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Alma Brasileira

Entrevista a Marcelo Brakte para a Rádio Cultura de São Paulo

 

 

​​​​​​​​​​​​​​​​​​​​​Turibio Santos, pra vc quem é Heitor Villa-Lobos ?

 

Heitor Villa-Lobos é um gênio de amplitude universal que catalizou a musicalidade do país Brasil e do povo brasileiro no interior de sua imensa obra e do seu equivalente amor pela terra brasileira transformando-se num ícone imbatível da nossa pátria!

Generoso recolheu preciosos temas de múltiplas manifestações como a música indígena, a popular, a do interior, produzindo O Guia Prático destinado a desvendar nossos tesouros musicais para os jovens e seus professores. Temas que também utilizaria em suas Sinfonias, Bachianas, Choros, Quartetos e muitos instrumentos principalmente no violão e violoncelo e na voz humana.

O poder da sua música fez com que ela se propagasse pelo mundo afora representando um retrato magnífico e monumental do Brasil totalmente perene.

 

O instrumento "violão" continuou o mesmo depois de Villa-Lobos? Qual foi a herança que Villa-Lobos deixou para o violão?

 

Andres Segóvia , o extraordinário recriador do violão nos tempos modernos e dedicatário dos 12 Estudos de Villa-Lobos  na década de 1920, o comparava a Chopin com seus Preludios e Estudos para piano. Segóvia também recebeu um belo Concerto(1950), originalmente uma Fantasia a qual foi acrescentada uma cadência a pedido do rigoroso violonista. Na herança para o violão constam ainda os 5 Prelúdios(1940) dedicados  a Mindinha,  apelido carinhoso de Arminda Villa-Lobos,  sua segunda esposa e fundadora do Museu Villa-Lobos em 1960.

Inaugurando sua séria monumental dos Choros fez o n. 1 para violão, dedicado a Ernesto Nazareth e uma Introdução aos Choros para Violão e Orquestra.

 

              

E no Brasil, onde o violão foi sempre um instrumento tão familiar. Villa-Lobos mudou a fisionomia do violão na história do Brasil?

 

O violão sempre foi um instrumento seresteiro e boêmio. Villa-Lobos,  admirador da obra de Bach impregnou suas músicas de construções bachianas e de choros populares, principalmente os de seu amigo dileto João Pernambuco. Em 1962 fui convidado por Arminda Villa-Lobos para gravar o primeiro disco do recém fundado Museu Villa-Lobos : a versão integral dos 12 Estudos para violão.

Esse disco foi a chave para minha carreira internacional que reverberou em 1965 quando ganhei um concurso internacional em Paris da ORTF-Office de Radio-Television Française. As gravações da obra para violão se multiplicaram e provocaram uma verdadeira cachoeira de discos mundialmente que alavancou a totalidade da obra na Europa e nos Estados Unidos. Foi uma grande vitória que provocou um aumento de royalties enorme, dando visibilidade a Academia Brasileira de Música e ao competente trabalho de seus diretores Vasco Mariz, Ricardo Tacuchian, Edino Krieger, José Maria Neves, e eu mesmo, apoiados pelo talento do advogado Henrique Gandelman num trabalho de organização jurídica da obra continuado hoje por Marisa Gandelman e pela direção atual de André Cardoso 

 

 

Como vai o patrimônio da obra escrita de Villa-Lobos? - Ele que escreveu cerca de 1.100 obras - Sua obra tem sido revisada? Suas partituras estão bem distribuídas mundo a fora? Qual é o papel, por exemplo, do Museu Villa-Lobos e da Academia Brasileira de Música na preservação deste patrimônio?

 

Fui diretor do Museu Villa-Lobos durante 24 anos convidado por Joaquim Falcão, em 1986, e anteriormente  convidado por Ricardo Cioglia para ser assessor de Sonia Maria Sttrut em 1985.

Foi um período de conhecimento do Museu, quando eu ainda viajava intensamente pelo mundo todo. Pude então conhecer os problemas profundos do serviço público brasileiro, suas mazelas históricas e as lacunas terríveis que eram sempre proclamadas como se foramos ainda uma colônia do império português. Hoje, depois de ter sido criador da classe de violão na UNIRIO e na UFRJ em 1980 e ter dirigido o Museu durante 24 anos e um a menos dos 25 de Arminda que contei criteriosamente posso dizer que a obra de Villa-Lobos foi razoavelmente protegida, por mim e pelas equipes que dirigi no Museu Villa-Lobos e na Academia Brasileira de Música.  Atualmente agradeço as equipes que copiaram a obra completa para a Unicamp e para a BN assim que assumi o MVL, e  às equipes que seguiram modernizando a biblioteca do MVL. Falhas existiram por motivos inúmeros mas prefiro contabilizar os sucessos e agradecer a duas grandes assessoras : Grace Elizabeth no Museu e Valéria Peixoto na Academia.

 

Turibio Santos, pra vc quem é Turibio Santos depois de uma vida de tanta dedicação em divulgar a música de Villa-Lobos e de tantos anos de intimidade com a obra deste grande compositor? 

 

Difícil dizer como eu sou porem os que quiserem conhecer algumas das minha setenta gravações poderão achá-las no Youtube e as edições musicais na Max Eschig , na Ricordi, e na Vitale.  Alem disso tenho um site www.turibio.com.br.  Posso me considerar um felizardo de ter tido uma madrinha como Arminda Villa-Lobos e amigos maravilhosos que são muitos e fazem parte de minha autobiografia "Caminhos, encruzilhadas e mistérios..." editora ArtViva.  Muito obrigado por suas perguntas eficientes e afetuosas.  Concluindo Turibio aprendeu com Villa-Lobos a importância da gratidão e a sorte de ter em seu caminho Marta Clemente, e Sandra Santos, que muito  ajudaram a construir a longa e difícil caminhada...

 

Turibio Santos, conte para os ouvintes da Cultura como foi sua relação com a Mindinha e como você conheceu Villa-Lobos...

 

Eu tive uma oportunidade única na vida que foi sentar numa mesa com Villa-Lobos, e Arminda, sua irmã, a mãe de Sonia Maria Sttrut.E o próprio Villa-Lobos chamou o pequeno público que assistia uma palestra dele na Av. Pasteur, no Instituto Benjamin Constant. Só que o pequeno público era pequeno mesmo. Tinha  Ademar da Nóbrega que viria a ser biografo de Villa-Lobos, eu mesmo e mais uma 3ª pessoa. Sentamos naquela majestosa mesa e o Villa-Lobos empolgadíssimo conversou durante três horas. Falou não só sobre a obra de violão, mas sua obra em geral, sobre as viagens... abriu a cabeça para a gente de uma maneira espetacular.

Foi algo sensacional. Eu tinha 15 anos de idade mas levei uma missão que dois amigos me impingiram . Um deles era Herminio Bello de Carvalho, que é conhecido por sua cota no samba mas, na época era aluno de violão clássico do meu professor Antonio Rebello, e um aluno veterano Jodacil Damaceno. Eles dois tinham um programa na rádio MEC “ Violão de Ontem e de Hoje” e queriam material para o programa. Mas um estava com hepatite e o outro com uma doença que não dava para sair da cama e então recomendaram que eu anotasse tudo que ele dissesse por que mesmo que não parecesse importante um dia seria muito importante no futuro. Estavam coalhados de razão.

Em 1975 acabei escrevendo um pequeno livro chamado “Villa-Lobos e o violão” para o Museu Villa-Lobos. Como nessa época viajava muito, Arminda que revisou o livro todo. Foi uma maravilha, não só ela revisou o livro mas escreveu a meu pedido alguns exemplos musicais.

Foi espetacular. Villa-Lobos contou que os Prelúdios dedicados a Mindinha eram homenagens: o nº 1 ao homem do Campo Brasileiro, o nº 2 ao Malandro ou Capadócio Carioca como ele chamava. O nº 3 uma pequena Bachiana, o nº 4 ao Indio Brasileiro e nº5 ao que ele chamava a Vida Social Carioca. Foi um momento de graça. O que é isso Maestro, Vida Social Carioca? Respondeu: esses meninos arrumadinhos, fresquinhos, que freqüentam os Concertos de Música Clássica. Aí todo mundo riu e ele: não é isso que vocês estão pensando não, é de banhinho tomado. Essa coisa do Villa-Lobos era espontânea. Quando ele falava ele lembrava muito certos artistas super espontâneos. Não media palavras. Quando vinham, jogava pra fora. Foi assim esse encontro maravilhoso!!!

 

Houston Chronicle - Section 2 - Page 1 .
Stylish magic flows in Santos´s guitar program


TURIBIO SANTOS, Guitar, was presented Friday evening JONES HALL on the University of St. Thomas Campus by lhe Houston Classic Guitar Society in association with the Brazilian Consulate..
PROGRAM
SOR .......................Introduction and Variations on "Malbroug, s'en-va-t-en guerre" '
BACH .....................Suite No. 1 for Lute
VILLA-LOBOS ..........Preludes No. 3 and 2o. Etudes Nos. 10 and 7
NOBRE....................Momentos No. 1
GRANADOS............ "La Maia da Goya", “Danza Espanola No. 10”
ALBENIZ ................ "Mallorca”, "Asturia”

Some artists play with such style that the music flows magically from their fingertips and the problems they may encounter along the way simply are swept with the spell. That was the case with Brazilian guitarist Turibio Santos, who played Friday evening in Jones Hall on the University of St. Thomas Campus.

His appearance was sponsored by the Houston Classic Guitar Society Íll association with the Brazilian consulate to open the Society's 1978-79 concert series. His program had few surprises.Marlos Nobre's (b: 1939) deceivingIy astringent Momentos No. 1 showed an interesting view of the guitar in the 20th century, using the sharp metallic twang of slapping the guitar against the fingerboard to open but eventually settling back into a lusher idiom. Otherwise, the selections carne from standard guitar composers - Sor, Bach, Villa-Lobos, Granadas and AIbeniz - and cIosed with Albeniz´s very familiar "Asturias."

Santos came to play; his request for a very short intermission - five minutes, he asked - was a novelty. But that intervaI served neatly to divide the concert into two facets of his playing.

The Nobre, Granados and Albeniz works comprised the second half. Here, the guitarist was in his milieu. These largely turn-of-the-century pieces really have an ethos that is not easily captured by performers, but Santos has captured their spirit and gone right to the heart of their essence.

Part of that feeI comes from the subtle tonal demands on the instrument that Santos used with total command and great polish. These coloristic effects gave the five works a warm, luxuriant gIow. Too, his sense of pacing and general musical understanding was superior during this portion of the show.

That stylishness of playing really covered over some questions posed quickly during the first half - in Sor's early 19th century variations on "For he's a jolly good fellow" and Bach's Suite No. 1 for Lute in transcription.

In particular, Santos was always just on this side of technicaI mayhem, meeting the chalIenges of the works but never really communicating that he was in total control (This aspect of his technique kept “Asturias" from being an electric conclusion of his program). Moreover, melodies and long flowing motives, particularly those punctuated with small, devilish ornamentations, frequently didn't have an organic shape. The subsequent loss of flowing line chipped away from the total potential excellence.

But even the Bach, where everithing is so exposed, was encased in the wann glow of Santos' stylish playing. That certainIy is the memory of the evening.

CHARLES WARD
                                                                                                                                                                                                                           Stereo Review

VILLA.LOBOS: Concerto for Guitar and . Smal/ Orchestra. Turibio Santos (guitar); Jean-François Paillard Chamber Orchestra, Jean-François Paillard cond. Mystic Sextet. Maxence Larricu (ftute); Lucien Debray (oboe); Henri-René Pollin (saxophone); François-Joel Thiollier (celesta); Lily Laskine (harp); Turibio Santos (guitar). Five Preludes.

Turibio Santos (guitar). MUSICAL HERITAGE SOCIETY MHS 3397 $3.50 (plus 95c handling charge from Musical Heritage Society Inc., Oakhurst. N.J. 07755).
Performance: Deft
Recording: Very good

There are already two fine recordings of the ViIla-Lobos guitar concerto: Julian Bream (RCA LSC-2606) offers the concerto and the preludes but substitutes the Chôros No. 1 and some other solo pieces for lhe Mystic Sextet; and John Williams (Columbia M 33208) couples the concerto with the extraordinarily Popular Concierto de Aranjue of Rodrigo Santos' playing is never less than fully competitive with that of his better-known rivais, and the choice of couplings inclines me toward the MHS disco since I find the seven minute Mystic Sextet of 1917 one of the most intriguing works of its kind - as Gallic in spirit, curiously, as much of Milhaud's music of this period is Brazilian. In the more or less continuo role assigned to the guitar in the sexteto Santos blends ideally with his deft associates. Paillard is his dependable self in the concerto, and the recorded sound is very good indeed.

R.F

Turibio Santos Guitarist Represented by Byers, Schwalbe & assoc. Inc. 

THE NEW YORK TIMES" THURSDAY; NOVEMBER; 21, 1975
Turibio Santos Shows Superiority on Guitar
Recital
by ALLEN HUGHES


Turibio Santos, a Brazilian guitarist who made his New York debut in Hunter College's Latin-American series in 1973, returned to the Hunter Playhouse on Tuesday night for an appearance in the Classic Guitar series presented by Hunter Arts with the cooperation of the Center for Inter-American Relations and the Society of the Classic Guitar.

Mr. Santo's superiority as instrumentalist, musician and interpreter was recognized in his debut, and this recital of works by Dowland, Viséé, Bach, Turina, Villa-Lobos and three contemporary Brazillian composers-Almeída Prado, Marlos Nobre and Edíno Krieger- confirmed the earlier favorable estimate of his talento.

No matter what he played - Bach counterpoint, dances by Turina, études by Villa-Lobos - the music flowed smoothly from under his fingers that the performances seemed absoutely efortless. And evething was inflected with dynamic shadings and colar values that told of sensitivity to artistic detail.
LE FIGARO - JEUDI 6 NOVEMBRE 1975
Turibio Santos
Plaisirs de la Guitare



LES aficionados de Ia guitare classique s'étaient donné, rendez-vous, mardi soir, salle Gaveau, pour entendre le Brésilien Turibio Santos. Le jeune guitariste avait choisi un programme propre à mettre en valeur son extraordinaire palette sonore, mêlant compositeurs classiques européens et musiciens brésiliens d'aujour- d'hui.

Sa technique, qui lui permet de faire chanter distinctement toutes les notes, fait merveille dans deux gaillardes de l'Anglais John Dowland, comme dans Ia Suite en sol majeur de Robert de Visée. C'est ensuite I'ample méditation de Ia Suite en mi mineur pour luth de Bach, que Santos a transcrite lui-même, et dont iI sait traduire toute Ia profondeur.

Avec deux Préludes et deux Etudes de Villa-Lobos, on aborde au Nouveau Continent. Hommage trop bref à ce grand compositeur, car ses jeunes discipIes n'ont pas paru se hisser à son niveau: ni AImeida Prado ni Nobre, dont Ie Livre pour six cordes et Momentos sont dédiés à Turibio Santos.

Beaucoup plus convaincante est l'oeuvre d´Edino Krieger Ritmata, ou la seve popuIaire n'est pas étouffée par les recherches techniques. Quatre Danses espagnoles de Turina, jouées en conclusion, rappelaient opportunément ou était Ia ferre d'éIection de Ia guitare.

Jacques Doucelin.
The Sidney Morning Herald, Fri, June 25, 1976
The Prince of Guitar
by ROMOLA COSTANTINO


MANY classical guitarists of note have been dubbed prince of the guitar (the king, it would seem, is still Segovia). The crown prince of the guitar, then, would be a fitting title for the Brazilian Turibio Santos, heard in a recital in the Music Room of the Opera House last Tuesday. On all counts, he is one of the finest guitarists I have heard over a number of seasons well sprinkled with classical guitar concerts.

Mr. Santos is a superb virtuoso, note-perfect and in command of a range from hushed whisper to effortlessly powerful resonance. His playing fascinates by its delicacy of nuance and it´s musical discipline. He is neither too reserved and shy, as some guitarists are, nor is he too casually informal, as are others.

Programs of guitar music run the risk of scrappiness, but Mr. Santos made a jewel of each piece in hand, whether it was a sixteenth century dance, the imposing classicism of a Bach fugue, an inventive variation by Sor, the pulsating South American rhythm of Villa-Lobos, or a meditative exploration by the contemporary Leo Brouwer.

Leo Brouwer
The Globe and Mail, toronto
Pure delight in pure Bach from brazilian guitarist
BY JOHN KRAGLUND


Thanks to Turibio Santos, Guitar '78 became an exciting musical experience rather than an extended study in guitar technique and styles last night. The 35-year-old Brazilian guitarist was the recitalist in the fourth of five concerts featuring international artists, at the MacMillan Theatre, Edward Johnson Building. Like several other performers in the series, he has won an enviable reputation both at home and abroad - in fact, almost everywhere but Canada, for this event was his Canadian debut.

To suggest his program differed from the preceding ones I have heard is not intended as an indication he was found wanting in virtuosity. The opposite was the case, for his technique was so assured that it functioned merely as a tool to project the musical content of his program to his rapt capacity audience.

This was not na occasional happening in Santos program, but a constant feature, from the delightfully lighthearted opening with Fernando Sor's Introduction, and Variations on Malbrouk S'en Va-ten Guerre (or more familiarly, For He's A Jolly Good Fellow). Sor's variations were as witty as they were lyrical.

His approach served most satisfactorily in Bach's Lute Suite No.1, which must be heading the popularity polls at this International Guitar Festival. In Santos´ performance, one could happlly ignore comparison or thoughts of whether it suited the guitar as well as does the lute. It was Bach of the sort one would like to become accostumed to, clear, precise, and constantly varied in tone, color and mood.

Brazillian music, of course, had a place in Santos' program, beginning with two Preludes and two Etudes by Vllla-Lobos. In his thoughtful interpretations the guitarist stressed the melodic and rhythmic beauty of the music, rather than its technical demands, achieving especially stunning results in Etude No.7. The other Brazilian composer was Marlos Nobre (totalIy unknown to me, but a musician Santos ranks among Brazil's leading younger composers), whose, Momentos No.3, commissioned by the Guitar Society of Toronto and dedicated to Santos, received its premiere in this concert. Essentially a lyrical composition folklike in its rhythms and melodies, it came no closer to modem gimmicks than the occaslonal harsh twanging of a string, in a contrasting middle section. To complete his program, Santos chose Granados' La Maja De Goya and Danza Espanola No. 10, and Albeniz' Mallorca and Asturias. The Spanish Dance and Asturas were especially memorable, with the latter providing a duzzlig finale ; for a wholly satisfactory evening.
The New York Times, Sunday, November 4
'Turibio Santos, A Major Guitarist´


Already at the age of 30, Turibio Santos can be ranked among the major guitarists. The young Brazilian, now living in Europe, made his New York debut at Hunter College Tuesday night, his virtuosity so ingrained that he could focus his attention on graceful tonal subtleties.

His imaginatively varied program included suites by Robert de Visee and Gaspar Sanz, Fernando Sor's charming Variations on "Malbrough s'en va-t-en guerre" and pieces by Poulenc, Milhaud, Henri Sauguet, Turina, Villa-Lobos, Leo Brower, a Dutch composer, and Augustin Barrios of Paraguay.

There were times, especially in the early music, when a little more rhythmic snap would have been welcome, but Mr. Santos's flexible ap- proach to metric phrasings had its own validity. Certainly it meshed with his neat shap- ing of melodic Jines, his sensitive concern for dynamic shadings and colorations of timbre. Throughout. Mr. Santos's playing was idiomatic, thoughtful and admirably controlled.

Robert Sherman
O Globo - 1/11/73 - 5ª feira - página 15
Turíbio Santos aplaudido em Nova York


NOVA YORK (UPI.- O GLOBO) - O violonista clássico brasileiro Turíbio Santos exibiu-se, ontem, pela primeira vez, em Nova York na sala de concertos do Hunter College, perante uma numerosa platéia. Apesar do frio e da ameaça de chuva, o auditório ficou praticamente lotado e o público aplaudiu bastante o espetáculo do músico brasileiro, transmitido diretamente pela Rádio WNYC. Turibio teve de repetir três vezes o número final, devido aos insistentes pedidos da platéia. De Nova York, Turíbio Santos vai para Long Island, onde se apresentará dia 4. Posteriormente, deverá exibir-se em Paris.

The Toronto Star
Guitarist confirms Reputation
By William Littler
Star mlusic critic



Canada is a latecommer among nations to be visited by Turibio Santos. It took Guitar '78 to bring the Brazilian virtuoso here for a recital at the MacMillan Theatre last night.

Not that Santos teeters on the brink of old age. Born in 1943, he has heen travelling the international circuit only since the 60´s, when he won a major competition in Paris.

Fluent technique

But such has been in succes in Europe, North and South America, Australia and .Japan, not to mention on a number Erato recordings, that his reputation reached Toronto long before its owner turned up in person to confirm it.

Like so many of the 'major guitarists of its generation, he commands a remarkably fluent technique and na easy command of the standard literature.

Fernando Sor's Introduction and Variations on Malbrouk s'en va-t-en guerre, which opened his recital, has seIdom sounded more elegantly turned in my experience. The tune, of course, is the same one Beethoven battIed with in his ghastly Wellington's Victory, before coming down to us in somewhat altered form as For He's A Jolly Good Fellow.

Sor rings a few more changes on it than Beethoven, but nothing very substantial emerges.

Where substance was concerned, Santos turned to the first of Bach's Lute Suites, making no apology for the fact that he was playing to it the richer tonal resources of the guitar.

Purists may object to this, now that the lute has made a comeback as a concert instrument, but the tradition of Bach on the guitar has been so well established, and Santo´s represented it so tastefully, that few listeners would likely have resented his performance.

What made it sound specially effective was its juxtaposition with pairs of Preludes and Etudes by Villa-Lobos. The contrast between the chaste tonal palette he applied to Bach and the sensuously mellow tones he applied to the music of his fellow countryman could scarcely have been more striking.

Probably the best known among contemporary Brazilian composers, Nobre has turned out a number of important works; Momentos No. 3 just doesn't happen to be one of them. A sligh piece, about six minutes long, it follows an unadventurous melodic path, peppered by the odd snapped string, arriving at its end before the ear has had time become interested.

No wonder Santos turned directly from it to some of the most popular guitar pieces ever written. La Maja de Goya and Danza Espanola No. 10 by Granados and the Mallorca and Asturias of Albeniz are the kind of pieces by which guitarists judge other guitarists.

They judged Santos more than favorably, if one can measure such matters by applause. Several hundred nylon pluckers helped make up last night´s audience and they could identify na artist, when they heard one.