Motta, Rio de Janeiro - Brazil
Motta - I’d like to lead off this interview by talking about the original
version of the
"Crianças da Nova Floresta’’. What made you decide for not releasing
first I need to come back in time a bit so that I can elucidate a few considerable
details towards the story of RVM. The band founded in 1973 by Domingos
Mariotti, Fernando Motta and Fernando Pacheco is still the same until today,
which it still maintains the same line-up as well, however Domingos Mariotti
and Fernando Motta have frequently partaken in the recordings of our works,
but not so much of the concerts and it makes them be substituted by other
musicians. All of that results from the hardness of bringing about Progressive
Rock music in Brazil, in a professional way.
non re-edition of RVM’s original album have since then been much questioned
the musicians are generally obliged to have another professional
activity, this way not always it is possible to have them on stage. I am
the only member of the band to get to conciliate my artistic side with
the commercial musician’s side. Besides the academical activities that
I put in practice as a researcher and teacher-master in music.
28 years, the RVM has had a lot of line-ups, besides the three founding
members, also other musicians have taken part in it. Before the line-up
that recorded the first album, others existed already, however as the first
album made the band reach a wider audience, it thereupon made them recognize
that formation as being the original and the only reference of RVM line-up.
we issued the single featuring the song "Sorriso de Verão’’ in 1982,
the line-up of the band was already different from that one which
recorded the album in 1977, the female singer Cristina didn’t partake the
band anymore, as well as the drummer Milton Bernardes, who was replaced
by Gotti. In 1993 the Cd "Crianças da Nova Floresta II’’ came to
light, a lot of alterations have come about along those 10 years (1983/1993).
1983 to 1993 the line-up for concerts was a quartet, which consisted of
Chico Gomes on the bass, Milton Bernardes again reassuming the drums, Lee
on the keyboards and Fernando Pacheco on the guitar, at that time no longer
the band made music with vocals, the compositions and versions were only
instrumental. In 1992 the bass player Gui returned to the band, and as
we recorded the then Cd in 1993, also the founding members Domingos Mariotti
and Fernando Motta took part in its recordings, as well as a special guest
on the keyboards whose name is Fernando Ramos, he is the current RVM keyboarder.
At that time as previously mentioned by me, the band no longer performed
music with vocals parts, so the recording of the new Cd "As Crianças
da Nova Floresta II’’ couldn’t be the very re-edition of the first album,
which was issued in 1977, it really had to be taken as a new work with
an only instrumental version from the song that was since then the title
of the album in 1977 and the other songs that were not included on that
LP of 1977. The turmoil that was around that Cd issued in 1993, as
being a re-edition of our first LP, happened due to the cover repetition,
in which I didn’t particularly approve, but our manager decided to do things
that way and also the other members agreed with him, as it happened under
a democratic decision, thus it was done. In short, whereas the band decided
to change its sound language into an instrumental shape, then there was
not at that time, interest of re-editing the first album and, yes to record
a new work that should have a new cover of course.
fans, did this attitude on the part of the fans get to displease you sometime?
producer’s attitude to insist in re-releasing the old cover of the album
has been in fact the most displeasing thing to me. As to the fans, they
were right for questioning it.
band’s name "Recordando o Vale das Maçãs’’ ("Remembering
the Apples’ Valley’’)
from the beginning seemed to me as somewhat quite strange. What made you
the band with such a name?
reason is the same, for us this name also looked like so peculiar, otherwise
our intention was really draw the audience’s attention, not only the singularity
was focussed, but also for an optical reason where we could form a mystic
and ecological atmosphere inside of a subjective aesthetic of course.
In the same wise that progressive rock music in a general way, develops
in the listeners’ mind an image projection. A semiotics process that happens
upon the music in the impressionist way, and that significance (action
of the sign - semiosis) is developed in a different way in each listener,
in agreement with each one’s characteristics, this is an objective aesthetics.
to some information "Crianças da Nova Floresta II’’ have been warmly
the foreign listeners, mainly by french and japanese ones. Today passed
its release, have you been discovering new fans in other places in the
I have been to Switzerland by divulging our work and at the close of late
year where I got an invitation to perform 5 concerts in Bern, which they
would be accomplished in October next. Also, In September and October of
1999 I was divulging the album "Himalaia II’’ across some cities from Spain
and Portugal, and on late April I was back again to Spain by giving sequence
to the spreading of my work, where the obtained results were surprising,
mainly because I could verify that RVM had a stunning audience in those
is interesting to know that you have had already the chance of performing
1996 the album "Crianças da Nova Floresta II’’ was rewarded in Norway.
Our work is likewise well received in Canada. RVM has also, a corking
audience in Italy and Germany. I have plans this year to go back to Spain
(Madrid and Granada) and for the second semester I am planing a trip to
Switzerland, Italy, Austria, England and also Germany in October belike.
here in Brazil, in Rio de Janeiro particularly we haven’t had yet the chance
see you playing before our eyes. By the way, has RVM been invited sometime
the "Rio Art Rock Festival’’?
1994 our album "Crianças da Nova Floresta II’’ was rewarded in France,
and because of that the embassy of Brazil in Paris invited our band officially
to represent our country at the traditional festival "Fête de la
Musique’’, which took place in June, 21st of 1997. In 1998/99 I was also
twice invited officially by the embassy of Brazil in Tokyo to accomplish
4 concerts as a release of the album "Himalaia II’’. Unfortunately it was
not yet possible to make that project come true. As to play in Brazil,
it is what I told you before; the problem is the lack of a professional
recognition for a style that has a high production cost. We have kindly
been twice invited by my friend Leonardo Nahoum, the owner of progressive
Rock label (Rock Symphony) to partake the last two editions of "Rio Art
Rock Festival’’. unfortunately it was not possible to take part in both
editions, but I was present as a looker-on upon late October edition, which
took place at Garden Hall, and everything that I could see and listen to
there was entirely appreciated by me. Leonardo has really to be congratulated
upon his courageous initiative. I’m hopeful that one day a producer appears
offering the needful resources so that RVM can show itself up in Rio de
regards to the album "Himalaia’’. As some members of RVM partook with you
execution of that project, didn’t it make you think sometime to credit
I have previously told you about, the RVM’s members are Fernando Motta,
Domingos Mariotti and Fernando Pacheco, the others are important guests
musicians that depending upon the occasion and also the production they
are then taken in that period as affective members of the band, which unfortunately
for all the problems that are around a band of non commercial style where
not always it is possible to reckon with the same musicians’ participation,
therefore that turnover ends up being necessary so that the band keep on
existing along the years. As to the credit towards the name RVM to the
album "Himalaia’’ issued in 1986, it was credited properly at the "Ontem’’
side of the album. The fact of the name Fernando Pacheco appears solely
upon that solo album happened in accordance with the proposal of the production,
so that’s a solo work with guests’ participation. The turmoil or the double
sense happens because the album features old members of RVM as guest musicians,
who in that occasion no longer they were part of the band, except Fernando
Motta. If I had invited other musicians, such a question shouldn’t be made,
therefore I found quite important to tell you on the threshold of this
interview that the line-up of RVM had already gone previously by other
alterations, hence the guest musicians that featured "Himalaia’’ in 1986
no longer they were part of the band on that year, besides I may further
say that the initiative in producing that work was taken by me. I own an
album by the Genesis’ guitar player which is taken for a solo work of his,
where all the band’s members appear like special guests, however no credit
is imputed to Genesis itself either.
of Life’’ was mentioned some time ago through an article as being the title
album by RVM. By the way, does that title still hold true?
was one more mistaken and forward information mentioned by some producer
that grounded on an idea once discussed about the intention of fulfilling
a work with that title, that’s the title of one of my compositions featured
on "Himalaia’’ project, even so that idea didn’t get ahead and I can guarantee
you that I haven’t the intention of recording any album with that title.
have been told that RVM went through an alteration in its line-up recently.
something change musically?
is a question that forces me to a wider answer, which I’ll begin by the
summary of the answer: The band’s musicality was never changed hitherto
because of musician’s alterations. The musical personality of RVM is still
the same, it can be confirmed in a comparative analysis among all the accomplished
works, so much in the recordings as on live performances.
the forthcoming album by RVM. I have heard that one more work of your band
let me please introduce you some of my arguments: if you take into your
account that each musician has its own influences, derived of its ethics,
developed in its academic or self-taught formation and that creation process
of RVM is consolidated in the freedom of speech of its members, through
sound laboratories, researches and a lot of impromptu on top of the themes,
until to get to a final result, that never ends up actually because every
time we introduce a composition or re-record it, new ideas then turn up
on our minds what we call it "Esthetics of unfinished’’. It is natural
the sonority of the band modifies itself every time that a new member partakes
in it. Even so myself, Fernando Motta and Domingos Mariotti always tried
hard to maintain the basic elements in the classic way of Progressive Rock
music from the 70’s, that’s to say, a coalition from acoustic and electronic
scorings, which will result in a musical fusion of classical elements,
changing it into a classic genre music occasional to several time styles,
with prevalence from renaissance and baroque music to the popular musical
genre from Rock music performed on the 60/70’s with a lot of scoring.
we got so far to keep a RVM personality to the works, apart from possible
influences, which are generally made them similar at the band’s work through
the new members’ participation. That didn’t deprive RVM of its characteristics
into its sound personality, seen that we have had already countless changes,
however the band still maintain the same personality. One of the most difficult
things for an artist or a band is to reach its sound personality, it generally
takes a lot of time until to reach it. What some people use to call "Sound
personality’’ I truly better call it as composer or performer’s "Style’’.
The people confuse the form in composing and performing with time style
that’s derived of a musical form or genre, for instance, classic and popular.
styles: classicism or romanticism, progressive rock and so forth.
(simply): a way of expressing artistically so that it can recognize it
as personal signature, listening to Yes and to recognize them for the audition.
it’s defined by the characteristics of elements that are part of a composition,
for instance, the sonata and rondo styles. Actually the people on the whole,
confuse a lot of things, as for instance, to say that the RVM’s music as
well as any other band from Brazil is progressive rock music, The progressive
rock style descends from England and we brazilians haven’t so far developed
any progressive rock music with influence of our native musical elements,
which can thus be defined like that. We then keep on accomplishing English
progressive rock music. although being a brazilian musician, our root in
that sense still descends from English.
are other problems that it would be apart from the question but I would
like very much to make a brief summary of them; I would like to tell about
a lot of brazilian and foreign progressive rock bands, which turned up
on the 90’s, some of them are known as being progressive rock bands, however
they are quite far from being, whereas they explore in excess the electronic
keyboards, they hardly make a coalition with the acoustic instruments,
and their compositions are not creative because they just make a slight
depiction of renaissance and baroque, where the phraseology is often far
from the original form, we can only find impudent counterfeits that always
belonged to the great masters of that time; many times they also forget
about the genuine Rock ‘n’ Roll from the 60’s on Beat style, making use
of Jazz/Rock or Metal/Rock elements that belong to another tendency. That’s
just a personal viewpoint of me, which doesn’t come to the case.
to see the light, is there already any due time to have it available at
was in Rio de Janeiro on late October at "da Vison’’ studio by remastering
the original LP that was issued in 1977, there will also be two more bonus
tracks that were previously featured on a single titled "Sorriso de Verão’’,
which came to light in 1982, both will come out this year, probably in
April, but retardative events happens at times.
regards to the new works, I have two projects for RVM; one of them will
be executed by the current electronic line-up, which features: Fernando
Ramos (keyboards), Enio (bass), Nelson Sachetto (sax), Gustavo Bíscaro
(drums), Fernando Pacheco (guitars), Fernando Motta (acoustic guitars)
and Domingos Mariotti (flute). The other project will be accomplished by
the acoustic line-up, which feature: Fernando Pacheco (guitars), Fernando
Motta (acoustic guitars & percussion) and Domingos Mariotti (flute).
Both projects are for live recordings, I just don’t know yet with which
line-up will be possible to carry it out. nevertheless our proposal for
live performances abroad as previously mentioned by me, will certainly
be fulfilled by the acoustic line-up. that’s the most probably work to
be accomplished on this year of 2001.
a friend and partiner from the Progressive Rock And Progressive Metal Site
Pacheco - Electric and Acoustic Guitar, Synth Guitar
Bíscaro - Druns and Percussion
Motta - Acoustic Guitar 6
Mesquita - Bass Guitar
Filho - Keyboards
Gotti - Drums
Aranha - Violin
Amaral Filho - Flute
Cordeiro - Electric Bass
/ Info / Bookings
out in Santos - São Paulo in 1973, with three young musicians: Fernando
Pacheco, Fernando Motta and Domingos Marioti. The Musical environment was
inspired in experiences with the nature contact. At the same time other
musicians showed interest in the job and joined the band.
And with this formation the songs of the band were consisted of a harmonius
and rhythmic variations turned to melodies of that time, making their proposal
concrete. The compositions had some influences of different styles like:
Impressionism and Rock in a progressive fusion, resulting in one of the
well know classic of the 70s- Progressive Rock. Acoustic and eletronic
equipments were increased their values, between Classical and Popular scene.
During 1974 up to 1982, RVM, (the short for "Recordando o Vale Das Maçãs"
in portuguese), performed some shows in some states in Brazil. In
1980, the drummer Milton Bernardes was replaced by Lourenço Gotti.
From 1983 to 1992 its work was restricted to the recording studio sessions.
And the return of the group to the shows finally happened in November of
1992 at the "Teatro Municipal de Santos" with the show "Remembering the
Valley of Apples 10 years after".
Until september 1999 the band was Fernando Pacheco (Electric and Acoustic
Guitar, Synth Guitar), Nelio Porto (Keyboards), Gustavo Biscaro
(Druns and Percussion) and Guilherme Cordeiro (Electric Bass), the last
formation has a style focused in the Progressive Rock, but with a instrumental
work. (Instrumental Music).
In June, 21, 1997, "Recordando o Vale das Maçãs" represented
the Brazil in the traditional "Fête de la Music", in Paris, invited
by Brazilian Embassy in French.
According to the European critics and a French magazine called BIG BANG,
classified the CD "As Crianças da Nova Floresta II", like the best
reedition of Progressive Rock in 1994.