A Visit to Pianopolis

A Visit to Pianopolis: Brazilian Music for Piano at the BibliotecaAlberto Nepomuceno

Moore, Tom, 1956-

Notes, Volume 57, Number 1, September 2000, pp. 59-87 (Article)

Published by Music Library AssociationDOI: 10.1353/not.2000.0041

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A VISIT TO PIANOPOLISBRAZILIAN MUSIC FOR PIANO AT THEBIBLIOTECA ALBERTO NEPOMUCENO

By Tom Moore

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The rich musical heritage and vital musical traditions of Brazil are thesubject of increasing interest throughout the world. Contemporary pop-ular musicians draw large and enthusiastic audiences in the UnitedStates, where knowledge of Brazilian music was long limited to the bossanova of the early 1960s, heard in jazz interpretations by American musi-cians. The vitality of contemporary Brazilian music in the classical tradi-tion is increasingly acknowledged as well, but a longer overview of musichistory in Brazil is more difficult to gain for musicians outside (or eveninside) the country.

A number of signficant stumbling blocks confront the researcher inBrazilian music. Only a tiny fraction of the musical production of Brazilin the almost two centuries since it achieved independence fromPortugal in 1822 is available to scholars in American libraries. Of the vastnumber of musical scores printed in Brazil during this period, very fewhave been reprinted since their first publication. Bibliographical accessto these scores is difficult, as they are not indexed in published catalogsof the holdings of the major collections. Library catalogs in Brazil willeventually be available as OPACs searchable over the Web, but most cata-log information is accessible only as local card files. Bibliographies ofscholarly work on music by Brazilians are few. Monographs on musicpublished in Brazil commonly lack indexes, making their consultationdifficult. A second edition of the most important reference work onBrazilian music, the Enciclopédia da musica brasileira,1 has just been pub-lished, but from an extra-Brazilian point of view, the work has some liabilities, chief among them being the adoption of a single, integratedbibliography at the back of the volume rather than the provision of bibli-ography for each entry. Scholarship in Brazilian music by researchers

Tom Moore is assistant music librarian at the Scheide Music Library, Princeton University. The authorextends his most heartfelt thanks to the cariocas who showed him the greatest hospitality during his stayin Rio de Janeiro in 1999: the librarians of the Biblioteca Alberto Nepomuceno of the School of Music ofUFRJ, including Ailton Francisco da Silva, Dolores Brandão de Oliveira, Maria Luisa Nery de Carvalho,Odoxia Soares Pereira, Teresa Cristina de Vasconcelos Rosa, Virginia Maria Correa Soares, and YolandaFerreira Jinkings; the dean of the School of Music, João Guilherme Ripper; and professors IngridBarancoski, David Korenchendler, Laura Rónai, Martha Tupinambá de Ulhôa, and Ruth Serrão ofUniRio. All translations of Portuguese texts are the author’s.

1. Enciclopédia da música brasileira: Popular, erudita e folclórica, 2d ed. (São Paulo: Art Editora, 1998).

from outside the country has not been extensive, which is perhaps notsurprising given the low priority of lusophone language and culture inthe United States, and even the most fundamental works in Portugueseare unavailable in English translation (for example, the writings of themodernist and nationalist Mario de Andrade).

Three of the major music libraries in Rio de Janeiro are the MusicSection of the National Library; the collection of the late scholar Mozartde Araujo, now housed at the library of the Centro Cultural Banco doBrasil; and the Biblioteca Alberto Nepomuceno, the library of the Escolade Música of the Federal University of Rio de Janeiro (UFRJ). TheEscola de Música is one of the oldest continuously operating musical in-stitutions in Brazil, having been founded as the Conservatorio de Músicain 1841. It was incorporated into the Academia de Belas Artes in 1855.The Conservatorio de Música moved into its first purpose-built quartersin 1872. The change from imperial government to a republic in 1889 affected many of the cultural institutions of the empire, including theConservatorio, which was replaced by the Instituto Nacional de Música(INM) in 1890, with composer Leopold Miguez as director. The INMmoved to the present location of the Escola de Música in 1910, occupy-ing what had formerly been the edifice of the National Library. New con-struction, including a concert hall, was necessary, and the physical plantarrived at its present configuration in 1922. The institution has gonethrough various administrative changes over the years, becoming a partof the Universidade do Rio de Janeiro after the revolution of 1930. Theuniversity was renamed the Universidade do Brasil in 1937, and receivedits present appellation, the Universidade Federal do Rio de Janeiro, in1965.

The library, named for the second director of the INM, composerAlberto Nepomuceno, holds significant special collections in addition tothe resources used to support the teaching mission of the school, includ-ing numerous manuscripts of the important composer José MauricioNunes Garcia. Included in the special collections of the library are closeto seventy volumes of bound sheet music, referred to by the librarians asálbuns de família (family albums)—collections of music from an individ-ual pianist or family, bound by them for reasons of preservation and con-venience, and donated to the library. These albums were accessioned bythe library, but the contents have not been analyzed. The albums aresimply identified on the shelves with a spine label identifying them as ál-buns de família, with a volume number.

It is the purpose of this study to make accessible information on theholdings of Brazilian music in this collection. Of the sixty-odd volumes,less than half contain music of Brazilian composers to a greater or lesserdegree. Of these I will not be concerned with the few which contain

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music from 1920 or after, since this date marks a watershed for a varietyof reasons. Until 1920 or so, Brazilian music was affected by importsfrom elsewhere only to a very limited degree, primarily through theFrench and Italian operatic works heard on the stage in Rio, as well aserudite concert works (by Beethoven and other Germanic composers)heard in performance at various private clubs during the later years ofthe empire. The 1920s, however, saw an enormous influx of popularmusic from outside Brazil, especially the tango from Argentina and thepopular song from Tin Pan Alley (disseminated in part through the or-chestras of the silent theaters). Music publishing in Brazil, which hadbeen centered in Rio de Janeiro, moved south to the growing commer-cial center of São Paulo, where it has remained to the present day.

To American eyes, musical life in Brazil is a fascinating reflection ofthe enlivening dichotomies of musical life in the United States—popularand elite, black and white (with a middle term in Brazil, mulato), illiter-ate and erudite, male and female, private and public, entrepreneurialand grant-supported—an endless list. The lines dividing these terms areoften drawn in different places in the two countries, illuminating ourown sense of what these concepts mean.

The Brazilian works included in the uncataloged albums of theBiblioteca Alberto Nepomuceno mainly date from shortly after mid-nineteenth century to the first two decades of the twentieth century,strongly clustered around the turn of the century. This was a period thatsaw remarkable changes in Brazilian society, which was making a transi-tion from a primarily agrarian society built on slave labor, with little out-side influence, to an increasingly industrialized and urban society, avidfor European culture, and with an incipient sense of the unique blend ofcultures characterizing Brazil itself.

The arrival of the Portuguese court, fleeing Napoleon in the earlyyears of the nineteenth century, and the declaration of independence in1822 brought an increasingly open trade policy, and a concomitant in-flux of broader—and not simply Portuguese—cultural influences fromEurope. The first pianos to be imported to Brazil arrived from Britainafter a trade agreement between Portugal and Britain was signed in1810.2 In the first half of the century, a piano was strictly a luxury item:customs records from 1828 value fortepianos at 600 mil reis, large harpsi-chords at 80 mil reis, spinets at 30 mil reis, one-key flutes at 1.8 mil reis.3The cost of a piano was roughly equivalent to that of one or two slaves.4This state of affairs gradually changed over the next few decades. By the

A Visit to Pianopolis 61

2. Paulo Rogério de Faria, “O pianismo do concerto no Rio de Janeiro, no século XIX” (master’s the-sis, UFRJ, Escola de Musica, 1996), 16–17.

3. Ibid., 21.4. Ibid., 38–39.

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1850s, Rio de Janeiro could be called “the city of pianos,” since in Rio“everyone plays the piano: women, children, old men, young boys.”5 In amarvelously atmospheric essay published in the Gazeta musical in 1892,the composer, pianist, and critic Antonio Cardoso de Menezes gives thecontemporary reader a glimpse of Rio de Janeiro shortly after the procla-mation of the republic, and on the brink of the modern age.

Everywhere, in all the innumerable streets of the city, throughout all theneighborhoods and alleys of this most heroic Pianopolis, when one passes by,weighed down by the struggle for existence, bubbling out from the balconiesand the windows, out through the clouds of dust snaking through the muggyair or through the the dried foliage of the overheated trees lining the lakes,the canals, the beaches of the groaning sea, one hears puffs of music of everyprice, cheap music and high-price music, because there is no house here thatdoes not have a piano, a flute, a fiddle, a clarinet, a guitar, or a cavaquinho,and a competent artist to perform on the corresponding instrument. If onlythe number of instruments were a thousand times smaller, and the family ofperfomers more refined.6

Menezes goes on to say that “the piano is of all the instruments the mostabundant in Rio de Janeiro.”7

In contrast to our present day musical culture, where the few pianistsremaining aspire to perform works of high art consecrated to a concerthall setting, piano music in Rio de Janeiro in the late nineteenth andearly twentieth century was primarily a domestic affair. According toCristina Magaldi, “public recitals involving only one performer were notheard at Rio de Janeiro until the last decade of the century.”8 Thepredilection of the Carioca music-lover was for dance music, generallyheard in private homes at saraus, or musical evenings, which generallyconcluded with dancing very late into the night (a Carioca habit whichhas not changed much in the present century). Vincenzo Cernicchiaro,writing in 1926, with memory still fresh, does not deny a place in his his-tory of music in Brazil to the dance music of the previous century, andwrites:

We are not able to note all these composers [of dance music] and their com-positions; it would be impossible to remember them all, as also to rememberall their works, which were published in Rio and in other places in the coun-try. The musical production in this genre was enormous. Oh! It would be awonderfully curious and original collection which reunited all those dances


5. Ibid., 2.6. Gazeta musical 2 (1892): 37.7. Ibid.8. Cristina Magaldi, “Concert Life in Rio de Janeiro, 1837–1900” (Ph.D. dissertation, University of

California, Los Angeles, 1994), 41.

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which were inspired in the course of the century and epoch we have men-tioned . . . an epoch in which Rio danced without the strange sensations ofour modern dances!9

The dances of the golden age recalled by Cernicchiaro were restrictedto a limited repertory. The most popular were the waltz, the polka, theschottisch, and the tango. The production of waltzes in Rio was enor-mous. Valeria Aparecida Bertoche, who traces the development of thewaltz in Rio over the century 1850–1950, compiled a list of over seven-teen hundred works in the genre published in this period (well over a hundred more unknown to Bertoche were published in O Malho be-tween 1902 and 1920). The vogue for the waltz permeated the musicalenvironment in Rio, with waltzes cultivated by both erudite conservatoryprofessors and more popular composers. Kiefer was appalled by the va-pidity of many of these pieces (“the banalities are such . . . that it woulddiscourage you from further investigation”) but perhaps this situationwas to be expected for a city in which “almost every amateur with anymusical knowledge composed.”10 Waltzes were frequently dedicated to ornamed for individual women, had romantic titles (for example, the se-ries of waltzes from Alfredo Gama titled “Waltz of those who dream,”“Waltz of those who love,” “Waltz of those who implore,” and others), ortitles in French, the foreign language most common among the culturedin the later empire and early republic. The polka, which arrived in Riosomewhat later than the waltz, was very close to the waltz in popularity,and in contrast to the waltz, with its dreamily romantic aura, connotedathletic good humor, with its quick duple meter. Kiefer notes a penchantfor wittily titled polkas. Where a waltz might idealize the beloved, thepolka would point up her all-too-human qualities (brejeira [malicious] orinconstante [changeable]). The schottisch, in a slower duple meter, wasalso popular, though in contrast to the waltz and polka, it fell out offavor with the growing internationalization of popular dance music. (Bythe later 1920s it was no longer danced.) Though the tango is now syn-onymous with Buenos Aires, the dance was broadly popular in Brazilthroughout the later nineteenth century, and it was only with the grow-ing renown of the porteño variety that Brazilian composers began to de-scribe their product as tango brasileiro. Though we can imagine that themost popular composers of dances were beginning to become what mod-ern marketers might think of as a brand name, it is clear that the con-sumer was more interested in the genre of the dance than the name of


9. Vincenzo Cernicchiaro, Storia della musica nel Brasile dai tempi coloniali sino ai nostri giorni (Milan:Fratelli Riccioni, 1926), 341–2, 345.

10. Magaldi, 179.

the composer attached to it. Print advertising for sheet music was classi-fied by type of dance, and lists of works available from publishers on themusic itself are sorted first by genre, and then by title. The same phenom-enon can be noted in the binding of collections of sheets of dance music.

For composers with higher aspirations, the popularity of dance musicin Rio was both a blessing and a curse. The insatiable appetite of theCarioca for new dances meant that productions in these genres byBrazilian composers found a ready market. “[I]t is . . . in the dance sec-tions [of publishers’ catalogs] that native composers predominate.”11

The unfortunate corollary of this was that composers felt a lack of sup-port for more ambitious works. Cardoso de Menezes describes the plightof the erudite pianist at his Bechstein trying to play Beethoven. First heis assaulted by the sound of an old and out-of-tune piano on which aschottisch is being played, and next the schottisch is joined by one of themany cheap waltzes.12 This must certainly be a description of a realevening at the piano at Menezes’s house, but it might also standmetaphorically for the erudite composer drowned out by the din of pop-ular dances. Oscar Guanabarino, writing in 1880, laments that “the tastefor music does not mean an admiration for the great works of the musi-cal art. The polkas—lundus, quadrilles, tangos and other chorosas are themost popular with the generality of the public—and this in the capital”13

(the implication being that matters are much worse in the rest of thecountry). The embattled erudite composer had a distinct hostility to-wards the more popular genres,14 and when he did write in these genreshe might well do it under a pseudonym. Assis Pacheco wrote in highdudgeon (under the title “Artistic Decadence of a Musical Glory”) about

a notable Brazilian artist, who left the choice of the piece with which hewould finish his concert in Petropolis to the audience! It’s like the toothpulled in the middle of the street, in half a minute; it’s a one-minute callustreatment; it’s a painting painted in five minutes; it’s the hero of Chegou!Chegou! playing the piano with his back to the instrument! What if I had beenthere and asked for Maria Cacucha? or Quem comeu do Boi ? . . .where is Art?where is the dignity of the artist?15

The lingering animus of the erudite composer towards the music whichconstituted the lifeblood of Carioca culture in the late nineteenth andearly twentieth centuries can be discerned in the continuing disinterestin this music on the part of scholars. Magaldi notes the “numerous com-


11. Ibid., 198.12. Gazeta musical 2 (1892): 39.13. Quoted in Magaldi, 235.14. Valéria Aparecida Bertoche, “Valsa brasileira para piano e arquitetura no Rio de Janeiro: Uma

abordagem historic-social (1850–1950)” (master’s thesis, UFRJ, Escola de Musica, 1996), 83.15. Gazeta musical 3, no. 3 (February–April 1893): 35.

posers inexplicably excluded from specialized literature” includingAbdon Milanez, Julio Reis, Aurélio Cavalcanti, Cardoso de Menezes, andJ. Garcia Christo.

The more elevated, more technically demanding music produced byBrazilian composers in the late nineteenth century was most commonlylinked to the opera,16 as the opera was unquestionably the focus of elitemusical life in Rio, with the preponderance of musical journalism de-voted to operatic news both at home and overseas. According to PauloRogério de Faria, “from the time of its introduction the piano was tied to the lyric theater.”17 In Brazil this meant works of grand opera fromItalian and French composers, and later, operetta. Cardoso de Menezesand Arthur Napoleão both produced numerous operatic fantasies, and itseems reasonable to link the individual titles with the performances inRio of the opera concerned. These are difficult works intended for thehighly trained artist, and far beyond the technical level required by thegenerality of dance music of the time. They would have been performedat the saraus of the most refined levels of society, where attendance wasrequested by formal invitation. The most important saraus in the lateryears of the empire were held in the then-chic neighborhoods of Catete(the location of the presidential palace) and Flamengo. Performers atthe saraus of Barão de Cotegipe, probably the most notable, includedthe composers Napoleão, Brasílio Itiberê da Cunha, and Cardoso deMenezes.

The music that the modern American devotee of classical music con-siders to be central to the canon was almost entirely absent from musicallife in Rio. With increasing German immigration to Brazil (described inthe memoirs of the German immigrant and piano builder CristianoCarlos Jose Wehrs), German music (for example, Joseph Haydn,Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert,Felix Mendelssohn, Robert Schumann) began to gain a place in the mu-sical programs of such private societies as the Clube Mozart and theClube Beethoven by the later years of the Empire,18 but even so, therepertory at the Clube Mozart in 1878 included works of Adolphe Adam,Joseph Ascher, Gaetano Donizetti, Franz Liszt, Matteo Fischetti, JeanDelphin Alard, and Louis Moreau Gottschalk.19 The austere ClubeBeethoven did not admit women to its rooms until 1888 and did not per-mit women in its roster of performers, mostly professionals.


16. Magaldi, 24.17. Faria, 41.18. Luís Heitor, Música e músicos do Brasil (Rio de Janeiro: Libraria-Editôra da Casa do Estudante do

Brasil, 1950), 29–30.19. Delso Renault, O Dia-a-dia no Rio de Janeiro segundo os jornais, 1870–1889 (Rio de Janeiro: Civ.

Brasileira, 1982), 120.

Women were in fact a significant presence in musical life in this pe-riod, even though Brazilian society had severely limited their freedom ofmovement, with their spheres of influence generally limited to churchand home. In spite of this, by the early years of the republic it is hard tooverstate the importance of women in relation to the piano literature.Women as pianists had been noted in print by the 1850s, as mentionedabove. In a report on activity at the Instituto Nacional de Música in the1890s,20 all fifty-six of the piano students whose names are given arewomen. Music is published in supplements to the fashion magazine AEstacão, which sponsored a composition competition; the magazine alsoregularly ran advertisements from music publishers for their latest issues.The weekly magazine O Malho, which clearly had a readership compris-ing both men and women, included a piano piece in virtually every issue.Many of these are dedicated to women, and over the two decades inwhich O Malho published Brazilian music (waltzes, polkas, schottisches,and tangos), the compositions of over sixty different women appeared inits pages. Faria points to the social reasons for this. In a society whereslave labor was fundamental until the very end of the nineteenth cen-tury, it was of the utmost importance for the free Brazilian to set himself(or herself) apart from the world of manual labor. “Hence intellectualtraining, and education in general served as a means by which the freecitizen . . . could be distinguished from the mass of slaves. . . . [W]e can-not forget the important role of music, and the piano in particular, ineducation in the past century, and above all in the education ofwomen.”21

The music bound by the collectors of the volumes reflects the socialrealities traced above. The volumes include many dances from Brazilianpens, a smaller number of more ambitious concert works, frequentlybased on operatic sources, and a surprisingly large representation ofwomen among the composers included. Virtually all of this music hasnot been republished as yet and is inaccessible outside the libraries andcollections where it is held. It bears witness to some of the roots ofBrazil’s lively and diverse musical culture at the end of the twentieth cen-tury.

CATALOG OF MUSIC IN FAMILY ALBUMS HOUSED AT THE BIBLIOTECA ALBERTO NEPOMUCENO

The following catalog includes music by Brazilian composers pub-lished prior to 1920 from the uncataloged álbuns de família (family al-


20. Gazeta musical 1, no. 9 (1891): 12.21. Faria, 54.

bums) at the Biblioteca Alberto Nepomuceno. Composers’ names arefrequently given as they appear on the pieces, but fuller information hasbeen included when available from secondary sources. Entries includetitle and genre, place of publication, publisher, publisher’s address, dateof publication, plate number, pagination (or number of pages in brack-ets if the piece is not paginated), the album in which the piece is found,the dedication, and any inscriptions (for example, a personal dedicationto the recipient from a donor, or a manuscript date). Biographical notesare included when appropriate (for example, to point out connectionsbetween composers or between composers and performers representedin the collection).

Bibliography

Cernicchiaro, Vincenzo. Storia della musica nel Brasile dai tempi coloniali sino ai nos-tri giorni (1549–1925). Milan: Fratelli Riccioni, 1926.

Diniz, Jaime C. Notas sobre o piano e seus compositores em Pernambuco: Contribução ao ICiclo de Música Pernambucana para Piano—Popular, de Salão e de Teatro. Recife:Coro Guararapes do Recife, 1980.

Enciclopédia da música brasileira: Popular erudite e folclórica. 2d. ed. São Paulo: ArtEditora, 1998. [EMB]

Magaldi, Cristina. “Concert Life in Rio de Janeiro, 1837–1900.” Ph.D. diss.,University of California, Los Angeles, 1994.

Siqueira, João Baptista. Ficção e música. Rio de Janeiro: Folha Carioca Editora,1980.

Vasconcelos, Ary. Panorama da música popular brasileira na “belle époque.” Rio deJaneiro: Libraria Sant’Anna, 1977.


Almeida, Alexandre de

Conscienciosa. Valsa, op. 9.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives No. 52, [1889].Plate no.: 1935. 3 p.AF 16.Stamp of Prealle & Compa. on p. 1.

Orgulhosa. Valsa.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives No. 52, [1889 or ear-lier?].

Plate no.: 1795. 3 p.AF 23.“A seu collega e amigo J. F. R. de Belmar.”

Pretenciosa. Valsa para piano, op. 7.[Rio de Janeiro]: Buschmann & Guima-

rães, Rua dos Ourives No. 52, [1889 orearlier?].

Plate no.: 1851. 3 p.AF 16.

“Ao amigo e collega Miguel A. de Vascon-cellos.”

Inscription on title page: A Exma. Snra. D.Elvira de Sa e Albuq.que offerece ArthurT. da Costa, Recife 10 de Fev.o. de [cutoff].

Vasconcellos (p. 68) gives Almeida’s dates as1860?–1920?, active in Rio de Janeiro. “Orgul-hosa” is dedicated to fellow composer JoaoFrancisco R. de Belmar, represented in the ál-buns de família by his waltz “Deslisando.” TheMS dedication of “Pretenciosa” is by ArthurTolentino da Costa, active in Recife and repre-sented in the álbuns de família by his polka “ALambugem.”

Almeida, Guilherme de

Rosita de La Plata. Valsa Brilhante.Rio de Janeiro: Narciso & Arthur Napoleão,

89, Rua do Ouvidor, [between 1880 and1893].

Plate no.: 3206. 3 p.AF 15, AF 16.

Almeida, João Francisco de

Albertina. Valsa.Rio de Janeiro: Casa Arthur Napoleão;

Sampaio, Araujo & Ca., Avenida Central,No. 122, [190–].

Plate no.: 5038. 5 p.AF 29.

Almeida, Irineu de

Meu Ideal. Schottisch.Rio de Janeiro: Vieira Machado & Ca., Rua

do Ouvidor 179, [1911 or later].Plate no.: V.M. & C. 377. 3 p.“Dedicada ao amigo Catullo Cearense.”AF 29.

Os Olhos d’ella. Schottisch.Rua do Ouvidor 179, [1911 or later].Plate no.: V.M. & C. 378. 3 p.AF 29.

Almeida, who performed on ophicleide and trom-bone, played with some of the great players ofchoro during the early decades of the twentiethcentury, including Anacleto de Medeiros and thefather of Pixinguinha.

Alves, Manuel Jose

Estrada de Ferro da Bahia. Quadrilha parapiano.

Rio de Janeiro: Arthur Napoleão, 89, Ruado Ouvidor, [between 1880 and 1893].

Plate no.: 2243.AF 38

Aquino, Abdon Americo de

Julieta. Valsa.Rio de Janeiro: Viuva Filippone & Filha, 93

Rua do Ouvidor.Plate no.: V2733F. 3 p.AF 15.“Offerecida pelo autor a seo amigo A. A.

Lima Botelho.”

Arnaud, Achille

Adelina. Polka-Mazurka, op. 21.[Rio de Janeiro]: Bevilacqua & Narcizo,

Rua dos Ourives no. 53, [between 1857and 1865].

No plate no. 5 p.

“A S.A.R. Leopoldo Borbone, Conti diSiracusa.”

AF 30.

Ernani. Fantasia di Concerto di Achille Ar-naud dedicata al suo Maestro CavaliereFederico Kalkbrenner ed eseguita per laprima volta nella gran Sala di Herz.

Rio de Janeiro: Narcizo J. P. Braga, 62 Ruados Ourives, [1855].

Plate no.: 358. 19 p.AF 54, 1.MS inscription on p. 1: Approvado S.

Thalberg. Rio de Janeiro 3 Set. 1855.

AF 54 is a volume collecting works by Arnaudonly. The cover of the volume bears a dedicationto Léon Escudier (“A Monsieur Léon Escudier,Souvenir de A. Arnaud, Rio de Janeiro, 1869”).A virtuoso pianist from Naples, Arnaud(1832–1894) arrived in Rio de Janeiro in 1885and made his debut on 27 May. He participatedin Sigismond Thalberg’s farewell concert on 14December 1855. Ernani was performed at theTeatro Lirico in Rio during the 1855 season(Siqueira, 355). The MS inscription seems to beby Thalberg himself.

O Canto do Trovador. Ballata de AchilleArnaud.

Rio de Janeiro: Filippone e Tornaghi, Ruado Ouvidor no. 101, [between 1855 and1869].

Plate no.: 924. 5 p.AF 54, 2.MS dedication on p. 2: Al signor Paolo

Serrao (di Napoli).

Alle rive dell’Arno. IIo Noturno.Rio de Janeiro: Successores de P. Laforge,

Rua dos Ourives no. 60.No plate no. 9 p.AF 54, 3.“A Mlle. Adeline Douglas Falconer.”

Recordacões de Napoles. Album de musicapara píano, op. 28.

Rio de Janeiro: Successores de P. Laforge,Rua dos Ourives no. 60, [18—].

No plate no. 9 p. Oblong format.AF 54, 4.“A S.M.I. o Senhor D. Pedro II, Imperador

do Brazil. Andante de Bravura.”

Danse des papillons. Caprice de genre, op.23.

[N.p., n.d.].


Plate no.: B & N 2. 7 p.AF 54, 5.“A Mademoiselle M. Rozaline dos Santos.”

Rosa Branca. Romance, op. 31.[Rio de Janeiro: Narcizo], 62, Rua dos

Ourives, [18—].Plate no.: 247. 5 p.AF 54, 6.“A Illma. Exma. Senhora L.F.”

Una notte a Sorrento. Barcarolla a 3 voci.Rio de Janeiro: Narcizo, 62, Rua dos

Ourives, [18—].Plate no.: 234. 5 p.AF 54, 7.“All’Egrege Virtuoso di Canto Cavro.

Giuseffe Correa d’Aguiar.”

Bice. Bolero, op. 36.Rio de Janeiro: Narcizo, 62, Rua dos

Ourives, [18—].Plate no.: 317. 7 p.AF 54, 8.“Alla Signorina D. Rita Nabuco d’Araujo.”

L’ultima prece. Bolero.[Rio de Janeiro: n.p.], Rua de Goncalves

Dias, no. 81.No plate no. 7 p.AF 54, 9.

Arnaud, Gennaro

A corrida dos pequiras. Galope a 4 maos.Rio de Janeiro: Arthur Napoleão & Comp.,

89, Rua do Ouvidor, [between 1875 and1877].

Plate no.: 1819. 9 p.AF 23.“A sua discipula Rachel Maria da Silva

Pontes.”

Gennaro was the younger brother of Achille.

B., S.

Brazilianas. Dancas caracteristicas. No. 1.Samba.

Rio de Janeiro: E. Bevilacqua e C., [1892].Plate no.: 2869. 7 p.AF 14.“A Exma. Sa. D. N.C.”Illustrated cover.

Barata, J. J.

Do outro lado. Polka.

Rio de Janeiro: Buschmann & Guimarães,Rua dos Ourives, no. 52, [18—].

Plate no.: 1812. 3 p.“Ao eminente artista Com.dor F.C. Vasques.”AF 23.

Quem comeu do boi? Tango.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives, no. 52, [1890].Plate no.: 1773. 3 p.AF 23.

Barboza, Alfredo Simões

Extremosa. Valsa para piano.Pernambuco: Prealle & Cia., 59, Rua B. de

Victoria, [19—].No plate no. [3] p.AF 53.“A meus extremosos Paes.”

Belmar, João Francisco R. de

Deslisando. Valsa.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives, no. 52, [18—].Plate no.: 2051. 3 p.AF 15.“A D. Alice de Oliveira Maciel.”

Grande Café do Rio. Valsa.[Rio de Janeiro]: Buschmann & Gui-

marães, [before 1897].Plate no.: 2175. 3 p.AF 15.

Belmar is the dedicatee of Alexandre de Al-meida’s “Orgulhosa” (listed above).

Bisshopp, Maria da Piedade

Les Brésiliennes. Valses.Rio de Janeiro: V. Sydow & Ca., 61 Rua dos

Ourives, [between 1859 and 1869].Plate no.: 12. 6 p.AF 15.

Braga, Francisco, 1868–1945

Corrupio. Valsa-capricho.Rio de Janeiro: Casa Mozart, [19—].Plate no.: V. M. e C. 184. 5 p.“A senhorita Helena de Figueiredo.”

EMB dates this work to 1906. Braga was one ofthe leading composers of Rio in the early twenti-eth century.


Braga, Henrique

Ne m’oubliez pas! Valse pour piano, op. 40.Rio de Janeiro: Arthur Napoleão & Ca. 89

Rua do Ouvidor.Plate no.: 3317. 5 p.AF 15.

Henrique Braga was “for long years pianoteacher in Machae and Campos, and then profes-sor of solfege at the Instituto Nacional deMusica” (Cernicchiaro, 311).

C. Junior, A. J.

Botafogo – Polka de Salon, op. 4.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives, no. 52, [18—].Plate no.: 1675. 3 p.AF 40.“A Exma Sra. D. C. Bourget.”

At the beginning of the twentieth century, beforethe opening of tunnels allowing the developmentof the land by the ocean beaches of Leme,Copacabana, Ipanema, and Leblon, Botafogowas the site of the mansions of Rio’s elite.

Capua, E. de

Maria, Maria! Cançoneta. Versos de V.Russo.

2 p.AF 15.Published in O Malho, no. 186 (7 April

1906).

O Malho published a different two-page piece forpiano almost every week from its inception in1902 until it abandoned the practice in 1926.

Carvalho, Carlos T. de (Carlos Teixeirade)

Guaracy. Polka.Rio de Janeiro: Manoel Antonio G. Gui-

marães, Rua dos Ourives no. 10, [ca.1900].

Plate no.: 4777. 3 p.AF 42.“Dedicada ao distincto Secretario do Club

de Regatas Boqueirão.”

Liro (sobre os motivos do Fado Liro). Schot-tisch. Arranjo de Carlos T. de Carvalho.

Rio de Janeiro: Nascimento Silva e Cia., 175Rua do Ouvidor, [1909?].

Plate no.: N.S. & Ca. 7. 3 p.AF 42.

Carlos Teixeira de Carvalho was extensively pub-lished in Rio at the beginning of the century,with dozens of surviving pieces from music pub-lishers, and a dozen pieces published in the pagesof O Malho between 1904 and 1919.

Carvalho, Ricardo Ferreira de

La charmante: Grande valse brillante.Mayence: Chez les Fils de B. Schott, [18—].Plate no.: 213394. 13 p.AF 63.“Hommage affectueux à Madame M. J. T.

dos Santos.”

Castro, A.

Os Bichos do Jardim. Valsa.Rio de Janeirio: Costa & Guimarães, Rua

Goncalves Dias 21, [18—].Plate no.: 163. 3 p.AF 15.

Castro, Alfredo

Assim não.Rio de Janeiro: Buschmann & Guimarães,

52, Rua dos Ourives.Plate no.: 3102. 3 p.AF 23.“Offerecida ao Armazem Feniano.”

Castro, Marietta Leite

Syrius. Valsa. 1o Premio do concurso musi-cal da “A Estação” encerrado a 15 deNovembro de 1902.

Musical supplement to Jornal de Modas “AEstação,” 31, no. 23 (15 December 1902).2 p.

AF 15.

Cavalcanti, Aurelio

Agradavel. Schottisch.Rio de Janeiro: I. Bevilacqua & C., Rua dos

Ourives 43; Casa Filial, S. Paulo, [1894].Plate no.: 3172. 3 p.AF 24.“A Exma. Snra. D. Candida Alves da

Fonseca.”


Consuelo. Valsa hespanhola.Rio de Janeiro: Vieira Machado & Ca., 51,

Rua dos Ourives, [18—].Plate no.: V.M.& C. 218. 3 p.AF 15.“A Exa. Sena. Damiana Valle.”

Esplendido. Schottisch.Rio de Janeiro: Vieira Machado & Ca., 51,

Rua dos Ourives, [between 1893 and1897].

Plate no.: V.M.& C. 30.MS date on cover: Marco 1897.AF 15.

Fragrancia. Valsa.Rio de Janeiro: Vieira Machado & Ca.,

[189–].Plate no.: V.M. & C. 41. 3 p.AF 15.

Jocosa. Schottisch, op. 109.Rio de Janeiro: Arthur Napoleão & C., 89,

Rua do Ouvidor, [between 1893 and1913].

Plate no.: 3705. 3 p.AF 24.“A seu irmao e amigo João Bezerra do

Amaral.”

Norte Americana. Schottisch.Rio de Janeiro: Arthur Napoleão & Cia., 89,


Plate no.: 3788. 3 p.AF 23.

Original. Schottisch.Rio de Janeiro: I. Bevilacqua & C., Rua dos

Ourives 43, [1897].Plate no.: 3819. 3 p.AF 24.“A meus collegas.”

Perfumosa. Schottisch.Rio de Janeiro: J. Filippone, 93 Rua Mor-

eira Cesar 93 (Antiga Ouvidor), [18—].Plate no.: 4457. 3 p.AF 24.“A Ex.ma Sr.a D. Julia Filippone de

Oliveira.”

Pequetita. Schottisch.Rio de Janeiro: Andre A. Da Costa e C., 21

Rua Gonçalves Dias, [1897].Plate no.: 3507. 3 p.

AF 14, AF 24.“A gentil senorita Maria Dulce Haddock

Lobo.”

Pingos d’agua. Schottisch.[Rio de Janeiro]: Editores Andre A. Da

Costa e C., 21 Rua Gonçalves Dias, [18—].Plate no.: 3563. 3 p.AF 24.“Ao amigo Andre Avila da Costa.”

Senorita. Valsa hespanhola.[Rio de Janeiro]: Editores Andre A. Da

Costa e C., 21 Rua Gonçalves Dias, [18—].Plate no.: 3485. 3 p.AF 15.“Exma Sra D. Elvira da Silva Mendes.”

Teus Olhos. Valsa.Rio de Janeiro: Buschmann & Guimarães,

52 Rua dos Ourives, [before 1897].Plate no.: 3384. 3 p.AF 15.

Aurelio Cavalcanti (dates unknown, active inRio de Janeiro 1890–1920) was perhaps aswidely published as any composer of his day—in-cluding Nazareth and Gonzaga, who are muchbetter known today. Encyclopedias disagree onthe size of his output (between two hundred andthree hundred compositions), and there is nopublished works list. The Biblioteca Nacionalholds at least 180 titles. He was pictured playingthe piano on the cover of O Malho, no. 84 (23April 1904), with nine fingers on one hand andtwelve on the other, and a tango (“Queixoso”) onthe music rack.

Coelho, Elda

Arrufos. Schottisch. 2 p.Published in O Malho, no. 178 (10 February

1906).AF 15.

Coelho was one of dozens of women whose workswere published in O Malho but who seem tohave been neglected by the major music publish-ers. Her waltz “Scismas” appeared there in 1907,and another schottisch, “Soluçante,” in 1910.

Christo, Jose Garcia de

Lacos de amor. Valsa.Rio de Janeiro: Vieira Machado e Ca., 51,

Rua dos Ourives, [19—].


Plate no.: V.M. & C. 694. 3 p.AF 14.“Ao amigo sincero Candido Ferreira da

Costa Junior.”

Morrer sonhando. Valsa.[Rio de Janeiro]: J. Filippone, 93 Rua Mor-

eira Cesar, [between 1897 and 1916].Plate no.: 4180. 3 p.

Santinha. Polka.Rio de Janeiro: Fertin de Vasconcellos e

Morand, Rua da Quitanda 42, [19—].Plate no.: 24. 3 p.AF 23.“Ao Distincto advogado Dr. Martinho

Garcez.”

Valsa do O Anti-Sezonico de Jesus.Rio de Janeiro: Pharmacia e Drogaria S.

Joaquim, 108 Rua Marechal Floriano,1900.

Plate no.: 4467. 3 p.AF 14.“Offerecida ao Pharmaceutico J.C. de

Jesus.”

Music as commercial advertisement had been present in Rio for decades, distributed free to thecustomers of pharmacies (most frequently), haber-dashers, and other establishments, testifying tothe widespread presence of the piano in the cari-oca middle-class.

Colas, Francesco Libânio, ca. 1830–?1885.

Tem feitico. Quadrilha.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives no. 52, [18—].Plate no.: 1788. 5 p.AF 23.

Colas was one of few composers based in Recife,Pernambuco (which had its own musical press),to be published in Rio.

Cordovil, Olinda Ramos

Valsa Alydea.Rio de Janeiro: Narciso & Arthur Napoleão,

89 Rua do Ouvidor, [18—].No plate no. 3 p.AF 15.

Cordovil was another woman whose work ap-peared in O Malho (the polka “Violeta,” in no.481 [2 December 1911]).

Costa, Americo Eugenio da Fonseca

Beijos de amor. Schottisch.Rio de Janeiro: Arthur Napoleão & Cia.,

Rua do Ouvidor, 89, [between 1893 and1913].

Plate no.: 4010. 3 p.AF 24.

Crysalidas. Schottisch.Rio de Janeiro: Arthur Napoleão & Cia.,

Rua do Ouvidor, 89, [between 1893 and1913].

Plate no.: 4119. 5 p.AF 24.“A distincta Directoria do Gremio das

Crysalidas.”

Five pieces by Costa were published in O Malhoduring 1902–4.

Costa, Arthur Tolentino da

A Lambugem. Polka. Composição doAcademico Arthur Tolentino da Costa.

Pernambuco: Prealle & Co., Rua doImperador no. 56, [before 1899].

Plate no.: 284. 3 p.AF 16.“Ao amigo João Baptista da Costa Carvalho.”Picture of “Lambugem” trolley on title

page.

The copy of Alexandre de Almeida’s waltz“Pretenciosa,” op. 7, in AF bears a MS dedica-tion by Costa to Elvira de Sa e Albuquerque.

Costa Junior, João Jose da, 1868–1917

O Homem: Quadrilha. Extrahida daRevista de 1887.

Rio de Janeiro: Buschmann & Guimarães,Rua dos Ourives no. 52, [1887].

Plate no.: 1824. 5 p.AF 23.

From the review O Homem by Arthur Azevedoand Moreira Sampaio.

No Bico da chaleira . . . Polka carnavalescade motivos populares.

Rio de Janeiro: Editores A. Guigon & C.,106, Rua Sete de Setembro, [1909].

Plate no.: AG&Ca. 89. 3 p.AF 42.“Ao Tenente Alfredo Raposo.”


Rio-Nu. Revista de Dr. Moreira Sampaio.Tango da sogra.

Rio de Janeiro: Buschmann, Guimarães &Irmão, 50 Rua dos Ourives, 52, [1897 orlater].

Plate no.: 3582. 3 p.“Ao amigo Luiz Moreira.”AF 38.

Costa Junior also published under the anagramJuca Storoni. His first music for the theatre wasthe score for the review O Homem, performed atthe Teatro Lucinda (Vasconcelos, 149). “NoBico da Chaleira” was written for Carnaval of1909 and satirized the southern senator PinheiroMachado (the street where the seat of governmentof the state of Rio de Janeiro is located bears thesenator’s name).

Costa, Luis Eugenio de Moraes

Amisade. Valsa.Published in Revista da Semana, no. 314 (20

May 1906), 3501.2 p.AF 15.“Dedicada aoa amigo Amaro do Amaral

pelo bacharel Luis Eugenio de M. Costa.”

Revista da Semana, the Sunday magazine ofthe daily newspaper Jornal do Brasil, publishedmusical supplements on an irregular basis.

Stella Matutina. Valsa.Published in Revista da Semana, no. 318 (17

June 1906), 3591.2 p.AF 15.“Dedicada a A. N. da Luz pelo bacharel

Luis Eugenio de Moraes Costa.”

Costa, Maria da Conceção Regueira

Primicias. Pas de quatre para piano.Recife: Prealle & Cia., 59, Rua B. da

Victoria, 59, 1906.No plate no. 2 p.AF 53.“A sua Madrinha D. Maria do Carmo

Pereira Ramos.”

Couceiro, Joaquim

Alzira. Valsa.Pernambuco: A venda nas casas de Sen-

hores Victor Prealle y Ca., Couceiro Jr.Rua do Cabuga, [before 1900].

“Dedicada ao Exmo. Snr. Numa do RegoMacedo.”

No plate no. 3 p.AF 16.

Couto, Ernesto

Condor. Opera em 3. Actos de A. C.Gomes. Fantasia Brilhante.

[Rio de Janeiro]: Companhia Importadorade Pianos e Musicas, Rua Gonçalves Dias,no. 73, Capital Federal, [between 1891and 1893].


Cunha, Brazílio Itibere da

Poeme d’amour. Fantaisie.Rio de Janeiro: Arthur Napoleão & Ca., 89

Rua do Ouvidor, [before 1875?].Plate no.: 1370. 13 p.AF 22.

A Sertaneja. Fantazia Caracteristica, op. 15.[Rio de Janeiro]: Arthur Napoleão, [18—].Plate no.: 1560. 11 p.AF 52.

“No 19th-century Brazilian instrumental piece isbetter known today than Brasílio Itibere daCunha’s ‘A Sertaneja’ ” (Magaldi, 291).

Faulhaber, Manuel Porto Alegre, 1867-1922

Valse, op. 4.[Rio de Janeiro]: Edicão Bevilacqua,

[1894].Plate no.: 3184. 15 p.AF 57.“A Mlle. Rosalina P. Leão.”

Faulhaber was profiled in Renascença 1, no. 6(August 1904): 43; the issue also included his“Preludio” as a musical supplement. Faulhaberis described as “a rather modest artist. Living bygiving piano lessons, working all day, transmit-ting his knowledge to his disciples, Faulhaberonly manages a few moments of repose duringwhich he writes the pages of music dictated by hisfantasy.” The profile also includes a photographof the composer.

Ferreira, Cruz

Remexida. Polka.


Rio de Janeiro: Buschmann & Guimarães,[before 1897].

Plate no.: B 1919 G. 3 p.AF 38.“Ao Maestro e Compositor Antonio da

Fonseca Barros.”

Fonseca, Antonio Augusto da

Hermengilda. Mazurka.[Rio de Janeiro: n.p.], 1875.No plate no. 5 p.AF 23.

Fonseca, Jose Benevides da

A Flor do mangerico. Valsa.Pernambuco: Eduardo Paiva, Rua do Barao

da Victoria, no. 13, [after 1913?].No plate no. [2] p.

Fortuna, J. P.

Quanto dóe uma despedida. Valsa.Rio de Janeiro: Julia Filippone, 93 Rua do

Ouvidor, [after 1862].No plate no. [2] p.AF 15.

Froes, Silvio Deolindo, 1864–1948

3 Pieces (Petite Suite), op. 1 (1888–1889)pour piano.

I. Barcarolle-Nocturne.Rio de Janeiro: Casa Bevilacqua, [1917].Plate no.: 7839. 5 p.“A Mme. Glz. Martins.”

First edition was published in 1888–89.

Galos, C.

Roga a tua mãe. Nocturno.[Rio de Janeiro: Arthur Napoleão & Cia,

18—].No plate no. 5 p.AF 42.

Virgem Maria (Dolorosa). 5e Nocturne, op.23.

Rio de Janeiro: Arthur Napoleão & Cia., 89,Rua do Ouvidor, [between 1893 and1913].

Plate no.: 5700. 5 p.AF 42.

Galvao, F.

Fleurs d’amour. Valsa.Pernambuco: Prealle & Cia, 59 Rua B. da

Victoria, [19—].No plate no. 2 p.AF 53.

Plangente. Pas de quatre.Pernambuco: Propriedade do Autor, 1908.No plate no. [2] p.AF 53.“Dedicada ao meu particulara amigo

Amadeu G. Pereira.”

Quanto soffremos. Valsa.Pernambuco: Prealle & Cia, 59 Rua B. da

Victoria, [19—].No plate no. [2] p.AF 53.

Gama, Alfredo de Albuquerque, Dr., 1867–1932

A Bordo. Valsa.Pernambuco: Eduardo Paiva, Rua do Barão

da Victoria, no. 13, [19—].Plate no.: 8. [2] p.AF 53.Photograph of composer on cover.

Eunice. Pas de quatre.Pernambuco: Prealle & Compa., 59 Rua do

B. da Victoria, [19—].Plate no.: P& C 4. [2] p.“A minha filhinha Eunice.”Photograph of Eunice on cover. Printed by

Breitkopf & Hartel in Leipzig.

Mas a sorte nao a quiz. Resposta a bempudera ser minha. Valsa.

Pernambuco: Victor Prealle, Rua doImperador, No. 55, [19—].

Plate no.: 232. 5 p.“Offerecida ao Amigo e Collega Euclydes

Quinteiro.”AF 16.

Os olhos d’ella. Valsa.Pernambuco: Prealle & Compa., 59 Rua do

B. da Victoria, [19—].Plate no.: 317. 3 p.AF 16.“A Ex.ma Snra. D. Maria Luiza Barboza.”

Gama was born and spent his entire life inRecife, Pernambuco, and wrote prolifically, leav-


ing more than two hundred compositions (EMB,314), or perhaps close to three hundred (Diniz,19). He founded the Instituto Aires Gama in1897, a secondary school with a famous band.

Gama, Claudio Praxedes

Marietta. Valsa.Pernambuco: Vende-se nas casas de F. P.

Boulitreau, Rua do Imperador, 46;Odilon Duarte, Rua da Imperatriz, 60,[1890].

No plate no. [3] p.“Ao amigo Manoel Fausto da Silva

Marques.”Dated “Recife 10-2-90” in ink.AF 16.

Full name from Diniz, 24.

Gonzaga, Francisca, 1847–1935

O Diabinho. Tango Carnavalesco.Rio de Janeiro: Arthur Napoleão & Cia, 89


Plate no.: 3830. 3 p.AF 14.“Ao Maestro Joaquim da Roza.”

Forrobodo. Tango: Nao se impressione.Opereta en 3 Actos de C. Bittencourt e L.Peixoto.

Rio de Janeiro: Manuel Antonio GomesGuimaraes, Rua Rodrigo Silva 14, [1912].

No plate no. [2] p.AF 64.

Satan. Lundu Brazileiro. Cantada comgrande sucesso na peca Ceo e Inferno.

Rio de Janeiro: Casa Mozart, AvenidaCentral 127, [1891].

Plate no.: 3072. 3 p.AF 64.

Perhaps the best-known woman in Brazilian mu-sical composition, Gonzaga has been the subjectof several biographies and a television miniseries.

Gouvea, Arnaud Duarte de, 1865–1942.

1ere Mazurka pour piano.Rio de Janeiro: Buschmann & Guimarães,

52 Rua dos Ourives, [between 1889 and1896?].

Plate no.: 2446. 7 p.

AF 16.“A Madame Eliza Souza.”

Gouvea was professor of theory and solfege at theInstituto Nacional de Musica. The dedicatee,Eliza Carolina de Souza, was also a publishedcomposer.

Guimaraes, Alfredo M. M.

Maviosa. Valsa.Musical supplement to Jornal de Modas “A

Estação,” 15 September 1901.Plate no.: 4934. 2 p.AF 23.

Guimaraes, Maria Jose das Neves

Fitando o ceo. Pas de quatre . . .Pernambuco: Prealle & Cia., 59, Rua B. da

Victoria, [19—].No plate no. [2] p.AF 53.

Guimaraes, Ernestina India do Brazil

Esperança. Quadrilha.Rio de Janeiro: Arthur Napoleão, 89 Rua

do Ouvidor, [19—].Plate no.: 2763. 5 p.AF 38.“Dedicada a sua prima Carlota Lobato.”

Juremma. Valsa.Rio de Janeiro: Companhia de Musica e

Pianos, Successora de Arthur Napoleão,89 Rua do Ouvidor, [between 1893 and1913].

Plate no.: 3370. 5 p.AF 24.

Vaporoza. Valsa.Rio de Janeiro: Companhia de Musica e


Plate no.: 3371. 3 p.AF 15.

Guimaraes, Rita Tamborim Peixoto

Saudosa. Schottisch.Musical supplement to Jornal de Modas “A

Estação,” no. 19 (15 October 1902).AF 23.“Este supplemento musical . . . contem a


schottisch Saudosa escolhida no Con-curso aberto pelo referido jornal, encer-rado a 30 de Agosto de 1902 e classifi-cada en 2o lugar . . .”

Possibly the sister of Maria da Gloria TamborimPeixoto Guimarães, whose schottisch “CatumbyClub” was published in O Malho, no. 114 (19November 1904).

Hallier, P. L.

Assanhadinho. Tango.Rio de Janeiro: Casa Arthur Napoleão,

Avenida Central No. 122, [1911].Plate no.: H. 8. F. 3 p.AF 64.

Lehar, Franz

Potpourri da Viuva Alegre. Arranjo deArthur Camillo.

Rio de Janeiro: Casa Edison, Rua doOuvidor 135, [1909].

No plate no. [4] p.AF 64.“O maior successo de 1909.”

Lemos, J. M. Azevedo

Depois de um beijo. Schottisch.Rio de Janeiro: Vieira Machado & Ca., Rua

do Ouvidor 147, [between 1908 and1913].

Plate no.: V.M. 1258 & C. 3 p.AF 64.“Ao Nono.”

Tristezas. Schottisch.Rio de Janeiro: Arthur Napoleão & Cia,

Rua do Ouvidor 89, [between 1893 and1913].

Plate no.: 5704. 2 p.AF 42.

Levy, Alexandre

Samba [Suite Bresilienne]. Arr. for pianoby Luiz Levy. . . .

[Rio de Janeiro]: Casa Beethoven, Rua S.Bento, 32, [1907].

14 p.AF 57.

From a work originally composed for orchestra inJuly–October 1890. Levy, born in S. Paulo in1864, died tragically young in 1891, and was

the subject of extended elegies in Gazeta musi-cal, nos. 1–2 (1892).

Lima, Joaquim Francisco de

Petronilha. Valsa.From Revista da Semana, no. 299 (4

February 1906), 3143.2 p.AF 15.

Lima, Mazarino

Os Debentures. Polka carateristica.[t.p. missing].Plate no.: 2939. 3 p.AF 23.“Dedicada ao distincto Actor Leonardo.”

Lobo, Elias Alvares

Romance: A Despedida.[t.p. missing].Plate no.: 47.“Poesia do Dr. Bittencourt Sampaio.

Dedicada aos academicos de S. Paulo.”

Lobo, Lucia de Souza

Suspirando. Valsa.From Revista da Semana, no. 306 (25 March

1906), 3309.2 p.AF 15.

Martins, Narcizo Jm.

Seducção. Valsa.[Rio de Janeiro]: Ed. Buschmann &

Guimarães, Rua dos Ourives 52, [19—].Plate no.: 2912. 3 p.AF 15.“A minha irma Arminda M. Loppert.”Two exceptionally attractive illustrated cov-

ers.

Medeiros, Anacleto de, 1866–1907

Predilecta. Valsa.Rio de Janeiro: Manoel Antonio Gomes

Guimarães, 10 Rua dos Ourives, [before1916].

Plate no.: 4357. 3 p.AF 29.

Terna saudade. Valsa.Rio de Janeiro: Casa Arthur Napoleão;


Sampaio, Araujo & Ca., Av. Rio Branco122, [190-].

Plate no.: 5055. 5 p.AF 29.

This work was known as “Por um beijo,”with verses by Catulo da PaixãoCearense.

Mello, Felix Ferreira

Primoroza. Quadrilha.Rio de Janeiro: Companhia de Musica e


Plate no.: 2087. 5 p.AF 38.

Cernicchiaro characterizes Mello as “an intelli-gent pianist and composer,” and mentions two ofhis polkas (Cernicchiaro, 343).

Mello, Job dos Santos

Lamentos. Schottisch. 2 p.AF 15.

Published in O Malho, no. 94 (2 July 1904).

Menezes, A. Cardoso de, 1849–1915

AF 20 is entirely devoted to works of Cardoso deMenezes. EMB enters him under “Sousa,Antonio Frederico Cardoso de Meneses e,” but theform above appears consistently on his titlepages. Son of the Baron of Paranapicaba, thecomposer studied law in S. Paulo and Recife. Hecomposed extensively for the piano, and was thehusband of the concert pianist Judith Ribas.Menezes also wrote for the periodical press, witharticles for Gazeta musical and other journals.

Aida de G. Verdi. Fantasia Brilhante.Rio de Janeiro: Arthur Napoleão & Miguez,

Rua do Ouvidor 89, [1876?].No plate no. 17 p.AF 20, AF 57.“Ao eminente violinista Leopoldo Miguez.”

Aida was first performed in Rio de Janeiro inOctober 1876 by the Ferrari company(Cernicchiaro, 245).

Fantasia de Salao sobre motivos da OperaDinorah.

Rio de Janeiro: Narciso, Arthur Napoleão & Miguez, Rua do Ouvidor, No. 89,[1878?].

Plate no.: 26. 13 p.AF 20.“Ao meu amigo Dr. Antonio Jacob da

Paixao.”

Meyerbeer’s Dinorah was first performed in Rioon 24 October 1878 (Cernicchiaro, 242).

Ave Maria (Variada) da opera Otello de G.Verdi. 2a Fantasia.

[t.p. missing. 1889?]Plate no.: 1706. 9 p.AF 52.“Offerece Thome Moreira, Rio de Janeiro,

18 7lho 89” in ink.

Moreira was also a composer. See his entry below.

Os Canarios. Polka caracteristica a 4 maos.Rio de Janeiro, S. Paulo: E. Bevilacqua e

Cia, [before 1890].Plate no.: 1783. 13 p.AF 20.“As Exmas. Snras. DD. Maria Jose e Maria

Angelica Amado (Bahia).”

O canto do sabia. Valsa caracteristica.Rio de Janeiro; S. Paulo: E. Bevilacqua, 43

Rua dos Ourives, [before 1890].Plate no.: 1778. 7 p.AF 20.“Ao meu amigo Jose da Costa Pinto

(Bahia).”

Caridade na sombra. Grande valsa.Rio de Janeiro: Companhia de Musicas e

Pianos, Successora de Arthur Napoleão,89 Rua do Ouvidor, [before 1880].

Plate no.: 2009. 15 p.AF 20.“Ao meu eminente amigo Dr. F. Leite

Bittencourt Sampaio.”

Estrella-Vesper. Polka a 4 maos.Rio de Janeiro: Narciso & Arthur Napoleão,

89 Rua do Ouvidor, [1889 or before].Plate no.: 3241. 5 p.AF 20.“A meu amigo Sr. Narciso J.P. Braga.”

Fantasia de Salão sobre motivos de MaestroMarchetti Ruy Blas, op. 56.

Arranjada por A. Castro de Menezes.


Rio de Janeiro: Isidor Bevilacqua, 43 Ruados Ourives, [1873?].

Plate no.: 1764. 9 p.AF 20.

Ruy Blas received its premiere in Rio on 9August 1873 (Cernicchiaro, 237).

Fantasia sobre O Propheta de Meyerbeer.Rio de Janeiro: Arthur Napoleao & Miguez,

89 Rua do Ouvidor, [1882?].Plate no.: 22. 15 p.AF 20.“Ao eminente pianista. Arthur Napoleão.”

O Propheta was heard in Rio during the 1882season, featuring soprano Sofia Scalchi Lolli, towhom Menezes dedicated a waltz (Cernicchiaro,243).

Fantasia sull’opera Il Re di Lahore diMassenet.

Rio de Janeiro: I. Bevilacqua & C. 43 Ruados Ourives; 84 Rua de S. Bento, S. Paulo(Filial), [1879?].

Plate no.: 1822. 13 p.AF 20.

The first performance of Il Re di Lahore in Riowas 13 October 1879 by the Ferrari company(Cernicchiaro, 245).

A Gata Borralheira. Fantasia de Salão.Rio de Janeiro: Narciso & Arthur Napoleão,

89 Rua do Ouvidor, [1885?].Plate no.: 2852. 15 p.AF 20.

Grande Fantasia Brilhante sobre motivosda opera de G. Verdi Don Carlo.

Rio de Janeiro: Arthur Napoleão & Cia,[18—].

No Plate no. 15 p.AF 20.“Homenagem a meu extremoso pai.”

A gruta dos passaros. Valsa brilhante.Rio de Janeiro: Arthur Napoleão & Comp.,

[between 1880 and 1893].Plate no.: 2149. 19 p.AF 20.“A Exma. Sra. Baroneza de Guahy.”

Impromptu melodico.Rio de Janeiro: Narciso & Arthur Napoleão,

89 Rua do Ouvidor, [between 1880 and1893].

Plate no.: 2748. 11 p.AF 20.“A Exma. Snra. D. Euthalia de B. Gurgel do

Amaral.”

Lacrymosa! Romance sem palavras, op. 14.Rio de Janeiro: Narciso & Arthur Napoleão,


Plate no.: 1614. 7 p.AF 20.“A memoria de L.M. Gottschalk.”

Lagrimas de Noite. Mazurka sentimental,op. 65.

Bahia: [n.p., n.d.]No plate no. 6 p.AF 20.“A Exma. Senra. D. Eulalia Rebello.”

Languida. Valsa.Rio de Janeiro: Companhia de Musica e


Plate no.: 2749. 9 p.AF 20.

Mephistopheles. Fantasia de Salão.Rio de Janeiro: Manoel Antonio Guimarães,

50 e 52 Rua dos Ourives, [1881?].Plate no.: 779. 13 p.AF 20.

Boito’s Mefistofele was first heard in Rio deJaneiro on 26 September 1881 (Cernicchiaro,243). This printing must date from after 1897,when the firm of Buschmann & Guimarãeschanged to Manoel Antonio Guimarães.

Otello. Opera de G. Verdi. Ia FantasiaBrilhante.

Rio de Janeiro: Buschmann & Guimarães,[between 1887 and 1897].

Plate no.: 1750. 15 p.AF 20.“A meu Pai o Sr. Barao de Paranapicaba.”

Pensa. Romance sem palavras.Rio de Janeiro: Narciso & Arthur Napoleão,

89 Rua do Ouvidor, [1889 or earlier].AF 20.

Pourquoi? Mazurka de Salon.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives, No. 52, [before 1897].


Plate no.: 1924. 5 p.AF 20.“A son bon ami Alberto Pitanga.”

Queixosa. Polka.Rio de Janeiro: Narciso & Arthur Napoleão,


Plate no.: 2743. 3 p.AF 20.“A meu amigo Pontes Junior.”

Os Rouxinoes. Grande Polka Caracteristica.Rio de Janeiro: Arthur Napoleão & Cia, 89


Plate no.: 2676. 7 p.AF 20.“Reduccão para piano a 2 maos.”

Salvator Rosa. Fantasia, op. 59.No imprint on t.p. Initials C.M. (i.e.,

Cardoso de Menezes) at bottom of page.No plate no. 11 p.“Homenagem a Carlos Gomes . . . Escripta

para ser offerecida por intermedio daExma. Senra. D. Hortencia Alves deFigueiredo, para o leilao que tem de sereffectuado em beneficio do Asylo deMendicidade da Provincia da Bahia.”

AF 20.

Santa-Cecilia. Romance-Nocturno.Rio de Janeiro: Isidoro Bevilacqua, 53 Rua

dos Ourives, [18—].No plate no. 5 p.AF 20.“A meus Paes.”

The opera Salvator Rosa by Carlos Gomes wasfirst heard in Rio in 1877 (Cernicchiaro, 241),so this fantasy most likely dates from that yearand seems to have been printed expressly forMenezes for the benefit of the Asylo deMendicidade.

Saudosa. Mazurka.Rio de Janeiro: Companhia de Musica e


Plate no.: 2750. 3 p.AF 20.“Ao meu amigo Dr. Alfredo Carneiro

Brandão.”

Scalchi. Valsa.Rio de Janeiro: Narciso & Arthur Napoleão,

89 Rua do Ouvidor, [1882?].Plate no.: 2761. 9 p.AF 20.“Alla Signora Sofia Scalchi Lolli.”Engraving of Scalchi on title page.

Sofia Scalchi Lolli (1850–1922) appeared inMeyerbeer’s Gli Ugonotti and La profeta,Verdi’s Il trovatore, and Rossini’s Semi-ramide during the 1882 season in Rio.

Tem par para esta.Rio de Janeiro: Arthur Napoleão & Miguez,

89 Rua do Ouvidor, [18—].Plate no.: 57.AF 20.

Freza, A. (pseudonym of A. Cardoso deMenezes)

Minha sogra foi a missa. Polka original.Rio de Janeiro: Narciso & Arthur Napoleão,

[between 1880 and 1889?].Plate no.: 3184. 3 p.AF 14.

Vou dansar com minha sogra. Polka lundu.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives, no. 52.Plate no.: 1819. 3 p.AF 23.

The sogra (mother-in-law) was the subject of in-numerable jokes and humorous songs in turn-of-the-century Rio.

Mesquita, Henrique de, 1830–1906

Batuque. Tango caracteristico.Rio de Janeiro: Vieira Machado & Ca., Rua

do Ouvidor 179, [before 1911].V.M. & C. 144. 9 p.“Ao amigo Dr. Souza Fontes.”AF 29.

Batuque. Arranjo a 4 maos de FaustoZosne.

Rio de Janeiro: Vieira Machado & Ca., 51Rua dos Ourives 51, [after 1893].

V.M. & C. 145. 13 p.AF 16.“Ao amigo Dr. Souza Fontes.”Illustrated t.p.

Carlos Gomes. Polka.


Rio de Janeiro: Buschmann & Guimarães,Rua dos Ourives, no. 52, [18—].

Plate no.: 1811. 5 p.AF 23.“Offerecida ao maestro Sant’Anna Gomes.”“Piston (ad lib.) só pela 2a vez.”

A Vaidosa. Tocata para pianoforte.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives, no. 52, [18—].Plate no.: 4024. 5 p.AF 16.“Ao amigo e collega João Pereira da Silva.”

Miguez, Leopoldo, 1850–1902

Hymno da proclamacão da Republica dosEstados Unidos do Brazil [Piano a quatromãos].

[Rio de Janeiro]: Edicão Bevilacqua,[1890?].


Bevilacqua published the hymn in versions fororchestra and chorus (score), band (score andparts), piano and voice, piano four hands, andpiano. Miguez’s hymn won first prize in a compe-tition with twenty-nine entries; other notable en-trants included Francisco Braga, AlbertoNepomuceno, and Jeronimo Queiroz.

Scherzetto, op. 20, no. 3.Rio de Janeiro: Casa Arthur Napoleão, 122

Avenida Rio Branco, [between 1913 and1915].

Plate no.: 7375.AF 58.“A Madame Gemma Luziani Nervi.”

Miguez, an accomplished orchestral composer,was a partner of Arthur Napoleão in his musicpublishing company between 1878 and 1881.He was the first director of the Instituto Nacionalde Música, created after the proclamation of theRepublic from the former Conservatorio Imperial,a post which he held until his death.

Milanez, Abdon, 1858–1927

Ma Gloire. Valse.[t.p. missing]Plate no.: 2638. 3 p.AF 15.

Languida. Schottisch.Rio de Janeiro: Edição de G. Carlos F.

Wehrs, 153 Rua do Ouvidor, [19—].

Plate no.: 4347. 3 p.AF 24.

Milanez was born in Areias, Pernambuco, andheld an engineering degree from the EscolaPolitecnica in Rio de Janeiro. He was the fourthdirector of the Instituto Nacional de Música,holding the post from 1916 to 1922. His brother,Prudencio Milanez, was also a published com-poser.

Milanez, Prudencio

Picapau. Tango. 3a Edição.Pernambuco: Préalle & Comp., [before

1899].Plate no.: 298. 3 p.AF 23.

Brother of Abdon Milanez.

Milano, Nicolino, 1876–1962

Reve fleur. Pas de quatre.[Pernambuco]: Eduardo Paiva, 13, Rua do

Barão da Victoria, [1908].Plate no.: D.L. No. 12757. [2] p.“Offerecido a Ex.ma Snr.a D.a Laurinda

Seixas.”AF 53.

Milano, a violinist, studied at the InstitutoNacional de Música. He spent most of his careerat the Portuguese court and returned to Brazil tobecome professor at the institute.

Moreira, Luiz, 1872–1920

Mimi Bilontra. Valsa do 1o Acto (Eu vivofeliz e contente).

Rio de Janeiro: Buschmann & Guimarães,Rua dos Ourives 52, [1890?].

Plate no.: 2414. 3 p.“Cantada com grande successo no Theatro

das Variedades pela 1a actriz LeonorRivero e a ella dedicada.”

AF 16.

Moreira wrote music for theatrical reviews (revis-tas) and operettas. His collaborators includedPaulino Sacramento, Costa Junior, and NicolinoMilano.

Moreira, Othilia

Coração de Anjo. Pas de quatre.


Pernambuco: Préalle & Compa., 59 Rua doB. da Victoria, [19—].

P & Co. 12. 3 p.“A querida amiga Julieta.”

Moreira, Thomé

Presentimento d’amor. Mazurka elegante.[t.p. missing]Plate no.: 2060. 5 p.“Á seu grato amigo Bento Francisco de

Souza.”AF 3.

Napoleão, Arthur, 1843–1925

L’Africaine de G. Meyerbeer: Fantaisie, op.28.

Rio de Janeiro: Armazem de Pianos eMusica de Narcizo, 62 Rua dos Ourives,[between 1866 and 1869].

Plate no.: 23. 23 p.AF 5.

A Caprichosa. Grande Polka de Concerto,op. 17.

Lisboa: Sassetti & Ca., 56 Rua Nova doCarmo, [18—].

Plate no.: S e Ca. 788. 13 p.AF 9.“A W. Vincent Wallace.”

A Caprichosa. Grande Polka de Concerto,op. 17.

Rio de Janeiro: Arthur Napoleão & Ca., 89Rua do Ouvidor, [between 1869 and1875].

Plate no.: 267. 13 p.“A W. Vincent Wallace.”AF 5, AF 10.

Estrella Chilena. Valsa Brilhante para pianoá quatro mãos, op. 73.

Rio de Janeiro: Arthur Napoleão & Ca., 89Rua do Ouvidor, [between 1880 and1893].

Plate no.: 3250. 15 p.AF 22.

Grande Fantaisie de Concert sur des motifsde l’opera Il Guarany del Maestro CarlosGomes, op. 50.

Rio de Janeiro: Narciso & Arthur Napoleão,89 Rua do Ouvidor, [between 1870 and1875].

Plate no.: 1508. 25 p.

AF 5, AF 10“A mon ami Alfred Bevilacqua.”

Idéale. Caprice-Valse.Rio de Janeiro: Arthur Napoleão & Ca., 89

Rua do Ouvidor, [before 1892].No plate no. 11 p.AF 9.

Soirées intimes. 12 morceaux, op. 59.Paris: Hamelle, [18—].Plate no.: J 2225. 1. H; J 2226.2.H.“A Madame C. Alvim Corrêa.”Nos. 1 & 2 only.AF 12.

Souvenir de jeunesse. Pensée poetique, op.60.

Rio de Janeiro: Arthur Napoleão & Miguez,89 Rua do Ouvidor; Paris: Choudens Fils,[between 1878 and 1880].

Plate no.: A.C. 4032. 9 p.AF 22.

La Traviata. Opera de Verdi. Grande fan-taisie, op. 18.

Rio de Janeiro: Armazem de Pianos eMusica de Narcizo, 62 Rua dos Ourives,[between 1866 and 1869].

Plate no.: 2. 17 p.“Á son ami Adolphe de Quesada.”AF 5.

Gazeta musical 2, no. 1 (1892), 12–13 carriesa review by Raul de Nangis of a performance bythe young Mery Benporat in Montevidéo, whichincluded, along with a Beethoven concerto, theCaprice-Valse Idéale. Nangis writes “in theBeethoven concerto, as in the F minor Barcarollaof Rubinstein, and in the Idéal waltz by ArthurNapoleão, this adorable child exceeded my expec-tations. In Arthur Napoleão’s waltz the finalpage was especially applauded, where the origi-nal melody appears with variation and figura-tion in both hands.”

Napoleão, a child prodigy and virtuoso pi-anist, was born in Porto and made his first con-cert tour of Brazil in 1857. He moved to Brazilin 1866, and by 1869 had opened a store sellingmusical instruments and had founded a musicpublishing business. His memoirs (about onehundred typed pages with manuscript annota-tions), are held at the Biblioteca AlbertoNepomuceno of the UFRJ. They were published inserial form in Revista brasileira de musica ofthe Ordem dos Musicos de Brasil, but the journal


ceased publication before publishing the memoirsin their entirety.

Nazareth, Ernesto, 1863–1934

Bambino. Tango.Rio de Janeiro: Casa Arthur Napoleão;

Sampaio, Araujo e Ca., Avenida RioBranco No. 122 [190–].

Plate no.: 6827. 5 p.“Dedicado ao bom amigo Cezar d’Araujo.”AF 29.

Bregeiro. Tango.Rio de Janeiro: Vieira Machado & Ca., [be-

fore 1893?].Plate no.: F 128 C. 3 p.“A seu sobrinho Gilberto Nazareth.”AF 29, AF 38.

Chave de Ouro. Tango.Rio de Janeiro: Casa Mozart, Avenida

Central 127, [between 1905 and 1913].Plate no.: V.M. & Ca. 1380. 3 p.AF 64.“Ao amigo Francisco Soares d’Almeida

Junior.”

Fonte de suspiro. Polka.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives, no. 52, [before 1897].Plate no.: 798. 3 p.AF 14.

Nenê. Tango.Rio de Janeiro: Casa Arthur Napoleão, [be-

tween 1893 and 1913].Plate no.: 3560. 5 p.AF 64.“Ao amigo Dr. Jovino Barral de Fonseca.”

O Nome d’ella. Polka.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives, no. 52, [before 1897].Plate no.: 1059. 3 p.AF 38.

Perigoso. Tango Brazileiro.Rio de Janeiro: Casa Mozart, Avenida

Central n. 127, [before 1909].Plate no.: 6622. 3 p.AF 64.

Os teus olhos cativam.Rio de Janeiro: Isidoro Bevilacqua, 43 Rua

dos Ourives, [before 1890].

Plate no.: 2082. 3 p.AF 38.

Ernesto Nazareth was a musician who belongedentirely to the popular, rather than erudite, mi-lieu. He supported himself by playing at partiesand giving private lessons. He also played in thelobby of the Cine Odeon and was employed by theCasa Carlos Gomes, a music store, to perform thepiano pieces which the customers were interestedin purchasing. He was “discovered” by the na-tionalist and modernist composer Luciano Gallet(later to be director of the Instituto Nacional deMusica), who promoted a concert of his music in1922 at that institution. His compositions areknown by almost every music-loving Brazilian.

Nunes, José

O Rouxinol. Cancão. Letra de O. Nogueira.Rio de Janeiro: Manoel Antonio Gomes

Guimarães, 10, Rua dos Ourives eTravessa do Ouvidor 25, [before 1916].

Plate no.: 4961. 3 p.AF 29.

Oliveira, Arthur Marques d’

Em sonhos. Pas de quatre.Pernambuco: Propriedade do Autor,

[18—].No plate no. [2] p.AF 53.“As minhas gentis patricias.”Photo of composer on the cover.

Mancheia de rosas. Pas de quatre.Pernambuco: Propriedade do Auctor,

[18—].Plate no.: L No. 12743. [2] p.AF 53.“Aos meus innocentes filhinhos Doristella,

Maria do Carmo, Gennaro e Maria deLourdes.”

Querer bem doe. Polka.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives no. 52, [before 1897].Plate no.: B 1799 G. 3 p.AF 23.

Oliveira, José Raymundo de Oliveira

Esperança perdida. Valsa.[Rio de Janeiro]: Companhia Importadora

de Pianos e Musicas, No. 73 Rua de


Gonçalves Dias, Capital Federal, [after1889].


Oliveira, Sergio de, Dr.

Amor que foge!!! Valsa de salão, op 42.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives, no. 52, [before 1897].Plate no.: 1922. 9 p.AF 53.“Composta e offerecida pelo Dr. Sergio de

Oliveira á Exma Sa D. Albino de AquinoPinheiro.”

Oswald, Henrique, 1852–1931

Album, op. 36, nos. 1–3 (Bébé s’endort;Pierrot se meurt; Chauve-souris).

Rio de Janeiro: Casa Mozart, [after 1905].Plate no.: 6404. 11 p.AF 57.

Barcarola, op. 14, no. 4.Rio de Janeiro: Casa Mozart, [after 1905].Plate no.: 7256. 5 p.AF 57.

Valse Lente.Rio de Janeiro, S. Paulo: Editores

Bevilacqua & Cia., [1908].Plate no.: 6402. 4 p.AF 58.“A son ami Mr. Cardoso de Menezes.” (i.e.,

the composer and writer A. Cardoso deMenezes).

Henrique Oswald, the son of a Swiss immigrantto Brazil, studied piano and composition inFlorence and spent much of his career outside ofBrazil, though he was director of the InstitutoNacional de Musica between 1903 and 1906.His students included Luciano Gallet andLorenzo Fernandez. He left an extensive and ac-complished body of compositions.

P., E.

Valsa pernambucana. Offerecia ao seuamigo Dr. Cleomenes Filho. 2 p.

Published in O Malho, no. 182 (10 March1906).

AF 15.

Penaforte, Mario, 1876–1928.

Baiser Supreme. Valse Lente.[n.p., 19—].


Sempre tua. Schottisch.Rio de Janeiro: Editores André A. da Costa

e C., 21 Rua Gonçalves Dias, [19—].Plate no.: 3679. 3 p.AF 14.“Ao amigo Julio Amarante.”

Pereira, Antonio Muniz

Esperanca. Valsa.Bahia: A Venda na Loja 1o de Setembro,

[1893].No plate no. [2] p.“Composta e offerecida à Exma. Snra. D.

Luiza A. dos Reis Mello mui dignaEsposa do Snr. Manoel Freire de Mellopor occasião de seu anniversario natali-cio 25 de Agosto de 1893.”

AF 15.

Pereira, Lourenço de Araujo

A S.A.O. Infante D. Carlos para solemnisaro seu anniversario, op. 1.

2a Edição, correcta pelo autor.Rio de Janeiro: Arthur Napoleão, 89 Rua

do Ouvidor, [between 1869 and 1875].Plate no.: 1738. 11 p.“Fundador, director e professor do

Imperial Collegio de Musica PrincezaImperial D. Izabel, mestre celebre daBanda de Meninos do mesmo Collegio,Membro honorario de diversas associ-ações & &.”

Pereira, Nuno G.

Fingida. Valsa.[Pernambuco]: Propriedade do Autor,

[19—].No plate no. [2] p.AF 53.A sonnet by Manoel Duarte on the cover.

Impressões de um sonho. Pas de quatre.Pernambuco: Eduardo Paiva, 13 Rua do

Barão da Victoria, [19—].No plate no. [2] p.AF 53.

Petit

Flor em botao. Schottisch. Resposta a Nairde Francisco de Paula Bastos.


From Revista da Semana, no. 311 (29 April1906), 3425.

2 p.AF 15.

“Nair,” also a schottisch, was published in OMalho, no. 15 (27 December 1902) and againin no. 76 (27 February 1904).

Piedade, Maria Ramos

O Aquidaban–Azulou. Polka.[Rio de Janeiro]: Buschmann & Guimarães,

R. dos Ourives, no. 59, [between 1889and 1897].

Plate no.: 3234. 3 p.AF 23.“Dedicada aos bravos defensores da

Republica.”Naval vessel depicted on cover.

Pinzarrone, E.

O carnaval de Veneza. Reducção facil.Rio de Janeiro: [Viuva Filippone & Filha],

Rua do Ouvidor no. 93, [between 1875and 1884].

Plate no.: 1093. 4 p.AF 23.

Pombo, Julia da Rocha Pombo

Amor infantil. Schottisch. A’ d. ZulmiraRosas. 2 p.

Published in O Malho, no. 188 (21 April1906).

Queiroz, Jeronimo, 1859–1936

Fantasia Variações sobre a celebre PolkaIman de J. A. de Sa. Callado.

Rio de Janeiro: Narciso, Arthur Napoleão &Miguéz, Rua do Ouvidor no. 89, [be-tween 1875 and 1882].

Plate no.: 1823. 14 p.

The polka on which the variations are based, bythe brilliant flutist Joaquim Antonio da SilvaCalado, considered to be the father of choro, waspublished by Napoleão in the series Recreio dosflautistas. Gazeta musical 3, no. 7 (August1893), 109, describes Queiroz as a “notable pi-anist . . . an artist of real merit; honest, workingfor the art [of music] in his fatherland.”

Rebello, Arthur Velloso

Uma flor levando flores. Polka.Rio de Janeiro: Companhia de Musica e

Pianos, Successora de Arthur Napoleão,[between 1890 and 1893].

No plate no. 3 p.AF 23.“Composta pelo Guarda Marinha.”“Offerecida ao seu amigo Paulino F. Paes

Barreto.”

Reis, Julio, 1870–1933

Carlos Gomes. Condor. Trascrizione perpiano-forte di Julio Reis.

Rio de Janeiro: Buschmann & Guimarães,R. Ourives 52, [between 1891 and 1896].

Plate no.: 2743. 11 p.AF 52.“Con speciale autorizzazione dell’Autore.”

Ribeiro, J. Geraldo D.

Celebres variações sobre a polka Cri-Cri.Rio de Janeiro: Buschmann & Guimarães,

[before 1897].Plate no.: 685. 9 p.AF 10.“Ao seu amigo o Illmo Snr. Commendador

Souza Barros.”

Roque Filho, D.

Ideal. Schottisch.Rio de Janeiro: S. Paulo: E. Bevilacqua & C,

43 Rua dos Ourives, 14a Rua de S. Bento,[1897].

Plate no.: 4858. 4 p.AF 14.

Rozado, Manoel Ribeiro

Déa. Valsa.Rio de Janeiro: Vieira Machado e Ca., 51

Rua dos Ourives, [between 1893 and1908].

Plate no.: V.M. & C. 338. 3 p.AF 15.“A’ Ex.ma Sn.a D. Brazilina Augusta Leal.”

Brazilina Leal Bormann de Borges was thecousin of the composer Barroso Neto, who dedi-cated his “Nostalgia” to her in 1909.

Odila. Schottisch.


Rio de Janeiro: Buschmann & Guimarães,Rua dos Ourives 52, [before 1897].

Plate no.: 2740. 3 p.AF 23.“A meu amigo e irmão Adriano Ribeiro

Rozado.”

Sacramento, Paulino, 1880–1926

Pierrot. Tango carnavalesco.Rio de Janeiro: Manoel Antonio Gomes

Guimarães, Rua Rodrigo Silva 14, [be-fore 1916].

Plate no.: 4802. [2] p.AF 64.

Sacramento was an able trumpeter, and Pierrotconstitutes “a test for soloists on the instrument”(EMB, 703).

Santos, Antonio José dos

Devagar Yá-Yá. Polka.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives no. 52, [before 1897].Plate no.: 1831. 3 p.AF 23.

A Industrial. Valsa.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives no. 52, [before 1897].Plate no.: 803. 5 p.AF 15.“Composta e offerecida á Associação

Industrial.”

Santos, Tristão P. dos

Tonica contra o fastio. Valsa.Rio de Janeiro: M. M. D’Aguiar & Cia.,

Deposito de Especialidades Pharmaceuti-cas, 114 Rua dos Ourives, [1889 or be-fore].

Plate no.: 2059. 3 p.“Imp. Lith. e Est. de Buschmann &

Guimarães.”

Silva, Amaro Ferreira da

Martins Junior. Dobrado.Pernambuco: Préalle & Compa., 59 Rua do

B. da Victoria, [between 1889 and 1899].Plate no.: P & Co 348. 7 p.“Dedicado ao Illustre Republicano Dr. Jose

Izidorio Martins Junior.”Picture of Martins on cover.AF 40.

Silva was musician of the military band of theSecond Battalion of Infantry (Diniz, 19–20).More than any other musical genre, the dobradowas chosen to celebrate notable and accomplishedmen.

Silva, Benedicto Raymundo da, 1859–1921

Há-de dansar. Valsa.Pernambuco: Eduardo Paiva, Rua Barão de

Victoria, 13, [19—].No plate number. [2] p.AF 53.“A Exma. Snra. D. Laurinda Seixas.”

Laurinda Seixas was also the dedicatee ofMilano’s “Reve-Fleur” above. Silva is the subjectof a monograph (Moacir Medeiros de Sant’ana,Benedito Silva e sua época [Maceio, 1966])and a collected edition (Benedito Silva, Valsas,Polcas, Schottisch [Maceió: Coordenadoria deExtensão Cultural —UFAL, Arquivo Publico deAlagoas—SEC, 1983]). Eight of his works werepublished in O Malho between 1906 and 1917.

S[ilva], C[amillo] N[unes da]

La Favorita. Valsa.[Pernambuco: Camillo Nunes da Silva],

1891.No plate no. [2] p.“Valsa para piano offerecida ás boas

freguese de 1891.”AF 53.

Another example of musical art in the service ofcommerce (cf. the “Valsa Anti-Sezonico de Jesus”of J. G. Christo above).

Silva, Leopoldo Tavares da

Fandanguassú a democraticos. Polka.Rio de Janeiro: Buschmann & Guimarães,

52 Rua dos Ourives, [before 1897].Plate no.: 2577. 3 p.AF 38.

Silveira

Amôr Gostôso. Polka.Rio de Janeiro: Buschmann & Guimarães,

52 Rua dos Ourives, [before 1897].Plate no 1836. 3 p.AF 23.


Taunay, Alfredo d’Escragnolle, 1843–1894

Chopiniana. Valsas para piano, op. 6. DouxSouvenirs, Valsa no. 2

[t.p. missing]Plate no.: 2217. 7 p.AF 22.

Tavares, A.

Lagrimas e risos. Valsa. Versos de E.Wanderley.

Rio de Janeiro: Casa Arthur Napoleão;Sampaio, Araujo e Cia., Avenida Central,122, [190–].

Plate no.: 7399. 5 p.AF 29.

Valse Brune.Rio de Janeiro: Casa Arthur Napoleão,

Avenida Central, no. 122, [between 1913and 1915].

Plate no.: 7284. 7 p.AF 64.

Teixeira, Adelia Delmira

Macaquinhos no sotão. Polka.[Rio de Janeiro]: Isidoro Bevilacqua, 43

Rua dos Ourives, [before 1890].Plate no.: 2248. 3 p.AF 23.“Offerecida a seu Professor Carlos A.

Marques.”

Telles, Arlindo S.

Expansões d’alma. Pas de quatre.[Pernambuco]: Eduardo Paiva, 13 Rua do

Barão da Victoria, [19—].No plate no. [2] p.AF 53.

Fascinante. Valsa.[Pernambuco]: Préalle & Cia., 59, Rua B.

da Victoria, [19—].No plate no. [2] p.AF 53.

Telles, Eliezer

Sò de mão!! Tango.[Rio de Janeiro]: Fertin de Vasconcelos,

Morand & Cia., 147 Rua do Ouvidor,[after 1891].

Plate no.: F 310 M. 3 p.“Ao amigo Ernesto Malafaia.”AF 14.

Torres, J. Ferreira

Ulysses. Valsa Poética.Rio de Janeiro: Buschmann & Guimarães,

Rua dos Ourives 52, [before 1897].Plate no.: 3051. 3 p.“A meus pães.”AF 15.

Torres, Leontina Gentil

Juracy. Valsa.Musical supplement to Jornal de Modas “A

Estação,” 15 April 1903.Plate no.: 1137. 2 p.AF 23.Marthe. Schottisch.Musical supplement to Jornal de Modas “A

Estacao,” 15 September 1902.Plate no.: 5199. 2 p.AF 23.1st prize. Photograph of composer on

cover.

Vieira, Ernesto Fischer

Paroles Amoureuses. Valse.[Pernambuco]: Proprieté de l’auteur,

[19—].No plate no. [2] p.Stamp: Préalle & Cia, 59, Rua B. da

Victoria, Pernambuco.

Anon.

O Bravo de Veneza. Valsa.Rio de Janeiro: H.V. Frion, Rua dos

Ourives, No. 61, [186–].Plate no.: 81. 2 p.AF 15.

Fado de Coimbra. Fado da Ribeira Nova.Fado do Ze Povinho. Fado da Nazareth.Fado das salas. Fado da Mouraria. FadoAnadia. Fado da Figeueira da Foz.

[Rio de Janeiro]: Companhia de Musica ePiano, [18—].

Plate no.: 3295. 5 p.AF 14.


Fado Serenata do Hylario para piano oupiano e canto.

Rio de Janeiro: Arthur Napoleão, 89 Ruado Ouvidor, [between 1893 and 1913].

Plate no.: 4002. 3 p.AF 14.

Teteias Musicaes. 1a.: Os Requebros deSinhá.

[Rio de Janeiro: V. Sydow & Ca.], Rua dosOurives no. 61, [1885].



Documents

A Visit to Pianopolis