He must have paved the way for the new generations of musicians
History has reserved three places for Edino Krieger🇧🇷 He wrote some emblematic works of Brazilian concert music. As a music critic, he has painted an accurate picture of the country’s musical life. And the cultural manager has paved the way for generations of Brazilian composers to find space for their works.
It is this triple trajectory that is celebrated after the news of the artist’s death, on Tuesday 6, at the age of 94. He had been hospitalized for a month in a clinic in Rio de Janeiro for respiratory problems. His funeral wake was held on Wednesday 4 in the Sala Cecília Meireles, of which he was director.
Throughout his career, he has directed institutions such as Funartea Brazilian Academy of Musicor Sound Image Museuma Radio MEC Or the Radio Journal of Brazil🇧🇷 In the late 60s he organized the Guanabara Music Festival, from which the Biennial of contemporary Brazilian music🇧🇷 The event continues today and has been a powerful showcase of Brazilian creation.
“Edino was a monumental and essential figure of our music, composer and brilliant manager”, wrote the composer João Guilherme Ripper on your social networks. “I think Edino was able to reap the fruits of everything he sowed in his life. I can’t find a parallel, in our musical environment, of such a supportive and generous figure,” said composer Ronaldo Miranda.
musical synthesis
Born in Santa Catarina in 1928, Krieger moved to Rio de Janeiro at the age of 14. It was there that the aspiring violinist became a composer. he was a student of Hans-Joachim Koellreutter (1915-2005) and had contacts with Claudio Santoro, Eunice Katunda, Cesar Guerra-Peixe, among other names who at that time thought of Brazilian music in the light of the avant-gardes that came from Europe.
It was one of the main clashes in the history of Brazilian music: on the one hand the so-called cosmopolitans; on the other the nationalists. The discussions then occupied pages and pages of newspapers, in which the aesthetic indications to be followed were reflected. Krieger participated in the debate: although he was already distant from Koellreutter’s group, however, he never opposed the former master. His posture was one of balance.
In the 1950s he went to the United States, where he studied tangle festival and go Juilliard School of Music🇧🇷 Back in Brazil, in the 60s, he began a phase of his career that he will call synthesis, first dedicated to musical nationalism and then making use of the avant-garde techniques of the twentieth century.
Among his most important works, made in the 60s and 70s, are Ludus Symphonicus🇧🇷 Natural Canticle🇧🇷 Rhythm and the Sonanzas for violin and piano🇧🇷 More recently, he wrote to Concerto for cello and orchestrapremiered by the cellist Antonio Meneseand the Fanfare on the tune of the national anthema Concertant fantasy and the Passacalha for the new millenniumall presented by State Symphony Orchestra of São Paulo🇧🇷
Commenting on his work in an interview, Krieger defined his notion of contemporary music, which permeates these and other creations. Labels, to him, mattered less than musical substance.
Talking about contemporary music, after a twentieth century marked by aesthetic currents and well-defined schools, has come to mean only a chronological notion. No exclusions: an idea that, as a critic, composer or manager, Edino Krieger always defended.
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Source: Terra
Earl Johnson is a music writer at Gossipify, known for his in-depth analysis and unique perspective on the industry. A graduate of USC with a degree in Music, he brings years of experience and passion to his writing. He covers the latest releases and trends, always on the lookout for the next big thing in music.
