PHOTO:  Inês Arigone

We all know that the Brazilian regions have rich musical diversity of folk roots, each with its rhythms, melodies, themes. In Rio Grande do Sul, in addition to the cultural formation common to the country, an insinuating symbiosis has developed with the formations and peasant cultures of Uruguay and Argentina. The Indians, and soon the figure of the gaucho, were oblivious to the mutant artificial boundaries traced throughout the centuries on the Pampa map, for they were on all three sides.​


Together with the international Renato Borghetti, the musical group that best represents today, this unique peculiarity that the extreme south inserts in the brazilian culture, is the Quartchêto. Starting from folk rhythms common to the current Pampa, such as milonga, vanera, chote, chamamé, chacarera, candombe, polka, the members take flight towards a music that can be heard without strangeness, and with much pleasure, by demanding audiences from any country on any continent.​


For no other reason, after launching the first record in 2005, Quartchêto has won the selection commissions of the most important brazilian incentive and investment projects, such as Rumos Itaú Música, Natura Musical and Petrobras Cultural. Not for another reason, this first record won four Azorean trophies (the main music award in Rio Grande do Sul), including those of Show and Disco of the Year. The second album, Bah, 2009, repeated the dose: three trophies, Disco of the year.

The projects led the group to several capitals, wowing the audience with the mix of music to listen to but also one can dance. That is Brazilian of the South, but with some taken platinum, others of jazz and good humor. On the mentioned rhythms, the milonga (that gave rise to the tango) is common to the region of the Pampa. Chamamé comes from the Argentine border (Corrientes) and is increasingly acculturated in Brazil, from Rio Grande to Mato Grosso. The chacarera also comes from there. Candombe is Uruguayan.

The polca, the chote and the vanera are trinetos of European dance rhythms scattered throughout Brazil. The chote (xote, for the staff of the Northeast) comes from the Scottish schottisch. The vanera, the mother of the vanerão (the gaucho-Brazilian rhythm increasingly popular in the interior of Argentina), comes from the Cuban-Spanish habanera - which is also one of the headquarters of choro and samba, alongside the European polka and African lundu. It's nice to know a little about this rhyme pedigree, because you can imagine that they came out of nowhere ...​

This is not the case with the Quartchêto guys, forged in many instances of music, from the erudite to the regionalist, and precursors of the accordion, trombone, guitar, percussion format.​

Juarez Fonseca

PHOTO: Jean Pìerre Kruze


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