M. Camargo Guarnieri and the Influence of Mário de Andrade’s Modernism

Abstract

Modernism in Brazilian art music called for a convergence of separate em? phases: 1) renovation of compositional practices through the adaptation of current techniques; and 2) incorporation of native elements to better align art music with the hybrid Brazilian heritage. The music of M. Camargo Guarnieri (1907-93) maintains a modern aesthetic even with an obvious preference for nationalist content, demonstrating that it was possible to combine the two emphases without sacrificing the integrity of either.1 Guarnieri's artistic temperament and compositional output (which in? cludes art songs, symphonies, chamber and piano pieces, operas, and masses) must be considered in the context of his personal affiliation with Mario de Andrade (1893-1945).2 Andrade supported Guarnieri's creative instincts, and through their long relationship, the elder figure fostered in various ways consistency and momentum for Guarnieri's ever-evolving compositional style. Indeed, the parallels between Guarnieri's music and Andrade's message are of intense interest to scholars; here they will be explored in context with the composer's professional endeavors (which remained anchored in Andrade's counsel even as he thought independently), as Guarnieri sus? tained his mentor's directive to perpetuate the musical traditions of an immensely varied culture. To summarize comprehensively Guarnieri's contributions to American music, this article will 1) outline Andrade's modernist ideology and methodology; 2) explore pivotal events that shaped Guarnieri's and Andrade's professional and personal relationship (includ? ing Andrade's stylistic criticism of Guarnieri's music); and, 3) survey the foundational points of Guarnieri's individual musical language and details related to the critical reception of his music.