David Ganc - English
Flautista, saxofonista e arranjador

Projetos

Nocturne - David Ganc interprets chamber music of Nivaldo Ornelas

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David Ganc has just released the fifth CD of his career, Noturno - David Ganc interpreta a música de câmara de Nivaldo Ornelas.

A saxophonist, flautist, arranger, and composer, Ornelas has set the standard for generations of musicians. He is a legend in Brazilian popular music for his performances with Milton Nascimento and Clube de Esquina, his appearances on CDs and at shows with Egberto Gismonti and Hermeto Pascoal, and the 14 CDs he has recorded of his own compositions.

 

Featuring music written by Ornelas from 1980 to 2014, Ganc’s latest CD pays special tribute to his friend, who turned 75 just as Mills Records launched the disc.

 

The friendship between the two dates to the 1970s, when Ganc opened Egberto Gismonti shows as a member of A Barca do Sol and Nivaldo played backup in Gismonti’s group Academia de Danças. Over the years, they’ve shared time in dressing rooms and at recording studios, and their personal bond remains strong today.

The music on Noturno straddles the boundary between popular and classical – something else that has been common to the musical paths of Ganc the interpreter and Ornelas the composer. With this CD, Ganc brings to the forefront a rather unfamiliar body of work by Ornelas: his classical music.

 

Ganc is accompanied on all tracks by the celebrated and talented Maria Teresa Madeira. She is the ideal pianist for this disc – indispensible, in fact. In 1986, Madeira and Ganc recorded Ornelas’s first classical composition, Noturno, for which this CD is named. The disc is further enriched by the masterly performances of Zeca Assumpção on acoustic double bass, Mingo Araújo on percussion, and Iura Ranevsky on cello, each playing a track.

 

The CD opens with Variations for Flute and Piano, recorded in 1990 on Ornelas’s LP A Colheita do Trigo. That first rendition was a popular performance featuring piano, bass, drums – and Ornelas on tenor sax and Ganc on flute. Now a classical version in three movements is offered by flute and piano.

 

Canção Breve is an unpretentious theme heard in the velvet tones of a G flute.

 

The Suite for Tenor Saxophone and Piano in 5 Movements – recorded here for the first time – can be thought of as a central idea split into five parts.

 

Sentimentos Não Revelados is a re-recording. The first time around, Milton Nascimento sang the melody, but now it’s presented by Ranevsky on cello and Ganc on flute.

 

Canções do Interior (A Praça) belongs to a notebook of songs for cello. Ganc transcribed it for tenor sax because the two instruments share similar ranges and because so little music has been written for this woodwind.


Performed for the first time on this CD,
Suite Brazil-Holland in 6 Movements was the inspiration behind Ganc’s project. The suite is part of a broader exploration of Brazilian history that Ornelas embarked on in 1996 and completed in 2014, focusing on Holland’s invasion and occupation of Northeast Brazil from 1630 to 1654. In his sound interpretation of the era, Ornelas fuses European Baroque with melodic and harmonic genres and patterns from Brazil’s Northeast.

 

The suite is divided into six movements: “Arrecifes, “Praia dos Flamengos,” “Fortaleza de São Luís,” “Cana do Reino,” “Arraial do Bom Jesus,” and “Recife, Oh Linda!” Zeca Assumpção’s bass and Mingo Araújo’s Northeast percussion blend Brazilian swing with classical sounds.

 

The disc closes with the piece that lends its name to the CD: Nocturne for Flute and Piano in 2 Movements. Written in 1984, it was Nivaldo Ornelas’s first foray into classical music – and it was dedicated to David Ganc.  And so, says Ganc, “It’s a cycle that closes. While another one begins.”

 

Telling the world about this uniquely beautiful music, Egberto Gismonti writes: “The music in Noturno is an open window onto any one of our horizons. . . .It is a beautiful gift to our apparently impoverished world, bereft of dreams, of passion, and of affection that squeezes the heart to tears of joy.  A beautiful gift to our contradictory, miscegenated, self-taught country. Beautiful music, of dedication and passion.”

 

The liner notes include an introduction by Egberto Gismonti. The photos, paintings, and video clips are by the artist Nando Chagas. Luciane Nardi was responsible for graphic design.

 

Noturno is now available on all digital platforms, by track or complete CD. The physical CD is distributed by Mills Records (www.millsrecords.com.br) and can be purchased at http://distribo.lojaintegrada.com.br/.

 On Stage:

David Ganc – Flutes, saxophones, musical director

Maria Teresa Madeira - piano

 

Check it out on youtube:

 

1- Variações para Flauta e Piano Introdução e 1º movimento

https://youtu.be/U-jz-o0WUao

 

2- Variações para Flauta e Piano 2º e 3º movimentos

https://youtu.be/czi5UQ_Kb_I       

 

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Press Photos(300DPI)

 


Choro Duetos – Pixinguinha e Benedito Lacerda, Vol. 2

Coordenação de Mário Sève e David Ganc

Choro Duetos Vol. 1 Pixinguinha e Benedito Lacerda Coordenação de Mário Sève e David Ganc

This book/CD fills a historical gap: for the first time the counterpoints created by Pixinguinha’s sax tenor were transcribed and organized with the melody recorded by Benedito Lacerda’s flute. This work was based on the anthological recordings made by the duo.

For this second volume were selected twelve songs. Among these are included the works of other authors, besides those written by Pixinguinha and Benedito Lacerda.

In order to perform the studies with the rhythm section, the twelve tracks were recorded in full and in versions without the flute (melody) and without the tenor sax (counterpoint).

Besides David Ganc (flute and piccolo) and Mário Sève (tenor sax), Márcio Almeida (cavaquinho and banjo), Rogério Souza (seven string guitar) and Celsinho Silva (tambourine and percussion) also play on the record.

This book has scores in C, Bb e Eb (melody and counterpoint), which means it is suitable for all instruments.



Downloads:


Authors’ noteChoro duets - Pixinguinha e Benedito Lacerda fills a historical gap: for the first time the counterpoints created by Pixinguinha’s tenor sax were transcribed and organized along with the melodies recorded by Benedito Lacerda’s flute to be studied and practiced in various instrumental formations. The audition of the anthological recordings made by the duo in the 1940s was the basis for this work.For this second volume we selected 12 songs recorded on disc or simply performed by the duo on radio bradcasts. Among these are included the works of other authors, besides those written by Pixinguinha e Benedito Lacerda.

SongbookAll songs are arranged with the melody on the left page and the counterpoint on the right-hand page so that two performers will be able to read together the two voices.To begin with we wrote the flute (in C, to be played one octave higher) and the tenor sax (in Bb, sounding an octave below, naturally) scores; so they become the reference for all the transpositions made.They were also ordered in three versions, each with 12 songs and their melodies and counterpoints.

The first version (in the body of the book) is in C, for non-transposing instruments, with the melody in the treble clef and the counterpoint in the bass clef.

The two other versions attached, in Bb and in Eb, are for the transposing instruments.

In the scores in Eb and the counterpoint in C we made some adaptations in the octaves, or a few changes of notes related to the original melodies, due to the different ranges of the instruments to be used with this book.

This work can be enjoyed by a wide range of musical instruments. Besides the flute, the mandolin, the violin, the piano, the accordion and the oboe (C instruments that read the treble clef), the cello, the piano, the bass, the tuba, the bassoon (in C in the bass clef), the tenor sax, the soprano sax, the clarinet, the bass clarinet, the trumpet (in Bb), the alto sax and the baritone sax (Eb) can also be used.

Thus, the songs can be played with the following suggested duos: flute and tenor sax, soprano sax and tenor sax, violin and cello, trumpet and trombone, mandolin and guitar, clarinet and bass clarinet, oboe and bassoon, accordion and baritone sax; piano and bass; and there are several other possible combinations, as melody and counterpoint are available for all instruments. It should always be remembered that the original duo is the one that joins the flute (an octave higher) and the tenor sax, and they sound two octaves distant. Therefore, where possible, other formations must respect this relationship.

It’s also important to remark that, as it’s usual in the language of choro, the performers play each repetition differently, ornamenting and embellishing the melodic phrases. In his live performances, Pixinguinha always improvised new counterpoints, displaying all his genius.

On the duo’s recordings some counterpoints were consolidated. In this book’s selected songs the best versions of each part were chosen (A, B and C), sometimes merging phrases played on several repetitions.


Play-a-long CDThe CD that comes with this book can be enjoyed simply through its audition or by practicing along. The first 12 songs can be heard as a normal audio CD. The remaining are the rhythm section without the flute and the tenor sax.On tracks 1 to 12, the songs were recorded in full, with melodies and counterpoints performed by the authors David Ganc (flute) and Mário Sève (tenor sax), joined by Rogério Souza (guitar), Márcio Almeida (cavaquinho and banjo) and Celsinho Silva (percussion).The melody (flute) and the counterpoint (tenor sax) were interpreted as follows: the first time each part was performed (A, B and C) the performances were faithful to the score. On the replays a freer form was used, as it usually happens in choro.

Also note that if you place your sound system’s pan to the right side, you’ll hear the flute and the rhythm section without the sax, and you’ll be able to practice the counterpoint. If you do the reverse, you’ll hear the sax and the rhythm section without the flute, and you’ll be able to practice the melody.

On track 13 the note A (440 Hz) is recorded four times, for you to tune your instrument.

On tracks 14 to 27, the same songs from tracks 1 to 12 appear only the rhythm section. So, you’ll be able to practice individually or in a duo, performing the melody or the counterpoint. Note that before each song, you can hear the count of two bars and then three beats (when you have a pick up) or four beats (no pick up).

Tracks 26 e 27, respectively, “Aguenta Seu Fulgêncio” and “O Gato e o Canário” – included as bônus tracks – were recorded with slower tempo, for study purposes.

The songs “André de Sapato Novo” (tracks 2 and 15) and “Atraente” (tracks 3 and 16), ossi bars, indicate the way fermatas, caesuras and rittardandos were executed.

After playing the melodies and the counterpoints of the book, feel welcome to practice your improvisations and create your own melodic lines. For this, the harmony is written in all scores. In bars without chords the previous bar’s chord must be repeated.
Please note that the transpositions (C, Bb or Eb), the numbers of the corresponding CD tracks (the complete arrangements and the play-a-long) and the tempo (a quarter note =) can be seen in the the upper left corner of each sheet.

Just like us, you’ll be amazed to discover Pixinguinha’s and Benedito Lacerda’s musical thinking, enjoy their music, their arrangements and all the possibilities of this book /CD.

David Ganc e Mário Sève


Choro Duetos – Pixinguinha e Benedito Lacerda, Vol. 1

Coordinated by Mário Sève and David Ganc

Choro Duetos Vol. 1 Pixinguinha e Benedito Lacerda Coordenação de Mário Sève e David Ganc

This book/CD fills a historical gap: for the first time the counterpoints created by Pixinguinha’s sax tenor were transcribed and organized with the melody recorded by Benedito Lacerda’s flute so they can be studied and practiced in various instrumental formations. This work was based on the anthological recordings made by the duo.

For this first volume twelve songs were selected, only songs written by Pixinguinha and Benedito Lacerda. In addition to listening the songs, you can practice with the CD. In order to perform the studies with the rhythm section, the twelve tracks were recorded in full and in versions without the flute (melody) and without the tenor sax (counterpoint).

Besides David Ganc (flute) and Mário Sève (tenor sax), Márcio Almeida (cavaquinho), Rogério Souza (seven string guitar) and Celsinho Silva (tambourine and percussion) also play on the record.

This book has scores in C, Bb e Eb (melody and counterpoint), which means it is suitable for all instruments.

You’ll surely be delighted to discover Pixinguinha and Benedito Lacerda’s musical thinking, enjoy their music, their arrangements and the possibilities this book/CD offers.


Downloads:


Authors’ note
Choro duets - Pixinguinha e Benedito Lacerda fills a historical gap: for the first time the counterpoints created by Pixinguinha’s tenor sax were transcribed and organized along with the melodies recorded by Benedito Lacerda’s flute to be studied and practiced in various instrumental formations. The audition of the anthological recordings made by the duo in the 1940s was the basis for this work.In this first volume, 12 songs were selected. All of them were produced by the Pixinguinha and Benedito Lacerda’s partnership. Compositions by other authors will be published in two subsequent volumes.


Songbook
All songs are arranged with the melody on the left page and the counterpoint on the right-hand page so that two performers will be able to read together the two voices.To begin with we wrote the flute (in C, to be played one octave higher) and the tenor sax (in Bb, sounding an octave below, naturally) scores; so they become the reference for all the transpositions made.

They were also ordered in three versions, each with 12 songs and their melodies and counterpoints.

The first version (in the body of the book) is in C, for non-transposing instruments, with the melody in the treble clef and the counterpoint in the bass clef.

The two other versions attached, in Bb and in Eb, are for the transposing instruments.

In the scores in Eb and the counterpoint in C we made some adaptations in the octaves, or a few changes of notes related to the original melodies, due to the different ranges of the instruments to be used with this book.

This work can be enjoyed by a wide range of musical instruments. Besides the flute, the mandolin, the violin, the piano, the accordion and the oboe (C instruments that read the treble clef), the cello, the piano, the bass, the tuba, the bassoon (in C in the bass clef), the tenor sax, the soprano sax, the clarinet, the bass clarinet, the trumpet (in Bb), the alto sax and the baritone sax (Eb) can also be used.

Thus, the songs can be played with the following suggested duos: flute and tenor sax, soprano sax and tenor sax, violin and cello, trumpet and trombone, mandolin and guitar, clarinet and bass clarinet, oboe and bassoon, accordion and baritone sax; piano and bass; and there are several other possible combinations, as melody and counterpoint are available for all instruments. It should always be remembered that the original duo is the one that joins the flute (an octave higher) and the tenor sax, and they sound two octaves distant. Therefore, where possible, other formations must respect this relationship.

It’s also important to remark that, as it’s usual in the language of choro, the performers play each repetition differently, ornamenting and embellishing the melodic phrases. In his live performances, Pixinguinha always improvised new counterpoints, displaying all his genius.

On the duo’s recordings some counterpoints were consolidated. In this book’s selected songs the best versions of each part were chosen (A, B and C), sometimes merging phrases played on several repetitions, except for the choro “Um a zero”, where melody and counterpoint were transcribed in full due to its importance and wealth.


Play-a-long CD
The CD that comes with this book can be enjoyed simply through its audition or by practicing along. The first 12 songs can be heard as a normal audio CD. The remaining are the rhythm section without the flute and the tenor sax.On tracks 1 to 12, the songs were recorded in full, with melodies and counterpoints performed by the authors David Ganc (flute) and Mário Sève (tenor sax), joined by Rogério Souza (guitar), Márcio Almeida (cavaquinho) and Celsinho Silva (percussion).

The melody (flute) and the counterpoint (tenor sax) were interpreted as follows: the first time each part was performed (A, B and C) the performances were faithful to the score. On the replays a freer form was used, as it usually happens in choro.

Also note that if you place your sound system’s pan to the right side, you’ll hear the flute and the rhythm section without the sax, and you’ll be able to practice the counterpoint. If you do the reverse, you’ll hear the sax and the rhythm section without the flute, and you’ll be able to practice the melody.

On track 13 the note A (440 Hz) is recorded four times, for you to tune your instrument.

On tracks 14 to 25, the same songs from tracks 1 to 12 appear only the rhythm section. So, you’ll be able to practice individually or in a duo, performing the melody or the counterpoint. Note that before each song, you can hear the count of two bars and then three beats (when you have a pick up) or four beats (no pick up).

After playing the melodies and the counterpoints of the book, feel welcome to practice your improvisations and create your own melodic lines. For this, the harmony is written in all scores. In bars without chords the previous bar’s chord must be repeated.
Please note that the transpositions (C, Bb or Eb), the numbers of the corresponding CD tracks (the complete arrangements and the play-a-long) and the tempo (a quarter note =) can be seen in the the upper left corner of each sheet.

Just like us, you’ll be amazed to discover Pixinguinha’s and Benedito Lacerda’s musical thinking, enjoy their music, their arrangements and all the possibilities of this book / CD.
David Ganc e Mário Sève


MPB Solos with Strings - Ganc / Ferragutti / Malta

MPB solos com cordas?

A brainchild of DAVID GANC, the project “MPB solos and strings Ganc / Ferragutti / Malta” gathers 3 great musicians: accordionist Toninho Ferragutti, saxophonist Carlos Malta and flutist David Ganc showing their work as soloists.
Accompanied by the renowned Guerra-Peixe string quartet, they will show on the stage their CDs:

Ganc’s “Interpret Jobim”, Ferragutti’s “Nem Sol, Nem Lua” and Malta’s “Pixinguinha alma e corpo”, a swinging blend of popular Brazilian music and classical sound.

Download
Projet Photos by Kryka Pujol

Contact for Shows
Producer: Kryka Pujol
Kryka Pujol – 5521 2225-3346 / 9615-9221
Email: Ana Cristina Pujol - krykapujol@yahoo.com.br


David Ganc and the Guerra-Peixe String Quartet

David Ganc e Quarteto de Cordas Guerra Peixe
A brainchild of flutist and saxophonist DAVID GANC, this CD and concert pays tribute to the greatest composer of Brazilian popular music: Antônio Carlos Jobim. In 2005, they were nominated for a TIM Prize in the category of Best Instrumental Group.

Ganc wrote the arrangements and the renowned Guerra-Peixe string quartet contributes its traditional classical style. Add Mingo Araújo on percussion and you have a swinging blend of popular Brazilian music and classical sound.

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Photos (300DPI)
Press Release
Stage Map /Rider


Pixinguinha + Benedito - Mário Sève + David Ganc

Pixinguinha + Benedito - Mário Sève + David Ganc
David Ganc and Mário Sève, both matchless flutists and saxophonists with solid academic backgrounds, take to the stage with their CD Pixinguinha+Benedito. The disc reprises the musical partnership between Benedito Lacerda and Pixinguinha, Brazil’s supreme instrumental duo. Featured are never-before-recorded tunes, new arrangements, melody and counterpoint, musicians alternating on flute and sax, Pixinguinha & Benedito, Mário Sève & David Ganc.

This fresh look at Pixinguinha & Benedito was long overdue. These two partners forged a new musical language that is still with us today, and the art of Brazilian counterpoint reached its pinnacle with maestro Pixinguinha. When Mário Sève and David Ganc brought their 14-track CD to life, they drew inspiration from 1940s platters. Recorded here for the first time, two of the pieces came deep from the family closet: the baião “Acorda Garota” and the frevo “Água Morna.”

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Photos (300DPI)
Press Release
Stage Map / Rider


Ganc Adour Duo

Duo Ganc Adour
David Ganc (flute) and Fabio Adour (guitar) have been playing together as part of the Tim Rescala Quintet since 1998. Now they have joined their flute and guitar to play a selection of pieces that intersects classical and popular music. In their choice of composers, like Piazzola and Gnatalli, and in their unique arrangements, the flavor of classical virtuosity and popular improvisation pervades the entire concert.

The duo made their first appearance in July 2005, at the 37th Festival of Diamantina, in the state of Minas Gerais. In 2006, Funarte invited them to perform as part of a series of educational concerts at the Imperial Museum in Petrópolis, state of Rio de Janeiro.

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Photos (300DPI)
Press Release


David Ganc Quartet

David Ganc Quarteto
David Ganc first brought this quartet together in 2001 when he launched his CD Caldo de Cana in Belo Horizonte. Since then, they have played at theaters around Brazil, including SESC Paulista, where TVS recorded the special “Instrumental SESC Brasil David Ganc.”

The quartet plays selections from David’s repertoire of CDs, as well as original compositions and Brazilian classics showcased with new arrangements. Their improvisations boast a strong Brazilian accent.

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Photos (300DPI)
Press Release
Stage Map / Rider


Educational Concerts

Concertos Didáticos
The project “Classics: I didn’t know I knew” presents concert music in a way that is accessible and enjoyable for all ages.

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Photos (300DPI)
Press Release