<\/p>\n
Franco Galv\u00e3o is a musician who works in different fields of work. Guitarist, arranger, composer and music producer, Franco’s career has been marked by the creation of projects of great conceptual density, from a musical, historical, social and aesthetic point of view.<\/span><\/p>\n I have a different music career than the conventional one, which has given me a distinct set of experiences than expected for a musician.<\/span><\/p>\n After studying Drums when I was a teenager, I imagined that my life would follow other directions, especially when I entered the Economic Sciences course at the State University of Campinas (UNICAMP), for which I have graduated with a bachelor’s and master’s degree.<\/span><\/p>\n During university, I ended up getting in touch with ways of thinking about the Brazilian reality and realized how the culture works as a beacon for the development of society. Then I went deeper into this theme and produced the monograph \u201cAmerican pattern of development in Celso Furtado and cultural domination\u201d and the dissertation \u201cThe impacts of public policies on the labor market in the cultural area in the beginning of the 21st century in Brazil\u201d.<\/span><\/p>\n Simultaneously with formal studies, the university experience gave me the opportunity to participate in artistic groups whose objective is to research and learn about Brazilian cultural manifestations.<\/span><\/p>\n Conducting the Bateria Alcalina at Concha Ac\u00fastica, in Campinas, 2011.<\/p><\/div>\n For five years, I was a rhythmist and conductor of the \u201cBateria Alcalina\u201d, a percussion group that researches and plays Afro-Brazilian rhythms, such as samba, ijex\u00e1, samba reggae, il\u00ea, etc; and that is part of Uni\u00e3o Altaneira, a carnival cultural group founded in 2007. Through this experience, I have played three times for the \u201cBateria of Nen\u00ea de Vila Matilde\u201d, in the parade of the S\u00e3o Paulo Carnival.<\/p>\n For four years, I played zabumba at \u201cFlautins Matu\u00e1\u201d, a group that investigates the fife in its various musical languages, in its scenic presence and in its interaction with the public. With the group, I participated in the \u201cSaci Festival\u201d in S\u00e3o Lu\u00eds do Paraitinga (SP); the \u201cGathering of Traditional Cultures of Chapada dos Veadeiros\u201d (GO); the \u201cSpirit Brum Festival\u201d, in England; and the \u201cSamba Al Pais Festival\u201d, in France.<\/span><\/p>\n Playing Zabumba with Flautins Matu\u00e1, at the Fesival Samba Al Pais, France, 2013<\/p><\/div>\n At that time, I also started to study 7-string acoustic guitar and cavaquinho to play in the samba and choro meetings promoted by the collectives I participated in. I fell in love with the guitar and made it my main instrument, my study and project companion. I received from UNICAMP the \u201cBolsa Aluno Artista\u201d for the development of guitar technical knowledge and the \u201cCultural Action Award\u201d for touring with solo guitar show \u201c(s\u00f3)LIDO\u201d throughout the University’s campuses.<\/span><\/p>\n Solo guitar concert held at Centro Cultural Casar\u00e3o, in Campinas, 2014. Photo by Fabiana Ribeiro.<\/p><\/div>\n Still in the university context, I performed activities that made me develop executive production and technician skills. I conceived and produced the \u201cVII Encontro de Choro da Unicamp\u201d (Gathering fo Choro Music of Unicamp) and the \u201c1\u00ba Encontro de Choro de Campinas\u201d (Gathering of Chro Music of Campinas), eight days events with practical and theoretical classes and musical presentations, in which M\u00f4nica Salmaso, Ant\u00f4nio Carrasqueira, Maur\u00edcio Carrilho participated, among others. I collaborated as a lighting technician, sound operator, stage manager and member of the administrative collective of \u201cCentro Cultural Casar\u00e3o\u201d (Casar\u00e3o Cultural Center), in Campinas. And I worked as a sound technician at the \u201cVenta Moinho\u201d studio.<\/span><\/p>\n Nailor Proveta with crew of the meeting of Choro de Campinas, in Campinas, 2015. Felipe Macedo, Qu\u00e9sia Botelho, Isabela Razera, Nailor Proveta, Cassiane Tomilhero, Franco Galv\u00e3o and Rangel Eg\u00eddio. Campinas, 2014.<\/p><\/div>\n The musical experiences associated with intellectual development and organizational experience gave me a discerning perspective on musical and cultural achievement, in which each note played has the power to represent a piece of the past, interfere in the present and outline a possible future. It was from then on that music began to have a professional sense for me.<\/span><\/p>\n With the guitar, I started recording, participating and creating musical shows.<\/span><\/p>\n As an accompanist, I recorded in several works of traditional popular culture, such as \u201cEu sou Sinh\u00e1\u201d by Sinh\u00e1 Ros\u00e1ria and \u201cPe\u00e7o License\u201d by Ivone Cerqueira. I accompanied the samba singer Riach\u00e3o, at the \u201cAfro Brazil Museum\u201d, for the Black Life Matters Day and was awarded third place by the \u201cNabor Pires\u201d contest, accompanying the mandolinist Andr\u00e9 Ribeiro.<\/span><\/p>\n Rehearsal for presentation with Riach\u00e3o, in S\u00e3o Paulo, 2013.<\/p><\/div>\n As performer instrumentist, I played a solo guitar presentation at the Fel\u00edcia Leirner Museum, in Campos do Jord\u00e3o. In a duet, I played with Nailor Proveta at the Auditorium of Associa\u00e7\u00e3o Docentes da Unicamp and with Eduardo Lobo at Casa do Choro, in Rio de Janeiro. With Mateus Crippa, I did a 28-day tour in Argentina. And I presented the solo guitar concert \u201cUm Ano de Solid\u00e3o\u201d<\/a>, broadcast online in LIVE format.<\/p>\n Duet presentation with Nailor Proveta, at Adunicamp, in Campinas, 2017.<\/p><\/div>\n Still, tired of feeling frustrated by the lack of invitations, I became sure that I needed to design projects myself to take my ideas forward. The old notion that ‘it was enough to play well and someone else would solve the problem’ was dying inside me. I was empowering myself not only regarding what kind of music I would like to make, but also what it would propose as social relevance. So, I started to develop projects that face the demands of our time, and that incorporate several whys, not just the musical.<\/p>\n The first big musical project I organized was a tribute to maestro Guerra-Peixe<\/a>. I conceived, collected the original manuscripts, played and produced a collection and reinterpretation record of the composer’s choros, work that was arranged by Jayme Vignoli and directed by Nailor Proveta. With this project, I also produced a notebook of sheet music, which was sent to various music education institutions.<\/span><\/p>\n Soundcheck of the show Choros de Guerra-Peixe, at Sesc Jundia\u00ed, in 2016. Diogo Nazareth, Fernando Sagawa, Nailor Proveta, Eduardo Pereira, Eduardo Guimar\u00e3es, Franco Galv\u00e3o and Chico Santana. Photography Maycon Soldan @mayconsoldan.<\/p><\/div>\n Throughout my experiences, I have made many friends. One of them is Fernando Sagawa, saxophonist, who became a great partner in ideas and music. Together we created the show \u201cDominguinhos sings in three\u201d<\/a>, accompanying the singer N\u00e1 Ozzetti (hyperlink for projects). At \u201cSesc Santo Amaro\u201d we performed a set of musical shows dedicated to Tropic\u00e1lia and at the \u201cSesc Research and Training Center\u201d (Sesc CPF) we presented a show about the work of Milton Nascimento, in the launch of the book \u201cDe tudo que a gente dream\u201d by Sheyla Diniz.<\/p>\n Musical performance \u201cDominguinhos Canta em Tr\u00eas\u201d, in Campinas, 2019. Franco Galv\u00e3o, N\u00e1 Ozzetti and Fernando Sagawa. Photography Julia Conterno.<\/p><\/div>\n The second big project I organized was in partnership with Fernando. In 2019, we received an award to conduct an artist residency at Rainbow Studio in Oslo, Norway. Created by the engineer responsible for the sound characteristics of ECM Records, Jan Erik Kongshaug, the studio is considered to be one of the main instrumental music studios in the world, where Egberto Gismonti, Pau Brasil, Pat Metheny, Keith Jarrett, Bill Frisell, among others, have recorded. From this experience, we brought nine recorded tracks, which gave birth to the album \u201cEspera\u201d<\/a>.<\/p>\n Fernando Sagawa at the door of Rainbow Studio, in Oslo, 2019. Photography Franco Galv\u00e3o.<\/p><\/div>\n In search of musical maturity beyond the position of a performer, for two years I lived in Rio de Janeiro to study with the composer and arranger Cristov\u00e3o Bastos. This learning gave me knowledge about contemporary aspects of arrangement and composition in Brazilian music.<\/p>\n The contact with Cristov\u00e3o opened up new possibilities for me and I started to perform functions that had been little explored until then. In partnership with Fernando Sagawa, I produced and arranged the album \u201cDeixar Raiar\u201d, by singer Gabriela Raia<\/a> and, individually, I produced the single \u201cDiana\u201d, by singer Jo\u00e3o Baima. I also composed, arranged, edited, mixed and mastered a soundtrack for the short film \u201cSomos Tierra\u201d, claiming the prize of the Spanish contest \u201cFamily Gil\u201d.<\/span><\/p>\n Another great discovery was composition. I have put a significant part of my efforts into creating a work that is the result of my creativity and that could translate everything I have experienced and lived into music. I am currently studying Composition at the S\u00e3o Paulo State School of Music (EMESP), whereby I compose and deliver experimental pieces on a weekly routine. The goal now is to produce and deliver to the public an authorial work! In 2021, the Youth Synphonic Band of S\u00e3o Paulo State played of my composition!<\/a><\/span><\/p>\n Photography: Laura Fran\u00e7ozo<\/p><\/div>\n I’m currently producing a project about Vadico, one of Noel Rosa’s main partners and whom together had composed the classics \u201cConversa de Botequim\u201d, \u201cFeiti\u00e7o da Vila\u201d, \u201cFeitio de Ora\u00e7\u00e3o\u201d, \u201cC\u00e9m Mil R\u00e9is”, among others. After finding 400 pages of unpublished scores by Vadico at an American university, I developed a proposal for the composer’s memory and re-recording. Be part of the project! Learn more here!<\/a><\/p>\n
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