Brazilian Composers

Date of Countries Independence: September 7, 1822

Composers By Birth Date:

• 1863 - Ernesto Nazareth
• 1880 - Jose Gomes de Abreu
• 1887 - Villa-Lobos Heitor
• 1890 - Pinto Octavio
• 1895 - Novaes Guiomar
• 1897 - Francisco Mignone
• 1914 - Cacilda Borges-Barbosa
• 1919 - Claudio Santoro
• 1942 - Jorge Antunes
• 1949 - Nestor de Hollanda Cavalcanti
• 1951 - Arrigo Barnabe
• 1954 - Paulo Costa
• 1956 - Eli Camargo
• 1957 - Eduardo Camenietzki
• 1962 - Vivana Anderson
• 1963 - Robson Dos Santos
• 1985 - Rios Filho Paulo
• 1986 - Tavares Hekel

Francisco Mignone

Francisco Mignone was born September 3, 1897. He was a famous Brazilian classical music. Born into a well-known immigrant family in Brazil Mignone started making his mark on the world young. At the age of ten, Mignone was well known for playing choro style. At age thirteen is recognized for his piano and
orchestra talents.

Some may say that Mignone struggled with finding his inner voice while he went through different periods. Through out his career he kept close with him his national identity. Mignone represented his appreciation to his Italian
father and his past Italian music teachers through out all four of his music
periods.

Mignone’s artistic ability touched all over the music world. From solo songs, piano pieces, orchestras, and choral work, opera’s and ballets, there is no question whether Mignone made his mark on the world.

Rios Filho Paulo

Rios was born on April 12th 1985 in Salvador Brazil. Rios is a composer, hornist and drummer. As a composer his works include pieces for solo, chamber groups and orchestra, as well as music for theater plays and rock bands.

Rios currently is extending his musical studies in composition at the Music School of Federal University of Bahia. He has also studied since 2003, ethnomusicology, counterpoint, form and harmony, with teachers such as Antonio Burgos and Angela Luhning. Rios also a researcher has been influenced by the work of Paulo Costa Lima “ The Promotion of Cultural Dialogues in the Grupo de Compositores da Bahia’s production of contemporary music”.

He has, since 2006 been involved with teaching Elemantary Musical Theory at the Federal University of Bahia.

His compositions include pieces for solo, chamber groups, orchestra as well as vocal combinations. It also includes music for theater plays and arrangements for orchestra of Brazilian Afro Popular songs. His compositions has won him awards such as the “Ernst Widmer”, “graduation chamber music prize” and ‘symphonic music prize”.

Rios is a founding member of the composer’s group of contemporary music called OCA. This group advances the sublimity of the human state via the musical avenues, namely recording, creating. It also focuses on educational programs in music with an emphasis in composing.

Tavares Hekel

Tavares was born in Rio de Janeiro, Brazil in 1986, on September 16th. Tavares’s musical style towed the boundary between popular and classical music. His father’s desire for his career was accountancy, however Tavares defied this and studied music. In 1921 he studied in Rio orchestration with J. Octaviano.

Tavares had a strong musical interest in synthesizing Brazilian folk music and classical music. “The Modern Art Week” held in Brazil in 1921 served as an inspiration for him exploring this innovative style. He professional life as a composer began in 1926. He also conducted the Orchestra Teatro Giria in the same year. In 1927 he wrote the music for the opening play at Teatro de Brinquedo, where is worked as a pianist.

Tavares spent many years exploring different Brazilian regions and investigating folklore.

Source: http//:www.classicalcomposersdatabase.

Villa-Lobos Heitor

Stands out as the most creative composer in 20th century Brazil. His revolutionary musical style consisted of a combination of European styles and Brazilian nationalistic music. He was a world renowned art musician and his musical career served as inspiration to subsequent art composers.

Villa-Lobos, born in Rio in 1887 was raised in a middle class family. His father Raul Villa-Lobos was an employee of the National Library and a non professional musician. Villa-Lobos’s father had a huge influence on his musical education and ensured that he took the discipline involved in music very seriously. He learned to play the cello from his father, he was also an avid guitar player.

In 1899 after the death of his father Villa-Lobos absorbed himself in the life of the Rio’s street musician as a guitar player. Villa-Lobos, after completing his formal education at the monastery of S Bento in Rio, toyed with the idea of entering the school of medicine. This idea was swiftly abandoned for his aspirations and love of the variety of nationalistic Brazilian musical styles. In his early years he earned his living playing the cello in hotels and in the Odeon cinema.

From 1913 to 1936 Villa-Lobos was married to pianist Lucilia Guimares. She was very supportive of his career and gave premieres of several of his piano pieces especially during the “Week of Modern Art in 1922.After their separation he became involved with Arminda Neves d’Almeida. His musical activity and creativity grew of the years and by 1917 he had produced some 100 works. This was inclusive of chamber music, string quartets, guitar pieces and two symphonies. During the 1922 “Week of Modern Art” in Sao Paulo Villa-Lobos was noted as the representative of modern music and many of his chamber works were performed.

His musical career included travel to Europe in 1923, where he settled in Paris. Henceforth his international acclaim. He met with several infamous composers, including Stranvinsky. He also had great success at concert performances in Paris, and his music began to be published by Max Eschig. Villa-Lobos attained unparalleled accreditation in Paris when compared to other Latin American composer.

On his return to Brazil Villa-_Lobos made political attempts at improving musical education in schools, this became a nationwide campaign of his for many years. He became known as the patriach of musical learning in Brazil. In 1942 the government founded a National Conservatory of Orpheonic singing with Villa-Lobos as director. The last decade of his life was complicated by bladder cancer, despite his ailing health he remained active touring internationally. He later retired in 1957, after six decades of artistic works he finally succumbed to the complications of cancer in 1959. His funeral was attended by the country’s then president.

Source: Grove music online, Retrieved October 17 2009

Ernesto Nazareth

Born on March 20 1863 in Rio de Janeiro Brazil, Ernesto was a composer and pianist. His piano study began with his mother in his early life and continued with teachers Eduardo Madeira and Lucien Lambert. His instructions from Lambert were heavily influenced by Chopin’s music. This musical style later impacted Ernesto’s own works.

By 1877 he began composing the popular dance style of the day. His piano playing style consisted of light music. From 1919, Ernesto was employed as a pianist by the publishing house of Carlos Gomes. He also played in the Odeon cinema from 1920 to 1924. Ernesto’s notoriety soared in the 1920’s and he toured the states of Sao Paulo and Rio Grande.

Ernesto was most known for the Brazilian tango, which earned him the title of the most influential Brazilian composer of the 20th century. He was praised by the renowned Villa-Lobos, as, “the true incarnation of the Brazilian soul”. His musical successes were recorded in Europe and the USA.

Sources:
Retrieved on October 12 2009 from Grove Music Online

Novaes Guiomar

Born February 28 1895 in Sao Paulo Brazil, Guiomar was a pianist, one of the youngest in a very large family. She studied piano at an early age with Antonietta Rude Miller and Luigi Chiafarelli in Sao Paul. She was eventually accepted at the Paris Conservatoire in 1909 as a pupil of Isidore Phillip. In 1911 she graduated from the Conservatoire with a premier prix for piano. Novaës made her formal debut that same year with the Châtelet Orchestra conducted by Gabriel Pierne then toured throughout Western Europe until the outbreak of World war one.

In 1915 Guiomar marked her US premiere performance in a triumphant recital at the Aolian Hall, New York. In years to follow she was there esteemed as one of the most expressive and impromptu pianist of her generation. In 1922 she married Octavio Pinto, a civil engineer also composer and pianist.

Guiomar’s last appearance in New York was in 1972 at a recital at Hunter College. She left many recording, with interpretations of Chopin’s F minor Concerto and Schumann’s Carnaval. These recordings were done by Vox in the 1950’s and express her undying individuality. Novaes died in Brazil at age 84.

Sources:
Retrieved October 17 2009 from Grove Music Online.
www.answers.com.

Pinto Octavio

Born: November 03 1890 in São Paulo, Brazil Pinto was a composer, most remembered for his marriage to pianist extrodinnaire Guiomar Novaes in 1922.The couple had three children one being a son. An architect by trade Pinto had a thriving business in Brazil. His piano teachings were from the wellknown Hungarian pianist Isidore Phillip.

Pinto produced show pieces exclusively for solo piano, his most often played piece is written for his wife and made renowned by her numerous performances of it: “Scenas infantis, 1932. Pinto was well known in the South American music circle even before his marriage to Novaes. He was infact a very close friend of the famous composer, Heitor Villa-Lobos. Pinto died in Brazil, October 31, 1950.

Source
Retrieved October 18, 2009 from http://www.answers.com

Claudio Santoro

A Brazilian composer, conductor and violinist, Santoro was born on November 23 1919. He studied the violin and theory at the Conservatorio de Musica do Distrito Federal in Rio de Janeiro. In 1938 after a few attempts at composing, he was taught by Koellreutter and was inducted into the 12-note technique. From 1941 to 1947 he played the violin in the Brazil SQ and even though he was awarded a US Guggenheim Fellowship, he was forced to decline because he could not obtain a visa. Santoro instead went to Paris where he studied with Boulanger and was a conducting student at the Conservatoire.

In 1951 he returned to Brazil and was the music director of “Radio Club do Brasil” in Rio and Teresopolis. Santorio became very involved in the music academia, in 1953 he was a professor of composition at the Santos School of Music. He also taught composition at the Pro Arte seminars in Rio and Teresopolis. In 1962 he was designated professor and coordinator of music at the University of Brasilla. The ensuing millitary occupation of the university led to Santoro’s acceptance of a fellowship fom the West German government and a move to Berlin in 1966. Santoro assisted the German government in the organization of the information center in Germany for Latin American music. During this time he established his reputation in Europe.

In 1978 he returned to the University of Brasillia and became very active, founding and directing of the symphony orchestra of the ‘Teatro Nacional.’ Santoro became a member of the Brazillian Academy of Arts and received numerous awards.

Santoro’s composing style evolved over the years, from his early music that was patterned after Koellreutter’s 12-note technique to a more flexible serial style. In 1949 he began studying Brazilian folk and pop music and developed a patriotic style to his music, attributed to his socialist outlook at this time. In 1952 Santoro’s composition Canto de amor e paz received the international Peace Prize of the World Peace Council in Vienna. Santoro’s numerous works included chamber, vocal and piano pieces. His masterly works rank him with the prominent Brazillian composers of the 20th century.

Source
Retrieved from Grove Music online October 18, 2009

Vivana Anderson

Viana is a creative composer of film music, he has written well over 260 pieces. He was born in 1962 in Belo Horizonte, Brazil and came from a musical family. His father Sebastiao Vianna was the reviser of and assistant to well known composer, Villa-Lobos. Viana worked as a composer-conducter and a cultural producer. He taught comparative music at the Palacio das Artes and film music at the Escola Livre de Cinema. His works include solo instruments, chamber music, orchestral works, vocal and electronic music as well as opera, also jazz and film music.

Viana’s earliest pieces were religious in nature and were done at the ages of twelve and thirteen. He learned to play the guitar, flute and most favorably the piccolo under the tutorial of his father. The art of music was an active part in the day to day life of his family, and many musical debates with his father were held at dinnertime. Viana’s father served as an inspiration to his musical career, owing to his support. In 1998 his right hand was seriously injured in a car accident, hitherto Viana practiced his music activities on the computer. The Cd Symphony 2 was created with the use of only his lift hand.

Viana received numerous awards including 1st prize at the prestigious “ 1er Concours de Composition Musicale pour Orchestre d’Harmonie” in Comines Belgium. He is currently a professor at Palacio das Artes and Escola Livre de Cinema in Brazil and is pursuing his Doctoral Degree in Music Composition at the Federal University of Bahia. He has also released his first book “Tales for Cinema”, in 2005. Among his many awards Viana received the Scholarship Award, at the Berklee College of Music, Boston, USA.

References
http://www.classicalcomposersdatabase. Retrieved October 16 2009.

Robson Dos Santos

Robson Dos Santos was born in 1963 in Brazil. He began his musical studies at Clovis Salgado Foundation; a flute course with teacher Juvenal Dias from 1982 to 1986.

He studied musical composition in a self-taught way. Since 1988, the artist has had compositions played in important contemporary music festivals, like Ciclo de Musica Contemporanea.

In 1990 he recorded the album Euthanasia with his own compositions.

Today he works at the Symphonic Orchestra of Minas Gerais as an instrument maintenance technician. He continues his works and research about contemporary classical music.

Reference

Classical Composers Database (2009). Brazilian composers. Robson Dos Santos.

Retrieved October 17, 2009 from http://www.classical- composers.org/comp/robson

Discography


Music to:

Female voice, Flute, Oboe, Viola, Cello, Piano and Computer.



01. Hands



02. The voice sings, the hands play

......a. The Hands

......b. The Voice

......c. Voice and Hands



03. Mermaids only sing in minor keys



04. The Human Voice



05. The Missing Music



06. Música Contemporânea Era o Dito Popular



07. Euthanasia? (1990)

......a. Before the Accident

......b. The Accident

......c. The Ambulance

......d. I.C.U - By a thread



08. Pictures of Death?!

......a. Dead?!

......b. Gravitating

......c. Valley of the Souls

......d. Encounter with the Creator

......e. Return
Singer: Luciana Monteiro de Castro

Flute: Maurício freire Garcia

Oboe: Gustavo Nápoli

Viola: Aristóteles Medeiros

Violoncelo: Antônio Maria Viola

Piano: Wagner Sander Demondes


09. Lullaby



10. The hands of the children

Eduardo Camenietzki

Eduardo Camenietzki was born in 1957 in Brazil. He is a Brazilian classical and film music composer. At the age of 13 he started to play and compose music. He attended music school where he studied classical guitar and musical analysis. He specialized in film music. He is often requested as a composer for films, TV programs, and multimedia projects.

Camenietzki began his professional career with composer and guitarist Wagner Campos with whom he released his first CD in 1983. In 1985 he integrated acoustic guitars in the Orchestra of Turibio Santos and released an LP of acoustic guitars in the Orchestra of Rio de Janeiro. In 1985 and 1986 he served as an instrumentalist and participated in soundtracks of the miniseries Time and Wind and Devil. He created, directed, and produced video soundtracks for animated films.

In 1990 he returned to music school in a research lab and developed the Eletroacustica series of courses of compositional techniques for cinema, video, television and multimedia. In 1992 he provided the soundtrack of the Brazilian flag Expo 92, a universal exhibition held in Seville, whose theme was the discovery of America.

In 2000 he created and produced music for historical documentaries. His last CD received excellent reviews and today his music is played daily on Sao Paulo State TV.

Reference

Classical Composers Database (2009). Brazilian composers. Eduardo Camenietzki. Retrieved

October 14, 2009 from http://www.classical- composers.org/comp/camenietzki

Dicianario Cravo Albin da Musica Popular Brasileira (2002). Eduardo Camenietzki. Retrieved

October 14, 2009 from http://www.microsofttranslator.com/bv.aspx? ref=SERP&br= ro&mkt=enUS&dl=en&lp=pt_en&a=http%3a%2f%2fwww.dicionariompb.com.br%2fverbet.asp%3fnome%3dEduardo%2bCamenietzki%26tabela%3dT_FORM_A

Discography

• Eduardo and Wagner (1983) Independent LP
  


• Acoustic guitars Orchestra of Rio de Janeiro-Of acoustic guitars
  Orchestra Turibio Santos (1985) LP Kuarup
  


• Nacao! (2001) Independent CD
  


• The Fifth (2004) Independent CD
  

Eli Camargo, Jr.

Eli Camargo, Jr. was born in 1956 in Brazil. He studied classical guitar and has a degree in composition from the School of Music. He was a solo guitarist and performed in chamber groups in concerts in Brazil and Portugal. He studied choral and orchestral direction in Brazil, Portugal, and Spain. Living in Portugal since 1985, he is a teacher of guitar, analysis and composition techniques, and chamber music at the National Conservatory and several other Schools of Music.

Camargo implemented several projects pointing to the discipline of Chamber Music, with the support of the Ministry of Education. He created and directed the courses of Music Together, held at the School of Music and Dance Fundao.

In recent years, Camargo has dedicated himself to composition, highlighting many premieres including Smarinattas, Four pieces for guitar, Solo Guitar by Paulo Amorim, Three Moments de Saudade, Jet Lag, Wound Seresta, and Four Corners of the House, which included his work Cadenza. Right now he is working on a doctoral thesis, Chamber Music-Compositional Strategies.

Reference

Atrium (2009). Database of Portuguese Composers. Eli Camargo. Retrieved October 11, 2009

from http://sites.google.com/site/patrimoniomusical/camargo-jr—eli

AVA Musical Editions. Eli Camargo, Jr. Retrieved October 11, 2009 from http://www.editions-

ava.com/pt/store/composer/18/

Discography
Music Artist

• 4 pieces for guitar
  
  
  
  • Track I-Track II-Intermezzo-Toccatina
    
  
  
  
  


• Solo guitar
  

Chamber Music

• 4 pieces for Flute and Clarinet
  


• In Dec Yarn Tense (Vc and Guit)
  


• Wound Seresta )Ob, CL, Vin, Vla and Cb)
  


• Three songs on Endless (soprano and vibraphone
  
  
  
  • I-Wait
    
  
  
  • II-Here
    
  
  
  • III-Real Sailor
    
  
  
  
  


• Three Parts Trombonete
  


• Guitar Trio
  

Ensemble

• Cadenzas, for 14 instruments
  


• Jet Lag
  

Paulo Costa

Paulo Costa Lima was born in 1954 in Brazil. He is a Brazilian composer, teacher and writer. He did his undergraduate studies in composition, theory and analysis, and cello. He studied composition at the University of Illinois and received his MS in music education. Since 1979 he has been a professor of theory and composition at the School of Music of the Federal University of Bahia.

Lima is considered one of the most talented composers of his generation. He has produced 53 compositions, mostly for solo instruments and various chamber combinations, and also a few choral and orchestral works, and two electronic pieces, all in eclectic styles in which local folk and popular inspiration are combined with modern, experimental techniques.

Lima’s music has been widely performed in Brazil, Argentina, Venezuela, Europe and the USA. He has received numerous commissions and fellowships, and won various composition prizes. He has published several articles and two books on the topics of theory of rhythm, music and psychoanalysis, and the teaching of composition.

Reference

Classical Composers Database (2009). Brazilian composers. Eduardo Camenietzki. Retrieved

October 16, 2009 from http://www.classical- composers.org/comp/camenietzki

Oxford Music Online (2009). Costa Lima, Paulo. Grove Music Online. Retrieved

October 16, 2009 from http://www.oxfordmusiconline.com.ezproxy.lib.umb.edu/

subscriber/article/grove/music

Discography


I. Compositions
01. Prodeo, para fl, cl, cordas. [1976]

02. Isn't it necessary ? para soprano e Conjunto de Cordas, [1976].

03. Two seconds of a dead hope, para tenor, vn, cello [1976]

04. Two Premises (Oscila), para piano solo. [1977]

05. Bundle (Tece), para flauta solo [1977].

06. String Quartet # 1 [1977].

07. Two electronic pieces [1977].

08. Trio, para vn, vla, cello [1978]

09. A Barca, para grupo de faladores [1980]

10. O povo e seus asseclas, para narrador, grupo de faladores e cordas
[1981]

11. Deslizes, para Conjunto Misto, 1981.

12. Iô-Iá, para grupo de faladores [1981].

13. Suite Falada [1981].

14. Rota e Desvio, para Conjunto Misto, 1982.

15. Ubabá, o que diria Bach ! para Conjunto Misto. [1983]

16. Quarteto de Cordas # 2, "Brasiléia" [1983].



Recordings

1. Ubabá o que diria Bach ! op.15, para Conjunto misto.
Compositores da Bahia 5, UFBa, 1985. Regente: Ernst Widmer ; Conjunto de
Música-Nova da UFBa.

2. Atôtô Balzare, Si, Si como no ! op. 20, para 5 Pc/Pn.
Compositores da Bahia 7, UFBa, 1987. Regente: John Boudler -
Intérpretes: Grupo de Percussão do PIAP

3. Cuncti-Serenata op. 17, Pn solo . Compositores da Bahia # 7,
UFBa, 1987.Piano: Beatriz Balzi

4. Fantasia op. 23, Pn solo. Compositores da Bahia # 8, UFBa,
1987 Piano: Ryoko Veiga

5. Corrente de Xangô op. 34, Vc solo. CD Impressionen. Kosmos,
Berlin. violoncelo: Matias de Oliveira Pinto, 1997.

6. CD Outros Ritmos (Prêmio Copene de Cultura e Arte-96), abr.
1997. Peças gravadas: Ibeji op.41, Apanhe o Jegue op. 42, Atotô do
L'Homme armé op.39, Pega Essa nêga e chêra op. 28, Imikaiá op.32,
Ponteio op. 35, Saruê de Dois op. 37 para duo de clarinetas.

7. Apanhe o Jegue op. 42 e Lembrando e esquecendo Pixinguinha op.
49. Uma Festa Brasileira: Música para Flauta e Violão, José Ananias
Souza Lopes, flauta e Edelton Gloeden, violão. Paulus 1998.

8. Imikaiá op.32 e Ponteio-Estudo op. 35. In, 60 Anos de José
Eduardo Martins (CD). São Paulo, jan. 1999.

Arrigo Barnabe

Arrigo Barnabe was born in 1951 in Brazil. His music is best known for having a heavily experimental approach, in which he uses dodecaphonism and atonalism as main principles of composition.

From 1974 to 1979 he studied composition at the School of Communication and Arts. He released his first LP, Clara Crocodile in 1980. In 1983 he wrote the Saga of Clara Crocodile for the Youth Symphony Orchestra. In 1984 he won Best Soundtrack for the music of the film Jane. He gained international recognition with his second album Flying Shark. In 1985 he released his second album Hidden City and won Best Soundtrack for the film of the same name. Two years later he received an award for best soundtrack for the film Vera. In 1988 he won an award for Best Soundtrack for the film Full Moon. In 1992 he released the CD Deeds.

In 1995 he participated in the First Festival of Jazz and Latin American Music in Argentina. He worked with a percussion quintet and string quartet St. Paul and Patife Band. In the 1990s he wrote pieces for the Jazz Orchestra of Sao Paulo. In 1997, after four years without recording, he released the CD Ed Mort, and the soundtrack of the same name.

Reference

Arrigo Barnabe. Retrieved October 11, 2009 from http://www.mpbnet.com.br/canto.

brasileiro/arrigo.barnabe/

Discography

1980 - Clara Crocodilo 1984 - Tubarões Voadores

1986 - Cidade Oculta (trilha sonora)

1987 - Suspeito

1992 - Façanhas

1998 - Gigante Negão

1999 - A Saga de Clara Crocodilo

2004 - Coletânea 25 Anos de Clara Crocodilo (Includes: Clara
Crocodilo, Tubarões Voadores, Gigante Negão, A Saga De Clara Crocodilo e Uma
Suíte A Quatro Mãos)

2004 - Missa In Memorian Arthur Bispo do Rosário

2007 - Missa In Memorian Itamar Assumpção

Nestor de Hollanda Cavalcanti

Nestor de Hollanda Cavalcanti was born in 1949 in Brazil. He began his musical studies of the trumpet, and musical theory and appreciation. Between 1967 and 1973 he studied guitar, reading and writing, harmony, counterpoint, morphology, orchestration and composition.

From 1975 to 1979 de Hollanda Cavalcanti taught guitar at the Brazilian Music Conservatory and at the Villa-Lobos Music School. From 1984 to 1986, he was a director and teacher of harmony, counterpoint and composition. He worked at the National Music Institute of Funarte as a researcher, musical reviser and phonographic archivist, editor and producer.

De Hollanda Cavalcanti has published articles such as Thesis on Music, On Repertoire in Musica: Texts and Contexts and the essay Music and Dialectics. He is a popular music arranger and record producer. In 1986, upon a request from the Popular Music Division of Funarte, he was in charge of composing arrangements, as well as the musical direction and coproduction of the albumYes, nos temos Braguinha.

During 1992 to 1994, he worked at the National Library Foundation, as Advisor and Chief of the Sound Archives and Musical Division. Some of his works were granted awards and prizes in national and international composition contests. He has been commissioned to write several pieces for choir; for base and piano; for soprano, violin, violoncello and piano; and for orchestra. Since 1976 the composer has taken part in many various events related to music held in Brazil. During 1995 and 1996, the composer was Director of Music Division of the Arts and Culture municipal Institute-RIOARTE, the unit in charge of promoting musical events in Rio de Janeiro City, as well as publishing CDs and scores.

Reference

Classical Composers Database (2009). Brazilian composers. Nestor de Hollanda Cavalcanti.

Retrieved October 17, 2009 from http://www.classical- composers.org/comp/hollanda

Discography


Orchestra

• Cobras e Lagartos (Abertura)
  


• A Fênix
  


• Ária (para Sonia)
  


• Questão de Ordem – Sinfonia nº 1
  


• Data Venia...(...Sebastian e ...Ludwig) – Sinfonia nº 2
  


• Rio de Janeiro - A Sagração do Verão
  

Chamber

• Divertimento... mesmo!
  
  


• As Ruas da Cidade – Sinfonietta
  

With solo

• Concerto Simples (para violão / for guitar)
  


• Microconcerto nº 1 (para flauta / for flute)
  


• O Sábio em lá
  (para flauta e clarineta / for flute and clarinet)
  

Strings

• Os Cabocolinhos
  


• Suíte de "Cobras e Lagartos"
  
  


• Suíte "Louvor"
  


• Suíte Aberta em Forma de Coisas
  


• Violão, por quem choras?
  – Suíte
  

With solo

• 3 Ais (soprano)
  


• Um Gringo no Brasil
  – Suíte (para clarineta ou sax soprano / for clarinet or soprano sax.)
  
  


• Simple Concert For Guitar Without Guitar
  (para harpa e piano / for harp and piano)
  

Jorge Antunes

Jorge Antunes was born in Rio de Janeiro in 1942. At age18 he entered the National School of Music at the University of Brazil to study violin, composition and conducting.

In 1962 he became interested in electronic music and founded the Studio for Chromo-Musical Research. In 1965 he initiated important research between sound and color, and composed a series of works named CROMOPLASTOFONIAS, performed by orchestra, magnetic tape, light, which made use of the olfactory, taste, and touch senses.

In 1967 he set up his Centre for Musical Research at the Villa-Lobos Institute where he continued his research of electronic music. In 1971 he won the Avro Prize for his composition Music for Eight Persons Playing Things. In 1976 he composed his famous Sinfonia das Diretas. In 1992 he completed his opera OLGA. In 1993 and 1996 he received the Prize of Recommendation of UNESCO’s International Tribune of Composers for his works Idiosynchronie and Rimbaudiannisia MCMXCV.

In1999/2000 the Brazilian government commissioned Antunes to compose new works for the commemoration of 500 years of Brazil. He completed the works Cantata dos Dez Povos, a monumental work of 60 minutes for orchestra, choir, soloists, declamators, and tape, and Sinfonia em Cinco Movimentos.

Some monographic CDs with Antunes’ works were published in 2003. During 2004-2006 he was president of the Brazilian Society for Electroacoustic Music.

Reference

Classical Composers Database (2009). Brazilian composers. Jorge Antunes. Retrieved October

4, 2009 from http://www.classical- composers.org/comp/antunes

Discography

Opera

• Contato (1968)
  


• Vivaldia MCMLXXV chamber opera buffa (1975)
  


• Qorpo Santo opera in 3 acts (1983)
  


• O rei de uma nota só (The Single-tone King),
  Mini-opera in 4 scenes (1991)


• A borboleta azul (The Blue Butterfly), Mini-opera in
  2 acts (1995)


• Olga
  (composed 1987-1997, premiered 2006)
  

Chamber music

• Mascaruncho for 2 Violas (1977)
  


• Microformóbiles I for Viola and Piano (1970)
  


• Modinha para Mindinha (Tune for Mindinha) for 7
  Violas (1985)
  

Elegia violeta para Monsenhor Romero
(1980), Sinfonia das diretas
(1984) and Hino à constituição cidadã
(or Hino ao novo Brasil,
1988)

Cacilda Borges-Barbosa

Cacilda Borges-Barbosa was born in 1914 in Brazil. She graduated from the National School of Music of Brazil. She is a composer, conductor, and pianist. She composed a number of works, many with a strong Brazilian theme. She also composed a number of pieces of orchestral music and chamber music together with pieces for teaching piano students.

At the age of 14 she joined the National Institute of Music where she studied harmony, counterpoint and fugue, composition, and piano. She began her artistic career as a dance pianist playing waltzes and chorinhos.

In the 1950s she was conductor of the orchestra of Radio Center Drive. She worked with Villa-Lobos at the Department of Music Education Arts where she organized and directed a children’s orchestra. She served as head of musical education of the Education Department. She was professor for chamber ensemble of the National School of music, University of Brazil, the director of the Instituto Villa-Lobos, and professor of counterpoint and fugue at the Popular School of Music Education. She directed several choir ensembles and orchestras. She was one of the pioneers of electronic music in Brazil.

Reference

Wikipedia (2009). Cacilda Borges-Barbosa. Retrieved October 11, 2009 from

http://en.wikipedia.org/wiki/Cacilda_Borges_Barbosa

Dicionario Cravo Albin de Musica Popular Brasileira (2002). Cacilda Borges Barbosa. Retrieved

October 11, 2009 from http://www.dicionariompb.com.br/verbete.asp?tabela=T_

FORM_A&nome=Cacilda+Borges+Barbosa

Oxford Music Online (2009). Barbosa, Cacilda Campos Borges. Grove Music Online. Retrieved

October 11, 2009 from http://www.oxfordmusiconline.com.ezproxy.lib.umb.edu/

subscriber/article/grove/music

Discography

Estudios Brasileiros

Little Entrance Music

Trio for Reeds

Jose Gomes de Abreu

Jose Gomes de Abreu, better known as Zequinha de Abreu, was born in 1880 and died in 1935 in Brazil. He was a musician, composer and conductor, having contributed to the establishment of the choro genre. In 1917 he wrote the famous choro tune, Tico-Tico No Fuba, which today is still recorded by great artists worldwide, from all styles.

A child prodigy, he learned how to play the clarinet, flute, and ocarina. He organized a school band and started rehearsing his first compositions. He entered the seminary where he studied harmony. He left the seminary to become a musician.

In 1899, de Abreu formed the Lira Santarritense and Smart Orchestra. By 1915 he had written nearly 100 compositions including choros, marchinhas, valsas, tangos, and other genres. In 1933 he founded the Zequinha de Abreu Band, with 25 musicians. He became an established and renowned composer; his compositions were recorded by several different interpreters and orchestras.

Reference

Agenda do Samba & Choro (2009). Zequinha de Abreu. Retrieved October 16, 2009 from

http://www.samba-choro.com.br/artistas/zequinhadeabreu

Answers.com (2009). Zequinha de Abreu. Retrieved October 16, 2009 from

http://www.answers.com/topic/zequinha-de-abreu

Classical Composers Database (2009). Brazilian composers. Zequinha de Abreu. Retrieved

October 16, 2009 from http://www.classical- composers.org/comp/abreu-zequinha

So Biografias (2002). Jose Gomes de Abreu. Retrieved October 16, 2009 from

http://www.dec.ufcg.edu.br/ biografias/ ZequinAb.html

Wikipedia (2009). Jose Gomes de Abreu. Retrieved October 16, 2009 from

http://en.wikipedia.org/wiki/Zequinha_de_Abreu

Discography

Principal Compositions

• Tico-Tico no Fubá
  


• Branca
  


• Tardes de Lindóia