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PARTITURAS BRASILEIRAS ONLINE

brazilian international songbook online

música de Concerto
Concert music
música de Concierto
musique de Concerte

1
Presidente da República
Michel Temer

Ministro da Cultura
Sérgio Sá Leitão

FUNDAÇÃO NACIONAL DE ARTES | FUNARTE


Presidente
Stepan Nercessian

Diretor Executivo
Reinaldo Verissimo

Diretor do Centro da Música


Marcos Souza

Coordenação de Comunicação
Camila Pereira

PARTITURAS BRASILEIRAS ONLINE


Brazilian International Songbook Online

Concepção
Marcos Souza

Direção
Marcos Souza, Rosana Lemos, Leila Dantas e José Schiller

Coordenação de Produção
Alexandre Raine

Coordenadores
Ricardo Gilly
Paulo Aragão
Marcelo Jardim

Coordenação Administrativa
Aline Mandriola
Elizabeth Lima
Marcelo Moreira

Tradutores
inglês: Antonio Cerdeira | Cultura & ARTE
espanhol: Claudia Troncoso | Idioma Espanhol 2.0
francês: Ana Ambrozio

Parceria
Itamaraty - Ministério das Relações Exteriores

Realização
Coordenação de Música Erudita | Cemus
Centro Empresarial Cidade Nova – Teleporto
Av. Presidente Vargas nº 3.1311 / sala 1804
Cidade Nova – CEP: 20.210-911
Rio de Janeiro – RJ
www.funarte.gov.br
Ministério da Cultura
INDEX

música de Concerto
Concert music
música de Concierto
musique de Concerte 1
Vol. 1

Adelmo Arcoverde
Alberto Nepomuceno
Alexandre Guerra
Alexandre Levy

Vol. 2

Almeida Prado
Carlos Gomes

Vol. 3

Diogo Bazante
Edino Krieger
Edmundo Villani-Côrtes
Ernesto Nazareth
• Este é um documento em formato PDF interativo. Para acessar uma partitura, basta clicar em seu título. Do mesmo modo, clicar
sobre a palavra INDEX ou sobre o nome do autor, leva ao respectivo sumário. Os hiperlinks (www) também estão anexados.

• É recomendado o uso do aplicativo Adobe Acrobat Reader ou similar.

link índice geral índice do autor / composer’s TOC


/ table of contents
INDEX partituras brasileiras • brazilian international songbook online • popular music – vol. 2 Ernesto Nazareth

• A coleção completa das Partituras brasileiras online está disponível gratuitamente no site
www.funarte.gov.br/partituras-brasileiras-online/

música popular música de concerto banda de música


popular music concert music concert band
música popular música de concierto banda de concierto
musique populaire musique de concerte orquestre d’harmonie

Vol. 1 Vol. 1 Vol. 1


Afonso Machado Adelmo Arcoverde Série música brasileira para banda
Antonio Carlos Jobim Alberto Nepomuceno
Beto Guedes Alexandre Guerra Vol. 2
Chiquinha Gonzaga Alexandre Levy Série repertório de ouro das bandas de música do Brasil
Edu Lobo & Chico Buarque
Vol. 2 Vol. 3
Vol. 2 Almeida Prado Série hinos do Brasil
Eduardo Souto Carlos Gomes
Ernesto Nazareth Diogo Bazante
Flavio Venturini
Francis Hime & Olivia Hime Vol. 3
Francisco Mário Edino Krieger
Henrique Alves de Mesquita Edmundo Villani-Côrtes
Leandro Braga Ernesto Nazareth

Vol. 3
Lô Borges
Marcos Souza
Mauricio Carrilho
Milton Nascimento
Princípios do Choro
Vander Lee
Zequinha de Abreu
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

Um songbook de ideias

A
música brasileira é uma das mais preciosas do mundo. São mais de 400 ritmos catalogados! Uma diversidade
impressionante que não se justifica somente pelas dimensões continentais do Brasil, mas também pelo encontro
que aqui se deu entre diferentes povos, resultando nesta cultura valiosa e respeitada em todo o planeta!
Toda uma literatura original para bandas presentes nos municípios de todo o Brasil. Uma produção de música
de concerto sem paralelos em toda a América Latina.
E é desse caldo cultural brasileiro que surgiram nomes como Tom Jobim, Vinicius de Moraes, Milton Nasci-
mento, Elis Regina, Carmem Miranda, Zequinha de Abreu, Pixinguinha, Villa-Lobos, Egberto Gismonti, Ivan Lins,
Francis e Olivia Hime, Hermeto Pascoal, Spok, Chico Science, Guinga, enfim, uma infinidade de nomes que atravessa-
ram fronteiras e ganharam o mundo!
Por outro lado, lembro que quando eu cursava o mestrado na universidade Codarts em Rotterdam, acompa-
nhei os percalços de estudantes de vários países para ter acesso a partituras de música brasileira. Eu mesmo vivi essa
mesma aventura ao buscar uma partitura da bela Viola Fora de Moda do Edu Lobo para uma amiga estudante de canto,
que deveria participar de uma atividade do curso na qual eu faria o acompanhamento ao piano.
Naquele momento pensei: “Por que não temos acesso fácil a um songbook ou a informações necessárias para
se conseguir partituras de uma das músicas mais tocadas e escutadas no mundo?”
Isso aconteceu em 2011 e, inclusive, me motivou a montar uma roda de choro na Holanda, na qual eu era o único
brasileiro: o trombonista era islandês; os cavaquinistas, finlandês e holandês; o violonista, argentino; o percussionista,
alemão... E todos ávidos em conhecer mais e mais a música brasileira!
O tempo passou e ao assumir a direção do Centro da Música da FUNARTE, me lembrei dessa experiência com
músicos estrangeiros e entendi que havia chegado o momento de, com apoio do Itamaraty, fazer um songbook on-line
com acesso gratuito, para que todas as nossas embaixadas e consulados divulgassem a nossa música, disponibilizando
um link para os estudantes de escolas e conservatórios de todo o mundo!
O sonho se torna agora realidade! E para elaborar o Songbook On-line Internacional da FUNARTE, convi-
dei uma equipe de primeira, como o violonista e arranjador Paulo Aragão, o professor e perito em bandas de música
Marcelo Jardim, o experiente editor Ricardo Gilly, o produtor Alexandre Raine, meus companheiros de caminhada no
CEMUS: José Schiller, Leila Dantas e Rosana Lemos.
Entendo esta iniciativa como um começo, não só de mapeamento e disponibilização, mas também, de promo-
ção da música brasileira no exterior por meio das partituras e das parcerias com instituições, editoras e compositores,
que são fundamentais neste processo.
Agora é com vocês estudantes, músicos e amantes de nossa música rica e diversa! Se deliciem! Seja qual for sua
preferência: das bandas de música aos ritmos contagiantes; da música de concerto às trilhas sonoras! Toquem e divul-
guem a música brasileira! Mergulhem nesta infinidade de sabores musicais tropicais!
Agradecemos a todos que acreditaram no projeto e autorizaram gratuitamente a publicação das partituras no Songbook
Internacional online.
E que ele tenha longa vida para que a nossa música seja também a música de todos os povos!

Marcos Souza
Diretor do Cemus/Funarte/Minc

5
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

A songbook of ideas

B
razilian music is one of the most precious in the world. There are over 400 cataloged rhythms! An impressive
diversity that is not justified only by Brazil’s continental dimensions, but also by the encounter among different
peoples that has taken place here, resulting in this valuable culture, respected throughout the world!
All this original literature for bands present in municipalities throughout Brazil. An unparalleled concert music
production throughout Latin America.
And it is from this Brazilian cultural melting pot that Tom Jobim, Vinicius de Moraes, Milton Nascimento, Elis
Regina, Carmem Miranda, Zequinha de Abreu, Pixinguinha, Villa-Lobos, Egberto Gismonti, Ivan Lins, Francis and Olivia
Hime, Hermeto Pascoal, Spok, Chico Science, Ginga, in short, a multitude of names, emerged, crossed borders and conque-
red the world!
On the other hand, I remember that, when I was studying for a master's degree at Codarts University in Rotter-
dam, I could see the difficulties students from various countries had when they tried to get access to Brazilian music scores.
I myself experienced this same adventure when I searched for the score of Edu Lobo's beautiful Viola Fora de Moda for a
singing student friend, who was supposed to participate in a course activity in which I would play the piano.
At that moment I thought, "Why don’t we have easy access to a songbook or the necessary information to get scores
of one of the most played songs in the world?"
This happened in 2011 and it motivated me to set up a Choro group in Holland, in which I was the only Brazilian: the
trombonist was Icelandic; the cavaquinho players, Finnish and Dutch; the guitarist, Argentinian; the percussionist, Ger-
man... And all eager to learn more and more about Brazilian music!
Time went by and, when I became the head of FUNARTE’s Music Center (CEMUS), I remembered that experien-
ce with foreign musicians and understood that the time had come to, with the support of the Brazilian Foreign Relations
ministry, make an online songbook with free access, so that all our embassies and consulates could disseminate our music,
providing a link to students from schools and conservatories around the world!
The dream now becomes real! And to prepare FUNARTE's online International Songbook, I invited a first-rate team, such
as guitarist and arranger Paulo Aragão, professor and band expert Marcelo Jardim, experienced editor Ricardo Gilly, pro-
ducer Alexandre Raine, and my CEMUS fellows: José Schiller, Leila Dantas and Rosana Lemos.
I think of this initiative as a beginning, not only of mapping and availability, but also of promotion of Brazilian
music abroad by means of the scores now available and partnerships with institutions, publishers and composers, which are
fundamental in this process.
Now it’s up to you, students, musicians and lovers of our rich and diverse music! Enjoy! Whatever your preferen-
cemay be, from music bands to contagious rhythms; from concert music to soundtracks, play and spread Brazilian music!
Immerse yourselves in this myriad of tropical musical flavors!
We thank all those who believed in the project and gratuitously authorized the publication of their scores in our
online International Songbook. May it have a long life so that our music can also be the music of all peoples!

Marcos Souza
Director - Cemus/Funarte/Minc

6
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

Un songbook de ideas

L
a música brasileña es una de las más preciosas del mundo. ¡Son más de 400 ritmos catalogados! Una diversidad im-
presionante que no se justifica solamente por las dimensiones continentales de Brasil, pero también por el encuentro
que aquí se ha dado entre diferentes pueblos, resultando en esta cultura valiosa y respetada ¡en todo el mundo!
Toda una literatura original para bandas presentes en los municipios de todo Brasil. Una producción de música de
concierto sin paralelos en toda América Latina.
Y es de ese caldo cultural brasileño que surgieron nombres como: Tom Jobim, Vinicius de Moraes, Milton Nas-
cimento, Elis Regina, Carmem Miranda, Zequinha de Abreu, Pixinguinha, Villa-Lobos, Egberto Gismonti, Ivan Lins,
Francis y Olivia Hime, Hermeto Pascoal, Spok, Chico Science, Guinga, en fin, una infinidad de nombres que atravesaron
fronteras y ¡ganaron el mundo!
Por otro lado, me recuerdo que cuando cursaba la maestría en la universidad Codarts en Rotterdam, acompañé
las eventualidades de estudiantes de varios países para tener acceso a las partituras de música brasileña. He sido yo que
también, he vivido esa aventura al buscar una partitura de la bella Viola Fora de Moda de Edu Lobo para una amiga
estudiante de canto, que debería participar de una actividad del curso en la cual yo la acompañaría con el piano.
En aquel momento pensé: “¿Por qué no tenemos acceso fácil a un songbook o a las informaciones necesarias para
se consiga partituras de una de las músicas más tocadas y escuchadas en el mundo?”
Esto ocurrió en 2011 y, incluso, me motivó a montar una roda de choro en Holanda, en la cual yo era el único
brasileño: el trombonista era islandés; los cavaquinistas, finlandes y holandes; el violinista, argentino; el percusionista,
alemán... Y todos ávidos en conocer más y más ¡la música brasileña!
¡El tempo ha pasado y al asumir la dirección del Centro de Música de FUNARTE (Fundación Nacional de Artes),
me he recordado de esta experiencia con músicos extranjeros y entendí que había llegado el momento de, con el apoyo de
Itamaraty, hacer un songbook on-line con acceso gratuito, para que nuestras embajadas y consulados divulguen nuestra
música, disponibilizando un link para los estudiantes de escuelas y conservatorios de todo el mundo!
¡El sueño se ha vuelto realidad! Y para elaborar el Songbook On-line Internacional de FUNARTE, he invitado a
un equipo de primera, como el violinista y arreglista Paulo Aragão, el profesor y perito en bandas de música Marcelo Jar-
dim, el experimentado Ricardo Gilly, el productor Alexandre Raine, mis compañeros de jornada en CEMUS (Centro de la
Música): José Schiller, Leila Dantas y Rosana Lemos.
Entiendo esta iniciativa como un comienzo, no sólo del mapeo y disponibilización, pero también, de promoción de
la música brasileña en el exterior por medio de las partituras y de las sociedades con instituciones, editoriales y composito-
res, que son fundamentales en este proceso.
¡Ahora es con ustedes estudiantes, músicos y amantes de nuestra música rica y diversa! ¡Delicíense! sea cual sea su
preferencia: de las bandas de música a los ritmos contagiosos; de la música de concierto a las bandas sonoras! ¡Toquen y
divulguen la música brasileña! ¡Zambúllanse en esta infinidad de sabores musicales tropicales!
Le agradecemos a todos los que creyeron en el proyecto y autorizaron gratuitamente la publicación de las partitu-
ras en el Songbook Internacional Online.
¡Y que él tenga una larga vida para que nuestra música sea también la música de todos los pueblos!

Marcos Souza
Director de Cemus/Funarte/Minc

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

Un songbook d’idées

L
a chanson brésilienne est l’une de plus précieuses du Monde. Il y a plus de 400 rythmes répertoriés! Une diversité
impressionnante que l’on ne justifie pas que pour la dimension continentale du Brésil, mais aussi par la rencontre de
différents peuples dans le passé, ce qui a produit une culture riche et respectée partout dans le monde ! Il y a toute une
littérature originale pour des groupes de musiciens venus des plusieurs régions du Brésil. Il existe une production de musiques
de concert incomparable en toute l’Amérique Latine.
Et c’est grâce à ce bouillon de culture que l’on voit la naissance des noms tels quels Tom Jobim, Vinicius de Moraes,
Milton Nascimento, Elis Regina, Carmem Miranda, Zequinha de Abreu, Pixinguinha, Villa-Lobos, Egberto Gismonti, Ivan
Lins, Francis e Olivia Hime, Hermeto Pascoal, Spok, Chico Science, Guinga, enfin, une infinité de noms qui ont traversé
des frontières pour devenir célèbres aux quatre coins du monde!
Toutefois, quand je préparais un Master à l’Université Codarts à Rotterdam, j’ai suivi de près les difficultés des
étudiants étrangers pour avoir accès aux partitions de musiques brésiliennes. Et moi-même, j’ai eu du mal à trouver la
partition de la belle chanson Viola Fora de Moda écrite par Edu Lobo. C’était pour aider une amie, étudiante de chant, qui
devrait participer à une activité du cours, dans laquelle je jouerais du piano. A ce moment-là je me suis dit : « Pourquoi
n’arrivons-nous pas à trouver facilement un songbook ou des informations indispensables à propos des partitions de l’une
des chansons le plus jouées au monde ?
C’était en 2011, cette situation m’a motivé à créer un groupe de chanteurs de « choro » au Pays Bas, dans lequel
j’étais le seul Brésilien : le tromboniste était Islandais, les joueurs de « cavaquinhos » étaient Finlandais et Hollandais; le
joueur de guitare, Argentin ; le percussionniste, Allemand… Et tous avaient hâte de connaître de plus en plus la musique
brésilienne ! Au fil du temps, comme directeur du « Centro da Música da FUNARTE », je me suis souvenu de cette expé-
rience avec des musiciens étrangers et j’ai compris que c’était le moment de faire un songbook offrant un accès gratuit en
ligne, avec le soutien de l’Itamaraty, pour qui toutes les ambassades et les consulats puissent diffuser notre musique à partir
d’un lien pour les étudiants des écoles e des conservatoires du monde entier !
Enfin le rêve devient réalité ! Et pour mettre au point le Songbook On-line Internacional da FUNARTE, j’ai invité
une équipe de plus haut niveau, comme le violoniste et arrangeur Paulo Aragão, le professeur et expert en groupe de
musiciens Marcelo Jardim, le très compétent Ricardo Gilly, le producteur Alexandre Raine, des copains du CEMUS : José
Schiller, Leila Dantas e Rosana Lemos.
J’envisage cette initiative comme un début, pas seulement de localisation et des possibilités d’accès aux informa-
tions, mais également de la promotion de la musique brésilienne à l’étranger par le biais des partitions et grâce aux partena-
riats avec des institutions, des éditeurs et des compositeurs, qui sont essentiels dans ce processus.
Maintenant, c’est à vous : étudiants, musiciens et passionnés de notre musique tellement riche et diversifiée ! Profi-
tez-en ! Quelle que soit votre préférence : des groupes des musiciens aux rythmes envoûtants; de la musique de concert aux
bandes sonores ! Jouez de la musique brésilienne et diffusez-la ! Plongez dans cet univers de la musique tropicale, il y en a
pour tous les goûts !
Merci a tous ceux qui ont contribué à ce projet !
Et qu’il vive pour très longtemps pour que notre musique soit aussi la musique de tous les peuples !

Marcos Souza
Directeur – Cemus/Funarte/Minc

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

Música brasileira de concerto


O Brasil tem provavelmente a mais antiga e pro- Mais uma vez, no século 19, já no período
lífica produção de música de concerto das Amé- imperial, o maior compositor das Américas Antonio
ricas. Existem partituras e registro de composi- Carlos Gomes, também é brasileiro, autor de óperas
tores brasileiros desde o século 16. Nos grandes estreadas no Scala de Milão, celebradas na Itália, admi-
radas por Verdi, e adotadas com sucesso por grandes
ciclos que marcaram a economia brasileira, hou-
companhias de ópera.
ve enorme difusão e crescimento da vida musi- No século vinte, novamente temos um ex-
cal. Em Minas Gerais no século 19, por exem- poente de reconhecimento mundial em Villa-Lobos.
plo, a maioria das cidades tinha, no mínimo, Compositor com obras gravadas e apresentadas pelos
sua própria orquestra ou banda municipal. No maiores intérpretes, como Arthur Rubinstein, Andres
Maranhão existe um acervo significativo de par- Segovia, e orquestras -Radio e Televisão Francesa,
tituras de compositores que remonta ao século Nova Iorque, entre outras - é também referência fun-
18. Em Itabaiana, Sergipe, a Sociedade Filarmô- damental na afirmação do violão como solista no sécu-
nica N. Sra. Da Conceição, fundada em 1745, é lo 20. Sua obra está fortemente inspirada nos ritmos e
a mais antiga ainda em funcionamento no Bra- formas brasileiros, que ele buscou e conheceu na con-
vivência com músicos populares como Pixinguinha,
sil. Goiás dispõe de acervo expressivo de música
João Pernambuco, Donga, e em fontes da tradição fol-
produzida desde o período colonial. Na Bahia, clórica e manifestações populares de diversas regiões.
antiga capital colonial, no Rio de Janeiro, capi- Estes nomes, ainda que sejam os mais co-
tal do Império, enfim, em espaços diversificados, nhecidos internacionalmente, integram uma vasta
encontramos um acervo preservado ou em pro- produção musical por compositores expressivos que
cesso de recuperação para integrar o repertório renovam a força da música brasileira de concerto, em
de solistas, conjuntos vocais e instrumentais e todas as suas manifestações e correntes estéticas. Este
orquestras, contribuindo para a compreensão do primeiro volume contém música brasileira de concerto
dinamismo construtor da nossa identidade cul- do período colonial ao contemporâneo de composito-
tural. res como, somente para exemplificar, os já citados José
Compositores como João de Deus de Cas- Maurício Nunes Garcia, Carlos Gomes, e José Joaquim
tro Lobo, José Joaquim Emerico Lobo de Mesquita, Emerico Lobo de Mesquita, considerado o mais im-
e tantos outros, estão entre aqueles cuja produção foi portante compositor da “Escola Mineira” do século 18,
significativamente preservada e cujas partituras vêm com obras vocais de caráter eminentemente religioso;
sendo recuperadas, editoradas, tendo várias delas sido Alberto Nepomuceno, um dos compositores ligado à
gravadas por orquestras e intérpretes brasileiros. São a escola nacionalista entre o final do século 19 e início
culminância de uma produção presente desde o perío- do século 20, defensor do uso da língua portuguesa nas
do colonial em Salvador, Goiás, Minas Gerais, Rio de músicas vocais como afirmação de nossa identidade,
Janeiro, enfim, em diferentes regiões e processos cultu- também com peças para diversas formações instru-
rais. mentais, destacando-se as para piano solo, para quar-
Esta atividade intensa que marca a história teto e para orquestra de cordas; Camargo Guarnieri,
da música no Brasil cria um ambiente e uma tradição com uma produção que redimensiona a cultura po-
musical que propiciam o surgimento do Padre José pular paulista e brasileira e uma compreensão artística
Maurício Nunes Garcia, o maior compositor das Amé- identificada com Mario de Andrade; Edino Krieger,
ricas do período colonial, com uma obra significativa compositor de uma vasta obra com fases estéticas dis-
do final do século 18 às primeiras décadas do século tintas, desde o Grupo Música Viva, criador das Bienais
19. Foi o primeiro compositor do continente a ser ob- de Música Brasileira Contemporânea, e uma atuação
jeto de um ensaio crítico em publicação especializada significativa na difusão e defesa da música brasileira
na Áustria, então um dos grandes centros da música de concerto, presente neste primeiro volume com uma
europeia, que abrigou Haydn, Mozart, Beethoven, só série de canções; Gilberto Mendes, pioneiro da músi-
para citar alguns nomes. A excelência de sua música ca concreta e da música aleatória no Brasil, criador do
sensibilizou o príncipe regente e futuro rei D. João VI a Festival de Música Nova, tem aqui uma série de peças
ponto de instituir uma pensão vitalícia para ele, apesar para canto e piano; e outros compositores de várias ge-
do compositor da corte imperial ser Marcos Portugal, rações e períodos de nossa história igualmente impor-
vindo da metrópole. tantes para a construção de nossa identidade e riqueza
cultural na área da música de concerto.

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

Brazilian concert music

B
razil has most certainly the oldest and most pro- and author of operas premiered at the Teatro alla Sca-
lific concert music production in the Americas. la (Milan), celebrated in Italy, admired by Verdi and
There are scores and written records of Bra- successfully performed by great opera companies.
zilian composers since the 16th century. Musical life In the 20th century, again we have a world-
grew and spread enormously in the great cycles that -wide recognized composer: Villa-Lobos. With works
marked the Brazilian economy. In Minas Gerais in the recorded and presented by the greatest interpreters -
19th century, for example, most cities had at least their Arthur Rubinstein, Andres Segovia - and orchestras
own orchestra or municipal band. In Maranhão there - the French Radio and Television, New York, among
is a significant collection of scores of composers dating others -, he is also a fundamental reference in the af-
back to the 18th century. In Itabaiana, Sergipe, the N. firmation of the guitar as a soloist in the 20th century.
Sra. da Conceição Philharmonic Society, established in His work is strongly inspired by Brazilian rhythms and
1745, is the oldest still in operation in Brazil. Goiás has forms, which he sought and met with popular musi-
had an impressive collection of music produced since cians such as Pixinguinha, João Pernambuco, Donga,
the colonial period. In Bahia, a former colonial capital, and sources of folkloric tradition and popular festivals
in Rio de Janeiro, capital of the Empire, as well as in from various regions.
a variety of places, we find collections, either preser- Those internationally well-known names are
ved or being recovered to become part of the repertoire part of a vast musical production by expressive compo-
of soloists, vocal and instrumental ensembles, and or- sers that renew the force of the Brazilian concert music
chestras, thus contributing to the understanding of the in all its aesthetic currents and manifestations. This
dynamism that has built our cultural identity. first volume contains Brazilian concert music from the
Composers such as João de Deus de Castro colonial period to the contemporary by composers such
Lobo, José Joaquim Emerico Lobo de Mesquita, and as the already mentioned José Maurício Nunes Gar-
many others, are among those whose production has cia, Carlos Gomes, and José Joaquim Emerico Lobo
been significantly preserved and whose scores have de Mesquita - considered the most important compo-
been recovered, edited, and several of them recorded ser of the “Escola Mineira” in the 18th century - with
by Brazilian orchestras and performers. They are the vocal works eminently of religious character; Alberto
culmination of a production that has existed since the Nepomuceno, one of the composers connected to the
colonial period in Salvador, Goiás, Minas Gerais, Rio nationalist school between the end of the 19th and the
de Janeiro, in short, in different regions and cultural beginning of the 20th centuries, who advocated the use
processes. of the Portuguese language in vocal music as an affir-
This intense activity, which marks the his- mation of our identity, also with pieces for various ins-
tory of music in Brazil, creates an environment and a trumental formations, solo piano, quartet and string
musical tradition that foster the emergence of Father orchestra; Camargo Guarnieri, with a production that
José Maurício Nunes Garcia, the greatest composer of gives a new dimension to the popular culture of São
the Americas in the colonial period, with a significant Paulo and Brazil and an artistic understanding identi-
body of work in the late 18th and early 19th centuries. fied with Mario de Andrade; Edino Krieger, composer
He was the first composer of the continent to be the of a vast work with distinct aesthetic phases since the
object of a critical essay in a specialized publication Live Music Group, creator of the Contemporary Bra-
in Austria, then one of the great centers of European zilian Music Biennials, and with significant action in
music, which housed Haydn, Mozart and, Beethoven, the diffusion and defense of Brazilian concert music, is
just to name a few. The excellence of José Maurício Nu- present in this first volume with a series of songs ; Gil-
nes Garcia’s music moved the prince regent and future berto Mendes, pioneer of concrete music and aleatoric
king D. João VI to the point of instituting a lifelong music in Brazil, creator of the New Music Festival, has
pension for him, despite the fact that the composer of a series of pieces for voice and piano here; and other
the imperial court, who had come from the metropolis composers of various generations and periods of our
(Lisbon), was Marcos Portugal. history, equally important for the construction of our
Once again, in the 19th century, in the Bra- identity and cultural richness in the area of concert
zilian imperial period, the greatest composer of the music.
Americas, Antonio Carlos Gomes, was also Brazilian

10
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

Música brasileña de concierto


Brasil tiene probablemente la más antigua y prolífica Italia, admiradas por Verdi, y adoptadas con éxitos
producción de música de concierto de las Américas. por las grandes compañías de ópera.
Existen partituras y registro de compositores brasileños En el siglo 20, nuevamente, tenemos un
desde el siglo 16. En los grandes ciclos que marcaron exponente de reconocimiento mundial en Villa-Lobos.
la economía brasileña, hubo una enorme difusión y Compositor con obras grabadas y presentadas por los
crecimiento de vida musical. En Minas Gerais en el mayores intérpretes como Arthur Rubinstein, Andres
siglo 19, por ejemplo, la mayoría de las ciudades tenía, Segovia, y orquestas - Radio y Televisión Francesa,
por lo mínimo, su propia orquesta o banda munici- Nueva York, entre otras - es también referencia funda-
pal. En Maranhão existe un acervo significativo de mental en la afirmación de la guitarra como solista en
partituras de compositores que remonta al siglo 18. En el siglo 20. Su obra está fuertemente inspirada en los
Itabaiana, Sergipe, la Sociedad Filarmónica N. Sra. ritmos y formas brasileños, que él ha buscado y ha co-
Da Conceição, fundada em 1745, es la más antigua nocido en la convivencia con músicos populares como:
aún en funcionamiento en Brasil. Goiás, dispone de un Pixinguinha, João Pernambuco, Donga, y en fuentes
acervo expresivo de música producida desde el período de tradición folclórica y manifestaciones populares de
colonial. En Bahia, antigua capital colonial, en Río diversas regiones.
de Janeiro, capital del Imperio, en fin, en espacios Estos nombres, aunque sean los más conoci-
diversificados, encontramos un acervo preservado o en dos internacionalmente, integran una vasta producci-
proceso de recuperación para integrar el repertorio de ón musical por compositores expresivos que renuevan
solistas, conjuntos vocales e instrumentales, orques- la fuerza de la música brasileña de concierto, en todas
tas, contribuyendo para la compresión de dinamismo sus manifestaciones y corrientes estéticas. Este primer
constructor nuestra identidad cultural. volumen contiene música brasileña de concierto del
Compositores como: João de Deus de Castro período colonial al contemporáneo de compositores
Lobo, José Joaquim Emerico Lobo de Mesquita, y otros como, solamente para ejemplificar, los ya citados: José
tantos, están entre aquellos cuya producción ha sido Maurício Nunes Garcia, Carlos Gomes, y José Joaquim
significativamente preservada y las partituras están Emerico Lobo de Mesquita, considerado el más impor-
siendo recuperadas, editadas, siendo varias de ellas tante compositor de la “Escuela Mineira” del siglo 18,
grabadas por orquestas e intérpretes brasileños. Son la con obras vocales de carácter eminentemente religioso;
culminación de una producción presente desde el perí- Alberto Nepomuceno, uno de los compositores ligado a
odo colonial en Salvador, Goiás, Minas Gerais, Río de la escuela nacionalista entre el final del siglo 19 e inicio
Janeiro, en fin, diferentes regiones y procesos culturales. del siglo 20, defensor del uso de la lengua portuguesa
Esta actividad intensa que marca la historia de la en las músicas cantadas como afirmación de nuestra
música en Brasil crea un ambiente y tradición musical identidad, también con piezas para diversas forma-
que propician el surgimiento del Padre José Maurício ciones instrumentales, destacándose las del piano solo,
Nunes Garcia, el mayor compositor de las Américas para cuarteto y para orquesta de cuerdas; Camargo
del período colonial, con una obra significativa del Guarnieri, con una producción que redimensiona la
final del siglo 18 y de las primeras décadas del siglo cultura popular paulista y brasileña y una comprensi-
19. Ha sido el primer compositor del continente a ón artística identificada con Mario de Andrade; Edino
ser objeto de un ensayo crítico en una publicación Krieger, compositor de una vasta obra con fases esté-
especializada en Austria, en aquella época uno de los ticas distintas, desde el Grupo Música Viva, creador
grandes centros de la música europea, que ha acogido de la Bienal de Música Brasileña Contemporánea, y
a Haydn, Mozart, Beethoven, sólo para citar algunos una actuación significativa por la difusión y defensa
nombres. La excelencia de su música sensibilizó el de la música brasileña de concierto, presente en este
príncipe regente y futuro rey D. João VI a punto de primer volumen con una serie de canciones; Gilberto
instituir una pensión vitalicia para él, a pesar de que Mendes, pionero de la música concreta y de la música
Marcos Portugal, haya venido de la metrópoli, y fuera aleatoria en Brasil, creador del Festival de Música
el compositor de la corte imperial. Nova, hay aquí una serie de piezas para canto y piano;
Una vez más, en el siglo 19, ya en el perí- y otros compositores de varias generaciones y períodos
odo imperial, el mayor compositor de las Américas, de nuestra historia igualmente importantes para la
Antonio Carlos Gomes, es también brasileño, autor construcción de nuestra identidad y riqueza cultural
de óperas estrenadas en Scala de Milán, celebradas en en el área de la música de concierto.

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

La musique brésilienne de concert

L
e Brésil a probablement la plus ancienne et Verdi, et adoptés avec du succès par les plus grandes
prolifique production de musique de concert de compagnies d’opéra.
l’Amérique. Il y a des partitions musicales et Au 20ème siècle, la musique brésilienne de
des registres de compositeurs brésiliens depuis le 16ème concert est mondialement célèbre grâce à Villa-Lobos,
siècle. Pendant les grands cycles de production de compositeur dont les œuvres ont été enregistrées et
l’économie brésilienne, il y a eu une énorme diffusion jouées par les plus grands interprètes, comme Arthur
et un grand développement de la vie musicale. Rubinstein, Andres Segovia, et par les orchestres
A Minas Gerais, au 19ème siècle, par exemple, – Radio et Télévision Française, New York, parmi
la plupart des villes avait, au moins, son propre d’autres. Villa-Lobos est également une référence
orchestre ou groupe musical. A l’Etat du Maranhão, fondamentale en ce qui concerne l’affirmation de la
au nord du Brésil, il y a une collection importante guitare comme soliste au 20ème.
de partitions de compositeurs qui datent du 18ème Son œuvre est fortement inspirée par les
siècle. A Itabaiana, à l’Etat du Sergipe, la “ Sociedade formes et les rythmes brésiliens, qu’il a connus quand
Filarmônica N. Sra. da Conceição”, fondée en 1745, est il côtoyait plusieurs musiciens populaires tels quels
la plus ancienne encore en fonctionnement au Brésil. A Pixinguinha, João Pernambuco, Donga, mais aussi
Goiás, on peut trouver des collections de musiques assez grâce aux traditions et manifestations populaires de
importantes produites depuis la période coloniale. A différentes régions du Brésil.
Bahia, l’ancienne capitale coloniale, à Rio de Janeiro, Bien qu’ils soient les plus célèbres du point
capitale de l’Empire, enfin, un peu partout au Brésil, de vue international, ces musiciens intègrent une
il y a des collections préservées ou en processus de vaste production musicale par des compositeurs
récupération pour incorporer des répertoires de expressifs qui renouvèlent la force de la musique
solistes, des groupes de chanteurs et de musiciens, brésilienne de concert, en toutes ses manifestations et
des orchestres, a fin de favoriser la compréhension du tendances esthétiques. Ce premier tome présente de la
dynamisme qui constitue notre identité culturelle. musique brésilienne de concert de la période coloniale
Des compositeurs comme João de Deus de à l’époque contemporaine. Ce sont des œuvres des
Castro Lobo, José Joaquim Emerico Lobo de Mesquita, compositeurs, cité précédemment, José Maurício
et beaucoup d’autres, sont parmi ceux dont la Nunes Garcia, Carlos Gomes, e José Joaquim Emerico
production a été fortement préservée et les partitions Lobo de Mesquita, ce dernier, considéré comme le
musicales récupérées et éditées. Quelques-unes ont plus important compositeur de l’ « Escola Mineira »
été enregistrées par des orchestres et des interprètes du 18ème, avec des œuvres vocales essentiellement
brésiliens. C’est le résultat d’une production présente religieuses ; Alberto Nepomuceno, l’un des compositeurs
depuis la période coloniale à Salvador, Goiás, Minas liés à l’école nationaliste entre la fin du 19ème et le
Gerais, Rio de Janeiro, enfin, dans diverses régions et début du 20ème, défenseur de l’emploie de la langue
processus culturels. portugaise dans les chansons comme affirmation de
Cette forte activité musicale, qui marque notre identité, auteur de pièces pour de différentes
l’histoire de la musique au Brésil, crée une ambiance formations instrumentales, surtout celles faites pour du
et une tradition musicale qui favorise l’apparition piano solo, pour des quatuor et des orchestres à cordes ;
du Prêtre José Maurício Nunes Garcia, le plus grand Camargo Guarnieri, dont la production redimensionne
compositeur du Continent Américain à la période la culture populaire paulista – de São Paulo - et
coloniale, dont l’œuvre était très importante à la fin du brésilienne et s’approche de la production artistique de
18ème siècle et aux premières décennies du 19ème. Il Mario de Andrade ; Edino Krieger, compositeur dont
fut le premier compositeur du continent à faire l’objet l’œuvre était marquée par des périodes esthétiques très
d’un essai critique dans une publication spécialisée en variées, depuis le « Grupo Música Viva, responsable
Autriche, qui à l’occasion, était l’un de plus grands par la création des « Bienais de Música Brasileira
centres de la musique européenne, qui a accueilli Contemporânea » et par la diffusion et préservation
Haydn, Mozart, Beethoven, pour n’en citer que de la musique brésilienne de concert, présente dans ce
quelques-uns. L’excellence de sa musique a sensibilisé premier tome avec une gamme de chansons ; Gilberto
le prince régent et le futur roi D. João VI à tel point que Mendes, avant-gardiste de la musique concrète et de
celui-ci lui a accordé une pension de retraite jusqu’à la la musique aléatoire au Brésil, créateur du « Festival
fin de sa vie, bien que le compositeur officiel de la court de Música Nova » présente ici une série de pièces pour
impériale, soit Marcos Portugal. chant et piano ; et d’autres compositeurs de plusieurs
Au 19ème siècle, à la période impériale, le générations et périodes de notre histoire tellement
plus grand compositeur du continent américain est importants pour la construction de notre identité et
Antonio Carlos Gomes, brésilien, auteur d’opéras notre richesse culturelle dans le domaine de la musique
joués au Scala de Milan, célébrés en Italie, admirés par de concert.
12
partituras brasileiras • brazilian international songbook online • concert music – vol. 1

SUMÁRIO / TOC • música de concerto vol.1 • concert music vol.1

Adelmo Arcoverde
Prelúdio nº4 para viola de dez cordas e orq. de cordas / grade ��������������� 18
Prelúdio nº4 para viola de dez cordas e orq. de cordas / viola 1 ������������� 25
Prelúdio nº4 para viola de 10 cordas e orq. de cordas / viola 2 ��������������� 32
Concertino nº1 / 1º mov. / Querubim voador / grade............................... 39
Concertino nº1 / 2º mov. / Querubim Agape / grade................................ 60
Concertino nº1 / 3º mov. / Querubim do retorno / grade........................ 78
Concertino nº1 / 1º mov. / Querubim voador / viola 1........................... 110
Concertino nº1 / 2º mov. / Querubim Agape / viola 1............................ 112
Concertino nº1 / 3º mov. / Querubim do retorno / viola 1.................... 114
Concertino nº1 / 1º mov. / Querubim voador / viola 2........................... 118
Concertino nº1 / 2º mov. / Querubim Agape / viola 2............................ 120
Concertino nº1 / 3º mov. / Querubim do retorno / viola 2.................... 121
Concertino nº1 / 1º mov. / Querubim voador / violino 1....................... 124
Concertino nº1 / 2º mov. / Querubim Agape / violino 1........................ 126
Concertino nº1 / 3º mov. / Querubim do retorno / violino 1................ 127
Concertino nº1 / 1º mov. / Querubim voador / violino 2....................... 130
Concertino nº1 / 1º mov. / Querubim Agape / violino 2........................ 132
Concertino nº1 / 3º mov. / Querubim do retorno / violino 2................ 133
Concertino nº1 / 1º mov. / Querubim voador / viola 1........................... 136
Concertino nº1 / 2º mov. / Querubim Agape / viola 1............................ 138
Concertino nº1 / 3º mov. / Querubim do retorno / viola 1.................... 139
Concertino nº1 / 1º mov. / Querubim voador / viola 2........................... 142
Concertino nº1 / 2º mov. / Querubim Agape / viola 2............................ 144
Concertino nº1 / 3º mov. / Querubim do retorno / viola 2.................... 145
Concertino nº1 / 1º mov. / Querubim voador / cello.............................. 147
Concertino nº1 / 2º mov. / Querubim Agape / cello............................... 148
Concertino nº1 / 3º mov. / Querubim do retorno / cello........................ 149
Concertino nº1 / 1º mov. / Querubim voador / contrabaixo.................. 151
Concertino nº1 / 2º mov. / Querubim Agape / contrabaixo................... 152
Concertino nº1 / 3º mov. / Querubim do retorno / contrabaixo ���������� 153
Concertino nº1 / 1º mov. / Querubim voador / violão 1......................... 155
Concertino nº1 / 2º mov. / Querubim Agape / violão 1.......................... 157
Concertino nº1 / 3º mov. / Querubim do retorno / violão 1.................. 158

Alberto Nepomuceno
Brasileira........................................................................................................ 163
1. Barcarola.................................................................................................... 175
2. Melodia...................................................................................................... 176
3. Dança......................................................................................................... 177
4. Brincando.................................................................................................. 179
5. Polca........................................................................................................... 180
Cloches de Noël............................................................................................ 182
Batuque.......................................................................................................... 186
Devaneio Opus 27 nº1 ................................................................................ 192
Folhas D’Álbum 1......................................................................................... 197
Folhas D’Álbum 2......................................................................................... 201
Folhas D’Álbum 3......................................................................................... 206
Improviso...................................................................................................... 208
Melodia.......................................................................................................... 211
Nocturne........................................................................................................ 215
2º Noturno em Sol Maior............................................................................ 221
Noturno Opus 33.......................................................................................... 226
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

SUMÁRIO / TOC • música de concerto vol.1 • concert music vol.1

Alberto Nepomuceno (cont.)


1. Canção....................................................................................................... 233
2. Insistência.................................................................................................. 235
Manobra militar............................................................................................ 237
3. Menuete..................................................................................................... 239
Quarteto de cordas nº 1 / 1. Allegro agitato / grade................................ 242
Quarteto de cordas nº 1 / 2. Andante / grade........................................... 257
Quarteto de cordas nº 1 / 3. Scherzo / grade............................................ 263
Quarteto de cordas nº 1 / 4. Allegro spirituoso / grade........................... 269
Quarteto de cordas nº 1 / 1. Allegro agitato / grade................................ 280
Quarteto de cordas nº 1 / 1. Allegro agitato / violino 1........................... 281
Quarteto de cordas nº 1 / 2. Andante / violino 1..................................... 284
Quarteto de cordas nº 1 / 3. Scherzo / violino 1....................................... 285
Quarteto de cordas nº 1 / 4. Allegro spirituoso / violino 1..................... 287
Quarteto de cordas nº 1 / 1. Allegro agitato / violino 2........................... 291
Quarteto de cordas nº 1 / 2. Andante / violino 2..................................... 294
Quarteto de cordas nº 1 / 3. Scherzo / violino 2....................................... 295
Quarteto de cordas nº 1 / 4. Allegro spirituoso / violino 2..................... 296
Quarteto de cordas nº 1 / 1. Allegro agitato / viola.................................. 299
Quarteto de cordas nº 1 / 2. Andante / viola............................................ 303
Quarteto de cordas nº 1 / 3. Scherzo / viola.............................................. 304
Quarteto de cordas nº 1 / 4. Allegro spirituoso / viola............................ 306
Quarteto de cordas nº 1 / 1. Allegro agitato / violoncello....................... 309
Quarteto de cordas nº 1 / 2. Andante / violoncello.................................. 313
Quarteto de cordas nº 1 / 3. Scherzo / violoncello................................... 315
Quarteto de cordas nº 1 / 4. Allegro spirituoso / cello............................ 317
Quarteto de cordas nº 2 / 1. Allegro con fuoco / grade........................... 322
Quarteto de cordas nº 2 / 2. Andante expressivo / grade........................ 338
Quarteto de cordas nº 2 / 3. Scherzo / grade............................................ 344
Quarteto de cordas nº 2 / 4. Finale / grade............................................... 353
Quarteto de cordas nº 2 / 1. Allegro con fuoco / violino 1..................... 370
Quarteto de cordas nº 2 / 2. Andante expressivo / vn. 1......................... 375
Quarteto de cordas nº 2 / 3. Scherzo / violino1........................................ 377
Quarteto de cordas nº 2 / 4. Finale / violino1........................................... 380
Quarteto de cordas nº 2 / 1. Allegro con fuoco / violino2...................... 386
Quarteto de cordas nº 2 / 2. Andante expressivo / vn. 2......................... 391
Quarteto de cordas nº 2 / 3. Scherzo / violino2........................................ 393
Quarteto de cordas nº 2 / 4. Finale / violino2........................................... 396
Quarteto de cordas nº 2 / 1. Allegro con fuoco / viola............................ 402
Quarteto de cordas nº 2 / 2. Andante expressivo / viola......................... 407
Quarteto de cordas nº 2 / 3. Scherzo / viola.............................................. 409
Quarteto de cordas nº 2 / 4. Finale / viola................................................. 412
Quarteto de cordas nº 2 / 1. Allegro con fuoco / cello............................ 418
Quarteto de cordas nº 2 / 2. Andante expressivo / cello.......................... 422
Quarteto de cordas nº 2 / 3. Scherzo / violoncello................................... 424
Quarteto de cordas nº 2 / 4. Finale / violoncello...................................... 427
Quarteto de cordas nº 3 / 1. Brasileiro / grade......................................... 434
Quarteto de cordas nº 3 / 2. Andante / grade........................................... 453
Quarteto de cordas nº 3 / 3. Allegretto / grade......................................... 461
Quarteto de cordas nº 3 / 4. Allegretto / grade......................................... 471
Quarteto de cordas nº 3 / 1. Brasileiro / violino 1.................................... 482
Quarteto de cordas nº 3 / 2. Andante / violino 1..................................... 487
Quarteto de cordas nº 3 / 3. Allegretto / violino 1................................... 489
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1

SUMÁRIO / TOC • música de concerto vol.1 • concert music vol.1

Alberto Nepomuceno (cont.)


Quarteto de cordas nº 3 / 4. Allegretto / violino 1................................... 493
Quarteto de cordas nº 3 / 1. Brasileiro / violino 2.................................... 496
Quarteto de cordas nº 3 / 2. Andante / violino 2..................................... 501
Quarteto de cordas nº 3 / 3. Allegretto / violino 2................................... 503
Quarteto de cordas nº 3 / 4. Allegretto / violino 2................................... 507
Quarteto de cordas nº 3 / 1. Brasileiro / viola........................................... 510
Quarteto de cordas nº 3 / 2. Andante / viola............................................ 515
Quarteto de cordas nº 3 / 3. Allegretto / viola.......................................... 517
Quarteto de cordas nº 3 / 4. Allegretto / viola.......................................... 520
Quarteto de cordas nº 3 / 1. Brasileiro / violoncello................................ 523
Quarteto de cordas nº 3 / 2. Andante / violoncello.................................. 528
Quarteto de cordas nº 3 / 3. Allegretto / violoncello............................... 530
Quarteto de cordas nº 3 / 4. Allegretto / violoncello............................... 533
Valses humoristiques nº 1........................................................................... 536
Valses humoristiques nº 2........................................................................... 544
Valses humoristiques nº 3........................................................................... 550
Valses humoristiques nº 1........................................................................... 556
Valses humoristiques nº 5........................................................................... 565
Valses humoristiques nº 6........................................................................... 581
Sonata em Fá menor Opus 9 / 1................................................................. 595
Sonata em Fá menor Opus 9 / 2. Andante expressivo............................. 608
Sonata em Fá menor Opus 9 / 3. Allegro con spirito............................... 612
Suíte antiga Opus 11 / 1. Prelude ............................................................... 624
Suíte antiga Opus 11 / 2. Menuete 1........................................................... 626
Suíte antiga Opus 11 / 2. Menuete 2........................................................... 627
Suíte antiga Opus 11 / 3. Air....................................................................... 628
Suíte antiga Opus 11 / 4. Rigaudon............................................................ 630

Alexandre Guerra
Fantasia para flauta sobre o Rio de Janeiro............................................... 634
Movimento de verão.................................................................................... 637
Movimento de outono................................................................................. 642
Movimento de inverno................................................................................ 646
Movimento de primavera............................................................................ 650
Partidas e reencontros.................................................................................. 653
Passado presente........................................................................................... 659
Ponte para a solidão..................................................................................... 663
Tema singelo.................................................................................................. 668

Alexandre Levy
Recuerdos...................................................................................................... 673
Quarteto......................................................................................................... 678
Andante / grade............................................................................................ 715
Andante / violino 1....................................................................................... 720
Andante / violino 2....................................................................................... 722
Andante / viola............................................................................................. 724
Andante / violoncelo.................................................................................... 726
Andante / contrabaixo................................................................................. 728
Reverie / grade.............................................................................................. 730
Reverie / violino 1........................................................................................ 734
Reverie / violino 2........................................................................................ 736
Reverie / viola............................................................................................... 738
Reverie / violoncelo...................................................................................... 740
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

CONSERVATÓRIO PERNAMBUCANO DE MÚSICA www.conservatorio.pe.gov.br

O Conservatório Pernambucano de Música foi fundado em 1930 por artistas e membros da sociedade pernambucana. Oferece
cursos regulares e livres, projetos de musicalização, contribuindo para a formação de plateias na capital e no interior. É um centro de
produção de novas composições de autores pernambucanos, muitos deles professores, ex-professores, alunos e ex-alunos, para os diversos
grupos instrumentais e vocais da instituição. Entre esses grupos estão a Orquestra Armorial de Câmera de Pernambuco, a Orquestra de
Cordas Dedilhadas, a Orquestra Sinfônica Jovem de Pernambuco, o SaGRAMA, a Orquestra Retratos, só para citar alguns.
O presente volume traz compositores veteranos como o bandolinista Marco César, um dos mais importantes músicos
pernambucanos dos últimos quarenta anos, o flautista e arranjador Sérgio Campelo, fundador do grupo SaGRAMA, e o violeiro Adelmo
Arcoverde. Ao lado deles temos jovens mestres como Marcos FM, Diogo Bazante e Fred Andrade. É uma pequena mostra desse centro
musical que é Pernambuco, a partir de seu Conservatório Pernambucano de Música.

The Pernambuco Conservatory of Music was founded in 1930 by artists and members of the local society. It offers regular and
free courses, including introduction to music, contributing to audience formation both in the capital and in the hinterland. It is a center
for the production of new musical compositions by Pernambuco authors, many of them teachers, former teachers, students and alumni,
for the various instrumental and vocal groups of the institution. Among these groups are the Armorial Chamber Orchestra of Pernambuco,
the Plucked Strings Orchestra, the Pernambuco Youth Symphony Orchestra, the SaGRAMA and the Retratos (Portraits) Orchestra, just to
name a few.
This volume features veteran composers such as mandolinist Marco César, one of the most important musicians from Pernambuco
in the last forty years; flutist and arranger Sérgio Campelo, founder of the SaGRAMA group; and Brazilian country guitar player Adelmo
Arcoverde. There are also young masters like Marcos FM, Diogo Bazante and Fred Andrade. So here is a small sample of Pernambuco state
as a music center, offered by its Conservatory of Music.

El Conservatorio Pernambucano de Música ha sido fundado en 1930 por artistas y miembros de la sociedad pernambucana.
Ofrece cursos regulares y libres, así como proyectos de musicalización, contribuyendo para la formación de plateas en la capital y en el
interior. Es un centro de de nuevas composiciones de autores pernambucanos, muchos de ellos, profesores, ex profesores, alumnos y ex
alumnos, para los diversos grupos instrumentales y vocales de la institución. Entre esos grupos están la Orquesta Armorial de Cámara de
Pernambuco, la Orquesta de Cordas Dedilhadas, la Orquesta Sinfónica Joven de Pernambuco, SaGRAMA y la Orquesta Retratos, sólo para
citar algunos.
El presente volumen trae compositores veteranos como el bandolinista Marco César, uno de los más importantes músicos
pernambucanos de los últimos cuarenta años; el flautista y arreglista Sérgio Campelo, fundador del grupo SaGRAMA; y el violero, Adelmo
Arcoverde. Al lado de ellos tenemos a jóvenes maestros como: Marcos FM, Diogo Bazante y Fred Andrade. Es una pequeña muestra de este
centro musical que es Pernambuco, a partir del Conservatorio Pernambucano de Música.

Le Conservatório Pernambucano de Música a été fondé en 1930 par des artistes et des citoyens de l’Etat de Pernambuco, au
nord-est du pays. On y offre des cours réguliers et des cours libres, ainsi que des projets de formations musicales, ce qui contribue pour la
formation du public à la capitale du pays et aussi en province. C’est un centre de production de nouvelles compositions d’auteurs nés à
Pernambuco, parmi lesquels, on peut trouver des professeurs, d’anciens professeurs, des étudiants et d’anciens étudiants, pour plusieurs
groupes musicaux et vocaux de cette institution. Parmi ces groupes, il y a l’Orquestra Armorial de Câmera de Pernambuco, l’Orquestra de
Cordas Dedilhadas, l’Orquestra Sinfônica Jovem de Pernambuco, le SaGRAMA et l’Orquestra Retratos, pour n’en citer que quelques-uns.
Ce tome nous présente des compositeurs expérimentés comme le mandoliniste Marco César, l’un de plus importants musiciens
de Pernambuco depuis une quarantaine d’années; Sérgio Campelo, flûtiste et arrangeur; fondateur du groupe SaGRAMA  et le jouer de
guitare Adelmo Arcoverde. En plus, il y a des jeunes maîtres comme Marcos FM, Diogo Bazante e Fred Andrade. Ce volume souligne
l’importance de l’Etat de Pernambuco comme un centre musical, à partir de son Conservatório Pernambucano de Música.

16
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

CONSERVATÓRIO PERNAMBUCANO DE MÚSICA www.conservatorio.pe.gov.br/

Adelmo Arcoverde
Prelúdio nº4 para viola de dez cordas e orq. de cordas / grade ��������������� 18
Prelúdio nº4 para viola de dez cordas e orq. de cordas / viola 1 ������������� 25
Prelúdio nº4 para viola de 10 cordas e orq. de cordas / viola 2 ��������������� 32
Concertino nº1 / 1º mov. / Querubim voador / grade............................... 39
Concertino nº1 / 2º mov. / Querubim Agape / grade................................ 60
Concertino nº1 / 3º mov. / Querubim do retorno / grade........................ 78
Concertino nº1 / 1º mov. / Querubim voador / viola 1........................... 110
Concertino nº1 / 2º mov. / Querubim Agape / viola 1............................ 112
Concertino nº1 / 3º mov. / Querubim do retorno / viola 1.................... 114
Concertino nº1 / 1º mov. / Querubim voador / viola 2........................... 118
Concertino nº1 / 2º mov. / Querubim Agape / viola 2............................ 120
Concertino nº1 / 3º mov. / Querubim do retorno / viola 2.................... 121
Concertino nº1 / 1º mov. / Querubim voador / violino 1....................... 124
Concertino nº1 / 2º mov. / Querubim Agape / violino 1........................ 126
Concertino nº1 / 3º mov. / Querubim do retorno / violino 1................ 127
Concertino nº1 / 1º mov. / Querubim voador / violino 2....................... 130
Concertino nº1 / 1º mov. / Querubim Agape / violino 2........................ 132
Concertino nº1 / 3º mov. / Querubim do retorno / violino 2................ 133
Concertino nº1 / 1º mov. / Querubim voador / viola 1........................... 136
Concertino nº1 / 2º mov. / Querubim Agape / viola 1............................ 138
Concertino nº1 / 3º mov. / Querubim do retorno / viola 1.................... 139
Concertino nº1 / 1º mov. / Querubim voador / viola 2........................... 142
Concertino nº1 / 2º mov. / Querubim Agape / viola 2............................ 144
Concertino nº1 / 3º mov. / Querubim do retorno / viola 2.................... 145
Concertino nº1 / 1º mov. / Querubim voador / cello.............................. 147
Concertino nº1 / 2º mov. / Querubim Agape / cello............................... 148
Concertino nº1 / 3º mov. / Querubim do retorno / cello........................ 149
Concertino nº1 / 1º mov. / Querubim voador / contrabaixo.................. 151
Concertino nº1 / 2º mov. / Querubim Agape / contrabaixo................... 152
Concertino nº1 / 3º mov. / Querubim do retorno / contrabaixo ���������� 153
Concertino nº1 / 1º mov. / Querubim voador / violão 1......................... 155
Concertino nº1 / 2º mov. / Querubim Agape / violão 1.......................... 157
Concertino nº1 / 3º mov. / Querubim do retorno / violão 1.................. 158
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

PRELÚDIO N° 4 PARA VIOLA DE DEZ


CORDAS E ORQUESTRA DE CORDAS
ADELMO ARCOVERDE

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16
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18 Prelúdio nº4 para viola de dez cordas e orq. de cordas / grade


INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

2 PRELÚDIO N° 4

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19
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

PRELÚDIO N° 4 3

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20
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

4 PRELÚDIO N° 4

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81
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Viola 2 �
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21
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

PRELÚDIO N° 4 5

��� � � � � � � � � � � � � � � � � � � � � � � ��� � � � � � ��� � � � � � � � � � � ��� � � � � �


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106

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CONCERTINO Nº 01
PARA VIOLA DE DEZ CORDAS
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1º Movimento Adelmo Arcoverde
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67
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

� 9
2.a Parte
33
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68
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

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69
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

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70
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

12 2.a Parte
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71
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

2.a Parte 13
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72
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

14 2.a Parte

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73
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

2.a Parte 15
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74
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

16 2.a Parte

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75
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

2.a Parte 17
65
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76
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

18 2.a Parte
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77
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

CONCERTINO Nº 01
PARA VIOLA DE DEZ CORDAS
E ORQUESTRA DE CORDAS
3º Movimento Adelmo Arcoverde
QUERUBIM DO RETORNO

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

QUERUBIM VOADOR

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79
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

QUERUBIM VOADOR

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80
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

QUERUBIM VOADOR

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81
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

QUERUBIM VOADOR

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21
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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

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CONCERTINO Nº 01
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CONCERTINO Nº 01
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CONCERTINO Nº 01
PARA VIOLA DE DEZ CORDAS
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CONCERTINO Nº 01
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2º Movimento
QUERUBIM AGAPE Adelmo Arcoverde

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157 Concertino nº1 / 2º mov. / Querubim Agape / violão 1


INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

CONCERTINO Nº 01
PARA VIOLA DE DEZ CORDAS
E ORQUESTRA DE CORDAS
3º Movimento Adelmo Arcoverde
QUERUBIM DO RETORNO

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158 Concertino nº1 / 3º mov. / Querubim do retorno / violão 1


INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

QUERUBIM VOADOR

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Adelmo Arcoverde

QUERUBIM VOADOR

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

MUSICA BRASILIS www.musicabrasilis.org.br

O portal Musica Brasilis foi criado em 2009 com o objetivo de tornar partituras de repertórios brasileiros de todos os tempos e
gêneros disponíveis pela web. A arquitetura de informação em que se baseia viabiliza buscas por autor, título, instrumentação e gênero,
além de período. Buscando o alinhamento com novas tendências da web – principalmente padrões da web semântica –, cada partitura
tem o seu identificador único, o que facilita a sua localização através dos mecanismos de busca.
Parcerias alinhadas com a Academia Brasileira de Música, SESC Partituras, CCSP – Centro Cultural São Paulo – e IMS – Institu-
to Moreira Salles - têm contribuído para tornar o portal um ponto de entrada para outros sites que disponibilizam partituras.
A relação a seguir corresponde a uma pequena parte das cerca de 1500 partituras disponíveis no portal hoje. Buscou-se, com
esse recorte, apontar para compositores emblemáticos de cada período.

Musica Brasilis web portal was set up in 2009 with the aim of making scores of Brazilian repertoires of all times and genres
available on the web. The information architecture on which it is based enables search by author, title, instrumentation and gender, as
well as period. Seeking alignment with new web trends - mainly semantic web standards -, each score has its unique identifier, which
facilitates its location through search engines.
Partnerships with the Brazilian Academy of Music, SESC Partituras, CCSP - Centro Cultural São Paulo - and IMS - Moreira Salles
Institute - have contributed to make the portal an entry point to other websites that offer musical scores.
The following list corresponds to a small part of the approximately 1,500 scores available on the portal today. This selection is an at-
tempt to point out emblematic composers of each period.

El portal Musica Brasilis ha sido creado en 2009 con el objetivo que las partituras de repertorios brasileños de todos los tiem-
pos y géneros estén disponibles en la web. La arquitectura de información en que se basa viabiliza buscas por autor, título, instrumen-
tación y género, a parte del periodo. Buscando la armonización con nuevas tendencias de la web – principalmente patrones de la web
semántica – cada partitura tiene su identificador único, lo que facilita su ubicación a través de los mecanismos de búsqueda.
Asociaciones alineadas con la Academia Brasileña de Música, SESC Partituras, CCSP – Centro Cultural São Paulo – y IMS –
Instituto Moreira Salles - han contribuido para transformar el portal en un punto de entrada para otros sitios que disponibilizan las
partituras.
La relación, a seguir, corresponde a una pequeña parte de alrededor de 1500 partituras disponibles en el portal hoy. Se buscó,
con ese recorte, destacar compositores emblemáticos de cada período.

Le portail web Musica Brasilis a été crée en 2009 avec le but de mettre à disposition sur le web, les partitions de répertoires
brésiliens de toujours et de tous les genres. Son organisation permet une recherche par auteur, titre, instrumentation et genre, en plus
de la période. Pour s’adapter le mieux possible aux nouvelles tendances du web – surtout les normes sémantiques du web – chaque
partition musicale a un identifient unique, ce qui rend sa localisation plus facile par biais des mécanismes de recherche.
Grâce aux collaborations très étroites avec l’Academia Brasileira de Música, le SESC Partituras, le CCSP – Centro Cultural São
Paulo – et l’IMS – Instituto Moreira Salles, ce portail web est devenu une porte d’accès à d’autres sites internet qui mettent à disposition
du public, des partitions musicales.
La liste suivante correspond à une petite partie d’environ 1500 partitions disponibles au portail web actuellement. Celui-ci a été
organisé de façon à mettre en évidence les compositeurs célèbres de chaque période.

161
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MUSICA BRASILIS www.musicabrasilis.org.br

Alberto Nepomuceno
Brasileira............................................................................................... 163 Quarteto de cordas nº 2 / 3. Scherzo / violino1............................... 377
1. Barcarola........................................................................................... 175 Quarteto de cordas nº 2 / 4. Finale / violino1.................................. 380
2. Melodia............................................................................................. 176 Quarteto de cordas nº 2 / 1. Allegro con fuoco / violino2............. 386
3. Dança................................................................................................ 177 Quarteto de cordas nº 2 / 2. Andante expressivo / vn. 2................ 391
4. Brincando......................................................................................... 179 Quarteto de cordas nº 2 / 3. Scherzo / violino2............................... 393
5. Polca.................................................................................................. 180 Quarteto de cordas nº 2 / 4. Finale / violino2.................................. 396
Cloches de Noël................................................................................... 182 Quarteto de cordas nº 2 / 1. Allegro con fuoco / viola................... 402
Batuque................................................................................................. 186 Quarteto de cordas nº 2 / 2. Andante expressivo / viola................ 407
Devaneio Opus 27 nº1 ....................................................................... 192 Quarteto de cordas nº 2 / 3. Scherzo / viola..................................... 409
Folhas D’Álbum 1................................................................................ 197 Quarteto de cordas nº 2 / 4. Finale / viola........................................ 412
Folhas D’Álbum 2................................................................................ 201 Quarteto de cordas nº 2 / 1. Allegro con fuoco / cello................... 418
Folhas D’Álbum 3................................................................................ 206 Quarteto de cordas nº 2 / 2. Andante expressivo / cello................. 422
Improviso............................................................................................. 208 Quarteto de cordas nº 2 / 3. Scherzo / violoncello.......................... 424
Melodia................................................................................................. 211 Quarteto de cordas nº 2 / 4. Finale / violoncello............................. 427
Nocturne............................................................................................... 215 Quarteto de cordas nº 3 / 1. Brasileiro / grade................................ 434
2º Noturno em Sol Maior................................................................... 221 Quarteto de cordas nº 3 / 2. Andante / grade.................................. 453
Noturno Opus 33................................................................................. 226 Quarteto de cordas nº 3 / 3. Allegretto / grade................................ 461
1. Canção.............................................................................................. 233 Quarteto de cordas nº 3 / 4. Allegretto / grade................................ 471
2. Insistência......................................................................................... 235 Quarteto de cordas nº 3 / 1. Brasileiro / violino 1........................... 482
Manobra militar................................................................................... 237 Quarteto de cordas nº 3 / 2. Andante / violino 1............................ 487
3. Menuete............................................................................................ 239 Quarteto de cordas nº 3 / 3. Allegretto / violino 1.......................... 489
Quarteto de cordas nº 1 / 1. Allegro agitato / grade....................... 242 Quarteto de cordas nº 3 / 4. Allegretto / violino 1.......................... 493
Quarteto de cordas nº 1 / 2. Andante / grade.................................. 257 Quarteto de cordas nº 3 / 1. Brasileiro / violino 2........................... 496
Quarteto de cordas nº 1 / 3. Scherzo / grade................................... 263 Quarteto de cordas nº 3 / 2. Andante / violino 2............................ 501
Quarteto de cordas nº 1 / 4. Allegro spirituoso / grade.................. 269 Quarteto de cordas nº 3 / 3. Allegretto / violino 2.......................... 503
Quarteto de cordas nº 1 / 1. Allegro agitato / grade....................... 280 Quarteto de cordas nº 3 / 4. Allegretto / violino 2.......................... 507
Quarteto de cordas nº 1 / 1. Allegro agitato / violino 1.................. 281 Quarteto de cordas nº 3 / 1. Brasileiro / viola.................................. 510
Quarteto de cordas nº 1 / 2. Andante / violino 1............................ 284 Quarteto de cordas nº 3 / 2. Andante / viola................................... 515
Quarteto de cordas nº 1 / 3. Scherzo / violino 1.............................. 285 Quarteto de cordas nº 3 / 3. Allegretto / viola................................. 517
Quarteto de cordas nº 1 / 4. Allegro spirituoso / violino 1............ 287 Quarteto de cordas nº 3 / 4. Allegretto / viola................................. 520
Quarteto de cordas nº 1 / 1. Allegro agitato / violino 2.................. 291 Quarteto de cordas nº 3 / 1. Brasileiro / violoncello....................... 523
Quarteto de cordas nº 1 / 2. Andante / violino 2............................ 294 Quarteto de cordas nº 3 / 2. Andante / violoncello......................... 528
Quarteto de cordas nº 1 / 3. Scherzo / violino 2.............................. 295 Quarteto de cordas nº 3 / 3. Allegretto / violoncello...................... 530
Quarteto de cordas nº 1 / 4. Allegro spirituoso / violino 2............ 296 Quarteto de cordas nº 3 / 4. Allegretto / violoncello...................... 533
Quarteto de cordas nº 1 / 1. Allegro agitato / viola......................... 299 Valses humoristiques nº 1.................................................................. 536
Quarteto de cordas nº 1 / 2. Andante / viola................................... 303 Valses humoristiques nº 2.................................................................. 544
Quarteto de cordas nº 1 / 3. Scherzo / viola..................................... 304 Valses humoristiques nº 3.................................................................. 550
Quarteto de cordas nº 1 / 4. Allegro spirituoso / viola................... 306 Valses humoristiques nº 1.................................................................. 556
Quarteto de cordas nº 1 / 1. Allegro agitato / violoncello.............. 309 Valses humoristiques nº 5.................................................................. 565
Quarteto de cordas nº 1 / 2. Andante / violoncello......................... 313 Valses humoristiques nº 6.................................................................. 581
Quarteto de cordas nº 1 / 3. Scherzo / violoncello.......................... 315 Sonata em Fá menor Opus 9 / 1........................................................ 595
Quarteto de cordas nº 1 / 4. Allegro spirituoso / cello................... 317 Sonata em Fá menor Opus 9 / 2. Andante expressivo.................... 608
Quarteto de cordas nº 2 / 1. Allegro con fuoco / grade.................. 322 Sonata em Fá menor Opus 9 / 3. Allegro con spirito...................... 612
Quarteto de cordas nº 2 / 2. Andante expressivo / grade............... 338 Suíte antiga Opus 11 / 1. Prelude ...................................................... 624
Quarteto de cordas nº 2 / 3. Scherzo / grade................................... 344 Suíte antiga Opus 11 / 2. Menuete 1.................................................. 626
Quarteto de cordas nº 2 / 4. Finale / grade...................................... 353 Suíte antiga Opus 11 / 2. Menuete 2.................................................. 627
Quarteto de cordas nº 2 / 1. Allegro con fuoco / violino 1............ 370 Suíte antiga Opus 11 / 3. Air.............................................................. 628
Quarteto de cordas nº 2 / 2. Andante expressivo / vn. 1................ 375 Suíte antiga Opus 11 / 4. Rigaudon................................................... 630
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

163 Brasileira
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169
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Alberto Nepomuceno
Cinco pequenas peças para crianças

piano
(piano)

7 p.

I. Barcarola p. 1
II. Melodia p. 2
III. Dança p. 3
IV. Brincando p. 5
V. Polca p. 6

ISBN: 978-85-8361-247-6
Produção de e-book: S2 Books

© Musica Brasilis, Rio de Janeiro, 2001

174
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a minha pequena filha Sigrid

5 Pequenas Peças para Crianças


para mão esquerda
para piano
ALBERTO NEPOMUCENO
I
Andantino Barcarola
 
       

  
           

                          
  

                                  


    

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5 pequenas peças para crianças - Alberto Nepomuceno 2

II
Melodia

   
Moderato
       
          
  
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13

        
 
 
                                
  
       
       
17

         
  

         
      
           

      

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3 5 pequenas peças para crianças - Alberto Nepomuceno

III
Dança


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5 pequenas peças para crianças - Alberto Nepomuceno 4

Trio

         
                

      



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5 5 pequenas peças para crianças - Alberto Nepomuceno

IV
Brincando

  
   
        
         
        
      

     

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5 pequenas peças para crianças - Alberto Nepomuceno 6

V
Polca

Tempo de polca
    
     

    
          
 

 


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7 5 pequenas peças para crianças - Alberto Nepomuceno

Trio

             

        
           

  
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182 Cloches de Noël


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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

186 Batuque
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

Devaneio Op.27 nº1


para piano
composta no Rio de Janeiro em 1904
ALBERTO NEPOMUCENO
Placidamente e com lentidão (1864-1920)
               
               
       
    
docemente

        


      
   

                   
    
5
         
        

   
     
        
      
    
destaque o canto
9          
    
      
     
 
     
            
       
    

12 
       
             
 
           
 
    
        
       
     
   
© 2000 by Goldberg Edições Musicais Ltda.
All rights reserved. International copyright secured.

192 Devaneio Opus 27 nº1


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15
una corda
                  
         
        

dolcissimo

  
     
  
 

        
16
             
        
     

    
     
   

tre corde
                     
17
               
        
  
cresc.

 
        
     

18
     
       
 
 rall.
                     
 



um poco mais depressa
       
19

                             
 rinf.
    
               
        
    
    


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depressa
23
                       
               

   stringendo e cresc.

              
 


26
                 ten.

             
  
rapido
  
     
       


 a tempo
28
                     
                         
    
una corda
        
 


      
                          
30

  
   

 


         
1º tempo
    
  
32
         
   
rit. sempre ligado

    
 
  


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34
        
        

   
       
  
     
 
                
36
 

            

   
         
  
    

      
38
                  
        
   
         
      
 

40
               
    
     
dolcissimo
 
 
     
     

 
41         

         
  
tre corde cresc.

       
   
    


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m.d.
42
            
                    
cresc. sempre m.s.

    
      

       

 

    

                  
         
    
45
  
   
  rapido

    


      

                         
  

            
         
 

  
placidamente
     
        
 
      
        
        
 una corda   
     
   
       
  

destaque o canto
51      
                
            

  cresc.
tre corde
 
allarg.

                


     
     


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Folhas D'Álbum
para piano
composta em Berlin no ano de 1891

I ALBERTO NEPOMUCENO
(1864-1920)
Con molto sentimento (q = 96)
### 3 œ œ .œ
canto sempre legato

& 4 œ #œ œ œ œ .œ œ œœ œœ nœ œ #œ œ
œ #œ œ
p œœ œ œœ
#œ œ nœ œ œ œ
? # # # 43 œ œ œœ œœ œ
˙ œ ˙.

œœ >
### œ œ.œ œ œœ œ œœ œœ
3

& œœ œ œ ‹œ œ #œ œ œ

œ œœ œœ œ œ œ œ œ œ
? ### œœ œ œ œ œ œ
˙. ˙ #œ

# # œ
5

& # œœ œ œœ œ œ.œ œ œœ œœ œ.
œœ nœ
#œ #œ #œ œ

œ œ œ œœ œ œ nœ œ
? ### œœ œ œ ˙ œœ œœ
˙ nœ œ
œ

###
7

& œœ œœ œ.œ #œ œœ nœ œ œœ . œ
#œ œ œ #œ œ
poco rit.
cresc. dim.

? ### œ œ nœ œ œ œ #œ œ
œœ œœ œ œ nœ œ œ #˙ œœ œ
˙ #œ œ

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### œ .œ
9

& œœ œ œ œ .œ œ œœ œœ nœ œ #œ œ
œ œ
œ

#œ œ
p œœ œ #œ œœ
œ nœ œœ œœ
? ### #œ œ œ œœ œ
œ

˙. œ œ
˙ œ
˙
11
### œ œœ œ.œ œ œœ œ œœ œœ œ
& œœ œ œ ‹œ œ #œ œ

œ œœ œœ œ œ œ œ œ œ
? ### œœ œ œ œ œ œ
˙. ˙ #œ

# #
& # œœ œ
13

œœ œ.œ œœ œœ œ.
œ œ #œ œ œœ nœ
#œ #œ œ

œ œ œ œœ œ œ nœ œ
? ### œœ œ œœ œœ
˙ œ ˙ nœ œ
œ

###
15

& œœ œœ œ.œ œ œ œ #œ œ œ œ #œ œ
#œ œ œ ‹œ œ
œ œ
sempre legato

? ### œ œ nœ œ œœ œœ
cresc.

œœ œœ œ œ
˙ œ ˙. œ œ

###
17

& œ œ œœ œ.œ œ œœ œœ nœ œ œ
#œ #œ #œ #œ œ œ
œ œœ œ œ œ œ œ œ œœ
? ### œ œ ˙ œœ
cresc.
œœ œ
˙ œ .

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### œ œœ #œ .œ œ # œ ‹ œ# œœ
19

& œ #œ œ œ œœ #œ œ œ
#œ #œ cresc.

œœ œœ œœ œ œ œ #œ œ œ
? ### œ œ œ œ œ œ
˙ œ #œ ˙

# # # œœ œœ œ.œ œ œœ œœ
21

& œ #œ ‹œ œ .nœ #œ
#œ #œ œ #œ
œ œœ œ œ f œ œ œœ œ
? ### œœ œ œ œ œ nœ œ
˙ #œ ˙ stringendo poco œ

# # œœ œ
23

& # œœœ œœ
œ
œ.œ œ nœ œ œœ nœ
#œ #œ œ string.

œ œ #œ nœ œ
? ### œœ œœ œœ œ œ
œ ˙ œœ œœ
˙ #œ .
j œ >œ >œ >œ >œ >œ > > > >
œ œ # œœ œ œ œ œ œ œ œ œ œ œ >œ >œ >
.
### œ œ œ œ œ œœ œ œ œ œœ œ
25

& œœ œœ œœ #œ œ
#œ œ œ œ
e cresc. molto ƒ stentato
p
œœ œ œ œ
> >œ >œ >œ
rall.

? ### œœ œ œœ ? œœ œœ œœ
& œœœ œ œ œ
˙. œ> > ˙.

### œ .œ
28 a tempo come prima

& œœ œ œ œ .œ œ œœ œœ nœ œ œ

œ
œ œ #œ œ #œ
p œœ œ #œ nœ œ œœ
? ### #œ œ œ œ œ œœ œœ œ
œ œ œ
˙ œ ˙.
˙

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30
### œ œœ œ.œ œ œœ œ œœ œœ œ
& œœ œ œ ‹œ œ #œ
œ
œ œœ œœ œ œ œ œ œ œ
? ### œœ œ œ œ œ œ
˙. ˙ #œ

# #
& # œœ œ œ
32

œœ nœ . œ œœ œœ œ.
œ #œ œ œ nœ
#œ #œ œ œ
œ œ œ œœ œ œ nœ œ
? ### œœ œ œœ œœ
˙ œ ˙ nœ œ
œ

###
34

& œ œœ œ.œ œ.œ œ


œ #œ œ œœ nœ œ œ œ
œ œ #œ œ
œ œ œ œ œ œ
? ### œœ œœ œ œ nœ œ œ #œ œœ œœ
˙ œ œ

### œ
36

& œ œ œœ œ.œ œ ˙.œ œ œ


#œ œ œ œœ œœ
œœ œœ œ œ dim. œœ œœ œœ
? ### ˙ œ œœ œ ˙. œ œ œ
˙ œ ˙.

œœ œ œ
### œœ œœ œ
œœ œ # œ œ œ œ œ œ œ œœ œ œ ˙ .
38

& œœ œœ #œ œ œ œ
#œ #œ œ œ œ œ œ œ œ œ ˙.
π œœ
? ### ˙ . œ ∑ œœ œœ ˙˙ .
˙. .

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II
Con moto (q. = 132)
b j j
& b b b b 68 œ . œ. j œ œ . œ . j œ
œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ

œ. œ œ œ œ œ. œ œ œ œ
? b b b 68 gg œ . ggg œ .
legato

b b ggg œœ . gg œœ ..
gp . gp

j œ œj œ œ . œ œ . œ œ nœ œœ
bbbb œ œ
5

& b œ œ œ œ . œ
œ œ œ œ œ œ œ œœ œ œ œ œ . œ œ œ œ œ œ œ œ œ
œ. œ œ œ œ
? b b
cresc.

b b b

b œ bœ œ œ . œ n œœ œj œ . j œ b œj œ œj œ œj
sempre legato

& b bbb œ œ œ nœ œ
10

. .
œ œ œ n œ œ œ œœ . œ œ . . b œ‰ œ œ œ œ ‰ n œ œJ œ
p J
j dim.
? bb b œ nœ œ œ. œ œ œ œ
poco rit.

b b œ œ œ œœ .. œœ .
.
.. .. œ .
œ. Œ ‰ œ. Œ ‰
œ œ œ

œ œj œ œj j œ
œ œ
bbbb œ œ œ œ
15

& b œ˙ .. œ.
n œ˙ . œ
œ œ œ œ œ ‰ œ ‰ œ œœ œ œ
J
j œ b œj œ j j œ œ œ œ œ œ œ œ
œ
? b b b œ‰ œ œ œ ‰ œ œœœ n œ
cresc.
œ œ. Œ ‰ œ ‰ Œ ‰ œ œ œ œ
b b J œ
J

20
b b
œ œ nœ œ œ œ √œ .
bœ œ œ œ œ œ œ œ œ œ
œ œ. j
& b b b œ œ nœ œ œ œ œ.bœ œ œ œ œ œ œ.
œ œ œ œ . œ
œ. œ
œ f œ œ œ stentato
œ œ. œ œ œ
precipitando

? bb b œ n œ œ œ ‰ œ œ Œ ‰ œ
b b nœ œ œ œ œ œ œ œ. œ
œ œ

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j œ œj
Iº tempo

bbbb j j j j
25

& b œ. œ œ.
œ
.
œ œ œ œœ œ . œ œ œ œ œ œ œ œ œ œœ œ œ œ œ
œ œ œ œ œ
œ.
? b b b gg œ . œ. œ œ œ œ gg œ . œ. œ œ œ œ œ œ
b b ggg œ . ggg œ .
g pœ . g pœ .

b j œ œj œ . œ œ . œ œ œ œ
b œ œ nœ œ œ œ œ œ œ.
30

&b b b œ œ œ œ. œ œ œ œ
œ œ œ œ œ œ œ .œ œ
œ

? bb b œ . œ œ œ œ œ œ œ œ œ dim.
œ .
œ œ
e rall.
œ œ
b b œ œ œ œœ n œ œ œ œ œ.
nœ œ.
Più calmo
b n n ### . œ
& b b b b œœ .
35

j œ œ .. ‰ n
1. 2.

œ . œ œ . œ œ œ. œ œ nn . œ œ
œ œ œ œ œ œ œ . œ œœ œ œ. œ œ dolce
j œ
? bb b œ ‰ ‰ .. œ ‰ nn n # # # .. œ œ œ œ
b b œ. œ. œ. œ. nn œ
œ. œ. œ œ. œ
œ. J sempre legato il basso

###
39

& œ. œ. œ œ œ œ. œ œ œ.
œ. œ #œ .
œ œ
? ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ #œ

# # œ
44

& # œ œ #œ ˙. nœ œ œ
œ œ. œ œ œ œ œ œ

? ### œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ # œ œ #œ œ
œ œ œ œ
œ œ œ œ œ

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### œ . #œ . r
molto espressivo

nœ œ œ œ . . # œ #˙ .
49

& . .
. . nœ œ œ œ
œ . #œ . œ œ œ œ œ . . #œ #˙ .
p œ
fz
œ
? # # # œ œ œ œ .. .. œ œ œ nœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ

# # œ.. r
& # nn œœ
54

œ œ œ œ œ œ ˙.
œ œ œ œ œ œ.. œ ˙.
? ### œ œ œ œ œ œ œ #œ œ
œ œ œ œ œ œ #œ œ œ œ œ œ #œ
œ
œ

### œ
58

& œ œ œ. œ. œ œ œ œ.
œ.
œ œ
dolce

? ### œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
œ œ œ œ
œ
œ
œ

### œ.
62

& œ œ œ œ. œ.. r
#œ ˙ .
poco sostenuto

? ### œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ

### œ œ. œ n
a tempo

œ œ. œ œ œ ‰ .. n n b b b b b
66

& nœ œ œ œ œ œ œ. œ
œ œ œ S œ rit. œ
? ### nœ œ #œ nœ œ œ nœ œ œ œ œ œ .. n n n b b b
œ nœ œ œ œ œ b b
œ

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Con moto
b j j
& b b b b .. œ . j œ j œ
70

œ. œ œ œ . œ . œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ. œ œ œ œ œ. œ œ œ œ
.. ggg œœ . ggg œ .
legato
? b b
b b b ggg œ .. ggg œœ ..
p p

j œ œj œ œ . œ œ . œ œ nœ œœ
bbbb œ œ
74

& b œ œ œ œ . œ
œ œ œ œ œ œ œ œœ œ œ œ œ . œ œ œ œ œ œ œ œ œ
œ. œ œ œ œ
? bb b
cresc.

b b

b b œ bœ œ j j b œj
sempre legato

œ. œ œj œ œj
79

& b b b œ œ œ nœ œ œ . .
œ n œ œ œ n œ œ œ œœ . œ œ . b œ‰ œ œ œœ œ
œ œ œ
J ‰ n œ Jœ œ
j dim. p
? b b œ nœ œ œ. œ œ œ œ
b b b œ œ œ œœ .. œœ .
.
.. œ .
œ. Œ ‰ œ. Œ ‰
œ œ œ

j œ
œ œ œ œj œ œj œ œ œ œœ
bbbb
84

& b œ˙ .. œ.œ œ œ œ œ ‰ œ
n œ˙ . œ ‰ œ œ œ
J
œ
j œ b œj œ j j œ œ œ œ œ n œ œ cresc. œ œ
œ
? b b b œ‰ œ œ œ œ œ œ
b b J ‰ œ œ œ œ. Œ ‰ œ ‰ Œ ‰ œ œ œ œ
J

89
b b
œ œ nœ œ œ œ √œ .
bœ œ œ œ œ œ œ œ œ œ
œ œ. j
& b b b œ œ nœ œ œ œ œ.
bœ œ œ œ œ œ œ.
œ œ œ œ . œ
œ. œ
œ f œ œ œ stentato
œ œ. œ œ œ
precipitando

? bb b œ n œ œ œ ‰ œ œ Œ ‰ œ
b b nœ œ œ œ œ œ œ œ. œ
œ œ

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Iº tempo
b j j
& b bbb œ . j œ j œ
94

œ. œ œ œ . œ . œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? b b b gg œ . œ. œ œ œ œ gg œ . œ. œ œ œ œ
b b ggg œ . ggg œ .
gpœ . g pœ .

j œ j j j œ
b b œ œ œ n œ
œ . œ œ. œ œ œ œ
98

&b b b œ œ œ œ œ œ œ. œ
œ œ œ œ œ
œ. œ œ œ
? bb b œ. œ œ œ œ œ œ nœ œ œ œ
b b œ œ
œ œ œ nœ

b œ œ œ œ. œ œ. œ
& b bbb œ
œ
102

œ œœ . œ. œ œ. œ œ.
œ œ œ
œ œ œ œ œ œ œ œ œ œ. œ œ.
? bb b œ œ œ œ dim.
œ.
e rall.
œ œ. œ
b b œ œ œ. œ. œ. œ.
œ. œ. œ œ. œ
œ. œ.
Più calmo
b b œ.
&b b b œ œ œ
106

œ œ œ œ œ J œ ˙. œ œ
p
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
n œ n œ œ
? bb b œ œ
b b œ œ nœ œ œ œ œ œ
œ œ
œ œ

b ˙. œ. œ.
& b bbb œ
111

œ ∫œ Œ ‰ œ ‰ Œ ‰ œ ‰
œœ œœ
π œ œ
∫ œ œ
perdendosi
œ
œ
? bb b ∫œ œ œ œ œ œ œœ ‰ ? Œ ‰ œœ ‰ Œ ‰ œœ ‰
b b
œ œ & œ œ. œ œ

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III
Andante mosso
˙ œ ˙ ˙ œ ˙ nœ
? b b b 68 ‰ œ œ œ n œ œ ‰ œ n œ n œ œœ œ ‰ œ œ œ n œ œ ‰ œ œ œ b œœ œ œ n œ
b b
p
j
? b b 6 ‰ œ œj œ ‰ œ œ œ ‰ œ œ
j
œ ‰ œ œ
j
n œ œ œœœ
b b b 8 œ œ œ œ
œ œ œ œ œ œ œ œ œ œ

œ œœœœ œœœ œ ˙ œ œ ˙
œ œ ˙ œ œ
? bb b œ œ œ œ œ . œ œ œœ .. n œ
œœ ‰ ‰ ‰ œ œ œ ‰ n œ nœ œ ‰ œ œ nœ œ
œ
6

b b J J
p
smorzando
j j j
? b b œ
b b b œ nœ œ. œ œj œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ
œ œ nœ œ. œ. œ . nœ n œ œœ ‰œ ‰ œ œ œ œ œ œ œ œ œ
J
œ
˙
? b b b ‰ œ œ œ b œœ œ œ n œ
12
nœ œ
œ œ œ œœ œœ œ œœ œ œ œ œ . œœ ‰ ‰ &
b b J œ. œ.
J
j œ œ œ
smorzando

? b b ‰ œ j
b b b œ nœ œœ œ œ nœ œ. œ œ œœ . nœ n œ œœ œ œ
œ œ œ œ œ nœ œ. œ. J ‰ ‰
œ

b
& b bbb œ nœ œ œ œ nœ œ bœ œ n œb œ œ œ œ œ n œ œ œ œ b œ œ œ œ œ œ
17

œ œ œ œ nœ œ œ œ œ œ
œ
F j j cresc. j j
? bb b ‰ œ œ nœ ‰ œ œ nœ ‰ bœ œ nœ ‰ bœ œ œ œ . œ .
b b œ œ nœ œ œ nœ bœ œ nœ bœ œ œ œ . œ . œ. œ.
œ. œ.
˙ ˙
b
, œ œ n œœ œ ˙‰ œ œ œ n œœ œ œ b œ œ œœ œ ˙œ œ œ œ b œœ œ
& b bbb œ œ œ œ œ œ œ œ œ œ œ œ
23

? ‰ ‰
˙. œS p
j j
œ ‰ œ œj b œ
stentato

? bb b œ œœ œ œ ‰ œ œj œ
b b œ œ œ œ œ ‰œ œ œ ‰
œ œ œ
œ œ œ œ œ bœ œ œ œ
œ

206 Folhas D’Álbum 3


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-11-

? bb b
29
œ œ œ b œœ .. œœ œœ n n œ˙ œ
. œ
œ
œ n œ n œœ œ œ
b b J ‰ & œ nœ œ
S dim.
œ œ œ
F j
cresc.

? b b œ œ œ œ œ œ ‰ œ œ nœ
œ œ œ œ œ bœ bœ œ œ ‰
b b b n œ œ . œ ‰
˙. œ œ nœ
œ


b
& b bbb œ œ nœ œ œ œ nœ œ œ œ œ nœ œ œ œ bœ œ œ œ œ œ
34

œ n œ œ œ œ œ œ œ˙ . œ œ œ œ œ
œ
j cresc. j j
stentato

? bb b ‰ œ œ nœ ‰ bœ œ nœ ‰ bœ œ œ œ . œ . œ
b b œ œ nœ bœ œ nœ œ . œ . œ œ
bœ œ œ œ . œ .
œ. œ. œ

, ˙ œ n œœ ˙ œ n œœ ˙ b œ œœ ˙
b œ œ œ œ œ b œœ œ œ œ œ
& b bbb œ œ œ œ
? ‰ œ œ œ ‰ œ œ œ ‰ œ œ
40

œS œ
p
j
cresc.

œ œœ j j
? bb b
b b œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ bœ ‰ œ œj œ œ œ œ œ
œ œ œ œ œ œ œ œ bœ œ œ œ œ œ

b œœ .. œœ œœ n n œ˙ œ œ œ n œ n œœ œ œ œ ‰œ
? bb b . œ œ œœœ ‰
46

J
b b & œ œ œ œ n œ œ ˙˙ ..
S S S
? bb b bœ œ œ œ ‰ œœœœ ‰ ∑ œ œ nœ œ
b b ˙. œ nœ œ . œ œœ &

b
& b bbb œ˙ œ œ œ ‰ œ œœœ.
51

∑ œ œœœ. ˙. œœ .. Œ ‰
˙ .. œœœ ˙.
S S
n œ œ œ œ.
bbbb œ nœ œ œ œ œ œ n œ œ œ n œ
rall. poco a poco e dim.

& b œ œœœœ ?
œ œ œ Œ ‰
œ œœ œ œ

207
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208 Improviso
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209
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210
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211 Melodia
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

212
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213
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214
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215 Nocturne
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217
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INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

Alberto Nepomuceno
2º Noturno em Sol Maior

Editoração: Luiz Guilherme Goldberg

piano
(piano)

5 p.

© Musica Brasilis, Rio de Janeiro, 2016

220
INDEX partituras brasileiras • brazilian international songbook online • concert music – vol. 1 Alberto Nepomuceno

para minha filha Sigrid

2º Noturno em Sol Maior


para mão esquerda

Alberto Nepomuceno

# 3 ∑ ∑ ∑ ∑
& 4
p
œ œ œ œœ œœ œœœ œœ œœ œœ œ
? # 43 œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
œ œ
œ œ

5
# ∑ œœ œœœ #œœœ œ # œ œ #œ
& œœœ œœ
œ œ # œœ œ œ œ œœ œœ œœ œœ # œœ œœ
cresc.

œœ œœœ p
?# œ œ œ œ œ œ œ œ
œ ∑
œ œ œ œ
œ œ œ

# œ
œ
œ œ # œœ œœ œœ œœ œœ # œ œ œ œœ œœ œœ œœ œœœ œœ œœ œœ œœœ œœ œœ œœ b œœ
10

&
dim. cresc. smorz.

?# œ œ œœ œ ∑ ∑
œ œ
œ œ

15
# a tempo
b - œ-
œ
rall.

œ b œ ∑ ∑
&
# œ b œœ œœ œœ œœ œœœ œ œ œ œ œ
p
œœ œœœ œœ œœœ œœœ
ritard.

?# ∑ œ œ œ ∑ œ
œ œ œ œ
œ œ œ œ
œ
œ

221
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2 2º Noturno em Sol Maior - Alberto Nepomuceno

# b œœœ n œ œ œ
sostenuto a tempo
œ ˙ b œœ œ œ œ.
20

∑ œœœ
b b œœ b œ
& n œœ œœ # œœ .. # ˙˙ œ
œ œ
cresc. S
œœ œœœ π
?# œ œ œ œ œ ∑ ∑
nœ œ bœ
nœ œ

#
Quasi adagio
44 43
25

& ∑ ∑ ∑
b b b œœœ b œ œ œ
p
dim.

b œ œ b œ œ .
b b œœ b œ
cresc.
?# bœ œ 44 b œ ˙ bœ œ bœ bœ bœ bœ œ bœ ˙ 43
bœ b˙ b œ œ b œ b œ b œ b œ œ b œ u̇

Tempo I
# 3 √
29
#œ #œ œ #œ œ . #œ ‰ #œ œ œ 44
& 4 œ # œ # œœ œ œœ œ œ
œœ œ # œœ œ œ œ .
# # œœ œ œ # œœ œœ
œ œ
J
? # 3 #œ ∑ #˙ . ∑ 4
4 4
#œ #˙ .

Molto expressivo
#### Ó
Quasi adagio
#
& 44
33 legato
Œ Ó ∑ œ
œ œ œ œ œ œ œ œ œ œ
S
ritard.
j j
j ‰ œœ œœ œœœ œœœ ‰ œ œ œ
? # 4 n˙
4 nœ œ œ œ œ ‰ #˙ #
nœ œ œ # w # # œ œ ‰ œœœ œJ Jœ œ ‰
n˙ nœ œ œ œ œ #˙ nœ œ œ w

####
œœ œ œ œœ œ œ
37

& œœ œ œ œ ‰ j‰ œ œ œ œ
œ œ œ œ
œ œ œ œ n œœœ œœœ Œ # œœœ œ œ œœ
J
? # # # # ‰ œœ œœj œœj œœ œœœœ ‰ œœ œœ œœ œœ
‰ ˙ ‰ œœ ‰
œ œ œ œ J J œ J
J
œ
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2º Noturno em Sol Maior - Alberto Nepomuceno 3

41
#### ∑ ∑
& # œ œœœ œ œœœ n œœœ œœ œ œ‰ œ œ
œœ œ œ œ
œ
J J œ p
œ ‹œ œœ Œ œœœ ‹ œœœ œœ ‰ œj œj ‰
? # # # # # œœœ œœ ‰ œœ œ ‰ œœœ œœœ œœ # œœœ œ ‰ œœœ # œœ œ˙œ
J J ˙ ˙ J ‰ J ˙ œ
˙ ˙ ˙ ˙ œ

j œœ œ œ precipit.
45
####œ œœ œ œ nœ œ œ œœœ œœœ œœ œœ œœœ œœ œ œ œ œ œ œ œ
‰ œ œœ
& œ œ
œ œ œœ œœ Œ œ œ œ # œœ
œ œ œ œ œ n œœ œœ œ œœ n œœ œœ œ œ œ
f ƒ
˙ ˙˙˙ # œœ
? #### ∑ ∑ œ n œJ œJ œ # ˙˙˙ ˙ n œ n œJ œ ‰ ‰ n œœ
J J
œ œ nœ

# ##
3

œœœ
3 3

& # #œ œœœœœœœœ œ
49

Œ ∑ ∑
3

#œ œœœ œœœœœœœœ œ ˙˙
stent. j
œ œœ nœ œ n œœ œœ œœ ˙ œœ œœ œœ œœ œœ œœ œœ œœ bœ ‰
? # # # # œœœ œœ n œ œ ‰ ‰ œœ œœ œœ ‰ ˙ n œ œ œ nœ ‰ ‰ œ œ œ nœ ‰ b œ b œ
J ‰ J J J Œ œ Œ nœ
œ nœ

####
declamando
53

& ∑ ∑ Ó b œœ ‰ b œŒ bœ bœ nœ œ
œ Ó
F p
dim. p
? #### bœ n œ nœ bœ ‰ Ó œœ œœÓ nœ nœ bœ
j J
w w nœ bw nœ
w w bw

57
####
& bœ œ bœ bœ œ œ ˙ œ bœ nœ œ nœ œ nœ œ œ œ bœ nœ œ nœ bœ ˙

? #### œ ‰ n œ œJ ‰ Œ
œ œ
‰ n œ n œœœ œœœ ‰ Œ ∑ ∑
nœ nœ J J
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4 2º Noturno em Sol Maior - Alberto Nepomuceno

# # n n n # 43
& # # b˙
61

∑ ∑
œ nœ nœ œ bœ œ ˙
π