(Itaocara / RJ, October 22, 1880 - Florianópolis, April 24, 1907)

            Born in the northwest region of the state (with a great tradition for music bands), the firstborn of the Negro (daughter of freed slaves) Amélia Amada de Medina Silva and a Portuguese immigrant, Bruno José da Silva, at the age of five made his first Bamboo flute. With the separation of the parents, in 1886, Patápio and the two brothers moved to Cataguases (MG), where Bruno opened a barber shop. As a teenager, she started working with her father, and whenever she could play her flute, improving her musical performance. After obtaining some lessons with local instrumentalists, at the age of 15, he joined Aurora Cataguasense Band. Without his father's support to pursue a career as a musician, he decided to leave the city, bought a flute of keys, and began playing in several bands in the interior of Minas and Rio state. For three years, he toured several localities, Marches, waltzes and polka. Around 1898, it was a great success in Campos, conquering in a short time the position of regent of the Guarani Lira.

At the age of 20, determined to face the challenge of living in Rio de Janeiro, Patápio with few resources, thanks to the head of train, traveled for free, in a luggage car. Soon he began to work as a typographer, living modestly, to keep the dream of applying for the flute course of the famous National Institute of Music (INM). With the help of renowned professor Augusto Duque Estrada Méier, impressed by the talent of the young musician, Patápio began his studies at INM on April 1, 1901. When he excelled as a brilliant student in the 2nd year of the course, Patápio made 13 phonographic recordings ( Odeon label) for Casa Edison, becoming the first solo instrumentalist marketed in Brazil, and well known. In the repertoire were included, among others, compositions such as the Waltz Amor Perdido, Polka Zinha, Mazzara Margarida, as well as foreign authors Allegro (Adolf Terschak) and Serenata (Franz Schubert). In December 1903, after completing the course of INM, Patápio Silva received an ambitious gold medal in the following year, performing the Concerto Op. 38 (Büchner) and the Sonata Op. 85 (F. Kuhlan) pieces. A jury composed of the director and several professors of the institution.

In 1905, he made his first performance in Sao Paulo at the Steinway Hall, one of the most sophisticated concert halls in the city, deserving prolonged and vibrant applause from the audience. With the good impression caused, Patápio decided, the following year, to settle in the São Paulo capital, involved in intense artistic activity. While consolidating himself as a concert master, he continued to plan his trip to Europe, where he wished to perfect himself and visit more modern flute factories. For that, he made several excursions through the interior of São Paulo and Minas Gerais. In 1907, after arriving in Curitiba, at the Guaíra and Hauer Theaters, with great repercussion, he arrived in Florianópolis (April 12), staying at the former Hotel do Comércio, in the current Conselheiro Mafra street.

On the night of April 18 (date of his first show), he suffered from sudden malaise and high fever, remaining under medical care, and died prematurely in the early hours of the morning of the 24th, at the age of 26, Under conditions which gave rise to several versions, which were not adequately elucidated or proved. It ended the musical dream of virtuoso Patápio Silva.

In 1957, Altamiro Carrilho paid tribute to the late flautist with the LP Revivendo Patápio, including his repertoire, among other pearls: Despertar da Montanha (Eduardo Souto), Sad Song Op. 40 - No. 2 (Tchaikovsky), Hora Staccato (Dinicu) Spring Song Op. 62 - No. 6 (Mendelssohn). In 1977, the precious LP Os Pioneiros - vol. 1): Silva Patron (Coronado, EMI, Odeon), with recordings performed at 78 rpm, of the mechanical phase previously mentioned: the Waltz First Love, the Polka Only Para Moer (Viriato Figueira da Silva), Nocturno Opus 10 (Chopin) . With a good repertoire selected, Funarte edited Patápio Silva (1983), with exquisite readings of his work by: Altamiro Carrilho and Luiz Eça (Evocation), Alceo Bocchino and Altamiro Carrilho (Dream), Black Rooster (Voluble), Body Band Firemen of the State of Rio de Janeiro (Beija-Flor), and others.

In 1999, the great CD Toninho Carrasqueira played Pixinguinha and Patápio Silva (Paulinas / COMEP label) was released, in which the talented São Paulo flutist plays Oriental, Idílio, Alvorada das Rosas (that of Julio Reis). In 2001, the CD Princípios do Choro (Seal Biscoito Fino) carried out a painstaking effort to contemplate, in block 15, biographical information about Patápio with 12 pieces (from the repertoire of others and authors) and his interpreters: T. de Carvalho) with Pedro Amorim (mandolin) in duet with Cristóvão Bastos (accordion) and others, the choro Nostalgia of Pluto (Patápio Silva), by Marcelos Bernardes (sax), Maurício Carrilho (7 string guitar) and others. The following year, the CD - Memórias Musicais 8: Patápio Silva (Sarapuí label, Biscoito Fino), presented biographical text, 13 pioneering recordings (1904 and 1907), such as the Serenata Oriental (Ernesto Köhler), Serenata d'Amore ), The prelude Variations of Flute (W. Popp), Allegro of Terschak (Adolph Terschak).

Another expressive release occurred in 2006, by the label Revivendo: Patápio Silva: immortal flute, in highlights, rarities like the Nights 1 and 2 (by unknown author), by Patápio and the guitarist Serpa, the aforementioned Evocation (dedicated to his Dear master Duque Estrada), played by flutist E. Marques Porto "Bororó" and Concert Fantasie (Wilhelm Popp), by saxophonist Ladário Teixeira from Minas Gerais. Pied Piper and brilliant composer Patápio Silva, bravely won financial difficulties, racial prejudice, thanks to his talent and dedication, which opened the door to a well-deserved success.

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