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.
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.
He begins to play violin for balls and churches.
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.
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
He enrolls in the Chamber Music program of the Escola de Música
da Universidade Federal do Rio de Janeiro.
He continues his violin lessons with Paulina d’Ambrósio from early
this year into the middle of 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.
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
“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).
He resumes his studies of harmony and begins to study counterpoint
with Newton Pádua at the Conservatório Brasileiro de Música do Rio
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.