Gonzaga and the guitar

This study addresses the life and work of composer Luiz Gonzaga da Silva (1919-2006), taking as its starting point the late 19th century: the period considered to be the formative stage of Brazilian music. This research highlights the musical idioms-popular and classical-that would serve as the basis for the composer's work. His contact with the urban cultural life of Rio de Janeiro (with choro, samba, and European guitar methods, such as those of Tárrega) is easily identifiable in his work. His participation in the history of guitar teaching in Rio de Janeiro was considered, and an attempt was made to broaden the debate on the border culture between classical and popular music in Brazil. Finally, this study focuses on Gonzaga's musical production and the influences he assimilated throughout his career, as well as the synthesis he makes of this approach in his compositions for the guitar.

Autorentext
Master in interpretive practices, Bachelor in guitar with a full degree in music, Wagner Meirelles (1973), disciple of composer Luiz Gonzaga da Silva, has been a teacher and recitalist for over 30 years. One of his most important activities is the research and dissemination of the work of Luiz Gonzaga da Silva.