EG = mc2

    EG = mc2

    California and Israel have been used as inspiration for several
    irrigation plans in the Northeast. Until now, however, no plan has gone beyond the drawing
    By Brazzil Magazine

    All great works of music reflect and reveal their composers. We need no
    biography to tell us that the personality and environment of Bach differed from that of
    Debussy, or that the habits, thoughts, and desires of John Cage were different from those
    of Villa-Lobos. The extraordinary piece of music has not been written which did not
    reveal something of its composer, something of his experiences, personality, and attitude
    toward life. When a composer has so clearly indicated his instincts, we can surely
    say we know something about him. Still, it is extremely difficult to describe the
    extraordinary Egberto Gismonti.

    A sage figure in Brazilian music with an intense concern for questions of color and
    sonority, Gismonti’s technique is as significant as that which he knows by nature, and his
    genius rests primarily upon his ability to use his natural gifts. His virtuosity as
    well as the remarkable innovations he has made to enhance the expressive capabilities of
    the guitar are well known, and these kinds of breakthroughs can only come about as a
    result of a player’s compulsion to express something which was heretofore not considered
    part of the technical and or emotional spectrum of the instrument. Gismonti is a
    multi-instrumentalist (piano, cello, guitars, vocals, percussion, flute, the orchestra)
    who can coax incomparable loveliness from what would be, in lesser hands, impersonal

    Accordingly, when we listen to Gismonti we meet his experiences and are seized by
    phrases or orchestral voicings that wholly express faith, exultation, or hopeless longing.
    We are gripped by a turn of phrase or a rhythmic figure that conjures the festive mood
    of samba, a Carnaval frevo, or the melancholy of the sertão (backlands).
    We are awed by melodic lines and splashes of tone color that capture the dignity,
    grandeur, and energy of the Amazon. That Egberto Gismonti has the talent, technique, and
    artistic maturity to do almost anything he wants is apparent from the scope of his musical
    explorations, which range from solos and duets to jazz ensembles and from film and ballet
    scores to full orchestral works.

    Gismonti is one of those comparatively rare artists who can claim to have achieved
    commercial success without any sacrifice of musical integrity. Each new recording has
    brought the unforeseen, something a little beyond the edge of our hearing. But as
    the range of our own experiences widen, so it seems that Egberto Gismonti’s breadth widens
    so that we understand his music and ourselves better. His work overall possesses an
    enduring vitality, a quality called universality, and will be understood and appreciated
    for generations to come. It follows that a man who can touch so many in so large a
    range of emotional experience must himself have a full life.

    Gismonti’s mother was born in Catania, Sicily. His father was born in Beirut,
    Lebanon. Egberto Gismonti was born in December 1947 in the small town of Carmo in Rio de
    Janeiro state. It was a musical family and by the age of six Egberto was studying
    piano at Conservatório Brasileiro de Música. After 15 years of studying the classical
    repertoire in Brazil, the young virtuoso went to Paris to immerse himself in modern music.
    He was accepted as a student by composer Jean Barraqué, a disciple of Anton Webern
    and Schoenberg. Gismonti also studied with the foremost musical analyst of this
    century, Nadia Boulanger (1887-1979), a magnet who drew most of the young composers of the
    time including Aaron Copland, Astor Piazzolla, and Philip Glass to Paris to study with
    her. Perhaps the greatest teacher of her day, Mme. Boulanger encouraged Gismonti to
    write the collective Brazilian experience into his music.

    When Gismonti returned to Brazil, he became absorbed in choro and taught himself
    how to play guitar by listening to the solo recordings of Baden Powell and by transcribing
    sections of Bach’s Well-Tempered Clavier. Accustomed to the wider range of the
    piano and constricted by the conventional six string instrument, Gismonti designed guitars
    with 8, 10, 12, and 14 strings, thereby expanding the intervalic and harmonic potential of
    the instrument. Approaching the fretboard as if it were a keyboard, Gismonti gives
    listeners the impression that there is more than a single guitar player. Gismonti’s
    sojourn in the Xingu region of the Amazon basin with the Yualapeti Indian tribe and his
    relationship with Yualapeti shaman, Sapain, an experience that has had lasting affects on
    Gismonti’s approach to life and music, is well documented musically in tunes like
    "Yualapeti" and "Sapain" and in the recordings Danças das Cabeças
    (Dances of the Heads), Sol de Meio Dia (Mid-day Sun), which he dedicated to the
    Xingu, and Duas Vozes (Two Voices).

    The artistic career of Egberto Gismonti spans three decades, its major phases
    distinguished by the company he recorded for, the ensemble format he wrote for, and the
    players he worked with. Two of Gismonti’s quintessential ensembles from the late
    1970’s and early 1980’s were his Brazilian group Academia de Danças: Mauro Senise
    (saxophone and flutes), Zeca Assumpção (bass) and Nene (drums and percussion); and the
    trio with bassist Charlie Haden and saxophonist Jan Garbarek. A casual listening to
    the harmonic language and instrumental textures of "Palhaço" from the Mágico
    recording, or to the ritardando at the conclusion of "Loro" from the double
    album Sanfona/Solo, will convince even the most indiscriminate ears that these
    ensembles were thoroughly integrated units comprised of outstanding musicians who,
    although playing from their own powerful centers, spoke with one voice. Interestingly,
    in concert the ending of "Loro" was often performed by Academia de Danças

    With the release of Meeting Point, Mestre Gismonti has crossed the threshold
    that was anticipated with his 1993 release Música de Sobrevivência (Music of
    Survival). Binding together philosophy, knowledge, passion, and humor, Meeting
    Point is an orchestral work that juxtaposes dramatically dense textures with quiet
    passages of austere beauty and clarity. It is a work that empowers the listener to
    detach from the commonplace and see himself as part of universal life. The string
    writing is intense and lyrical, percussion and woodwind parts pointed and impetuous, the
    brass is aggressive, bringing to mind the work of both Stravinsky and Edgar Varèse. Yet
    the music is beautiful, sometimes extraordinarily so.

    For the recording of Meeting Point, Gismonti persuaded Manfred Eicher of ECM to
    build a special studio in Vilnius, Lithuania, specifically so the composer could work with
    the Lithuanian State Symphony Orchestra, an exhilarating ensemble that displays awesome
    fearlessness in the presence of challenging new music. The seven pieces for piano
    and orchestra convey the composer’s concern for a peaceful co-existence and also pay
    homage to sixteenth century Italian composer Don Carlo Gesualdo, to master of modern music
    Igor Stravinsky, and to the French poet Arthur Rimbaud. Harry Zeitlin’s arresting
    "black and white" cover photo adds more impassioned humility with a shot that
    parallels his contribution to Música de Sobrevivência. In many ways
    Zeitlin’s photos are reminiscent of works by American Ansel Adams. Without a doubt,
    Meeting Point unveils in the refined brilliance of its orchestration the true
    musical value and genuine intuition of a master. There seem to be no horizons for
    Egberto Gismonti.

    Before his USA/Canada tour Mestre Gismonti had to prepare scores and rehearse not only
    his trio but also three different Brazilian orchestras for eight concerts at home. In
    addition, he was preparing for three chamber orchestra concerts in Barcelona, Spain. This
    schedule kept our interview brief, yet it allowed time enough to reveal something of the
    personality and attitude toward life of this master of Brazilian music.

    Brazzil—Mestre, can you tell me a little about your orchestral performances in
    Brazil prior to your tour in the United States and Canada?

    Egberto—Yes, this will be the second time that I’ll be doing an orchestral
    tour in Brazil. As on the first tour, the sponsor is Banco do Brasil. The
    concerts have a dual purpose: first, to play the music; and second, to present to the
    Brazilian people the "European instrument" (the orchestra) playing Brazilian
    music. As you know, Brazilian culture is very open and full of different
    influences, but symphonic music is not really popular and is rarely heard on the radio and
    TV stations. Before trying to communicate any ideas I’m going to concentrate on
    giving my audience the opportunity to get to know a little more about Brazilian music
    through the symphony orchestra.

    Brazzil—Do you feel that it is important to establish a Brazilian symphonic
    repertoire distinct and separate from the European tradition?

    Egberto—It’s important to develop Brazilian music in general, but especially
    with regard to the symphony orchestra. I have a large interest in Brazilian
    culture, and I have been preoccupied with its development for a long time. To the
    world, Brazil represents a real mixing of races. I’m not talking about living
    together but about breeding together—Brazilians, Indians, Europeans, Africans.
    Because of this merging we are closer to the broader picture of life and to a more
    aesthetic horizon.

    Brazzil—Is there a future for orchestral music today outside the film industry?

    Egberto—I have never used the orchestra for any of my film scores. On
    the other hand, I have written many pieces for orchestras all over the world. Actually,
    according to my information and cultural point of view, the orchestra has no relation to
    the film industry. It is possible to see these two "media" or
    "languages" living together, but they are completely independent.

    Brazzil—Have you been writing any string quartets?

    Egberto—Yes, and I’m doing various chamber orchestra
    compositions. The Emerson String Quartet has five pieces called Música para
    Quarteto de Cordas and has been working on them for the past two years. The
    Elektra String Quartet from London has already performed three of my string quartets.

    Brazzil—Are you still planning to record the poems of Manoel de Barros with
    orchestral accompaniment?

    Egberto—Yes, the music is already written and the actress Cassia Kiss is
    preparing her part. We have plans to perform the premiere in Portugal next
    September with the Orquestra Metropolitana de Lisboa conducted by Mr. Miguel Graça Moura.

    Brazzil—Would you like to conduct the orchestra?

    Egberto—As you know, I’m a composer, and I still feel the need to develop
    myself. I have been writing without stopping. Also, I know what it means to
    be conductor. Because of that, I would have to say that I’m not prepared.

    Brazzil—Your work before ECM seems like one stage in your career, and the ECM
    recordings up to Meeting Point another stage. Do you feel that Meeting
    Point marks the beginning of a new stage in your recording career?

    Egberto—Maybe. This is a difficult question. I’m not able
    to talk about the future. I would prefer to say that Meeting Point
    represents one more window on my music.

    Brazzil—Why did you decide on Lithuanian State Symphony Orchestra?

    Egberto—They have a fresh feeling, thorough technique, an open heart for the
    music of different cultures, plus a certain humility in the face of demanding new music.

    Brazzil—Did they have any difficulty reading the music?

    Egberto—Not at all. This is a very high level symphonic orchestra full of
    tradition. They had no difficulty reading the music at all. They received the music
    two months before the recording dates. I have no idea how long they spent
    rehearsing, but I’m emphatic about their performance.

    Brazzil—Hearing "Frevo" in an orchestral format is an incredible
    experience. Have you orchestrated other earlier compositions?

    Egberto—I have already orchestrated "Infância" and
    "Forrobodó" among others.

    Brazzil—Are you planning to record more of your symphonic repertoire with
    Lithuanian State Symphony Orchestra?

    Egberto—Our complicity during the first close contact gave me a lot of hope
    for new projects. Any new project with them, however, will need the
    "understanding" of ECM or any other company.

    Brazzil—You were once offered a substantial contract with a record company in
    the United States. Why did you turn it down?

    Egberto—Yes, Atlantic Records in 1975 or ‘76, when Nesuhi Ertegun, one of
    the founder/owners, was president of the company. The main problem was making a decision
    between Atlantic’s very substantial contract versus ECM’s very artistic purpose.
    As you know, I decided for ECM.

    Brazzil—In 1984 you started the Carmo record label to record more experimental
    works and to provide a record company for Brazilian musicians who had few opportunities to
    be recorded. Is the Carmo record label still active?

    Egberto—Yes, Carmo is still active. The main problem has been finding a
    way to survive with all the German taxes. That’s the reason we have released
    so few albums.

    Brazzil—Many ballet companies in Brazil have commissioned your work. What about
    North American and European companies?

    Egberto—Beside the many Brazilian companies, I have written works for
    Tans-Forum, Cologne’s Opera Ballet, Laura Dean Dancers and Musicians, and the Tubing
    Dancers. I love to write for ballet and I hope to get more and more commissions.

    Brazzil—You have written in so many different genres. You travel,
    perform, and record so much. How do you find the time for everything?

    Egberto—I have been working professionally for 30 years. When you
    divide the number of records, concerts, and film scores by this number, it appears more

    Brazzil—What inspires you?

    Egberto—Again, I must go back to the Brazilian culture. This is the
    basic fountain or source that drives my music.

    Brazzil—Are there any plans to publish your music?

    Egberto—Actually there was a songbook released a few years ago in Europe. At
    this time I’m studying the possibility of putting on the Web, for free, all
    scores—including the orchestral, chamber music, and solos.

    Brazzil—I know that you analyzed modern composers with Nadia Boulanger, but
    what did you study with Jean Barraqué?

    Egberto—I studied twelve-tone music with Mr. Barraqué. He showed me
    the vertical and horizontal dimensions of serial music and the various ways to go through
    them. After my studies, I came back to Brazil and realized my culture’s
    distance from twelve-tone music.

    Brazzil—You play an 8, 10, 12, and 14-string guitar. Why so many

    Egberto—Basically, I’m a piano player that plays guitar. Because
    of the piano’s range I have tuned my ears to bigger intervals than the guitar’s
    intervals. That’s the main reason I use more strings. The tunings are
    different for each guitar, but all of them have high strings on the 7th and 9th.

    Brazzil—Do you feel that choro is now an outdated genre?

    Egberto—Choro represents the foundation of our music. To play,
    to understand, to be, to think Brazilian music, everyone must cross by the concept and the
    music of choro.

    Brazzil—You have recorded the music of Villa-Lobos. Why not Pixinguinha?

    Egberto—I have been thinking about exactly that for a long time. This
    could be my next CD project.

    Brazzil—Mestre, the Duo Assad and jazz trumpet player Wallace Roney, among so
    many others, have recorded your music. Are there recordings of your compositions by
    other musicians that you particularly like or dislike?

    Egberto—There are a lot of good versions of my music by different musicians.
    I’m very open to new experiences, and I used to be very attentive to all these
    different interpretations. Gil Goldstein and group did a beautiful
    "Loro." John McLaughlin and Paco De Lucia a beautiful "Frevo."
    Marcos Pereira and Ulisses Rocha recorded "Infância" and "Loro."
    Leny Andrade, "Prum Samba." Elis Regina, "Sonho." Wayne
    Shorter and also Airto Moreira recorded "Café." Marlui Miranda did
    "Calipso." Hermeto Pascoal and Flora Purim, "Sonho." Quaternaglia,
    "Forró." There are so many friends developing my music that I prefer to
    thank everyone.

    Brazzil—The album you made with Paul Horn, Altura do Sol, was produced
    by Teo Macero, who produced many recordings by Miles Davis. Ron Carter, who was a
    member of the famous Miles quintet, was also on the date. And it was recorded on
    Columbia, the label Miles recorded for. Did you ever have the desire to play with

    Egberto—As a Brazilian, living in Rio de Janeiro, involved with Brazilian
    culture, playing with Brazilian musicians most of the time, I had no time to dream of
    playing with Miles. But I always got good vibrations and had really good
    experiences from playing with Ron Carter, Paul Horn, Wayne Shorter, Charlie Haden, Herbie
    Hancock, and other North American musicians. For sure, with Miles, the experience would
    have been equally enjoyable.

    Brazzil—In July 1989 you played the International Jazz Festival of Montreal
    with Charlie Haden. Will there be a CD released of the concert?

    Egberto—The negotiations between our labels have been very difficult. I
    love this concert and have my own homemade CD from that date.

    Brazzil—Is the group Academia de Danças part of the past or would you consider
    working with this ensemble and in this format again?

    Egberto—Not in the same format or with the same musicians. Life is
    change, music is change, desire is change.

    Brazzil—Can you tell me a little about the chemistry between the players of the
    trio and the music you will be playing when you come to California?

    Egberto—I’ll leave that for you to write about.

    Bruce Gilman, music editor for Brazzil, received his Masters degree in
    music from California Institute of the Arts. He leads the Brazilian jazz ensemble
    Axé and plays cuíca for escola de samba MILA. You can reach him
    through his e-mail:

    The official Gismonti Website is at:

    Egberto’s discography is vast, both as leader and sideman. Thus, I have
    included only a handful of my personal favorites.

    The following Websites have more comprehensive discographies:

    Additionally, there is a terrific song cross reference at:

    Selected Discography:

    Label           Release Date

    Meeting Point …………………ECM ……………1997

    ZigZag …………………………..ECM……………. 1996

    Música de Sobrevivência …ECM …………….1993

    Infância………………………… ECM …………….1991

    Dança dos Escravos ………..ECM……………. 1989

    Feixe de Luz …………………..EMI ……………..1988

    Trem Caipira…………………. EMI……………..  1987

    Duas Vozes …………………….ECM ……………..1985

    Sanfona/Solo…………………. ECM …………….1981

    Folk Songs ……………………..ECM …………….1981

    Mágico…………………………… ECM …………….1980

    Solo……………………………….. ECM …………….1979

    Sol do Meio Dia………………. ECM ……………1978

    Danças das Cabeças…………. ECM …………..1977

    Selected recordings as sideman,
    composer, arranger,
    producer, or conductor:

    Label             Release date

    Daniel Taubkin…………………..Brazsil …………………….Blue
    Jackel ……….1998

    Raiz de Pedra …………………..Diário de Bordo ……….Enja

    Os Paralamas do Sucesso ….Severino …………………..EMI

    Robertinho Silva ………………Speak No Evil ……………Milestone

    Maria Bethânia ………………..Canto do Pajé ……………Verve

    Nando Carneiro………………. Violão………………………. Carmo

    Naná Vasconcelos ……………Saudades ……………………ECM

    Paul Horn ……………………….Altura do Sol ………………Columbia


    Gramática Expositiva do Chão

    (pages 179-181)

    by Manoel de Barros 

    Todas as coisas cuaw6kx valores podem ser

    Disputados no cuspe à distância servem para poesia

    O homem que possui um pente e uma árvore

    Serve para poesia

    As coisas que não levam a nada têm grande importância

    Cada coisa ordinária é elemento de estima

    Tudo aquilo que nos leva à coisa nenhuma

    E que você não pode vender no mercado

    Como, por exemplo, o coração verde dos pássaros,

    Serve para poesia

    Tudo aquilo que a nossa civilização rejeita,

    Pisa e mija em cima, serve para poesia 

    Pessoas desimportantes dão pra poesia, qualquer pessoa ou escada

    Tudo que explique a lagartixa de esteira

    E a laminação de sabiás é muito importante para a poesia

    Terreno de 10 x 20, sujo de mato—os que nele gorgeiam:

    Detritos semoventes, latas servem para poesia

    As coisas jogadas fora têm grande importância—

    Como um homem jogado fora

    Aliás é também objeto de poesia

    Saber qual o periodo médio que um homem jogado fora

    Pode permanecer na terra sem nascerem

    Em sua boca as raízes da escória

    O que é bom para o lixo é bom para a poesia

    As coisas que não pretendem, como por exemplo:

    Pedras que cheiram água, homens que atravessam

    Períodos de árvore, se prestam para poesia

    As coisas sem importância são bens de poesia

    Cada coisa sem préstimo tem seu lugar na poesia ou na geral

    The Expositive Grammar of the Floor



    Anything that can be won or lost

    At a who-spits-the furthest contest is good for poetry

    A man who owns a comb and a tree

    Is good for poetry

    Things that lead to nothing at all are highly important

    Each ordinary thing is an element of esteem

    Everything that leads to nothing at all,

    And that you cannot sell at the market

    Such as, for instance, the green heart of birds,

    Is good for poetry

    Everything that our civilization rejects,

    Tramples and pisses on, is good for poetry

    Ordinary people are good for poetry, any one person, or ladder

    Everything that can explain the small belt-lizards

    And the rolling of thrushes, is very important for poetry

    A 10 x 20-yard plot of land, full of weeds—whatever warbles on them:

    Self-moving debris, cans, is good for poetry

    Discarded things are very important—like a discarded man 

    By the way, it is also a matter of poetry

    To know the average period during which a discarded man

    Can remain on the earth without

    Having scum roots growing out of his mouth

    What is good for garbage is good for poetry

    Things that have no claims, such as for instance:

    Stones that smell the water, men who go through

    Periods as trees, are good for poetry

    Things with no importance are poetic assets

    Everything that is useless has its place in poetry or in the bleachers

    You can
    order Egberto Gismonti’s CDs online at Music Boulevard. This link will take
    you directly to his discography.  And you will also be able to listen to samples from
    his music.

    Send your
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