- 1 -

Edição:
Prof. Durval Cesetti (UFRN)
Edição:
Prof. Durval Cesetti
Bolsistas:
Pedro Hiago de Albuquerque
Bolsista:
Vivaldo do Nascimento Neto
Renan Julião Grimaldi
Revisão e consultoria técnica:
Prof. Guilherme Rodrigues (UFRN)
Consultoria técnica:
Profa. Heather  
Dea Jennings (UFRN)
Matheus Rocha
Prof. Matheus (IFCE) 
Rocha (IFCE)
Profa. Nan Qi (UFRN)
 
Capa
Capa ee diagramação:
diagramação: 
Fernanda FerreiraSantana
Fernanda Ferreira Santana Silva
Silva
Victor Rodrigues
Victor Rodriguesde Oliveira
de Oliveira 
 
Escola deMúsica
Escola de Músicadada UFRN 
UFRN
Natal,
Natal, maio de2021
julho de 2022

- 2 -
O manuscrito desta obra faz parte do acervo de Oriano de Almeida que está sob os cuidados da Escola de Música da UFRN:
The manuscript of this work is part of Oriano de Almeida’s collection, which is under the care of UFRN’s School of Music:

Esta peça pode ser ouvida no seguinte link:

This piece can be listened in the following link:
bit.ly/orianosuite - 3 -
 Suíte Op. 1
I - Improviso
A Juliana Wagner Oriano de Almeida
(Natal, 1938)

  
Andantino con moto
            


     

       
dolce

  
 

       
3

 


 
         
    
  
 
 

5
         
  


      
     
 
 


7
            
       


 

 poco
   
   
 

- 4 -
 9
              
     


 
  
 


cantabile
   
    

         
11

    


     
 
espressivo

     
   

         
13

  


  
      
poco rit.

   

  
   

     
         
 
15

      


  
   
a tempo

   


   

      
     
17

  


     
  

    
 

- 5 -
   
    
  
29

   



 


     
 
    


   
  

   

 
    
 
 
31

 



   
poco rall.
    
 ma a tempo
      
 

      

  
 
33

   



   
    
senza rall.
      
 
 

 
 
35
      
 


     

dolce ed molto tranquilo

    
 

- 7 -
 Suíte Op. 1
II - Arabesque
A Juliana Wagner Oriano de Almeida
(Natal, 1938)
senza rigore di tempo

         
            
5

       



   
dolce
   
           
   

  
7
        
            


       
       

a tempo
       
   
13
            

           


     
          


  
animando
poco rit.
    
    
   


5

             
 
19

         


        
  
   
sempre più mosso e cresc.
  


  
 tempo primo

      
    
5
    
     
24

 



  




   
poco rit.

      
    
  
 

- 8 -
                
5
64

     
               


 


  
  
     

  
 


             
70

       


        
         




   
poco a poco affretando
        
poco rit.

    

 5 

      
76
           
            


    
 

poco rit.

     


   
tempo primo
 
81
           





   
dolce

dim. ma senza rallentare

     
 

        
 

5

 
85

 


   5


  
 

- 10 -
 Suíte Op. 1
III - Valsa

A Juliana Wagner Oriano de Almeida

(Natal, 1938)

Allegretto

      


       
   
    



     


       
   
    

9
          
         


    
  
    


13      
             


  
    


         
    
17

         


    

    
sempre piano

- 11 -
21
        
          


 
   
    

       

25

          
  


  
 
    

      
     
29

    

      


   

      
 
33

 
 
  
 
  

  

 

       
  
37

           
      

41
  
          


 
      
    

- 12 -
45

      


        

 

  
   
 

49

   
   


    
  
    
    
 
53
          
    


        
   
    



     
 
57

         


 
   
  

              
 
61

  

 
      

 
 
 

      
 
65

              
  

- 13 -
69

    
     

          
    

 
73

          


 
 
   
 

    
77
           
     

 

 
 

 



    
   
    
81

    

 
  
 
 

         
85

  


     
  
 
     
semplice ed cantabile

       

89

     


    
  
   

- 14 -
         
   
117

         


 
 
    


121      
            


    

    


         
  
  
125

     


   
   
    

       

129

        

      

   

          

  
133

             
     

      
 
137

   
            
        


- 16 -
     
 
141

       


 
    
     

   
145

     


    
      
     
poco rit.

   
 

150

              


        
   
 
a tempo
   
       


 
  
155

       


  
    



     
       

- 17 -
Conheça a Escola de Música da UFRN:

musica.ufrn.br