The Internationalization of Brazilian Contemporary Music through the Festivals of

Danilo Ávila (UNESP – Universidade Estadual Paulista ‘Júlio de Mesquita Filho’) [email protected]

On 22 November 2019, Itamaraty, the official institution of the Ministry of Foreign Affairs (MFA), released a project called « in Concert». It was formulated by a partnership between the MFA and a consortium of Brazilian orchestras composed by São Paulo Symphony Orchestra, Minas Gerais Philharmonic and Goiás Philharmonic in an arrangement with the record label Naxos. This enterprise aims to record and edit more than a hundred symphonic pieces of the Brazilian repertoire and it has already nominated its : Carlos Gomes, Henrique Oswald, Alberto Nepomuceno, Villa-Lobos, , Lorenzo Fernandez, , Cláudio Santoro, José Siqueira, Guerra-Peixe, Edino Krieger and Almeida Prado. For the contemporary composers, from Guarnieri onwards, this action can be an indication of a canon in construction. Events like that, in which some institutional agents choose who are the national key composers to be known abroad, are also an opportunity to investigate the Brazilian dilemmas in the internationalization of contemporary . The activity of certain composers and performers in international events (festivals, biennales, and conferences) or the importation of international experiences through these agents can elucidate how this «fundamental repertoires» are constructed. For this reason, this article intends to reconstruct some international historical landmarks of the Brazilian contemporary music and to expose the accumulation of institutional efforts that conducted this music abroad, as well as to oxygenate the national scene with the exposition of present relevant aesthetics.

Journal of Music Criticism, Volume 4 (2020), pp. 129-145 © Centro Studi Opera Omnia Luigi Boccherini. All rights reserved. Danilo Ávila When we start to think of contemporary music festivals in general, from what period do we start to understand its genesis? This question ideally aims to retrace an origin, but, in a prosaic sense, it helps the historian to elaborate on his choices and to structure the frame of the research. Musicology gives more relevance to the German festivals of Darmstadt (1946) and Donaueschingen (1921), the latter is considered one of the most ancient contemporary music festivals. In 1946, on the Italian side, the Contemporary Music International Festival was created inside the celebrated Biennale di Venezia. These historical landmarks conduct us to the relationship between these festivals and Brazil. The and professor Hans Joachim Koellreutter, member of the Contemporary Music International Society (CMIS) and, during the period, a leader of the group (or movement, the literature disagree) Música Viva. That year, Koellreutter embarked in the ship ‘Francesco Morosini’ with some of his students to attend the activities of the Biennale di Venezia («Bienal 1948»). Invited by the celebrated conductor related to the , Hermann Scherchen; in this occasion, the German-Brazilian professor was requested to offer a conference about the so-called ‘Brazilian contemporary music’ and to promote concerts and recitals for its publicity. Three prominent female students accompanied him: Eunice Katunda, Esther Scliar, and Geni Marcondes. All three were pianists and composers. The idea to bring female composers that were also performers was due to their ability to sustain the performance of Brazilian contemporary repertoire for the instrument, since the intention was to disseminate it in the cities they visited. Koellreutter played the flute parts1. During the musical cruise, the Brazilian expedition corresponded with one of the major newspapers in Rio de Janeiro, Correio da Manhã, and reported their activities abroad to its main musical critic, Eurico Nogueira França. He nominated the group as the ‘dodecaphonic embassy’ in an article from 28 January 1949. On this day, the ship ‘Morosini’ arrived home. França extensively reported the trajectory of the group in this critique, their entire route through Karlsruhe, Milan, Basil, Stuttgart, and Rome. It is noteworthy the emphasis that was given to Koellreutter’s performance, who ministered conferences («Brazilian contemporary music» and «Brazilian popular music and the folklore») and performed, aside with Geni Marcondes, pieces for and flute by Albert Roussel, Luiz Cosme, Cornélio Hauer, Radamés Gnattali, Lorenzo Fernandez, Francisco Mignone, Villa-Lobos, and Camargo Guarnieri. França’s critique

1. França 1949. 130 The Internationalization of Brazilian Contemporary Music makes a zigzag: it praises both the institutional activities of the professor in the CMIS and his radio programs, and celebrates his talent, but condemns him for «insufflating an orthodox atonalism» on the young composers, which had been successful in converting these inventive and tender composers into the «atonalism’s creed»2. In this journey, Eunice Katunda was the jauntiest composer in contemporary music, she had studied with and Bruno Maderna3. This international activity is one of the main moments in which Brazilian contemporary music, through an eclectic corpus of composers and performers, was systematically made known in events and festivals abroad with the same aesthetic concerns. These choices (1) are situated in a conceptual frame that links them to previous experiences (great masters Š moderns Š «the very new»4) and they also present their compositional dilemmas (tension between folklore and serial technique) through Koellreutter’s speeches and conferences; (2) they are in tune with his pedagogical purposes, because he also brought with him in the journey names that were in the early days of their careers, like Sonia Born (singer), Myriam Sandbank (pianist), Antonio Sergi (pianist); (3) they promote the Brazilian section of CMIS, founded that year. Historical, pedagogical and institutional contents that legitimate these choices, above all critics that could accuse the enterprise as aesthetically committed. It is necessary to go back to França’s narrative to understand the relevance of the event. Correio’s main critic starts by accusing Koellreutter of having «deflagrated», «with truly German tenacity and coherence», a movement that, by struggling for the «advanced positions in art», was inclined to «kind of an avant-garde that un-rarely seems to have lost the contact with human reality, risking to falling in the terrain of experimental aridity»5. In the final section, França acclaims Koellreutter’s «considerable labour» in promoting «not only [composers] of atonalism, which would be a pure sectary act, but the expressive

2. Ibidem. 3. In late 1949, Katunda’s quintet Hommage to Schoenberg received a prized in the 24th international festival at CMIS, to which she had recently been appointed for membership by the highest delegate in Brazil, Renato de Almeida. Kater 2001. 4. Since 1946, when Claudio Santoro and Guerra-Peixe were already earning their first merits as composers, Koellreutter elaborated a philosophy of history for Brazilian music in which he inserted his disciples at the end of the progression line. The article ‘Generation of Masters’ shows progressive emancipation of national music from European tonalism since Alberto Nepomuceno, through Villa-Lobos, Mignone, and Guarnieri, until the ‘novíssimos’, his disciples. Koellreutter 1946. 5. França 1949. 131 Danilo Ávila music of our contemporaries»6. Zigzag aside, the argument has a direction: if you compose or perform atonal music, you will not be played or listened except by your peers. Music sociologist Frederico Barros reveals in a study that Guerra- Peixe constantly declared to his colleagues that he turned nationalist because he wanted his work to be played more7. With the interruption of Música Viva in the early fifties8, the decade is a gap for Brazilian music activities considered «contemporary» or «avant-garde»9. Conductor joined pianist and composer and they starred in the early sixties the First Avant-Garde Music Week. This event was presumably an introduction to the First Biennale, that never happened. This Week does not have any relation with the Biennales projected by composer Edino Krieger that had their first edition in 1975, an event that this article will discuss later. The Week was promoted between 16 and 26 of September 1961 at Teatro dos Sete, a typical theatre for young actors and companies that worked before in Teatro Brasileiro de Comédia (TBC) and the Teatro Municipal do Rio de Janeiro (TMRJ). Eleazar de Carvalho was the general director of the Juventude Musical Brasileira, the national representative of Jeunesses Musicales, and achieved broad support from entrepreneurs and state institutions. Brazilian Phillips had the exclusive sponsorship, but, as the programme shows, other institutions also «contributed to make the First Avant-Garde Music Week possible»; in the private sector, the Brazilian-German Institute, Brazilian Mercedes-Benz S.A., National Bank of Minas Gerais, the Brazilian Pan air, Glória Hotel and, finally, Willys Overland, the Brazilian branch of the North American automaker. In the public sector, the event had the support from the Ministry of Education and Culture (MEC), Guanabara’s Tourism Department, and it was inspired by the recommendations of UNESCO’s International Music Council that, in this period, had Luiz Heitor Côrrea de Azevedo as Brazilian delegate10. Let us analyze Correio da Manhã’s coverage of this event. First, the newspaper announces «Rimes for symphony orchestra and electronic tape» from

6. Ibidem. 7. Barros 2017. 8. See Avila 2016; Kater 2001; Silva 2001. 9. «Brazilian classical music, in the fifties, was hegemonically nationalist, centred in Guarnieri’s ‘school of composition’, which the more evident orientation was Mario de Andrade’s Essay about Brazilian music [1928]». Salles 2006. 10. Week Programme 1961. 132 The Internationalization of Brazilian Contemporary Music the Belgian composer Henri Pousseur11. Four days later, a report in the cultural supplement alerted: «Eleazar de Carvalho brought avant-garde music to Brazil». According to Correio’s report, the Brazilian maestro was looking to bring «the top three of avant-garde music»12 (Stockhausen, Cage, and Berio) and informed that Berio was preparing an outdoor electroacoustic concert in Praia Vermelha, which also included an «avant-garde samba»13. The event intended to promote interaction between avant-garde music and local experimental theatre. On 13 September, four days before the Week, Correio published a note: the first concerto was performed by Bahia’s Chamber Orchestra, conducted by Koellreutter, which executed Symphonic Music composed by Ernest Krenek, Concerto for 9 soloists by Webern and, last but not least, the première of Concretion 1960, composed for this occasion by the conductor. In the following performance, «avant-garde jazz»14 took place. We can conclude by now that «avant-garde» became, in this period, an adjective to music that employed new compositional techniques, experimentalists, happenings. So, practically every genre, popular or classical, could be «avant-garde». The closing concert was performed by Brazilian Symphonic Orchestra (BSO), with the celebrated pianist Yara Bernette as soloist. In that evening at the TMRJ, they performed Koellreutter’s and Pousseur’s works one more time, and the climax of the event: Allelujah ii for five instrumental groups by . Berio required one conductor for each group in the score, and Eleazar organized the performance that way. It was the first time that Rio de Janeiro saw five conductors in one stage. Correio displayed the name of the maestros’ team: Eleazar de Carvalho, Luciano Berio, Koellreutter, Diogo Pacheco, and Alceu Bocchino in all capitals15. França wrote a musical critique in Correio that covered the first performance by Koellreutter and the Bahia Chamber Orchestra. The critic repeated the zigzag he made eleven years before: celebrated the protagonist role played by Koellreutter as the teacher who founded the Seminários da Bahia and by his «unmistakable authority» as a promoter, while condemned him as a conductor. França also declared that he did not have any interest in the repertoire. Concerning Koellreutter’s composition, the critic’s will was to «populate them

11. Correio 1961a. 12. Correio 1961b. 13. Ibidem. 14. Correio 1961c. 15. Correio 1961d. 133 Danilo Ávila with some more notes, or extend it to the notes that already existed»16. Roughly summarizing it, França’s interpretation was that the work was tedious and did not communicate with its audience. Moreover, the first festival was a commendable success. Eleazar and Jocy turned, in a certain aspect, into avant-garde authorities that had the power to measure its impact and reception in Brazil. Five years after the Week of 1961, the couple intended to «check if there had been any modification in the Brazilian musical scenario». This musical research was backed by the state Secretary of Education through the Guanabara governor, Negrão de Lima17. Counting with the success of the first edition, the Second Avant-garde Music Week was apparently guaranteed in terms of composers, audience, and sponsorships. In a more appropriate venue for chamber and symphonic pieces, the second event took place in Sala Cecilia Meireles, a concert hall created in 1965 by the governor Carlos Lacerda at the heart of Rio de Janeiro centre, Lapa. Four composers were announced: Bruno Maderna, , , and . The only Brazilian composer invited was Claudio Santoro. According to researcher Flávio Silva, who did not reveal his sources, one of the Week’s organizers would have explained the absence of Brazilian composers because they were not up to date with the compositional techniques used worldwide18. Silva points out that the musical critic of Jornal do Commercio (RJ), Andrade Muricy, attacked what should be Eleazar’s decision19. The report announces the subjectivity of this decision. This occurred in the same year of the third edition of the Santos Festival of Música Nova (SP), a festival that brought together a considerable contingent of active Brazilian composers. We must consider that these were two conflicting port areas in the construction of the institutionalization of Brazilian contemporary music, Santos, and Rio de Janeiro. If Koellreutter’s caravan (1949) was a moment when Brazil represented its national contemporary music outside the country, Eleazar’s second Week brought the international scenario without local representation. From all those invited, only Xenakis took the flight to Rio de Janeiro. There was a broad reaction to this tense situation, full of happenings. reported to Santos’ main newspaper A Tribuna that during the São Paulo performance of Xenakis’ work Strategie for two symphonic orchestras, a group of two composers

16. França 1961. 17. Correio 1966. 18. Silva 2001. 19. Ibidem. 134 The Internationalization of Brazilian Contemporary Music (Rogério Duprat and Willy Corrêa) and a poet (Décio Pignatari) attacked Eleazar and the Greek composer. All three, in the middle of the orchestral performance, stood up and started to sing Juanita Banana, a comic section of Verdi’s Rigoletto20. Krieger, replacing the main critic of Jornal do Brasil, Renzo Massarani, told of another happening, this time in Rio de Janeiro: the final encore «motivated a pugilistic incident between two ardent antagonists in the audience»21. Furthermore, Krieger reports the newness of the event, stressing the performance of percussionist Rich O’Donnell as its climax, mainly because he promoted the interest in contemporary music for percussion22. Eleazar’s perspective was myopic. A consensus was constructed, between supporters and detractors, that the organizers looked more to abroad and less to national composers. Performed in São Paulo and Rio de Janeiro, the second Week achieved a better and bigger structure, but failed in the artistic direction. Evaluated against his objectives, Eleazar missed the checking. , a Brazilian Concrete poet, after a polemic debate during Xenakis’ conference, in which he defended the three menestrellis against Eleazar’s rage, wrote a long essay for Correio reporting both events (RJ/SP). His opinion of the performances and conferences evidence the difference between the two capitals: while the Cariocas did not realize the spirit of «being avant-garde», only whistling and fighting randomly23, the Paulistas organized a resistance that «saved the neck of Brazilian avant-garde in a Week that started with many fireworks but showed itself an insufficient vanguardism ember»24. Eleazar made a gesture aiming for consensus, he told the Concrete poet that he already included his critiques in the proceedings of the Week and that they would be incorporated to the next edition — one that never happened. In the late ’60s, the festivals started to be more coherent and they were looking for an integration of the whole Latin America. There are examples like the First Rio de Janeiro Interamerican Music Festival (1967) and the First Americas Music Festival (1967). The latter with works by Jocy de Oliveira, Gilberto Mendes, Cláudio Santoro, Edino Krieger and Marlos Nobre25.

20. Mendes 2013. 21. Krieger 1966. 22. Ibidem. 23. The whistling episode was described in França’s critique. According to him, these whistlings were covered by an enormous constellation of savorless applauses that only reinforced the cordial atmosphere of concert halls. França 1966. 24. Campos 1966. 25. Silva 2006. 135 Danilo Ávila In 1969, the Guanabara International Music Festival was created with a strong Interamerican stamp. Projected by Edino Krieger, the Guanabara Festivals had an inspiration in the celebrated MPB – Brazilian Popular Music song festivals. To match each other, Krieger fought one of Teatro Municipal principal barriers for the young people: formal suit and tie requirements. In May, after a long and costly bureaucratic process, education secretary Gama Filho allowed sports suits, but only in the theatre galleries, not in the balconies or foyers26. Told like that, the event seems prosaic, but this was a fundamental guideline that prevented a new public to attend to the concert hall to know living composers. The Brazilian song festivals, on the other hand, were effervescent and retained the attention of all generations. Krieger was the protagonist in linking song festivals and the Guanabara Music Festival, he won a prize in the second International Popular Song Festival with Fuga e Antifuga, a song based on lyrics by . Krieger’s intent was to promote a meeting of different generations of composers and the audience. José Siqueira, composer, and professor in the Music School of Federal University of Rio de Janeiro (FURJ), was mentioned in the column of Renzo Massarani in Jornal do Brasil, he affirmed that it was «inadmissible and humiliating» for «mature men» like Camargo Guarnieri and Francisco Mignone to compete on equal terms in a compositional contest27. Hardly reproached by Siqueira, Guarnieri faced with soft humility the terms of the competition, and he congratulated the chance to be in a competition with his own students. He declared to Massarani days later (19 May 1969): «I participated to honour a new initiative between us, sportingly, without worrying about the prizes that were offered»28. Another breach of protocol took place in Guanabara’s Festival. The same França argued against the fact that was invited only to be a juror in the competition, not as a composer with a commissioned piece or a national première29. Realizing that the reputed Polish composer came only to hear a bunch of students mixed with some great names of Brazilian recent compositional tradition, annoyed Correio’s music critic. This decision can be interpreted, either consciously or unconsciously, as a form of resistance against the subservience to European patterns and to the classical tradition. While

26. Jornal 1969. 27. José Siqueira cit. in Lovaglio 2008. 28. Massarani 1969. 29. Lovaglio 2008. 136 The Internationalization of Brazilian Contemporary Music Eleazar only looked to abroad, Krieger wanted Brazilian institutionalization — bringing legitimacy to our composers —, and a Latin America and Brazil integration. To exemplify the integration inside national borders, we can say that in Seminários da Bahia, despite Eleazar’s intent to bring the chamber orchestra and to commission a piece from Koellreutter, Rio de Janeiro’s audience did not have the opportunity to know the main composers of the group: Ernst Widmer, Lindembergue Cardoso, Fernando Cerqueira, and Jamary de Oliveira. As José Antonio Almeida Prado, a prodigy composer in the late ’60s, remembers: «when, for example, the Bahia group arose in Guanabara’s Festival, I had the extraordinary revelation that the mixture between serial techniques and national folklore was possible»30. These three events — Koellreutter’s caravan (1949), Eleazar and Jocy’s week (1961-1966) and Guanabara festival (1969-1970) — established the innovation criteria which have been progressively introduced in Rio de Janeiro’s contemporary music scenario. Some scholars believed that the Guanabara Festival did not work out because of its Interamerican logistics31, but Krieger’s report appoints to a bureaucratic interruption32. In a text celebrating the 20th anniversary of Brazilian contemporary music biennales, which shows how its model was based on Guanabara festivals, Krieger relates that the latter event was made possible, mainly, because Guanabara’s Education Secretary. Gonzaga da Gama Filho supported it. To show his commitment, Gama Filho promised three festivals (1969-1970-1971) to be provided with a structure which, as he believed, would not fail to be continued after the next municipal elections. However, suddenly after the second festival (1970), the secretary was found dead and his substitute suspended the continuity of the festival. It is important to remember that Guanabara’s Festival was the first event of this kind to record two LPs with the five winner works, live in Theatro Municipal (RJ), produced by Cravo Albin, director of the Sound and Image Museum, and with support from the celebrated major record label, Odeon. Krieger organized the project of the Biennales to honour Gaminha’s legacy, right after his death (1971). He searched everywhere for funding to structure the event, with State Govern, MEC, MFA, MEC’s Radio — without success. Three years later, he was surprised with a phone call that he mentions like someone telling a story, it was Myrian Dauelsberg, recently named general

30. Antonio Almeida Prado cit. in. Gubernikoff 1996, p. 60. 31. Neves 2008. 32. Sonora Brasil 2013. 137 Danilo Ávila director of the main concert halls in Rio de Janeiro, Sala Cecilia Meireles. She started saying: «I found your project in a locker here in MEC, would there be any objections if Sala Cecilia Meireles took over the project?»33. Krieger, without hesitating, accepted the challenge. He knew that chances like that could not be thrown away. Once the deal was made, Dauelsberg and Krieger started to contact institutions, composers, performers, audio engineers, and every agent necessary to make the Biennale possible. The doors once closed to Krieger, were opened to Dauelsberg. To achieve the First Biennale of Brazilian Contemporary Music, she congregated institutional support from Rio de Janeiro Theatres Foundation (RJTF), Cultural Department of State, MEC and its Radio and Sala Cecilia Meireles, of which she was the director. In this edition, the jury listened to 35 composers, from the so-called modernist Camargo Guarnieri to Seminários da Bahia’s prized contemporary Lindembergue Cardoso, including Jocy de Oliveira, Guerra-Peixe, Francisco Mignone and others34. In its first edition, we can affirm that the Biennale was structured by a coalition of agents of the Brazilian contemporary music scenario, primarily those who were based in Rio de Janeiro. First, there was no composition competition. Secondly, some compositions were already premiered, like Guerra-Peixe’s Concertino for string orchestra, composed and first executed in 1971. It is important to notice, Brazilian Biennales exists until today (2019) under the direction of National Foundation for Arts, in 2019 its twenty-third edition took place, now with a sustainable model supported by national and local institutions, centred in national contemporary composition. However, a question remains: why the same institutions that Edino searched for in 1971 closed the doors for the Biennale project while, in 1974, with Dauelsberg’s leadership, the same doors were found open? We can find the path to the answer in two ways. First clue, Dauelsberg’s direction in Sala Cecilia Meireles was decisive to project the concert hall in Rio de Janeiro, not only she established a teaching program, introducing new public to concert music, she also worked as a ‘curator’, structuring a season with Cycles (Bach’s Cycle, Beethoven’s Cycle) that made success. A second and more important clue, what should have opened the cultural bureaucracy doors participation and was decisive for the Biennale, was the fact that the concert hall joined RJTF, which, in 1975, Dauelsberg also had influence. In 1976, Edino Krieger take over the artistic direction of the Foundation.

33. Ibidem. 34. LP Biennale 1977a. 138 The Internationalization of Brazilian Contemporary Music Beyond this privileged bureaucratic situation, in the 1970s there were several ministerial reforms in the administrative structure that benefited Brazilian contemporary music. During this decade, the public cultural policies made by the military dictatorship aimed to improve both the institutional dynamics and the signed covenants. Between 1966 and 1972 reigned the directions of the Federal Cultural Council (FCC), a congregation with distinguished academics that had the task of selecting the projects to which the State would allocate resources. Academics like Correio’s music critic, José Cândido de Andrade Muricy, were Art advisors that would deliberate, among other tasks, on concert music. FCC’s inclination was, in its majority, exclusive for patrimonial policies with a strong conservative conception, in a few words, a group of preservationists. In 1973, the creation of MEC’s Cultural Action Plan (CAP) and the Department of Cultural Affairs (DCA) caused tension in the relations between the patrimonial group and the executive group, this latter was linked to the organization of events, concerts, and exhibitions, the notions that served as fundamentals to each group were entirely opposed35. The participation of the executive group in the «institutional construct» was made by the so-called geradores [generator agents], concert music professionals in majority, like the pianists Nelson Freire and , the violinist Cussy de Almeida, or from the intimate circle of Sala Cecilia Meireles, the directors (and pianists) Jacques Klein and Myrian Dauelsberg. This institutional design appoints to the creation of FUNARTE (1975) and provided an institutional structure that prioritizes attending to those sectors of cultural production that were unsupported. Along with the bureaucratic rationalization, «professional classical musicians, in their move, lobbied in favour of an entity that would grant resources and a structure to record and edit music scores»36. Namely, it was not only the privileged position of Dauelsberg inside the musical institutions in Rio de Janeiro that put the project in its way, but there was also the lobby of a whole musical stratum (mainly composers, performers, and critics) in parallel with a process of institutional development that benefited them. An example of this lobby is the round table debate organized by Jornal do Brasil on 5 July 1975 — three months before the first Biennale — to which the composers , Francisco Mignone, Guerra-Peixe, Ricardo Tacuchian and Aylton Escobar attended (four distinct generations of Carioca composers). Ronaldo Miranda, at this time a critic and a composer wannabe, was the interviewer and for him: «after Villa-Lobos, the prestige of the composer

35. Miceli 1984. 36. Ibidem. 139 Danilo Ávila decreased a lot inside the official institutions»37. The audience was not motivated, the archives missed many parts of orchestral works, and photocopies were pulling down the score sales. One of the most performed composers, Marlos Nobre, earned 1,600 cruzeiros for all the year of 1974, the equivalent of three minimum wages. To solve these professional deficits, we can have a clue of what were the necessities that moved composers, performers, and other agents to create the most enduring contemporary music festival in Brazilian territory; also, the first to have bureaucratic capillarity and affiliated, in its second edition, to Itamaraty’s Cultural Cooperation Department in order to disseminate the recordings abroad. Researcher Clayton Vetromilla, in an article that approaches the creation of FUNARTE’s National Music Institution, shows how the composers that were present in that debate, plus the critic Luis Paulo Horta, took the direction of the formation of this institution from the Culture Federal Council38. Returning to the debate, we can find some affirmations there that corroborate Vetromilla’s hypothesis. In one of his final sentences, Krieger recommends: «If there was a National Music Institute, with the responsibility to solve this [professional] problem, it would congregate influences with companies that can collaborate»39. Marlos Nobre, also in his final participation, made an alert for the current minister: «it was a good opportunity to notify minister Nei Braga that there is a class […] that until the present moment has had no access to him to show its revindications […] it is a super active class»40. We must emphasize the constant political pressure on DAC that was made in the newspapers, centred in the figure of Nei Braga. Half civilian half military, Braga had the responsibility to make the link between the artistic class and the bureaucracy of culture, this sector was fragilized at the time because of the censorship that was made on theatres, cinemas, and popular music events. Some of his public policies were questionable: Tacuchian, in the cited debate, laments the fact that the composers were wanted only because Braga, through a DAC official imposition, forced the orchestras to insert national composers’ works in their tournées. The Biennale’s second edition, viewed from the perspective of this institutional accumulation of actions to constitute a perennial contemporary music

37. Miranda 1975. 38. Vetromilla 2011. 39. Edino Krieger cit. in Miranda 1975. 40. Marlos Nobre cit. in ibidem. 140 The Internationalization of Brazilian Contemporary Music festival, had a power of synthesis. The main agents of this institutionalization were present: Koellreutter (as a composer), Eleazar (as a conductor), Jocy (as a composer) and Edino Krieger (as coordinator). The Biennale was widely covered by the critics in São Paulo and Rio de Janeiro and demonstrated the administrative reach of this consortium41. Brazilian contemporary music finally had its own exposition festival, it created a corpus (or a catalogue) of composers from different aesthetical tendencies and generations in a tense, but not opposed, diversity. The Biennale had the function of a showcase, a panoramic exhibition of the national contemporary music to be disseminated both locally and abroad. The MFA, through its Cultural Cooperation Department, publicized the LPs from the second (1977) and third editions (1979) and elaborated the catalogue of the main Brazilian composers alive in a three-language version (English, German, and French)42. The implications of this agreement for cultural diplomacy are quite relevant but impossible to be developed in this article. To confirm the improvised character of the first edition, the second one elaborated, besides the invitation of the best works from previous Biennale, a national competition with a jury composed by Krieger, Nobre and the conductor Mário Tavares. With this structure, the Biennale could give a prize to the young composers and also made commissions to notable and already prized composers43. As registered in Dauelsberg’s text on the second Biennale: «38 composers presented in 7 concerts, involving the participation of 3 symphonic orchestras and 82 Brazilian musical artists, a landscape of the most varied compositional trends that are present in current Brazilian musical production»44.

41. Nonato 1977; Jornal 1977; Miranda 1977a; Miranda 1977b. 42. Under Vasco Mariz’s coordination, the following catalogues were published: Bruno Kiefer (1975), Willy Correia de Oliveira (1975), Lindembergue Cardoso (1976), Ernst Mahle (1976), Osvaldo Lacerda (1976), Mario Ficarelli (1976), Gilberto Mendes (1976), Emilio Terraza (1976), Sergio Vasconcellos Correa (1976), Brenno Blauth (1976), Almeida Prado (1976), L. C. Vinholes (1976), Carlos Almeida (1976), Jorge Antunes (1976), Kilza Setti (1976), Souza Lima (1976), Ernani Aguiar (1977), Heitor Alimonda (1977), Yves R. Schimdt (1977), Dinorá de Carvalho (1977), Claudio Santoro (1977), Najla Jabôr (1977), Lina Pires de Campos (1977), Luis Ellmerich (1977), Camargo Guarnieri (1977), Adelaide Pereira da Silva (1977), Ernst Widmer (1977), A. Theodoro Nogueira (1977), Henrique de Morozowicz (1977), Ricardo Tacuchian (1977), Marlos Nobre (1977), Eduardo Escalante (1978), Francisco Mignone (1978), Mário Tavares (1979). 43. Miranda 1977a. 44. Myrian Dauelsberg in LP Biennale 1977b. 141 Danilo Ávila A ‘fight against stagnation’, the year of 1977 sets up an institutional landmark reached by the agents of Rio de Janeiro’s concert life. A consortium with the collaboration of critics, radio professionals, entrepreneurs, academics, performers, and composers; the institutional actions were not always in a common direction, but it is important to emphasize that the accumulation of institutional actions was moved by a necessity: the creation of a perennial music festival that periodically commissioned performers and composers, with financial sustainability and internationalization patterns. These agents convinced many politicians and businessman that an event like that was possible: ministers and secretaries like Negrão de Lima, Gama Filho and Ney Braga or entrepreneurs and directors like Philips, Cravo Albin e Myrian Dauelsberg. An indication that these separated events cited in this article had any strategic coherence is in Eleazar and Jocy’s Avant-Garde Week subtitle: «(Introduction to the first Biennale)». For composers, canon is not a matter of genius, but of institutional struggle.

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