Timeline

   1931-1940

1931

He travels to Rio de Janeiro regularly to attend the private violin course offered by Paulina d’Ambrosio.

He meets Ronaldo Lupo, who introduces him to flautist and composer Saint-Clair Senna; from the latter’s works he makes his first arrangements recorded by Gastão Formenti.

1932

He takes first place in the audition to enter the violin program at the Instituto Nacional de Música do Rio de Janeiro, now the Escola de Música da Universidade Federal do Rio de Janeiro. There he continues to study with Paulina d’Ambrósio, and begins studying harmony with Arnaud Gouvêa and chamber music with Orlando Frederico.

1933

He begins to play violin for balls and churches.

1934

He moves to Rio de Janeiro, where he subs for other musicians at restaurants, balls and dances. Opportunities are plentiful thanks to his ability to play any piece without seeing the music, an essential skill for professional players in the leading music halls.

He graduates from the Violin Program of the Escola de Música da Universidade Federal do Rio de Janeiro.

1935

He substitutes a violinist “at the aristocratic Café Belas-Artes,” gets a new job and resumes the music studies he has put on the back burner.

He enrolls in the Chamber Music program of the Escola de Música da Universidade Federal do Rio de Janeiro.

1936

He continues his violin lessons with Paulina d’Ambrósio from early this year into the middle of 1938.

1938

He writes his first arrangements recorded by the Odeon label.

He studies harmony with Newton Pádua for five months.

He is greatly influenced by the ideas presented by Mário de Andrade in his book Ensaio sobre a música brasileira.

1939

He plays for the Rádio Clube do Brasil in Vicente Paiva’s orchestra; the latter recommends him as violinist for the Cassino Icarai orchestra.     

He takes guitar lessons from Dilermando Reis with the intention of accompanying singer Odete Pinajé, with whom he has fallen in love.

“At the end of the 1930s [...] I left the violin for 20 years. After 20 years I felt the need to play, and at the same time I felt the need to tackle life, to start again. So, after a year or so of preparations, I joined the Orquestra Sinfônica Nacional” (Guerra-Peixe).

1940

He resumes his studies of harmony and begins to study counterpoint with Newton Pádua at the Conservatório Brasileiro de Música do Rio de Janeiro.

He works in the Companhia Teatral Alda Garrido at the Teatro Carlos Gomes in Rio de Janeiro and other cities.

Photograph that Guerra-Peixe gave his brother Antônio. Souza Franco Street, Petrópolis, Rio de Janeiro, 1931.

With Paulina d’Ambrosio (center)



Souza Franco Street, Petrópolis, Rio de Janeiro, 1934.


Rio de Janeiro, 1935.


“For my ‘folks’ a memento of César Guerra-Peixe.” Rio de Janeiro, April 14, 1935. Photographer Geraldo.




Rio de Janeiro, 1936.

 

 

  

Photo in the Cassino Icaraí, Niterói, Rio de Janeiro, 1940.

 


   1931-1940