree in Conducting from the Federal University of Minas Gerais. In Europe from 2005 onwards, he specialized in singing, focusing on the interpretation of Baroque music. In 2007 he obtained a Diploma of Musical Studies from the Conservatory of Strasbourg, France and in 2012 completed his Master’s Degree in Performance in Early Music Singing at the School of Music in Trossingen, Germany, studying with Professors Gundula Anders and Jan van Elsacker. He sings as a soloist, choralist, and is a member groups of ancient music in several countries: Schola Stralsundensis (Holland) and Los Biganos (France), working also together with the musicians Hervé Niquet, Martin Gester and Maurice Van Lieshout. Parallel to his work as a singer, he has acted as conductor and voice teacher at Projeto Guri, São Paulo. In his project O Canto Livre, Hugo bringsvarious influences experienced in bodily and energetic practices together with vocal technique and music making. His work as a music performer endeavors to investigate and connect art, corporality and presence.
Ogan LEANDRO PEREZ – Afro-Brazilian percussion and voice
(guest artist MAR ANTERIOR and IMAGINARY SOUND BRAZILIAN – ANIMA 30 YEARS)
A musician and actor, the Ogan Leandro Perez is a specialist in percussion, working on musicality and its interfaces in the training of the performer-creator in theater and dance. A scholar of Brazilian popular culture, specifically Afro-Brazilian culture, Ogan Leandro is a professor of percussion, capoeira and theater. He has been an Ogan (atabaque player) for more than ten years in the terreiro of Umbanda and Candomblé Tenda de Umbanda Caboclo Vira-Mundo e Caboclo Treme-Terra, located in the north of São Paulo. As an actor, Ogan Leandro is a clown with a Licentiate degree in Theater-Arts from IA-UNESP, São Paulo State University “Júlio de Mesquita Filho”, with the monography The Theater-Ogan: Transit(s) between Artistic and Religious Practice. He studied Malinke percussion and rhythms from West Africa. Ogan Leandro’s research is focused on Brazilian popular music, especially popular manifestations such as Candomblé, Umbanda, Bumba meu Boi, Jongo, Capoeira, Samba de Roda and Congadas. As a musician performer and music director, he integrates theater with contemporary black dance companies, such as: Nave Gris Compania Cênica (since 2013), Coletivo Desvelo (since 2015) and also Grupo Cachuera!. He works as an art educator in several projects, workshops and courses that involve the culture of play and the cultures of the Afro-Brazilian matrices.
Atabaque Rum, Candomble’s master drum (1), by Luis Poeira, Instituto Tambor. 2019, São Paulo, SP.
LUIZ FIAMINGHI – brazilian fiddles. Lattes.
Fiaminghi was born in São Paulo in 1958. He is an Associate Professor at the State University of Santa Catarina (UDESC), Florianópolis, in the fields of musicology/ethnomusicology, musical perception and performance practices. His research concentrates on seventeenth – and eighteenth-century music, musical rhetoric, Baroque violin, rhythm and Brazilian fiddles. As executive director, music director and producer of Grupo ANIMA, Fiaminghi has toured Brazil and abroad and received awards from APCA (1998), Carlos Gomes (2000), and the Funarte Brazilian Music Award (2012). He completed his doctorate in performance practices at the University of São Paulo-Campinas (UNICAMP) with the dissertation Violated Violin: Brazilian Fiddle, Hybridism and Method Deviation in Contemporary Performance Practices – Tradition and Innovation in José Eduardo Gramani. Luiz received a B.A. in composition at the same university in 1986. He has performed in several Baroque orchestras, among them the European Community Baroque Orchestra. Fiaminghi completed a specialization in Baroque culture at UFOP, Minas Gerais. Professor Dr. João Adolfo Hansen (USP) advised his thesis Violin and Rhetoric at the Francesco Geminiani Violin School. In his training as a violinist he has studied under master Paulo Bosísio in Brazil, and subsequently in Baroque violin in the Netherlands with Marie Leonhardt and Alda Stuurop. He is currently a member of the group Os Músicos de Capella, directed by Luis Otavio Santos, São Paulo. He was also a member of the medieval music group Núcleo Tálea, led by the singer and medievalist Fernando Carvalhaes.
Brazilian fiddle (1) made by Nelson da Rabeca, Marechal Deodoro, AL; wood of jaca tree; tuning G2/D3/G3/B3
Brazilian fiddle (2) made by Nelson da Rabeca, Marechal Deodoro, AL; wood of gameleira tree; tuning A2/E3/A3/C#3
Brazilian fiddle (3) made by Nelson da Rabeca, Marechal Deodoro, AL; wood of pau mijão tree; tuning E2/B2/E3/G#3
rabeca “Seu” Nelson / Brazilian fiddle (1) “Seu” Nelson builder: Nelson da Rabeca, Marechal Deodoro, AL; wood: jackfruit root; tuning: Sol / D / F / A
rabeca (3) built by Nelson da Rabeca, Marechal Deodoro, AL; pigeon wood; tuning Mi 2 / Si 2 / Mi 3 / Sol # 3
Brazilian fiddle (3) made by Davino Aguiar, Cananéia, SP; wood box; tuning: G2 / D3 / A3
fiddle Fernando Vanini / Brazilian fiddle Fernando Vanini builder: Fernando Vanini, Campinas, SP; wood: marupá; tuning: A / D / A / D
fiddle “Seu” Martinho / Brazilian fiddle “Seu” Martinho builder: Martinho dos Santos, Morretes, PR; wood: box; tuning: Sol / Reverse / Sol / Si
vielle on European medieval model (iconography) builder: Fábio Vanini, São Paulo, SP; wood: marupá; tuning: Sol / Reverse / Sol / Si
PAULO DIAS – Afro-Brazilian percussion, organetto.
Born in São Paulo in 1960, Paulo Dias is a musician, producer and independent scholar of music. For Afro-Brazilian traditions, he studied under the masters Seu Romário Caxias
with Batuque de Capivari, captains Dirceu Ferreira Sérgio and João Lopes with Reinados Mineiros, Antonio Marcondes Filho (Totonho) and Dona Maria José Martins (Dona Masé) with Jongo do Tamandaré, and Ogan Leandro Peres in Candomblé, among others. He studied piano with Anna Stela Schic and Pierre Sancan; harpsichord with Helena Jank and organ with Doroteia Kerr. He received his undergraduate degree in Piano from the University of São Paulo-Campinas (UNICAMP), as a student of Fernando Lopes. He was an instructor and piano player with the University of São Paulo Chorale. Since 1988 he has dedicated himself to the mapping, documentation and study of communities maintaining popular music traditions, specifically those in the Southeastern region of Brazil and with a strong Central African presence. He is a founder and director of the Cachuera! Cultural Association, dedicated to registering, disseminating and reflecting upon popular Brazilian cultures, with various publications in CD format, video documentary, books, along with public events on the subject. With Cachuera! Cultural Association he received under Lula’s government the Order of Cultural Merit award. As an essayist Paulo publishes in Brazil and abroad. He holds the Kaapora Chair at UNIFESP, which endeavors to fight for indigenous and afrodescendent epistemic presence at this institution, with the goal of achieving symmetry with the dominant mode of Western academic production of knowledge.
Candomblé’s support drum (rumpi) (1), by Luis Poeira, Instituto Tambor. 2019. São Paulo, SP
medieval organetto, 26 tubes with bellows, built on an iconographic model. Germany, 2011.
chestnut agogôs (coconut of Brazil nut) built by Marinheiro, Feira de Santana, BA
rumpi tarracha atabaques (1), author Luis Poeira, Instituto Tambor. 2019, Sao Paulo, SP
banza shaker (3), unkown author. São Tomé e Príncipe
cabaçal band box (12 “) unknown author, Juazeiro do Norte, CE
congo box (15 “) built by Rômulo de Albuquerque, São Paulo, SP
box of divine Maranhão built by Alex Macedo, São Paulo, SP
mozambique box (19 “) built by Capitão João Lopes, Irmandade de N.Sª. do Rosário de Jatobá, Belo Horizonte, MG
canzá (reco-reco de catupé) unknown author, Perdões, MG
caxixis unknown author, São Paulo, SP
double caxixis unknown author, acquired at the fair of S. Cristóvão, Rio de Janeiro, RJ
aguaí rattle and ticuna rubber seed necklace ticuna author unknown, Alto Solimões, AM
pequi caiapó belt built by Miki Caiapó, Aldeia Gorotire, PA
gã bell (2), unknown author, Salvador, BA
gong (35 “) built by Georg Ehrenwinkler, Campinas, SP
ankle rattles unknown author, India
gungas (ankle rattles from mozambique) built by Paulo Dias, São Paulo, SP
caiapó coité maraca built by Cramb-Am Caiapó, Aldeia Au-kre, PA
organetto (portative organ) (4), 26 pipes (Huelgas design), Stefan & Anette Keppler Wolkenstayn, 2011, Koetz, Germany
tambourine (11 “) built by Fernando Boi, São Paulo, SP
Brazilian tambourine 11” (6), Fernando “Boi” Gontijo, São Paulo, SP
bendir 17” (5) (pneumatic tuning), unkown author
pandeirão maranhense bumba-boi with tarrachas (18 “) built by Alfredo Madredeus, São Paulo, SP
patagonga or patangome (circular rattle from mozambique) unknown author, Uberlândia, MG
ritinta maranhense used as drum of congo (6.5 “) built by Bicho Terra, São Luís, MA
riding bells unknown author, Évora, Portugal
gameleira tambu built by Salomma Salomão (Salomão Jovino dos Santos), São Paulo, SP
ceramic vase built by Leonora Ferreira, São Paulo, SP
SILVIA RICARDINO – medieval harp
Silvia Ricardino began her piano and harp studies in São Paulo as a student of Henriqueta Ricardino and Fritz Jank, among others. She studied concert harp in São Paulo with Laura Ferraro, Elsa Guarnieri and Henriqueta Ricardino. She conducted advanced studies in Paris with the harpist and composer Annie Challan. Silvia taught music history and art history at the Carlos Gomes Music College in São Paulo. She has created and presented programs on the harp that were produced and transmitted by Rádio Cultura FM in São Paulo. She was harp instructor at the Municipal School of Music, São Paulo, and member of the Municipal Symphonic Orchestra São Paulo. Since 1984 she has performed in a duo with the flautist Marco Antonio Cancello. She was a member of the medieval music group Núcleo Tálea, led by the singer and medievalist Fernando Carvalhaes. Dedicated principally to chamber music, Silvia performs the concert harp, Celtic harp, and medieval harp. She also translates modern Greek, in particular the work of the Cretan author Nikos Kazantzákis, of which she has translated directly into Portuguese Captain Michalis, Zorba the Greek and Ascesis, all published by Grua Livros, São Paulo.
harp troubadour model, 22 strings, Camac, France, 1984.
VALERIA BITTAR – medieval and renaissance recorders and Brazilian indigenous recorders. Lattes.
Born in São Paulo in 1962, Valeria studied recorder with João Dias Carrasqueira, master of São Paulo choro music. She received a Bachelor’s degree in recorder from the University of Music and Dramatic Arts, Vienna, Austria, with a scholarship from the Alban Berg Foundation for Support and Research on Contemporary Music. She has participated in master classes in Germany, Switzerland, Holland and Italy. Advised by Professor Suzi Sperber (PhD), Valeria earned her doctorate in Arts (Scenic Poetics) at the University of São Paulo-Campinas (UNICAMP) with the dissertation Musician and Act. She works on music performance through bodily perception, having been trained in the Klauss Vianna didactic technique – Listening to the Body. She is a professor of ensemble practice and recorder at the State University of Santa Catarina, Florianopolis, where she also directs the research project Musicians, Music and Instruments: Investigation of the Performance of Historical Music and Traditional Popular Music and the extension program Recorder – Performance and Didactic. Responsible for executive direction and graphic production of the following CDs and concerts for Grupo ANIMA, of which she is a founding member: Mar Anterior (2018-2020), Encantaria (2012-2016), Donzela Guerreira (2008-2013), Espelho (2006), Amares (2003), Especiarias (2000), Espiral do Tempo (1998). As a member of Grupo ANIMA she has received the following awards: FUNARTE Brazilian Music (2012), APCA (1998) and V Carlos Gomes Award (2000), performing throughout Brazil, and in Germany, Austria, Switzerland, France, Italy, Luxembourg, USA, Canada, Argentina, Bolivia, Paraguay, Colombia, Uruguay and Mexico. She was a member of the the medieval music group Núcleo Tálea, led by Fernando Carvalhaes and is a member of the early music group Harmonia Universalis.
C-bass flute built by Adriana Breukink, Netherlands, 2015, based on models from the Bassano family (Italy, 16th century) University of São Paulo collection.
bass flute in fa built by Adriana Breukink, Netherlands, 2015, based on models of the Bassano family (Italy, 16th century) – University of São Paulo collection
c bass recorder (7) made by por Adriana Breukink, Netherlands, 2015, after Bassano’s family models (Italy, 16th cent.) – Universidade de São Paulo
f alto recorder (1) made by Monika Musch, Freiburg, Germany, after Sylvestro Ganassi (Venice, 1492)
f bassetto recorder (6) made by por Adriana Breukink, Netherlands, 2015, after Bassano’s family models (Italy, 16th ent.) – Universidade de São Paulo
g alto recorder (5) made by por Adriana Breukink, Netherlands, 2015, after Bassano’s family models (Italy, 16th cent.) – Universidade de São Paulo
alto flute built by Frederick Morgan, Australia, 1980, based on a model by J. C. Denner, Nürnberg, Germany, century. XVIII.
c tenor recorder (2) made by Luca de Paolis, L’Aquila, Italy, 2005, after C. Rafi, P. Grece (Italy, 16th – 17th cent.)
soprano C flute built by Monika Musch, Freiburg, Germany, 2015, according to Sylvestro Ganassi (Venice, 1492)
contralto flute in fa built by Monika Musch, Freiburg, Germany, 2015, according to Sylvestro Ganassi (Venice, 1492)
C soprano flute built by Helge Stiegler, Weyer, Austria, 1999,
after Jacob van Eyckl (The Netherlands, ca. 1590 – 1657)
c soprano recorder (3) made by Monika Musch, Freiburg, 2015, after Sylvestro Ganassi (Venice, 1492)
c soprano recorder (4) made by Helge Stiegler, Weyer, Austria, 1999, after Jacob van Eyck (Netherlands, ca. 1590 – 1657)
flute yãkwá people Enauenê Nauê, Serra do Roncador, Brazil
contralto flute in fa built by Frederick Morgan, Australia, 1980, according to J. C. Denner, Nürnberg, Germany, century. XVIII
contralto flute in sol built by Adriana Breukink, Netherlands, 2015, based on models of the Bassano family (Italy, 16th century) – University of São Paulo collection
Guests artists
MARLUI MIRANDA – voice, percussion, research (guest artist in ENCANTARIA). Lattes.
Marlui Miranda, singer, composer and researcher recognized for performing, disseminating and valorizing the culture and music of indigenous peoples in Brazil. Award from the German Academy of Critics (SchallplattenKritik) for her CD IHU, Todos os Sons (1996); Chico Mendes Environment Awards from the Environment Ministry (2005); and the Education and Culture Ministry’s Order of Cultural Merit (2002). Marlui Miranda directs the IHU Association for Indigenous Music and Art, a private non-profit organization. She has performed and recorded with leading figures in Brazilian music such as Egberto Gismonti, Gilberto Gil, Nana Vasconcellos, Rodolfo Stroeter, and for sessions and tours with Jack DeJohnette and John Surman. Work for films and documentaries: best soundtrack award for Luiz Alberto Pereira’s film Hans Staden (2002); the 1992 film At Play in the Fields of the Lord (Brincando nos Campos do Senhor) with Hector Babenco / Saul Zaentz (Amadeus, The English Patient).
Frequent performances in Europe and the United States. Visiting professor at Chicago University through the Tinker Foundation (1993), and Dartmouth College (2001 and 2003); Artist-in-residence at Indiana University (2001 and 2007), and Dartmouth College; musical presentation at the University of London; Montgomery Fellow at Dartmouth College, 2003. Awarded the John Simon Guggenheim Memorial Foundation grant for her IHU research and composition project to conserve and recreate indigenous music in Brazil (1986), and a grant from Map Fund-The Rockefeller Foundation (1995) for the IHU project’s première.
CD recordings include: Olho D`Agua (Warner -1979); Revivencia (Memoria, 1986); Rio Acima (Memoria, 1989); Paiter Merewa (Memória, 1987); IHU, Todos os Sons (Pau Brasil, 1995); IHU, Todos os Sons – scores (Arvore da Terra, 1995; Kewere –Rezar (Pau Brasil 1997); Ponte entre Povos (SESC-SP 2005).
puru-puru (turtle shell) made by Paxinã Poty Apalai, Amapá
MARÍLIA VARGAS – soprano and research (guest artist in DONZELA GUERREIRA). Lattes.
Born in the state of Paraná, first studied voice under Neyde Thomas. As a child she debuted at Teatro Guaíra (Curitiba) as the little shepherd in Tosca. Further studies in Switzerland, graduated Solisten Diplom from Schola Cantorum Basiliensis (2001), in the class of Professor Ulrich Messthaler. Attended classes taught by Christoph Prégardien at Zurich Conservatory, where she concluded her Konzert Diplom in Lied and Oratorio with honors summa cum laude (2005). Master classes with Montserrat Figueras and Silvana Bartoli Bazzoni. Awarded with the 2nd Bidú Sayão International Vocal Competition, and at the 6th Maria Callas Brazilian Voice Competition. Scholarship from Friedl Wald foundation (Switzerland, 2002), and the Margherite Meyer Stiftung award two years later.
Performances with several orchestras, including Aargauer Symphonie, Orchestra of the Acts of Enlightenment, State of São Paulo Symphony Orchestra, Paraná Symphonic, Camerata Antiqua de Curitiba, Petrobras Symphonic, Minas Gerais Symphonic and Zurich Chamber Orchestra ; soloist with early music groups: La Capella Reial de Catalunya (director Jordi Savall) and Le Parlement de Musique; performances at theaters including Theater Basel, Stadt Casino Bern, Tonhalle Zürich (Switzerland); Wiener Konzerthaus (Austria); Teatro Municipal (RJ), Sala São Paulo; Palácio das Artes (MG); Auditorium Dijon and Arsenal Metz (France); Berliner Konzerthaus (Germany); Auditorium and Gran Teatro Del Liceo (Barcelona). Innumerable recordings for radio and television in Europe, and several CDs. Guest professor at leading music festivals and universities in Brazil. Performances at opening concert for Brazil-France Year (2005) and at the Brazilian Embassy in Rome (2007). Marília Vargas is launching her CD of songs from Paraná Canções Paranaenses in 2008.
Invited professor of important music festivals and universities in Brazil. She performed at the opening concert of the Year Brazil-France (2005) and at the Embassy of Brazil in Rome (2007). In 2008 she will release her CD of Canções Paranaenses.
CECILIA ARELLANO – voice (guest artist in ENCANTARIA).
A singer who transits diverse expressions of vocal music, Arellano was born in Rosario, Argentina, and raised in São Paulo, where she studied social sciences at The University of São Paulo and singing at the Arts Institute of São Paulo State University (Unesp). She also studied at the Colón Theatre Institute, in Buenos Aires. She has a degree in solo singing from the Royal Conservatory of The Hague, in the Netherlands, and attended several courses regarding early music in Germany, Spain and France. In Switzerland she studied choir directing at the Geneva Conservatory. During the 14 years she remained in Europe, Arellano created and acted in many musical shows: Choro para Carmen (show and CD), Orfeu Negro (Black Orpheus) (Switzerland/ Austria), Envidia (Envy) (a contemporary opera in a Switzerland-Argentina co-production from the Experimental Center of the Colón Theatre and Gare Du Nord). She took part as a singer in Orpheus, by Monteverdi (Lyon Opera, dir. Phillip Pickett), Gaudete (motets and songs from the 16th and 17th centuries) and The Groove of Bach in festivals in Austria, Germany and Switzerland, among others. In Argentina she performed at the Colón Theatre, in Buenos Aires, and at the Baroque Music Festival, in Córdoba. Arellano currently teaches vocal technique at University del Litoral in Santa Fe, Argentina.
Aulos – Interuniversity Recorder Ensemble
The recorders (5 and 13) built by Adriana Breukink from Bassano family models (Italy, XVI century) were graciously furnished by the Department of Music of the School of Arts and Communications (ECA) at the University of São Paulo (USP), based on an agreement between USP and the State University of Santa Catarina (UDESC) aspart of the research project Musicians, Music and Instruments: Investigation of the Performance of Historical Music and Traditional Popular Music, directed by Valeria Bittar within the MUSICS (Music, Culture and Society) research group.
David Castelo c soprano recorder (8), f alto recorder (9), c tenor recorder (10): made by Adriana Breukink, Netherlands, 2015, after Bassano’s family models (Italy, 16th cent.) – Universidade de São Paulo. Lattes.
Flávio Stein f bassetto recorder (11): made by Adriana Breukink, Netherlands, 2015, after Bassano’s family models (Italy, 16th cent.) – Universidade de São Paulo. Lattes.
Liduino Pitombeira c tenor recorder (12): made by Adriana Breukink, Netherlands, 2015, after Bassano’s family models (Italy, 16th cent.) – Universidade de São Paulo. Lattes.
Monica Lucas c tenor recorder (13): made by Adriana Breukink, Netherlands, 2015, after Bassano’s family models (Italy, 16th cent.) – Universidade de São Paulo. Lattes.
Valeria Bittar c bass recorder (7): made by Adriana Breukink, Netherlands, 2015, after Bassano’s family models (Italy, 16th cent.) – Universidade de São Paulo. Lattes.
