Buena Onda - 2006 - Todos os direitos reservados.
Discography: Marcus Tardelli.
- ”Unha & Carne” - (2006)
Time: 50 min.
Musical Style: Bossa Nova, Jazz Brasileiro, Jazz, Música Contemporânea Brasileira, Música Instrumental, Samba.
Description: In this show we´ll host the brilliant guitar man Marcus Tardelli, which returns to our show to present his newest recording “Unha & Carne”, exclusivily dedicated to Guinga´s music. Self-learner, he tells us about his musical carreer, of his guitar unique techniche and also the process of arranging and recording this amusing piece of work. Play the recording now, and get to know more about this incredible guitar player, don´t miss it!
<<Episode #09 - 2007 - Marcus Tardelli: ““Incredible guitar player”.
As a child, sometimes Marcus Tardelli would beg his parents to “gtake that out of my head.”h His very musical ear was filled with so much sound that it was hard for the boy to manage. “gMusic was with him from the very beginning,”h his mother remembers. “gInstead of toys, he asked me to play records. And when certain songs started playing, he would start crying. Many times he would run from the house so as not to hear the record tracks that moved him like that. They touched his sensitive nature, feelings too hard for a four-year-old boy to handle.”
The guitar was always present in Marcushome. His father, who as a child had dreamed of becoming a professional guitarist, never stopped playing the instrument. “gI was raised listening to my father playing the guitar for my mother,”h says Marcus. “gWhen I was about four, I already had a little toy guitar with twine instead of strings on which I would pretend to play, since my fingers weren稚 yet physically able to play. But when I was seven years old, my dad promised me a real guitar. It was a little, used Giannini, painted with homemade shellac, that he bought from a friend. I never anticipated a gift so anxiously in all my life. When the instrument arrived, I couldn稚 think of anything else.”h “gAs soon as he got the guitar,”h recalls his father, “gI started giving him lessons. I soon got my first shock: everything I had learned in years of studying guitar, he learned in four or five days. I then enrolled him in classes with a professional, but his ease for learning with the instrument seemed to have no limit. He had turned ten years old when I gave him a guitar recording of Dilermando Reis. I was truly impressed by what I saw: he learned to play the music of the entire record by ear in less than a week, playing the arrangements exactly as they were recorded. At that point, I saw that his was an unusual talent.”h Soon Marcus began giving concerts in his hometown, Petrópolis, performing solo and also with local orchestras. Another of Marcusqualities is his ability to hear. “gMy greatest means of interaction with music was always my ear, and not the guitar.
For me, it was much more natural to play by ear than from written music. In fact, I had a guitar teacher when I was a boy who tried to teach me music theory, but I always ended up not listening to what he said, but to what he played. In our lessons, I would ask him to play a piece a few times. After his second or third execution, I would have the entire piece in my mind, and would go straight home and quickly play all I had stored in my mind on the guitar. Then, at the next lesson, I could sit down and play the piece pretending to read the music so as not to upset the teacher. Really, my best school ended up being my own ear. I started playing everything I heard on records and tapes by ear. I remember that when I was eleven, I could play the entire guitar part from Villa LobosConcerto, and then play it along with the record.”h By age sixteen, Marcus had established a repertoire of nearly one hundred pieces including the twelve studies by Villa Lobos, three concertos for guitar and orchestra, transcriptions of orchestral pieces, and several of his own arrangements of Brazilian music.
Graduating from the National Music School of the Universidade Federal do Rio de Janeiro in 1999, he broadened his professional horizons as a soloist on stages all over Brazil. In December of 2000, Turibio Santos invited him to close the 38th Villa Lobos Festival, performing with the Pró-Música Orchestra, in Rio's Cecilia Meirelles concert hall. From 2001 to 2005, he was soloist for the guitar quartet Maogani and during that period won three of the most important awards in Brazilian music: the Caras de Música Award (2001), Rival Br Award (2004), and the Tim Award (2005). “gMarcus Tardelli has an ear,”h writes music critic Paulo Sales in the newspaper Correio da Bahia, “gthat is directly connected to his soul, capable of recognizing the universe of a composer in all its depth, and reproducing it in all its fullness.”h Composer and guitarist Guinga, one of the greatest names in Brazilian music, was one of the first to recognize the genius of the guitarist. In an interview with Jornal O Tempo, a newspaper from Belo Horizonte in Minas Gerais, Guinga said: “gOne of the things that sets Marcus Tardelli apart is the feeling with which he plays, which is unique and places him at a level that is his alone. It is like Rubinstein at the piano. There are certain musicians who are beyond mere technical judgment, who have a relationship with the unfathomable. God touched the heart of this boy.”h A revolutionary in his playing technique, Marcus is also transforming guitar thought, showing paths never traveled on the guitar, in search of perfect harmony and an orchestral approach to his instrument. “gI started out self-taught,”h he says, “gplaying everything by ear, and never fitting into any method or school of guitarists. I always heard more recordings of orchestras or other forms than of guitar. To reproduce the sounds I heard, my hands began to develop a form uncommon in the traditional technique for the instrument. For example, the use of the left thumb all the time to make harmony or tunes that I couldn稚 do with the traditional technique. I never recognized any technical barriers, and ended up creating a new path for the guitar.”h Guinga makes his own analysis of Marcustechnique: “gWhat he does with his technique is practically impossible for other guitarists out there. He makes any unnatural procedure seem natural, all working in the music痴 favor. His left hand is really another component of the guitar. Tardelli is the 'Last of the Mohecans.' I don稚 know that there will ever be another like him.”h
In October 2005, he released his first solo CD, Unha e Carne. The idea for the recording was born in a conversation between Marcus and Guinga. Guinga said that he was thinking of making a solo guitar recording of his own compositions, something he hadn't done before. Marcus replied that he, too, wanted to make a solo guitar CD. Their confidence in each other led Guinga to suggest that they make one CD instead, that Marcus would arrange and interpret Guinga's compositions. They agreed and Guinga produced the recording, blending Marcus' refined and sophisticated interpretations with the composer's stamp of authenticity. Marcus played the music on Guinga's guitar, an instrument made by Lineu Bravo and given to Guinga only three weeks earlier. Overwhelmed by the beauty of the recordings, Guinga gave this guitar to Marcus, who now gives his performances with it.
Brazil is considered to be “gthe nation of the guitar,”h so it is noteworthy that this album was recognized by critics in the newspaper Folha de São Paulo to be one of the five most important guitar albums of all time.
Marcus gave his debut U.S. performance at Spoleto Festival USA in June 2006.
Aliéksey Vianna: “gI would call it a miracle. More skeptical people would call it genetic evolution, or something like that. Marcus Tardelli is really something incredible. Technically perfect, musically creating those marvelous arrangements. I believe there must be only a few people in the world capable of doing this at this level. For me, it is a dream.”h remarks after a Tardelli performance at the 9th Dilermando Reis Festival.
Turíbio Santos: “gMarcus Tardelli is complete. He has skill, speed, creativity, and emotion. He is already among the great ones of the guitar.”h -- interview in the newspaper Folha de São Paulo, March 2006.
Booking in the USA: Michael Grofsorean / Musica Extraordinaria - 734.668.1526 - email@example.com