- Ernesto Júlio Nazareth (1863-1934)
 Ernesto
Júlio Nazareth - Brazilian composer
and pianist. He studied the piano with his mother, with Eduardo
Madeira and with Lucien Lambert, who gave him an intimate knowledge of Chopin’s
music, which became influential on his own work. By 1877, when the polka Você bem sabe
was published by Artur Napoleão, he had begun to compose in the current popular dance
genres, and as a pianist he worked exclusively in light music. From 1919 he was employed
by the publishing house of Carlos Gomes (later Carlos Wehrs), performing scores for
clients, and he played daily in the Odeon cinema (1920–24), where Villa-Lobos had
worked a few years earlier as a cellist, and for which he wrote the famous tango Odeon.
Nazareth won wide popularity in the 1920s and toured the states of São Paulo and Rio
Grande in 1921 and 1932. The tangos established him as the most influential Brazilian
popular composer of the 20th century; Villa-Lobos praised him as ‘the true
incarnation of the Brazilian soul’. Nazareth was responsible for producing national
types of such dances as the polka and the tango, and for creating a model for the maxixe.
His waltzes and tangos were sources of inspiration for numerous composers, including
Milhaud, Villa-Lobos, L. Fernandez, Mignone and Gnattali. His music enjoyed great success
in the late 20th century, and by the 1970s had been recorded and published in Europe and
the USA.
Source: Author: 'Grove Music Online ed.' GERARD
BÉHAGUE (Accessed [27 Aug 2005), http://www.grovemusic.com
 Some Scores Details
 Dengozo
arr. for two flutes and piano- Brejeiro
arr. for flute and piano
- Souvenir of the
Past arr. for flute and piano
- Your Eyes
Fascinate Me arr. for two flutes and piano
- Her Name (O
Nome d'Ella) arr. for flute and piano
- Manuel José Vidigal (ca 1796)
Manuel
José Vidigal was a famous Portuguese composer and guitarist that lived in the
final century XVIII and beginning of the century XIX.
Some Scores Details
- Minuet I arr.
for harpsichord
- Minuet II arr.
for harpsichord
- Minuet III
arr. for harpsichord
- Minuet IV arr.
for harpsichord
- Minuet V arr.
for harpsichord
- Minuet VI arr.
for harpsichord
- João Cordeiro da Silva (1756-1808)
João
Cordeiro da Silva may have studied in Naples but on 21 November 1756 he was
admitted to the Irmandade de S. Cecília, the musicians’ benevolent association of
Lisbon. In 1763 he was already organist and composer of the Real Capela de Ajuda, and the
following year he started to receive a yearly salary of 240 000 réis from the royal
theatres. He was praised in a letter from the director of the royal theatres to Jommelli
dating from 1767, which also indicates that by then he was responsible for all operatic
productions at the Lisbon court, including the adaptation of Jommelli’s own operas
for local conditions. In his own compositions he attempted to follow Jommelli’s style
as closely as possible. He may have replaced João de Sousa Carvalho after his retirement
as music master to the princes. In 1808 he was earning 170 000 réis as first mestre to
the future King João VI but was considered too old to follow the royal family to Brazil.
None of his dramatic works, which were all written for the Lisbon court, has received a
modern revival.
Source: Author: 'The New Grove Dictionary of Opera ', Grove
Music Online ed. MANUEL CARLOS DE BRITO (Accessed [24 Aug 2005), http://www.grovemusic.com
12 Minueti per Cembalo
- Minuet per Cembalo
N. 1 arr. for harpsichord
- Minuet per Cembalo
N. 2 arr. for harpsichord
- Minuet per Cembalo
N. 3 arr. for harpsichord
- Minuet per Cembalo
N. 4 arr. for harpsichord
- Minuet per Cembalo
N. 5 arr. for harpsichord
- Minuet per Cembalo
N. 6 arr. for harpsichord
- Minuet per Cembalo
N. 7 arr. for harpsichord
Minuet per Cembalo
N. 8 arr. for harpsichord
Minuet per Cembalo
N. 9 arr. for harpsichord
Minuet per Cembalo
N.10 arr. for harpsichord
Minuet per Cembalo
N.11 arr. for harpsichord
Minuet per Cembalo
N.12 arr. for harpsichord
- João Domingos Bomtempo (1775-1842)
Portuguese pianist and composer.
Son of the Italian oboist F.X. Bomtempo, who belonged to the royal chapel of Dom José I,
he studied music with his father and was a pupil at the Patriarchal Seminary. A member of
the brotherhood of St Cecilia from the age of 14, he replaced his father in the royal
chapel a few years later, after the latter’s death in Brazil. But soon afterwards
(1801) he left for Paris, where he became well known as a pianist and composer: his first
two piano concertos and the Symphony no.1 were widely acclaimed in the Journal
général de la France and the Courrier de l’Europe. His meeting and
friendship with Clementi, who published many of his works, date from his first years in
Paris. Because of the Napoleonic invasions he left for London in 1810, where he taught
music to a daughter of the Duchess of Hamilton for a year. He returned to Lisbon in 1811
but went back to London five years later; in 1820, after another brief sojourn in Paris
during which he composed the Requiem Mass in memory of Camões, he finally settled in
Portugal. Besides teaching there he also organized concerts; to this end he founded the
Philharmonic Society which in August 1822 initiated the first series of regular concerts
in which works by Haydn, Mozart and Beethoven were performed, as well as his own
compositions. The Vilafrancada movement and the advent of the absolutist regime in 1828
interrupted the concerts and later led to the dissolution of the society itself, but the
triumph of liberalism finally brought Bomtempo just reward for his abilities: in 1833 he
was appointed the teacher of Dona Maria II and awarded the Order of Christ, and in 1835 he
was made principal of the conservatory, which had been inaugurated the same year. He kept
this position to the end of his life. Bomtempo was one of the principal reformers of
Portuguese music, not only through his establishment of the conservatory, but also through
the Philharmonic Society’s activities on behalf of instrumental, symphonic and
chamber music, in a milieu then completely dominated by Italian opera. To Bomtempo also
Portuguese music owes its first examples of native symphonies, and chamber music.
Source: Author: 'Oxford University Press 2005', Grove Music
Online ed. FILIPE DE SOUSA (Accessed [26 Aug 2005), http://www.grovemusic.com
Some Scores Details
- Lesson N. 11
(from 'Method for the Pianoforte'), arr.for piano
- Lesson N. 12
(from 'Method for the Pianoforte'), arr.for piano
- Sonata N. 1
(from 'Three sonatas for the piano forte'), arr.for piano
- Alberto Nepomuceno (1864-1920)
(b
Fortaleza, 6 July 1864; d Rio de Janeiro, 16 Oct 1920). Brazilian composer and conductor.
His father was his first teacher. His formal education took place in Recife, where at 18
he was already conducting the concerts of the local Carlos Gomes Club. He moved to Rio de
Janeiro in 1884 and continued his studies while teaching the piano at the Beethoven Club.
A trip to Europe, begun in 1888, took him to the most celebrated music schools: the
Accademia di S Cecilia in Rome, the Akademische Meisterschule, the Stern Conservatory in
Berlin, and the Paris Conservatoire, where he studied the organ with Guilmant. He returned
to Rio de Janeiro in 1895 to teach the organ at the conservatory. In 1896 he took on the
directorship of the Sociedade de Concertos Populares, and in 1902 that of the
conservatory, but only for a few months. He became director of the institute again in
1906, and began to promote the recognition of Brazilian music and composers, by
establishing a campaign against the germanophile music critic Oscar Guanabarino, by
including Brazilian works in the programmes of his concert association, and by supporting
the performance of the music of popular composers, such as Catulo da Paixão Cearense.
Having succeeded in transferring the institute to its modern quarters he resigned as its
director in 1916. In 1910 Nepomuceno travelled to Europe to conduct at the Brussels
Exposition Universelle, and to present works of his own and other Brazilian composers at
Paris and Geneva.
Source: Author: 'Oxford University Press 2005', Grove
Music Online ed. GERARD BÉHAGUE (Accessed [21 Sep 2005), http://www.grovemusic.com
Some Scores Details
- Barcarola
(from 'Three Pieces for the Piano for Left Hand Only'), arr.for piano
- Dansa (Dança)
(from 'Three Pieces for the Piano for Left Hand Only'), arr.for piano
- Entertain
(Brincando) (from 'Three Pieces for the Piano for Left Hand Only'), arr.for piano
Melody (Melodia)
(from 'Three Pieces for the Piano for Left Hand Only'), arr.for piano
- Polka (Polca)
(from 'Three Pieces for the Piano for Left Hand Only'), arr.for piano
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