CHIQUINHA GONZAGA, BRAZILIAN MUSICAL TRAILBLAZER
A Dissertation Submitted to the Temple University Graduate Board
in partial fulfillment of the requirements for the Degree DOCTOR OF MUSICAL ARTS
by Silvanio Reis May 2019
Examining Committee Members:
Dr. Joyce Lindorff, Advisory Chair, Department of Keyboard Studies Dr. Charles Abramovic, Department of Keyboard Studies Dr. Cynthia Folio, Department of Music Studies Dr. Lindsay Weightman, External Reader, Department of Music Studies
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© Copyright 2019 by Silvanio Reis All Rights Reserved
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ABSTRACT
Previous literature on the life and music of the Brazilian composer Francisca
Edwiges Neves Gonzaga (1847-1935) reveals her as a historical figure of cultural and musical significance. Her contributions to society include political leadership in Brazilian campaigns for the abolition of slavery and artistic copyright. She also became the first female conductor in Brazil and shaped the music of Carnaval as it is known today in
Brazil.
However, her music is not well-known outside of Brazil, and her piano music has not received the attention that it merits. In addition to a closer look at her compositions for piano, this monograph offers biographical and musical details of Gonzaga’s unique career, including her role as a female composer amidst a patriarchal society; her pioneering synthesis of traditional Brazilian and European classical style, and a discussion of her place among her better-known Brazilian contemporaries, Ernesto
Nazareth and Heitor Villa-Lobos. The last chapter presents interviews with living musicians—a pianist, a traditional folk artist and a musicologist—who have each continued the traditions of Gonzaga’s music to the present day.
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ACKNOWLEDGEMENTS
First and foremost I would like to thank God, who have always provided everything I need to continue my journey. I would like to express my deep appreciation to my advisor, Dr. Joyce Lindorff, who has mentored me. She has supported and encouraged me during this dissertation, as well as my growth as a music scholar. Her astonishing musical craftsmanship has influenced and shaped the way that I approach music profoundly. Her advice on both research and career has been invaluable.
I gratefully acknowledge my dissertation committee members, Drs. Charles
Abramovic, Cynthia Folio and Lindsay Weightman for serving as my committee. Their insightful comments and suggestions made my defense a very enjoyable experience.
I am particularly grateful to Dr. Charles Abramovic, whose musicianship and teaching have inspired me every day. His extraordinary musical talent as well as his love and respect for music have had a deep impact on me.
I would like to express my gratitude to Professor Maria Del Pico Taylor who has been a wonderful mentor. I appreciate her encouragement, teaching, prayers and genuine friendship throughout my studies at Temple University. Her incomparable musical gift, love for teaching and compassion to everyone around her influenced me immensely.
I would like to thank all my previous piano professors who offered their best during my early musical education: Drs. Sergio Gallo and Mauricy Martin, Prof. Phillip
Thomson, Ms. Rosana Bertan, Ms. Regina Barbosa Marques and Ms. Roberta Ferreira.
A special thanks to Dr. Evandro Domingues, Dr. Helga Engel Domingues, Ms.
Elizabeth Bergner, Mr. Tato Fischer, Mr. Celso Egreja, Mr. Olair de Almeida and his
v wife, Ms. Rosali Luzia Ferrari. I would not have accomplished what I have if it were not for your love and support during my childhood and adolescence in Brazil.
A very special thanks to my family: My father, Gumercindo dos Reis; my mother,
Lúcia Maria dos Santos Reis; my siblings Marilene, Rosângela, Wagner, Rosirene, and
Edna; my nieces and nephews Grasielly, Camila, Bianca, Rodrigo and João
Pedro. Their unconditional love and ceaseless support encourage me every day.
I would like to extend my gratitude to the Branovacki, Elliot, LaMastra, Keiter,
Locken and Das families. I am sincerely thankful for all their love and support throughout the past ten years.
Finally, I would like to thank the Boyer College of Music and Dance and the music faculty for providing a wonderful educational support system. In addition, I would like to thank all my dear friends and students who have shared their lives with me and inspire me every day.
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TABLE OF CONTENTS
Page ABSTRACT……………………………………………………………………………...iii
ACKNOWLEDGEMENTS………………………………………………………………iv
LIST OF TABLES………………………………..…………………………………….viii
LIST OF ILLUSTRATIONS…..……………..…………………………………………..ix
LIST OF EXAMPLES…………………………………………………………………….x
CHAPTER
1. INTRODUCTION…………………………………………………………….1
The Life and World of Chiquinha Gonzaga……….…………………….11
Gonzaga as Piano Teacher………………….……………………………28
The Piano in the Nineteenth Century in Brazil………...…..…………….31
2. IT TAKES THREE TO TANGO BRASILEIRO……………………………33
3. OVERVIEW OF SELECTED PIANO WORKS……..……..……….…...... 49
Atraente…………………………………………………………………..50
Gaúcho – Corta-Jáca…………...……………………..………………….57
Meditação………………………………………………………….……..65
4. INTERVIEWS……………………………………………………………….71
Ms. Eudóxia de Barros …...……………………………….……………..71
Mr. Gumercindo dos Reis …...…………………………………………..75
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Mr. Alexandre Dias……………………………….……………………...80
CONCLUSION…………………………………………………………………….…….85
REFERENCE LIST………………………………………………….…………………..88
APPENDICES
A. GONZAGA’S CONTEMPORARIES…………...………..……………………..92
B. GONZAGA’S MUSICAL LINEAGE…………………………….……………..93
C. COMPARATIVE CHART OF GONZAGA’S, ERNESTO NAZARETH’S AND HEITOR VILLA-LOBOS’S LIFE EVENTS ………………….………………..94
D. GONZAGA’S CHRONOLOGICAL WORKS CATALOGUE.……………………….…………………………….....99
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LIST OF TABLES
Table Page
1. Gonzaga’s Pupils……..…….……………………………………….………………...29
2. Rhythmic Cells Adopted by Gonzaga and her Contemporaries…………..……....…..43
3. Comparative Chart of Chiquinha Gonzaga’s, Ernesto Nazareth’s and Heitor Villa-Lobos’ Life Events…………………….....……………………………………..94
4. Gonzaga’s Chronological Catalogue of Works …………………...……….…………99
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LIST OF ILLUSTRATIONS
Illustrations Page
1. Gonzaga’s Parents …………………………………….………………...……………13
2. Gonzaga’s Baptism Certificate...……………………………………………………..14
3. Gonzaga’s first composition composed in 1858 (Lira 1978, 25)……………………..18 4. Gonzaga’s two sons: João Gualberto and Hilário ………………...………...... 21
5. Gonzaga’s daughters: Alice and Maria …………..…………………………………..22
6. Gonzaga at Sociedade Brasileira de Autores Teatrais …...……………………..……25
7. Gonzaga at the age of 85……………………...…………………………….....……...28
8. Cover of the music Antonieta by Barroso Neto……………………………….……...30
9. Hand-written dedication by Barroso Neto to Gonzaga………………...... ……..30
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MUSICAL EXAMPLES
Example Page
1. Gaúcho – Corta-Jáca, mm. 1-4. (Gonzaga 2011)………...………………...…….…..44
2. Odeon, m. 41-50. (Mangione & Filhos 1968)……….....….………………...………..44
3. Gaúcho – Corta-Jáca mm. 5-8. (Gonzaga 2011)……………...…..……………...…..45
4. Choro No.5 Alma Brasileira, mm.25-26. (Casa Arthur Napoleão, 1925)...……...…...45
5. Choro No.5 Alma Brasileira, mm. 1-4. (Casa Arthur Napoleão 1925)...…….…...…..46
6. Odeon, mm. 1-5. (Mangione & Filhos 1968)….…………...…...…………...... 46
7. Atraente, mm. 42-43. (Gonzaga 2011)….…………………...……………...………...47
8. Odeon, mm. 1-2. (Mangione & Filhos 1968)……...…....…………….…….………...47
9. Atraente, mm. 55-58. (Gonzaga 2011)….………………………..………….…….….47
10. Odeon, mm. 51-55. (Mangione & Filhos 1968)...….………………………………..48
11. Choro No.5 Alma Brasileira, m. 76-79. (Casa Arthur Napoleão 1925)………….....48
12. Atraente, mm. 1-4, Introduction. (Gonzaga 2011)………....………………...………51
13. Atraente. m. 5. (Gonzaga 2011)…….……….…………………..……….…..…....…51
14. Atraente, mm. 1-4, Introduction, left hand. (Gonzaga 2011)…….….....…….….…..52
15. Atraente, mm. 5-13. (Gonzaga 2011)….……………………...………....………..…52
16. Atraente, mm. 5-13. (Gonzaga 2011)..….…………..……………...……....………..53
17. Atraente, mm. 17-21. (Gonzaga 2011)……...….………………………...………….54
18. Atraente, mm.23-27. (Gonzaga 2011)…..………...…...………...……..…..……...... 54
19. Atraente, mm. 30-32. (Gonzaga 2011)………………..……...……….....…..…...... 55
20. Atraente, m.42. (Gonzaga 2011)……..………...…..……..…………….……...... ….55
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21. Atraente, mm. 43-46. (Gonzaga 2011)...... ……….…………………...…….....….....56
22. Atraente, mm. 47-50. (Gonzaga 2011)...... ……………………...... ………………..57
23. Atraente, mm.55-58. (Gonzaga 2011)...... ………………...……...…………..…..….57
24. Gaúcho – Corta-Jáca, mm. 1-4. (Gonzaga 2011).....……………………...... …..59
25. Gaúcho – Corta-Jáca, mm. 1-2, left hand accompaniment. (Gonzaga 2011)………………..……………………...…59
26. Gaúcho – Corta-Jáca, mm. 1-2, left hand accompaniment. (Gonzaga 2011)…………………..……...……..……...... 60
27. Gaúcho – Corta-Jáca, mm. 5-8. (Gonzaga 2011)……….……………....……...…...60
28. Standard Rhythm of choro ………………...………………….………………….….60
29. Gaúcho – Corta-Jáca, mm. 13-17. (Gonzaga 2011).…..…………...………….…....61
30. Gaúcho – Corta-Jáca, mm. 13-17, left hand. (Gonzaga 2011)…………..………….61
31. Gaúcho – Corta-Jáca, mm. 18-22. (Gonzaga 2011)…….………………...... ….62
32. Gaúcho – Corta-Jáca, mm. 23-24. (Gonzaga 2011)…….………………...………...62
33. Gaúcho – Corta-Jáca, mm. 23-27. (Gonzaga 2011)…….……………………….….63
34. Gaúcho – Corta-Jáca, mm. 25-28, left hand accompaniment. (Gonzaga 2011)…………..……………………………...63
35. Gaúcho – Corta-Jáca, mm. 23-32. (Gonzaga 2011)…...…………….……..…...…..64
36. Gaúcho – Corta-Jáca, mm. 33-40. (Gonzaga 2011)………………...….……...…....64
37. Gaúcho – Corta-Jáca, mm. 41-44. (Gonzaga 2011)………...………….…..…...…..65
38. Meditação, mm. 1-8. (Gonzaga 2011)….…...…………………...…...….…………..66
39. Meditação, mm. 7-19. (Gonzaga 2011)…...... ………………………...………..…...67
40. Meditação, mm. 13-16. (Gonzaga 2011) ……...………………………...... ……...67
41. Meditação, mm. 25-30. (Gonzaga 2011)………………………………………….....68
42. Meditação, mm.61-72. (Gonzaga 2011)…….………………...…...………………...69
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43. Meditação, mm.33-39, seven-bar phrase. (Gonzaga 2011)…..……...……...…….....69
44. Meditação, mm.61-72, ten-bar phrase. (Gonzaga 2011)……………..……...……....70
1 CHAPTER 1 INTRODUCTION
The more I studied the life and the musical education of Francisca Edweges
Neves Gonzaga, the more I realized how much up close and personal this topic is to me.
Most of my musical upbringing took place in the world that evolved around me as a child, in Penápolis in the State of São Paulo, Brazil: my father’s rich tradition in folklore music and oral tradition, along with his accordion playing, the sounds of the developing culture manifested in street vendors, music performances in the squares of the city, the dancing and singing of popular rhythms rooted in Brazilian traditions and the reality of making the best out of the circumstances to which we are exposed. These were powerful parallels that I found in Gonzaga’s life story. Reading her biography was an education about what life was like back then and realizing that many of the social obstacles and the political decisions made in the 1800’s have carried their marks to the present. Transported back to my childhood, playing the piano in my father’s folklore band, I realized that Gonzaga and
I share the same cultural background, even set 130 years apart.
This research grew out of an increasing awareness on my part that the piano music of Gonzaga deserved to have more attention than it has received. As I started to conceptualize this document, it became clear that my own background could contribute significantly to the field. My first encounter with Gonzaga took place while I was a student at the Instituto de Música e Artes de Penápolis. The director of the Conservatory handed me a book of a selection of music along with a note, which was written in red pencil on the front cover: “you must learn all the music.” I was not surprised by her note,
2 for it was not the first time that she indirectly advised me in such a manner. She was a very influential woman in my early musical education whose vision was always beyond anyone else’s – a very intelligent, independent, knowledgeable and well-traveled scholar who always guided me not only through my musical education, but also in life. Her artistic and keen eyes always emphasized the importance of being an ambassador for
Brazilian music. Now I realize that she already knew Gonzaga had something to say through her music and there was a need for someone to communicate her voice.
The book that she gave me was a copy of the 1988 edition published by Irmãos
Vitalle. It contained a short biography written by José Domingos Raffaelli and twelve pieces, which were modern editions of original pieces and arrangements. The contents of the book lists: Ó abre-alas and Lua Branca, from the operetta O forrobodó; Gaúcho, from O corta-Jáca; Annita, Saci-pererê, Overture, and Recitative, from the operetta A corte na roça; as well as Meditação; A dama de ouros; Carlos Gomes; Não insistas rapariga; Atraente e Viva o carnival. The arrangements of Ó Abre Alas and Lua Branca were by Claudio Hodnik, and the editor was Ulisses de Castro. I did learn to play one or two pieces from the book at the time and the item ended up being stored in my little music library. When I moved to the United States in 2004, I brought it along with other musical literature that was closely connected with my Brazilian musical heritage.
The years in college took me to different parts of the country and consequently, my full library did not follow me when I moved to Philadelphia. In 2016, I was able to retrieve the last portion of my archives, and it was quite touching to be reunited with so much personal history. While taking the romantic performance practice course taught by
3 Dr. Joyce Lindorff in the spring of 2017, I remembered that I had this very special and relevant collection of works by a Brazilian composer. I was delighted to revisit the book that had been given to me during my early piano studies, entitled “O Melhor de
Chiquinha Gonzaga – peças originais e arranjos para piano” (The best of Chiquinha
Gonzaga – original and arranged works for piano).
The research project for the end of that semester was my first step toward the discovery of Francisca Edwiges Neves Gonzada as an important figure in the musical history of Brazil. After presenting “Chiquinha Gonzaga, Brazilian Musical Traiblazer,” it was still not clear to me if that was the right direction for my doctoral monograph, but it was a welcome opportunity to explore a topic that was so connected to the culture into which I was born. The more I researched, the more I realized that her music matched the sounds of my father’s accordion playing. The waltzes, polkas, mazurkas, quadrilles, marches and other songs of folklore tradition were exactly what I had heard and learned from the cherished playing with my father, which were filled in with improvisations and freedom of musical expression. I found myself totally involved in the legacy of Gonzaga.
The decision to pursue Gonzaga’s music as my dissertation topic was affirmed during my lecture on her music in the symposium, “She Persisted: Women in Music,
Then and Now,” that took place in late fall of 2017 at Temple University. The instincts of my advisor, Dr. Lindorff, in our early discussions about a topic, were confirmed by how well the topic was received. The positive response from the audience and the reaction that
I saw in people’s faces while listening to her music revealed what I needed to see, and convinced me of the worthiness of my project.
4 The main sources I consulted were published in Brazil and written in the
Portuguese language. They are listed below in chronological order:
1. Bôscoli, Geysa Gonzaga de. A Pioneira Chiquinha Gonzaga. Natal: Departamento de Imprensa, 1978. 2. Lira, Mariza. Chiquinha Gonzaga, Grande Compositora Brasileira. (Fundação das Artes), 1978. 3. Salles, Walter Moreira. “Instituto Moreira Salles.” Ims.com.br, Unibanco, 1990, https://ims.com.br/. 4. Diniz, Edinha. Chiquinha Gonzaga: Uma História de Vida. Jorge Zahar. Rio de Janeiro, 2009. 5. Braga, Wandrei. “Chiquinha Gonzaga.” chiquinhagonzaga.com, Instituto Piano Brasileiro, 2013, chiquinhagonzaga.com/wp/.
The three earliest biographies highlight Gonzaga’s life history through her experiments, motivations and frustrations, which shaped the pioneering and victorious character that evolved from her infancy until her last breath. They depict her pioneerism and victorious character as qualities that existed from the moment that she was born and which remained throughout her entire journey.
Edinha Diniz writes in the first pages of her book, “The one that would become known as a woman of audacity, the composer Chiquinha Gonzaga, came to life aware of the danger and knowing how to conquer it.”1 (Diniz 2009, 23). All the sources present, each in its own way, the fact that Gonzaga revealed, from birth, an innate connection to the art of composing and to the piano. Her nephew and biographer, Geyza Bôscoli, writes,
“In the beautiful and radiant morning of October 17, an artist was born!” (Bôscoli 1978,
17). They agree on the particulars of her life: her socialization within a prestigious family in Rio de Janeiro, her intellectual and musical development, her controversial relationships and role as a mother. In addition, Diniz notes that the earlier biographies of
1 All English translations by Silvanio Reis
5 Lira and Bôscoli show discrepancies in reporting Gonzaga’s life events. They conceived moralizing visions, which concealed more than revealed. All the biographies are based on accounts of her contemporaries and musicians, travellers and other historians that offered documents in the form of personal letters, newspaper articles and oral traditions that have been passed through generations.
The literature presented reveals significant data regarding Gonzaga as a historical figure of cultural and musical importance. However, the dearth of studies dedicated to her music, especially her piano repertoire, leaves an area that still needs to be explored.
Cristina Magaldi provides a very short description of her life and briefly mentions her major contribution as a political activist in Brazilian campaigns for the abolition of slavery and artistic copyrights. It also praises her as the first female conductor in Brazil. But her article does not fully cover Gonzaga’s compositions and musical contributions (Magaldi 2001). Robervaldo Linhares Rosa mentions Gonzaga in his thesis, written in Portuguese, which is based on the argument that performances of working pianists are a product of numerous historical developments (Rosa 2012). Ana
Paula Machado Simões recently produced a document that explores Gonzaga’s waltzes and tangos for piano approached from a pedagogical standpoint (Simões 2018). Rebecca
Lin Chen developed a document that tries to trace the development of piano music in
Brazil based on historical and social context of some composers, including Gonzaga
(Chen 2012). Carla Crevelanti Marcilio wrote specifically about the relationship of
Gonzaga and Maxixe (Marcilio 2009). In “O Balanço de Chiquinha Gonzaga: do
Carnaval a Opereta” (The swing of Chiquinha Gonzaga: From Carnaval to Opereta),
6 Adriana Fernandes compares some music by Gonzaga and proposes to establish relationships between her operettas and her other works (Fernandes 1995).
The above literature reveals generally the musical scenario or the history of
Brazilian culture without including Gonzaga’s specific and isolated importance as a composer and creator. Overall, they tend to view her music in context with the subject they are exploring: a social context, elements in Brazilian music or a pedagogical approach.
There are two important online sources: The Instituto Moreira Salles (IMS),
(https://ims.com.br/) and Chiquinha Gonzaga (http://chiquinhagonzaga.com/wp). IMS, under the supervision of Bia Paes Leme, has held Gonzaga’s personal and original musical archives since 2005. It contains her musical manuscripts, personal music library, letters as well as early first editions of her works. The collection consists of 1,112 musical scores in a grand total of 24,644 pages. The second source came to fruition in
2011 through the initiative of Wandrei Braga and Alexandre Dias, in cooperation with
Diniz and several other Brazilian musicians interested in creating a website dedicated to
Gonzaga’s life and compositions including pianists Clara Sverner and Maria Tereza
Madeira, historian Maria Clara Wasserman and musicologist Karla Estelita Godoy. It contains the first modern notations of unpublished works. While extremely valuable, the musical archive is organized in alphabetical order, which makes it somewhat difficult to navigate. The nearly 300 scores available on the website include Gonzaga’s oeuvre in music for solo piano, ensemble, sacred music and songs. In addition, the site offers a
7 section of articles, dissertations, discography and biographical material about the composer.
To date, the above constitute the material presently available in the Portuguese language. Due to the need for an organized listing, I provide a chronological organization of her compositions, as far as that is possible, in Table 4 found in Appendix D. I believe it is helpful to offer a chronology of Gonzaga’s development alongside her life events.
The few dissertations found in the English language address her operettas and her most famous piano works, but none of them address the full spectrum of her keyboard works.
Gonzaga’s importance to the conception of the Brazilian musical identity is undeniable. However her music reception has not been given the stature that it deserves in the foundation value of the Brazilian culture. Although Gonzaga enjoyed respect and recognition as a composer by the end of her life in 1935, it was not until a half century later that her history was revisited. Her music was, indeed, absorbed and sought after among popular music performers who created a space for her music in salons and popular music venues. But the reception of her music, in terms of art music, is still a work-in- progress. The globalization and the openness to diversity and cultural exchange during our present day have provided a strong and significant opportunity to bring her music to recital halls on an international level. In addition, the border between what is considered classical or popular music has progressed into a balance, which provides space for intelligent creativity. However, I strongly observe a significant difference in the reception of her music by Brazilian audiences, when contrasted to international audiences. In Brazil, performers have a more difficult time programming her music amidst traditional
8 European composers. This aesthetic is rooted in colonial times, which reinforced the mindset that highbrow culture was centered in Europe. By contrast, on an international level, the sound of Gonzaga’s works provide to audiences a fresh, simple and yet profound musical meaning in contrast to the musical canon that became such a “universal” representation of art music.
In 1999 Gonzaga gained attention for the first time after her death through a TV mini-series featuring the composer’s life. It was a show containing thirty-eight episodes broadcast between January and March of 1999 by TV Globo (Muniz and Moralles 1999), the biggest television network in Brazil. The mini-series brought national awareness to
Gonzaga’s biography (adapted in soap opera style) and featured a few of her musical works, including Oh Abre Alas, Atraente, Lua Branca and Gaúcho. However, it was not until recently that significant progress was made in the popularization of Gonzaga’s music via the accessibility to her works through the websites mentioned above.
In order to understand her significance, I place Gonzaga’s merits alongside two better known composers who are of major importance to the Brazilian musical identity:
Ernesto Nazareth (1863-1934) and Heitor Villa-Lobos (1887-1959). The three represent
Brazil’s national music in a time frame between 1847 and 1959, a span of 112 years of music history. These composers share a Brazilian musical heritage rooted in the tradition of choro. Each contributed to the structure and synthesis of this style as a genre that represented Brazil’s soul after its declaration of independence from Portugal. Gonzaga’s compositions, rather simple in their harmonic structure, yet filled in with profound melodic lines, paved the way to compositional material used by Nazareth. She transcribed
9 to the piano the sounds that she heard on the streets, the dance of slaves and the blend of
African-Brazilian dances. She represented in musical form the freedom that her inner soul hungered for suppressed by a patriarchal society. Ernesto Nazareth’s elegance and
Chopin-like treatment of waltzes, along with other European musical traditions, shaped his musical works with abundant harmonic treatment and lush, refined sound. His knowledge of theory and harmony expanded the maxixe, a genre deeply explored by
Gonzaga, to what later became the “tango Brasileiro.” He gave the music of the choro the classical structure and form that defines it today. However, his overall musical oeuvre was not as varied as Gonzaga’s.
Born nearly in the last decade of the nineteenth century, Villa-Lobos was the first composer to represent Brazil on an international level. The sound of his music crafted a rhapsodic approach to Brazilian folklore through complex harmonies and elaborate rhythms. His adoption of instrumental technique and sonority came from his early observations, from the top of the stairs, of informal musical gatherings held in his parent’s house. He also studied treatises on composition privately (Wright 1992, 2). In the early twentieth century, around 1900, he travelled to Brazil’s most distant places to collect folklore as well as ethnographical and musical traditions. His excitement and passion for nationalistic music writing resulted from these trips.
Gonzaga’s music represents and leads the birth of the Brazilian national sound.
She is, indeed, one of the many female composers that still deserve musical recognition.
In Women Composers: The Lost Tradition Found, Diane Jezic lists certain conditions that are necessary for women to maintain a musical career: “specialized music education, a
10 publisher or music copyist, performances of work, an audience and some level of acceptance or encouragement of women in a male-dominated field” (Jezic 1994, 1).
Female composers frequently started out as performers and then adopted genres considered “appropriate.” Gonzaga’s musicianship is historically unique because she did not come from a musical family or belong to royalty. She was not married to a famous composer or work in an all-female environment. Her musical resources were her own.
The intent of this document is to present Gonzaga’s music, honoring her importance not only as an outstanding human being but also as a pioneer that led many composers, shaping a national musical identity.
Chapter 1 focuses on Gonzaga’s biography. She lived a very intense and adventurous life devoted completely to herself and her art. It will focus on her musical development and education.
Chapter 2 discusses her role as a female composer in a patriarchal society.
Women sustained close to a semi-slave role in early nineteenth-century Brazil. The scenario changed slightly with the temporary relocation of the Portuguese royal family to
Brazil (1808-20). I intend to demonstrate Gonzaga’s stature as a composer, including in the discussion two of her musical contemporaries: Ernesto Nazareth and Heitor Villa-
Lobos. In addition, I provide a comparative chart of events in their lives located in the
Table 3, found in Appendix C.
Chapter 3 presents selected piano works by Gonzaga, with analysis and discussion of elements of Afro-Brazilian rhythms that made their way into the musical salons of
Brazil. There exists an extensive exchange of culture among Portugal, Brazil and some
11 regions of Africa. Such factors enabled subtle fusions in cultural developments in the arts as well as in the language, and are present in Gonzaga’s music.
Finally, it is impossible to ignore oral tradition and folk music influence in
Gonzaga’s style. Therefore, Chapter 4 is dedicated to interviews. The subjects include Ms.
Eudóxia de Barros, a prominent pianist in Brazil dedicated to the composer, Mr.
Alexandre Dias, creator of the website dedicated to Gonzaga, and my father, Mr.
Gumercindo do Reis, whose Brazilian musical language encompasses knowledge passed orally from generation to generation.
Gonzaga’s life story stands alone as a genuine example of perseverance and inspiration. Her music, particularly keyboard repertoire, deserves to remain timeless. This document has the intent of making a strong case for her music, especially keyboard music, which stands on its own. The beauty and creativity of her melodies are a personal testimony of values. These sounds deserve to be performed in concert halls, so everyone can hear the music of Gonzaga, the “Brazilian Musical Trailblazer!”
The Life and World of Chiquinha Gonzaga
The origin of a nation and its unique identity is a collection of elements shaped by a large (most likely dramatic) series of events that sculpt its history. Brazil was not an exception to this model. Before its “discovery,” in 1500, an indigenous population of approximately 7,000,000 people inhabited its land (Levine 2003, 32). When the
Portuguese arrived, they encountered an indigenous society separated in several tribes and subgroups whose history was marked by frequent wars triggered by their divergent
12 culture, beliefs and language. The process of colonization and the expansion of the land, as a Portuguese colony, brought in slaves that were imported from Africa. This miscegenation and the cultural-racial exchange among Brazilian native inhabitants,
European settlers and African slaves, are the basis of what constitutes the early Brazilian society. As the colony started to move towards a modern nation and urbanization, the society was polarized in the relationship between the slaves and the Europeans. It is in this backdrop that our protagonist takes center stage in the mid 1800’s.
In the mid-nineteenth century, Rio was inhabited by around 250,000 people, the majority being slaves. The sewer system was precarious, and the streets were not paved; they were dusty and muddy. Carriages delivered mail and drinking water. Rio de Janeiro, the temporary capital of Brazil, had a unorganized traffic in which trolleys, carriages, buses, people and animals flowed in all directions until 1847, when the Imperial Brazil proclaimed changes in the urbanization, such as creating of traffic patterns in the street.
The population was divided into two distinct levels: the lord system, which followed the cultural aesthetics from Europe and the slaves, who were governed by African traditions.
Edinha Diniz describes the birth of Gonzaga as being a very difficult day for both mother and child. The newborn to a humble home in the city of Rio de Janeiro needed urgent medical attention. Being of slave descent, her mother, Rosa Maria Neves de Lima tried to hide herself and her baby as much as possible. Her heritage made them vulnerable targets in the social hierarchy and ineligible for medical care. Concealing the name of the father was of extreme importance.
13 The father, José Basíleu Gonzaga (a Caucasian military official) was away and returned to Rio three months after the baby’s birth. Rosa was afraid but to her surprise,
José Basíleu wholly embraced the infant as his own.
Illustration 1. Gonzaga’s Parents: left Rosa Maria Neves de Lima, right José Basílio Gonzaga. Retrieved from “Acervo Chiquinha Gonzaga,” accessed January 11, 2019, http://chiquinhagonzaga.com/wp/album-de-fotos/. Reproduced with permission.
This beautiful and genuine gesture was sealed with the baby’s baptism on
February 16, 1848. The Church of Santana, in Rio de Janeiro, documented her baptism as mentioned on its Book of Baptisms Number 5 on page 312:
14
@>·.. .·..-A .IlOQUIA.. DE SANTANA ·. r NO ARCEBISPADO DO RIO DE JANEIRO
Õ C'f?.euerendissimo denhor CVi9ririo da :fre9uesia de clantana, cetlij/ca que, reuendo os
• ------· ------. ------__..
I I
Illustration 2. Gonzaga’s Certificate of Baptism. Retrieved from “Instituto Moreira Salles: Chiquinha Gonzaga Digital Archives”, accessed January 11, 2019, http://fotografia.ims.com.br/musica/#1548264460917_6. Reproduced with permission.
Francisca aos dezesseis dias do mes de junho de mil oitocentos e quarenta e oito nesta Freguisia quis unicamento os Santos Oleos, por ter sido batizada em perigo de vida pelo Reverendo Jeronimo Maximo Rodrigues Cardim a inocente Francisca, nascida em dezessete de outubro do ano proximo passado, filha natural de Dona Rosa Maria de Lima, solteira: foi proterora Nossa Senhora das Dores, e padrinho Antonio Basileu Neves Gonzaga; e nesta ocasiao compareceu Jose Basileu Neves Gonzaga e em minha presenca e das testemunhas com ele abaixo assinadas, que disseram reconhece-lo pelo proprio, que a inocente Francisca era sua filha, por tal a tinha, reconhecia e legitimava, como se nascesse de legitimo Matrimonio e para qualidade deste termo assinou comigo, e as testemunhas que foram: o Dr. Antonio Felix Martins e Mamede Jose da Silva Passos de que fiz esse assento que assinei: (ass) O coadjuator Fernando Pinto de Almeida. José Basíleu Neves Gonzaga. (Instituto Moreira Salles n.d.)
15 (Francisca, on the sixteenth day of the month of June of the year eighteen forty-eight, innocent, in this Freguisia, wanted unanimously the Holy Oil, for having been baptized in danger of life by Reverend Jeronimo Maximo Rodrigues Cardim the innocent Francisca, born on the seventeenth of October of the past year, natural daughter of Dona Rosa Maria de Lima, single: Our Lady of Sorrows was the protector and Antonio Basileu Neves Gonzaga, the godfather; and on this occasion Jose Basileu Neves Gonzaga attended and in my presence and the undersigned witnesses with him, who said they recognized through document, that the inocent2 Francisca is his daughter, so he had recognized and legitimized her, as if born of legitimte marriage and for the quality of this term signed with me, and the witnesses who were Dr. Antonio Felix Martins e Mamede Jose da Silva Passos: (signatures) coadjudicator Fernando Pinto De Almeida e (father) José Basíleu Neves Gonzaga).
In order to discuss the upbringing and musical education of Gonzaga, it is necessary to understand how society functioned during her youth. Francisca Edwiges
Neves Gonzaga (she signed her music as Chiquinha Gonzaga) was educated according to circumscribed standards of the Brazilian semi-slave/aristocratic society. The Joanina
Court moved to Brazil in 1808 and brought along a period of cosmopolitan changes to
Rio: modernity and sophistication. They also brought with them Portuguese court traditions that influenced the social life in Brazil. There was an increase in the number of foreigners residing in Rio, the appearance of senhoras cortezas (court ladies), condoleezzas and marquises; ordinary women became part of the society.
Women’s roles before this period were under a rigid system based on hierarchies of slavery: the relationship between the lord and female-slave. Sexual engagements were common between the white lord and black slaves. White women, whose responsibility was to bear children, were under a high level of surveillance, which made them into
2 Inocente means innocent and implied, at the time, a child who was born from a free mother (freed slave)
16 home slaves. “The patriarchal system and the conjugal policies allowed the young married woman to enjoy conversations with negras (the term used to refer to the black female slaves), knitting, baking, affection from their spouses and visits to church on
Sundays” (Expilly 1977, 269).
Church was, in fact, the only social occasion that women were allowed to attend.
They were always accompanied by a masculine relative (generally husband or brother), and had to dress covering the body properly by using headdresses and veils. Showing their feet was considered immoral. As an opportunity to experience freedom, women and the slaves became the biggest promoters of religious celebrations and parties. A holy day meant a day off for the slaves, and for women, the great opportunity to be in the streets participating in processions.
The Portuguese court helped to decrease the cloistered home life by eliminating the usage of rótulas in houses. Rótulas is a word of Arab descent. They were fine shutters made out of wood, placed on the windows to hide a home’s interior from the eyes of curious people. They also functioned explicitly to protect women from the eyes of flirtatious males. The new law did not free women totally but allowed them the possibility of looking through the window (Diniz 2009, 44). Don Joao IV cultivated the musical taste and life he had in Portugal, so he brought musicians for entertainment.
Visual arts and opera were included in the social activities. Popular entertainment included balls and soirees with abundant dancing and singing. Women gained the freedom to attend balls, church and theaters.
17 After the Second Reign and Brazilian Independence, there was intensification of urban life and in social activities that offered further changes in women’s lives. As
Charles Expilly, a traveler who visited Brazil during that time, attested: “Rio has today a lyrical theater and newspapers. Its streets are illuminated with gas and there is a piano in each house . . . in these pianos, of generally English manufacture, nothing else is heard but dance music, romances and polkas” (Expilly 1977, 271). In addition to music, visual arts started to gain more popularity among the general public.
The large number of slaves and the lack of public education contributed to a 70% illiterate population. This was in part one of the strategies of the royal family to keep people the under their control. Women’s education was considered a social heresy
(Saffioti 1976). As homemakers and mothers, it was believed that they did not demand more than the knowledge of reading, writing, mathematics, catechism, sewing, and crafts.
Young ladies in the lords’s houses were homeschooled by priests and teachers known for their unquestionable reputation. Extra knowledge was percieved as threat to the household. This aesthetic is described in a Portuguese proverb from the nineteenth century: Any woman is already over-accomplished if she is able to read, accurately, her prayers and to write down the recipe of guava jelly (Expilly 1977, 269).
Gonzaga’s father was in the army by the age of seventeen and by twenty-one had a high position within the military that offered financial compensations. He belonged to a reputable family and his circle of friends had high social status. His association with a black woman, which technically was a big disadvantage for his ascension in the society,
18 did not affect his successful promotions. His friendship with Duque de Caxias, an important army marshal of the Empire of Brazil, facilitated his success without obstacle.
José Basílio Gonzaga had a bachelor’s degree in mathematics and physics, and he was well acquainted with Latin, French and English.
According to the tradition, he hired a priest to teach Gonzaga. The only fact known about the priest is his first name: Trindade. Besides catechism, reading and writing, Gonzaga studied mathematics and languages. Her music education was entrusted to maestro Elias Alvares Lobo (1834-1901), although her father preferred a female tutor.
Maestro Lobo wrote sacred, dramatic, and popular music in lundu, romanza, and modinha genres (Vasconcelos 1977, 190-200). In addition to her music study, it is safe to assume that Gonzaga was exposed to the ordinary sounds of the streets: vendors that would improvise little tunes advertising their products through singing or whistling.
This guaranteed her to be exposed to the musical trends of the time and to the popular musical taste and repertoire. Antônio Eliseu, Gonzaga’s uncle and godfather, was a flutist. It was during his Christmas visit, in 1858, that Gonzaga performed her very first composition, Canção dos Pastores (Shepherd’s Song).
Illustration 3. Gonzaga’s first composition composed in 1858 (Lira 1978, 25)
19
According to Diniz, Gonzaga’s family considered her an unsettled and mischievous child. Parents as well as husbands would threaten to send their unsettling misbehaving young daughters or wives to a religious convent. During the colonial period, the male dominance of Gonzaga’s time condemned, even the suspicion of rebellion, misbehaving and disobedience. Women would get married around the age of thirteen. At twenty, they were considered too old and had no say in choosing their husbands.
A very famous building of the time was Recolhamento do Parto, which according to Charles Dunlop was intended to house women of dishonest lives who sought repentance (Heynemann, n.d.). Any kind of female infidelity was penalized. The blame for “sins of the flesh” was attributed exclusively to women. They were punished by means of excommunication from any social life. However there was no punishment for unfaithful husbands.
By the time Gonzaga reached puberty, the practice of sending rebellious women to rehab facilities was over. Her father decided to remedy her rebellious character by arranging her marriage. After all, the responsibilities of a married woman were believed to be perfect for keeping women busy taking care of a household and enforcing social order.
The impressive number of pianos in Rio around 1856 caused the city to be nicknamed Pianópolis. Factors that contributed to the acquisition of so many instruments were industrial development in the European countries in which they were manufactured and the expansion of ports. The taste of the dominant classes in the new colonies
20 cultivated what was considered to be high culture. The piano became vital to the social life in Rio; it became a symbol of status that measured a family’s financial progress based on the type of piano that they owned (Freyre 1959, 104-109).
Some accounts from foreigners described the piano as a plague. Gilberto Freyre writes in 1859: “one can hear this racket in each and every room. This dull instrument, which does not have lungs, nor depth as pipe organs do, invaded everywhere, even banana warehouses; it killed conversation” (Ribeyrolles 1965, 273).
In 1863 when Gonzaga was sixteent years old, her marriage was arranged with
Ribeiro do Amaral, a twenty-four-year-old imperial army official. This presented the opportunity to live as a middle-class lady, with privileges that included the possession of slaves (a condition that she denied adopting).
Music became Gonzaga’s personal manifesto, and the piano became the medium, an outlet for her feelings. It was a way to keep her true identity and free will. Amaral encountered his stronger rival: the piano, which provided to Gonzaga all the freedom she needed as well as a voice that she could not have with her husband. Ironically, Gonzaga’s father’s wedding gift to her was a piano, which brought much turmoil into the life of the couple.
There was always the hope, from Amaral, that it would change after the birth, in
1864, of their first child, João Gualberto but the transformation never occurred. Marital problems got worse and to add more, the political tension between Brazil and Paraguay climaxed into a war, which caused Gonzaga’s husband’s deployment. His fears of leaving an untamed wife behind caused him to drag her along to the ship of which he was the
21 captain. It was under his command that the vessel São Paulo departed Brazil, from the
State of Mato Grosso do Sul headed south to Paraguay. It transported part of Brazil’s national army, ammunition and slaves during the war between Brazil and Paraguay
(1864-70) through the Paraguay River, the second largest river in South America. Prior to the trip to Paraguay, Gonzaga had given birth to her second child Maria, who was left in
Gozanga’s parents care.
Gonzaga had to abandon her piano, but she brought a guitar along (without her husband’s awareness), and taught herself how to play it. Amaral, angrily, confronted
Gonzaga about playing the guitar and singing with the slaves that boarded the vessel headed to Paraguay. The tension between the couple intensified and Amaral asked
Gonzaga to make a choice between him or music. The answer came sharply: the couple got divorced. Gonzaga returned to her parents’s house along with her son João Gualberto, but her parents denied her any support. An unexpected pregnancy forced her to seek shelter with her ex-husband, but despite efforts on her part, the marriage was unrepairable.
With her divorce finalized, she was prohibited to have any sort of contact with
Maria, who was brought up by Rosa, Gonzaga’s mother, as a motherless child. Her third child, Hilário, was raised by her maternal aunt.
Illustration 4. Gonzaga’s two sons: Right João Gualberto, left Hilário. Retrieved from “Acervo Chiquinha Gonzaga,” accessed January 11, 2019, http://chiquinhagonzaga.com/wp/album-de-fotos/. Reproduced with permission.
22
Illustration 5. Gonzaga’s daughter: left Alice, right Maria. Retrieved from “Acervo Chiquinha Gonzaga,” accessed January 11, 2019, http://chiquinhagonzaga.com/wp/album-de-fotos/. Reproduced with permission.
Ostracized by her family, Gonzaga found kinship with musicians, especially
Antônio Callado. There was no one better to introduce her to the musical scene in Rio. It is during this period of her life that she develops a beautiful friendship with Joaquim
Antonio da Silva Callado (1848-1880). He played an important role in Gonzaga’s life as a friend, protector and advisor. His influence was fundamental. His death, at the young age of 32, bestowed upon Gonzaga the task of consolidating Callado’s initial proposal: the synthesis of Brazil’s music.
Callado was a very highly trained flutist and worked vividly in conjuntos regionais, musical ensembles consisting of a solo instrument, two acoustic guitars and a cavaquinho (small four-stringed guitar) that performed in house parties. The soloist, usually the only musician who knew how to read music, was accompanied in improvisatory fashion by the rest of the ensemble, marking the birth of the choro, which became the most characteristic Brazilian musical form. The success of Callado’s choro ensemble took them to performances in piano stores. As someone who could demonstrate
23 the pianos on display, as well as understand the new music genre, Gonzaga became the official pianist for the ensemble. She became the first female conductor and performer to play publicly in Brazil: the first Brazilian chorona and pianeira.3 Her son João Gualberto joined the ensemble at the age of twelve, playing the clarinet. Callado, who guaranteed her welcome among bohemians, provided her with the opportunity to teach not only piano, but also voice, geography, history, Portuguese and French (Diniz 2009, 118).
Hugo Bussmeyer’s (1842-1912) document dated 1861 provides us information about piano teaching in Brazil, specifically in Rio de Janeiro around that time period
(Siqueira 1967, 64). As described in letters sent to his family he mentions that the piano was the favorite instrument of educated people. He also reported that there were many piano tuners, the best ones being among the German immigrants. In the same document, he mentions that there were a good number of artists in Rio. However there were also considerable numbers of people who found in their amateur musicianship a secondary way to earn money. They were Prussians, Polish, Italian Condes and Condoless, travelers from Frankfurt, lawyers and several former employees from the commerce. The most famous was Gismundo Thalberg (Siqueira 1967, 68).
The bohemian musical life offered Gonzaga a genuine chance to fall in love. It started as an affair and became a second marriage (although it was never legalized). João
Batista de Carvalho Jr. was a music lover, and with him she experienced affection and desire that was truly hers. However, society viewed their relationship as concubinage, which brought her much humiliation. Relief came with the relocation of the couple to the
3 Chorona (feminine form of Chorão in Portugese language). Pianeira is the word used for pianists who never had formal training, usually playing by ear only. However, Gonzaga was an educated musician.
24 state of Minas Gerais. In 1875 the couple returned to Rio but still suffered the consequences of their illegal union. João Batista de Carvalho bought a property in the countryside that became home for their newborn, Alice. Unfortunately, the couple did not enjoy a long relationship. Gonzaga’s fiery personality and short tolerance exploded after finding him dancing with a strange woman in the basement of their property. She fled, leaving Alice behind, and taking only João Gualberto with her.
Gonzaga’s popularity grew the last two decades of the nineteenth century. The most successful compositions were all hers. “Unlike many composers of her time,
Gonzaga departs from the European music. Her works are distinguished for her own assimilation of what feels close to her without any hesitation in bringing the sounds that belonged to streets into Salons” (Diniz 2009, 185).
This keenness pervaded her vivid work in the theater as well as through many of her transcriptions of theater music for solo piano. These helped her to earn income as they were sold for home entertainment. In 1902, while traveling in Europe, the composer discovered some publications of her music under other European names. When she came back to Brazil she decided to investigate the mystery and claim her rights. She was able to trace the source of plagiarism through one of her students. Gonzaga had six female students and one of them was married to Frederico Figner, a Czech-born entrepreneur, film and music pioneer in South America. He was the owner of Casa Edison, the first recording company in Brazil based in Rio de Janeiro, which exported recordings and musical publishing to Europe. Figner, who had become friends with Gonzaga, decided to publish Gonzaga’s music without her authorization (Diniz 2009).
25 Gonzaga’s avid sense of ownership and strong awareness of artistic reserved rights earned her nomination to the Sociedade Brasileira de Autores Teatrais (SBAT,
Brazilian Society of artistic copyright law). She accepted the invitation and based on her unpleasant copyright experience and authority within SBAT, initiated the law providing
Brazilian artists with copyright protection.
Illustration 6. Gonzaga (fourth person from right seated at the table) at Sociedade Brasileira de Autores Teatrais. Retrieved from “Acervo Chiquinha Gonzaga,” accessed January 11, 2019, http://chiquinhagonzaga.com/wp/album-de-fotos/. Reproduced with permission.
Gonzaga’s sensibility towards others was a constant commitment held in her heart.
As the daughter of a freed slave, she strongly supported antislavery movements and personally helped slaves by selling her music and donating the money to associations that
26 protected and sheltered them. This period culminated in 1888 with the Lei Aurea
(Golden Law), a document signed by Isabel, Princess Imperial of Brazil, which abolished slavery.
Some people have the ability to make constant contributions naturally. Gonzaga’s remarkable drive also helped shape the aesthetics of Carnaval in Brazil. This major annual festivity that takes place in February, every year, started out with a different conception of what it is today. These popular manifestations were unorganized demonstrations of violence through muddy dirt and loud noise in the streets. There was no music or rhythm associated with it. In 1852, Jose Nogueira de Azevedo Parades introduced a drum ensemble that would play along. They would accompany anything: nursery rhymes, patriotic songs, folkloric tunes, lines of operas, fados and even funeral marches (Alencar 1979). In 1877, a typical carnival music selection would display habaneras, tangos, mazurkas and quadrilles. Masquerades were considered a high-class event and they would take place in private balls mainly organized by hotels and theaters.
Blocks of people would parade together as a group, which later received the name of cordões. They would usually create a rhythm, asking for the crowds to make way so they could go through. Based on this simple concept, Gonzaga composed Oh,
Abre Alas! (Oh, make way!), which was assimilated instantaneously as the official melody for carnaval parades. It became the first Carnaval march and fixed the structure of Carnaval permanently. Gonzaga had created the tradition of carnival marches.
Gonzaga’s passionate feelings and bold character made her an honorary member in Euterpe, an exclusive male-only club for music afficionados. Its events included
27 soirées, lessons in different instruments and literary-musical events. Among its members was João Batista Fernandez Lage, a young Portuguese man who had moved to
Rio around 1890. Membership in the exclusive society brought him close to Gonzaga in
1899 when the young gentleman was sixteen and she was fifty-two years of age. Lage4 and Gonzaga became lovers and she adopted him as her own son so they could live together without condemnation from society. In the interest of privacy, Gonzaga avoided hiring maids or doing anything that might expose her private life. Their union lasted until her death at eighty-seven. Gonzaga’s last years were very emotional and frightened by the ghosts of her parent’s disapproval and lack of support in her early life. Her children were very supportive and caring, despite Gonzaga’s inconsistent presence in their lives.
At this point she had the recognition from her family and from the public as a great musician. João Gualberto, Maria, Alice and Hilario tried to stay close to her as much as possible, but Lage was really jealous of them and she was forced to avoid them at times.
She passed away at 6 pm on February, 28, 1935 on the Thursday that preceded Carnaval.
As Diniz reported, sad hymns and cheerful Carnaval marches overlapped, mourning the loss of a brilliant woman as they echoed in the streets of Rio.
4 Gonzaga refers to Lage by his nickname, Joãozinho.
28
Illustration 7. Gonzaga at the age of 85. Retrieved from “Acervo Chiquinha Gonzaga,” accessed January 11, 2019, http://chiquinhagonzaga.com/wp/album-de-fotos/. Reproduced with permission.
Gonzaga as Piano Teacher
Gonzaga’s life as a pedagogue is not mentioned much in her biographies. She taught as one of the several activities she pursued in order to earn her living, in addition to teaching French and geography. She did not have an intense pedagogical life but devoted herself to composition and performance, focusing on theater and popular pieces to be played at home, balls and movie theater lobbies.
In general musicians write music for their own instruments. That is probably why
Gonzaga chose the piano as her primary medium. Furthermore, most of the music published in Rio de Janeiro in the late nineteenth century was devoted to piano. As mentioned earlier, pianos were present in the majority of the middle class and upper class homes. Transcriptions were an effective way to earn income for musicians, so composers and publishing companies invested much of their efforts into supplying arrangements.
29 The scores that display dedications from Gonzaga to her students suggest that her life as a piano teacher was likely most prominent between 1887 and 1897. Table 1 below lists the pieces with dates of composition and dedications.
Table 1. Gonzaga’s Pupils
Title of the piece Date of Composition Dedication
“Ada” unknown date “ Para Minha Aluna Ada Baduchi” Polka (To my pupil Ada Baduchi)
“Gruta das flores” ca. 1887 “Para minhas discipulas” Polka minhas Alunas (To my disciples)
“Leontina” 1889 “À minha distinta discípula Leontina Habanera Gentil Torres” (To my distinct disciple Leontina Gentil Torres) “Juraci” ca. 1897 “Ao meu discípulo Raimundo Rocha Valsa de Salão dos Santos” (To my disciple Raimundo Rocha dos Santos)
Available at: http://www.institutopianobrasileiro.com.br/post/visualizar/Barrozo_Netto_aluno_de_Chi quinha_Gonzaga (Dias n.d. Instituto Piano Brasileiro)
In 2016, Alexande Dias of the Instituto Piano Brasileiro came across Antonieta, a composition by Barroso Neto that belongs to Gonzaga’s personal music collection. It is kept in Rio de Janeiro by the Instituto Moreira Salles. The cover of Antonieta features a dedication from Neto to Gonzaga. He studied with her during the decade of the 1890s, which would make her one of Neto’s first piano teachers. He was the only disciple that pursued a successful career as musician (Dias n.d. Instituto Piano Brasileiro).
30
Illustration 8. Cover of Antonieta by Barroso Neto. Retrieved from “Instituto Piano Brasileiro,” accessed on January 5, 2019, http://www.institutopianobrasileiro.com.br/ post/visualizar/ Barrozo_Netto_ aluno_de_Chiquinha_Gonzaga. Reproduced with permission.
Illustration 9. Hand-written dedication by Barroso Neto to Gonzaga listed in the top portion of the music sheet. Retrieved from “Instituto Piano Brasileiro,” accessed on January 5, 2019, http://www.institutopianobrasileiro.com.br/ post/visualizar/ Barrozo_Netto_ aluno_de_Chiquinha_Gonzaga. Reproduced with permission.
31 The Piano in the Nineteenth Century in Brazil
The first recordings in Brazil were released by Casa Edison in 1902. However,
Brazil did not experience radio broadcasting until 1922, so pianos were very important to the proliferation of music in Brazil. “Pauta Nova da Alfandega do Rio de Janeiro, 1799 is the first document to mention the importing of pianofortes to Rio de Janeiro (Cardoso
2011, 111). The terminology used refers to pianofortes as “cravos de tocar”
(harpsichords for playing). The same association with both words, harpsichord and pianoforte, is found in Lisbon which is mentioned in the Mappa de Exportação dos
Portos de Trieste para Lisboa (1816). The expression cravo para tocar refers to the term
Cravo de Martelo (hammered harpsichord), extremely well known in Portugal to imply pianoforte. The harpsichord was known as “cravo de penas” (feathered harpsichord).
Hammers and feathers were allusions used to refer to the mechanics used by pianoforte and harpsichord, respectively (Pereira 2005, 101).
It is a very complex terminology. In newspaper ads from 1808, the usage of the term was very inconsistent when referring to fortepiano and pianoforte. Sometimes it was used in a general manner referring to the piano, other times it refers to the physical appearance of the instrument. The bouquet of terminology displays a vast and ambiguous nomenclature for square pianos, upright pianos and grand pianos during the nineteenth century: square pianos were called piano de duas frentes (two front piano), piano de duas face (two faced piano), piano perpendicular (perpendicular piano), piano de mesa
(table piano), piano portatil (portable piano) and pequeno piano or manicordio (small
32 piano). The upright piano was called forte piano de parede (wall fortepiano), “piano forte de parede” (wall pianoforte), “piano ou forte piano de feitío de almario” (upright piano or fortepiano). The grand piano was called “piano de uma frente” (one front piano),
“grande piano forte” (grand piano forte), “piano comprido” (long piano) and “piano forte horizontal” (horizontal piano forte) (Pereira 2005, 107-111). The sales ad in newspapers of the time mention the following European pianos: Sebastién Erard (Paris,
France), Robert and W. & M. Stodard (London, England), John Broadwood (London,
England) and Muzio Clementi (London, England) (Pereira 2013, 194).
33 CHAPTER 2 IT TAKES THREE TO TANGO BRASILEIRO
In order to discuss Chiquinha Gonzaga’s music, iconoclastic spirit and role as a female composer within a patriarchal society, it is important to discuss her world in the context of the choro tradition. In addition, it is crucial to offer a portrait depicting the patriarchal society that defined expectations for female behavior in the nineteenth century.
Alexandre Goncalves Pinto, born in 1870, was a postman in Rio and author of one of the earliest reports on choro: O Choro – reminescencias dos chorões antigos published in 1936 (Aragão 2015). He was considered by some to be uneducated and semi-literate, coming from a lower class. Pinto’s valuable writings are meaningful as a key to understanding the historical and social conditions of Rio in the late nineteenth century, which engendered the development of choro (Aragão 2015, 31).
The 1850s were marked by intense political changes that produced transformations in the urban settings of Rio, the capital of Brazil in the nineteenth century.
It is at this point that the first signs of industrialization emerged: telegraph (1852), railroads (1855), system of street cars pulled by donkeys (1859), gas holders for lighting the streets (1860), sewage pipe line works (1864), telephone lines (1877) and electricity
(1879). In addition, there was an improvement in the capital due to the increase of coffee exports in 1869.
The abolition of slavery (1888) and the Proclamation of the Republic (1889) are two of the main social modifiers that contributed to the emergence of a new redistribution of employment such as the Post Office, Telegraph Office, Costumes, Mint, Navy,
34 Arsenal and Brazilian Central Railroad. It is among members of these occupations that the choro would be conceived. In his accounts, Pinto describes the informal routine of musical apprenticeship through a network of non-market and non-official exchanges for the propagation of music and its teaching, which existed parallel to accredited schools
(Aragão, 2015 p. 33). Historically, the term choro is connected to its original trio ensemble – guitar, cavaquinho (a small four-stringed guitar) and flute or clarinet. A musician associated with choro was called chorão. Later in the nineteenth century larger ensembles followed the same original concept. This was to feature a solo instrument (in this case the flute or the clarinet), accompanied by the rest of the ensemble. In its early formation, most of the musicians were illiterate and played by ear. The soloist, most likely the only one able to play from a score, improvised and ornamented the melody freely. The rest of the ensemble would improvise the harmonic and the rhythmic patterns.
Bass lines and harmonic structure were provided by the guitar or cavaquinho, which would also display some counterpoint at times. (Tamara and Garcia 2005, 3).
The style of choro is based on homophonic dance forms in which the melody is supported by a simple constant metrical structure. The melodies were based on tunes by known or anonymous composers and or on a folkloric tradition. Each instrument in the ensemble plays a part divided into four elements: the melody, the “center” (harmony), the bass line and the rhythmic line. Regardless of the functionality of each instrument in the ensemble, a great amount of spontaneity and trade between instruments takes place.
There seems to be an overall sense that choro was learned through direct observation and oral tradition. The score provided only the melody, and the basic structure of the music
35 was supplemented by unwritten collaboration and improvisation among the musicians.
The rhythmic or harmonic parts were almost never notated. Therefore, the written aspect of choro included only the melodic line. Harmonies or countermelodies would mostly be transmitted through oral tradition (Aragão 2015, 36-37). They were chosen from a vocabulary that would agree with the type of melody performed by the soloist.
In the nineteenth century, the structure of choro was influenced by three different forms of Brazilian popular music: the modinha (lyrical romantic ballade), the lundu
(African dance) and the maxixe (suggestive dance). Modinha was a lyrical song style that originated in the salon but became popular among serenaders who accompanied themselves on the guitar. The lundu, an early song and dance, and the maxixe, an instrumental dance form, were associated with African influences cultivated by slaves, lower class mulatos and immigrants.
Typically, the choro was promoted through Rodas de Choro, public gatherings that took place in the evenings after work or Sunday afternoons at bars, restaurants and yards. Sometimes they were also held in homes of Afro-Brazilians tias (aunts) such as
Tia Ciata (Aunt Ciata), who was very famous for her musical gatherings (Tamara and
Garcia 2005, 42). These sessions were known to last the entire night. Among the players were professional musicians (Villa-Lobos included), civil servants, circus clowns, janitors, journalists, bank tellers, soldiers and sailors. These groups were predominantly male. Women would participate on a social level rather than as musicians. Pinto’s book mentions only three women as musicians: Chiquinha Gonzaga, Plácida dos Santos, a
36 professional singer of lundus and modinhas, and Durvalina. All were Pinto’s friends
(Pinto 1978).
Bakeries were influencial in patriarchal society. They brought French life style to
Rio de Janeiro. Contrary to the conception of modern cafés, they were places in which women of class were allowed limited access until 5 pm. The evening and night hours were exclusively for male entertainment, which in most cases involved “café-cantante” performances by a “cocotte” (an elegant female prostitute, generally French). In addition, nocturnal life in Rio was intensified with the appearance of shops that featured a variety of spectacles. The crowd pleasers offered canzonettas maliciosas and brejeiros (songs that contained double meaning and maxixes). The appearance of trolleys in 1867 offered a burst in the social life of the city: the new transportation offered easier accessibility and connection between entertainment and suburban areas. The population had a chance to coalesce, since both low-and high-class families would use it. However, black people, slaves or freed slaves had to ride in benches next to the animal pulling the trolley, generally donkeys (Wehrs 1980, 49).
The theater also experienced a blossoming during this period. Mainly French,
Spanish and Portuguese theatrical companies presented plays, musical concerts, Italian operas and operettas in Rio. The actresses and lyrical singers were so alluring to the male audience in such a way that some times police intervention was sometimes needed.
Currant and tamarind refreshments and cookies were the favorite snacks served at the theater, and the goodies also included candies and hand-fans. Cheaper seats in the highest galleries of the theaters were taken by students, small merchants and people hired
37 to clap. This area was avoided by the older ladies for they were noisy sections filled with improper language and uneducated etiquette. The young family ladies attended some selected venues, specially the one used by the royal family (Diniz 2009).
Gonzaga renounced everything that connected her to the feminine aesthetics of the nineteenth century. It was not uncommon for women in her condition (divorced and therefore renounced by her family and society) to turn to prostitution as a way to survive.
Gonzaga’s ways were always condemned by Rio’s high society. The fact that she was always seen where the music was did not help her situation. In addition, the intense interaction with musicians of popular music in soirées and balls brought her closer to the production of popular music that expressed her unique behavior (which was even apparent in her dress). As she struggled for survival, she made her own clothes, which stood out for her creativity and fed her creativity to overcome the expectations of society.
As a bold woman, she took her place among the uneducated and underprivileged men that occupied the cheapest seats in the theater. However, the challenges and obstacles that life imposed on her were transformed into a strong bond with music through the piano, her life savior and intimate representative of personal freedom.
Around 1870 there was no consolidation of Brazilian music, but there were outlines of a culture that would solidify in the twentieth century. African religions, in the form of dance and music, played a crucial role, given that 50% of Rio’s population were slaves (Diniz 2009). This group with its unique culture, ensured the production and consumption of cultural products within its own traditions. Being an artistic expression of
38 oral tradition, it allowed the less literate an outlet for free expression of feelings, longings, desires, tastes, beliefs and collective claims.
Slaves demonstrated a freedom of rhythm and choreography that was considered inappropriate and forbidden by society. In 1767, Casanova, while traveling through Spain and observing the fandango-Ibérico, said the dance was a manifestation of love from beginning to end, from the look of desire to the ecstasy of joy” (Tinhorão 1972,
130). Edinha Diniz also addressed similar expression among the slaves and the way their body movements expressed the freedom from their master. She adds that “the enormous body flexibility in their [slaves] dances could indicate the necessity to free their body, property of their lord” (Diniz 2009, 89).
Although the period between Segundo Reinado (Second Empire) and the first decades of Brazil as a Republic was a difficult one, it provided Gonzaga a inspirational phase for composing. In this transition period, she composed Habaneras, polcas, and maxixes, in which Brazilian and African characteristics confronted imported European elements. She displays this tension, more palpably than any other national composer.
Gonzaga’s music was labeled as salon music along with Ernesto Nazareth’s. And, even more than Ernesto Nazareth, she represents this phase. It seems that her feminine frailty portrayed – with total complexity – the greatest acuracy of the directions of many paths in which our [Brazilian] music branched out. (Andrade 1976, 333)
There are several factors that led Gonzaga into her familiarization with writing in popular music genre: her social class status, her limited musical education, her personality (impetuous and rebellious), her feminism and Callado’s influence. In addition, her first polcas, waltzes and tangos (yet of nationalistic character) revealed the
39 influence of Brazilian popular music. Gonzaga had a genuine devotion to popular
Brazilian music, which placed her style on the borderline between classical and popular music.
Two other Brazilian composers: Ernesto Nazareth and Heilor Villa-Lobos all have in common the city of Rio de Janeiro, their passion for their Brazilian roots, their active participation in Rodas de Choro, as well as the development of this music genre.
Born sixteen years apart, Gonzaga and Nazareth both composed music based on popular forms. In comparing both musicians, Andrade Muricy explains that Gonzaga and Nazareth had different natures, but each completed the each other’s music. (Siqueira
1967, 68). Gonzaga’s art is closer to canção, a very popular song genre that Nazareth tried to explore but he was not successful. Born into poverty in Morro Carióca, he attempted more indirectly to reach the public. Gonzaga, although born into a higher class, reached the popular taste without any effort. Diniz describes Nazareth’s admirable expansion of the choro and the assimilation of Rio’s urbanism manifests in his life under an eminently artistic and concertist character:
He did not like to play his waltzes, tangos, polkas to be danced. He felt humilated by it … he wanted to be heard and he would stop playing when he noticed that people were not paying attention to his music. (Diniz 2009, 127)
Gonzaga’s music reflected, without “masks,” a closer approach to music that represented the people. Her proximity to the so-called uneducated population shaped her music, which was heard beyond the concert the halls. Gonzaga’s vast compositions in multiple genres features a pure artistic interpretation as a resolt of the concise formal musical education that she was able to receive. Meanwhile, Nazareth aspired to reach a
40 more privileged social class. His was a more refined art, to be appreciated on the stage rather than felt in the body. His compositions were focused and expanded the tango
Brasileiro into the structure that we know today. Nazareth’s musical education started from an early age. His mother was his first piano teacher. After her death, he continued piano lessons under Charles Lucien Lambert and developed his early musical style following the musical model of Chopin. He shared Gonzaga’s interest in Rodas de
Choro. Despite his limited formal education, personal aspiration to be a concert pianist led him to take a prominent role in concert halls, in addition to his life as a composer. In contrast, Gonzaga received a broad formal education but a brief musical training. Her popular roots connected her more closely with traditional music.
The nationalism that began with the piano music of Gonzaga and continued through Nazareth’s proceeded to the music of Heitor Villa-Lobos. The French-Brazilian bassoonist, Noel Devos, affirmed that Villa Lobos’s music is highly structured. He added that Villa-Lobos characterized Brazilian music in a rhapsodic manner through his genius.
He compares it to Liszt’s musical aesthetics and ingenuity in the Hungarian Rhapsodies.
“Villa-Lobos’s abundance, his facility and exuberance, as well as his commitment to folkloric-themed music, represent the Brazilian folklore unified by one composer. We can hear a substantial example in Villa-Lobos’s Guia Prático, in which the composer harmonizes popular patriotic and folklore songs” (França 1976, 8).
His musical education and application of instrumental technique and sonority were broader than those of Gonzaga and Nazareth. Villa-Lobos’s early harmony and theory training added significantly to his musical language. Social events of his youth
41 still included afternoon salon concerts where the music of Beethoven, Chopin, Liszt and Schumann were played, along with operas by Verdi, Bellini and Donizetti. Unlike
Gonzaga and Nazareth, he studied other instruments, including cello, guitar and clarinet.
In the early 1900s, he travelled to Brazil’s most distant places to collect folklore, ethnographical and musical influences, offering him the excitement and passion to represent in music the images that he saw: “Jungles, deserts and seacoasts, played an important part in the renewal and modernization of Brazilian musical sounds” (Wright
1992, 4). His musical exploration flourished due both to his to travel and to the blooming of the modern city. Simon Wright writes “This series embodies completely Villa-Lobos’s vision of Brazil as a vast, teeming landscape, immense in its inclusivity, variety, and proportion. . . . in the Choros a new world was born, in which the improvisations and instrumental groupings of the choro were merely a basis, a convenient name and embryo for a form which eventually accommodate not only the popular elements, but also the stylization of Indian and black music, and of natural sounds (Wright 1992, 61). In the
Choros (a total of twelve compositions), Villa-Lobos provided a panoramic view of improvisatory techniques of street musicians (Appleby 2002, 76).
Both Villa-Lobos and Nazareth played in movie theaters, Nazareth played the piano and Villa-Lobos the cello. In fact, it was inside of one of the movie theaters that
Villa-Lobos encountered the music of Ernesto Nazareth and the man himself who worked by playing and improvising his music in the lobbies of cinemas. As did Gonzaga, Villa-
Lobos and Nazareth played with street music groups in Rio and participated in serenades, improvising in the squares and bars of the city.
42 Gonzaga’s music revolutionized an ideology that is rooted in the fifteenth century. Jezic explains how female musicians’ family background and their social influence impacted the success. Some female composers became known to the general public through their relation to famous male musicians, for example; as wives, daughters or favorite students (Jezic 1994, 4). She adds that many of the female composers shared a background of starting out as performers who became known by their virtuosity and by their performing skills in private settings such as home concerts. These women wrote for genre accepted for female composers: keyboard or chamber ensembles, solo songs, vocal and chamber works (Jezic 1994, 2). For a period of about 100 years (1460-1560) women had no access to musical theory study or permission to participate in church services, unless they were in a convent.
As a free soul, Gonzaga’s music certainly did not comply with the aesthetics of the world around her. Her feminine side is portrade in the graceful and sublime melodies that she writes in a very virtuosic manner. But her music also includes sudden and unexpected key changes that seem to have a mind of their own, revealing impeccable craftsmanship reminiscent of Beethoven or Schubert. The closeness that Gonzaga felt to the free music of slaves is strongly represented in her music with sounds that were defined as “masculine,” robust and brave by society’s standards. In her composition
Gaúcho – Corta-Jáca, Gonzaga features rustic accentuations on weak beats, unannounced and brisk key changes as well as strong rhythmic patterns associated with
African rhtyms. However, the lyricism is very well placed intentionally where it needs to
43 exist. Her music embodied in her lifetime the same gender equality that is a goal in our
own century.
Her diverse musical production did influence, especially in Brazilian traditional
music, an array of genres, showing well-crafted rhythmic language. It also contains
outstanding, creative melodies that were easy to understand and so established a personal
connection with the general public.
Gonzaga’s contributions to the development of the Brazilian musical popular style
mediated the usage of several cultural elements that were incorporated in musical
the rhythm shown in Figure 6.3compositionsa. Brazilian polkas byalso her used contemporaries, syncopation and dotted including rhythms, Nazareth and Villa-Lobos. The most
and its basic rhythmic cell (Seedirect Figures influence6.3a and 6.3b) can was beincorporated traced thin roughthe maxixe. Gonzaga’s assimilation of choros and polkas based Moreover, since polkas were more socially accepted, many maxixes were designated polkas.102 on rhythmic cells. These pre-existing patterns, displayed on Table 2, were explored and the rhythm shown in Figure 6.3a. Brazilian polkas also used syncopation and dotted rhythms, the rhythm shown in Figure 6.3a. Brazilian polkas also used syncopation and dotted rhythms, the rhythmand itshowns basic rhythmicin Figure cell 6.3 (a.Seeexpanded Brazilian Figures 6.3a polkas andin 6.alsothe3b) wasused constructions incorporated syncopation in theand ofmaxixe. dotted Gonzaga’s, rhythms, Nazareth’s and Villa-Lobos’s compositions and its basic rhythmic cell (See Figures 6.3a and 6.3b) was incorporated in the maxixe. Figure 6.1a. Lundu rhythmic cell incorporated in the maxixe. This rhythmic figure is very and its basicMoreover, rhythmic since polkascell (See were Figure more sociallys 6.3a andaccepted, 6.3b) many was incorporatedmaxixes were designated in the maxixe. polkas. 102
Moreover,prominent since in polkasBrazilian were music, more socially and is accepted, common manyly referred maxixes as were “síncope designated característica” polkas.102 Moreover, since polkas were more socially(characteristic accepted, syncopation). many maxixes were designated polkas.102 the rhythm shown in Figure 6.3a. BrazilianTable polkas 2. Rhythmic also used syncopation Cells and adopted dotted rhythms, by Gonzaga and her contemporaries
and itsFigure basic rhythmic 6.1a. Lundu cell rhythmic(See Figure cells 6.3aincorporated and 6.3b) in was the incorporatedmaxixe. This in rhythmic the maxixe. figure is very Figureprominent 6.1a. Lundu in Brazilian rhythmic music, cell incorporatedand is common inly the referred maxixe as. This“síncope rhythmic característica” figure is ver y 102 Moreover,prominent since polkas in Brazilian were more music, socially(characteristic and accepted,is common syncopation). manyly referred maxixes as were “síncope designated característica” polkas. Figure 6.1a. Lundu rhythmic cell incorporated in the maxixe. This rhythmic figure is very Figure 6.1b. Lundu(characteristic rhythmic cellsyncopation). incorporated in the maxixe. Lundu rhythmic cell incorporated in the prominent in Brazilian music, and is common ly referred as “síncope característica” (characteristic syncopation). maxixe
Figure 6.1a. Lundu rhythmic cell incorporated in the maxixe. This rhythmic figure is very Figure 6.1b. Lundu rhythmic cell incorporated in the maxixe. prominent in Brazilian music, and is commonly referred as “síncope característica” Another lundu rhythmic cell incorporated
Figure 6.1b. Lundu(characteristic rhythmic syncopation). cell incorporated in the maxixe. Figure 6.2. Habanera rhythmic cell incorporated in the maxixe. in the maxixe
Figure 6.1b. Lundu rhythmic cell incorporated in the maxixe. Habanera rhythmic cell Figure 6.2. Habanera rhythmic cell incorporated in the maxixe.
FigureFigure 6.1 6.2b.. HabaneraLundu rhythmic rhythmic cell cellincorporated incorporated in the in maxixe the maxixe.. Polka rhythmic cell Figure 6.3a. Polka rhythmic cell incorporated in the maxixe.
FigureFigure 6.2. Habanera 6.3a. Polka rhythmic rhythmic cell incorporatedincorporated in thein the maxixe. maxixe. Rhythmic pattern derived from basic polka
FigurFiguree 6.2 6.3. Habaneraa. Polka rhythmic rhythmic cell cell incorporated incorporated in inthe the maxixe. maxixe. cell
Figure 6.3b. Rhythmic pattern derived from the basic polka rhythm (see above)
and also incorporated in the maxixe. Figure 6.3b. Rhythmic pattern derived from the basic polka rhythm (see above) Figure 6.3a. Polka and rhythmalso incorporatedic cell incorporated in the maxixe. in the maxixe. CommonFigure features 6.3Figureb. Rhythmic 6.3of a.the Polka maxixe pattern rhythm derivedareic melodiescell from incorporated the with basic infast polka the runs maxixe. rhythm and (seearpeggios, above) a bass line on Common features of the and maxixe also incorporatedare melodies inwith the fast maxixe. runs and arpeggios, a bass line on 103 the beat and syncopation in the accompaniment.103 But the rhythmic richness is the most the beatCommon and syncop featuresation ofin thethe maxixeaccompaniment. are melodies But with the fastrhythmic runs and richness arpeggios, is the mosta bass line on
Figure 6.3b. Rhythmic pattern104104 derived from the basic polka rhythm (see above) importanttheimportant beat element Figureand element syncop 6.3 ofb. the ationofRhythmic themaxixe in maxixe the pattern .accompaniment.. Chiquinha Chiquinha derived from explored 103explored theBut basic the the rhythmicthe polkagenre genre rhythmespecially richness especially (see in above)is her the music inmost her for music for and and alsoalso incorporated in inthe the maxixe. maxixe.
important element of the maxixe.104 Chiquinha explored the genre especially in her music for CommonCommon features features of of the the maxixe maxixe are melodiesmelodies with with fast fast runs runs and arpeggios,and arpeggios, a bass linea bass on line on
the beat and syncopation in the accompaniment.103 But the rhythmic richness is the most the beat and syncop 102 Marcílio, ation 72 in – the73. accompaniment. 103 But the rhythmic richness is the most 102 Marcílio,103 Livingston 72–73.-Isenhour and Garcia, 32–33. important element of the maxixe .104 Chiquinha explored the genre especially in her music for 103 104 Marcílio, 78. important element Livingston102 Marcílio, of the- Isenhour72 maxixe–73. . 104and Chiquinha Garcia, 32 explored–33. the genre especially in her music for 104 Marcílio,103 Livingston 78.- Isenhour and Garcia, 32–33. 104 Marcílio, 78. 95
102 Marcílio, 72–73. 95 103 Livingston - Isenhour and Garcia, 32–33.95 102 Marcílio,104 Marcílio, 72 –78.73. 103 Livingston-Isenhour and Garcia, 32–33. 104 Marcílio, 78. 95
95
the rhythm shown in Figure 6.3a. Brazilian polkas also used syncopation and dotted rhythms,
and its basic rhythmic cell (See Figures 6.3a and 6.3b) was incorporated in the maxixe.
Moreover, since polkas were more socially accepted, many maxixes were designated polkas.102
Figure 6.1a. Lundu rhythmic cell incorporated in the maxixe. This rhythmic figure is very prominent in Brazilian music, and is commonly referred as “síncope característica” (characteristic syncopation). 44 In Gaúcho, composed in 1875, Gonzaga uses the basic lundu cell ( ) to
Figure 6.1b. Lundu rhythmic cell incorporated in the maxixe. A minha irmã Rosinha transcribe for piano the rustic, aggressive and energetic nature of the“batuque,” As GAÚCHO Figure 6.2. Habanera rhythmic cell incorporated in the maxixe. demonstrated in ExampleO 1.Corta-Jaca de CÁ E LÁ Tango Brasileiro 5 Example 1. Gaúcho – Corta-Jáca, mm. 1-4. (Gonzaga 2011) Francisca Gonzaga (1847-1935)Figure 6.3a. Polka rhythmic cell incorporated in the maxixe.
7 7 D m A /E D m A /E
Figure 6.3b. Rhythmic pattern derived from the basic polka rhythm (see above) 2 j j j j and also incorporated in the maxixe. & b 4 ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ œ œ œ œ #œ œ œ œ œ œ œ œ #Commonœ œ œ featuresœ of the maxixe are melodies with fast runs and arpeggios, a bass line on Piano Batuqueœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ the beat and syncopation in the accompaniment.103 But the rhythmic richness is the most
? 2 œ. œ œ. important element ofœ the maxixe.104 Chiquinha explored the genre especially in her music for b 4 œ œ œ . œ œ œ œ . œ œ œ. œ œ. . . A 7 A 7 D mExample 2 shows/E the same rhythmicD m cell that can / E be found in the Trio section, 5 102 Marcílio, 72–73. œ œ œ œ 103 Livingston-Isenhour and Garcia, 32–33. œ œ œ œ #œ œ œ œ œ. 104 œ œ œ œ œ #œ œ Marcílio,œ 78. starting& b ≈ on measure 55, of “Odeon,” composed by Nazarethœ. in œ1909. However he Canto 95 expressesœ aœ tenderœ œ character by adding theœ markingœ œ œ “mimoso” (with affection) at the œ œ œ œ #œœ œœ œœ œœ œ œ œ œ #œœ œœ œœ œœ ? b œ œ œ beginningœ of the section. A different figuration appears in the left hand, which is also a 7 7 D m A /E D m A /E 9 basic cell of the lundu. Gonzaga uses the rhythm in left hand that enhances the brisk j j j j b ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ & œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ natureBatuque ofœ theœ œ piece.œ Byœ usingœ œ the œrhythmœ œ œ inœ the leftœ œ hand,œ Nazarethœ creates a more ? œ. œ œ. œ playfulb characterœ . œ œ . œ œ œ œ . œ œ. œ. œ. œ.
ExamplD 7 e 2. Odeon, m.G m41-50. (MangioneA 7 & Filhos 1968)D m 13 œ œ >œ œ #œ œ œ œ bœ œ œ#œ œ œ œ #œ œ œ œ > & b ≈ œ #œ œ ≈ œ œ Canto #œ œ œ œ œ œ œ œ œ œ œ œ ? #œ œ œ œ œ œ œ œ #œœ œœ œœ œœ œ œ œ œ b œ œ œ œ
1/3 ©2011 Acervo Digital Chiquinha Gonzaga | www.ChiquinhaGonzaga.com/acervo Editoração: Douglas Passoni | Revisão e Cifras: Alexandre Dias
5 All Examples from Gonzaga’s scores are from Acervo Digital Chiquinha Gonzaga 2011, accessed through: www.ChiquinhaGonzaga.com/acervo.
A minha irmã Rosinha GAÚCHO O Corta-Jaca de CÁ E LÁ Tango Brasileiro
Francisca Gonzaga (1847-1935) 7 7 D m A /E D m A /E j j j j b 2 ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ & 4 œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ Piano Batuqueœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 45 Gonzaga uses the same left hand rhythm in Gaúcho in the section entitled canto: ? 2 œ. œ œ. œ b 4 œ œ œ . œ œ œ œ . œ œ. œ. œ. œ. Example 3. Gaúcho – Corta-Jáca mm. 5-8. (Gonzaga 2011) A 7 A 7 D m /E D m /E 5 œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ. œ œ b ≈ œ œ œ & Canto . œ œ œ œ œ œ œ œ œ œ œ œ #œœ œœ œœ œœ œ œ œ œ #œœ œœ œœ œœ ? b œ œ œ œ 7 7 D m A /E D m A /E 9 The music ofj Villa-Lobos gavej the choro genrej a more contemporaryj image. b ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ & œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ IndependentBatuqueœ œ linesœ ofœ the differentœ œ œ instrumentsœ œ œ inœ the œchoro œensembleœ œ giveœ a multilayered ? œ. œ œ. œ dimensionb to theœ traditionalœ compositionalœ . œ structureœ thaœ t both Nazarethœ . œand Gonzaga used. œ. œ. œ. œ.
Yet, it isD 7based on the sameG m unit cell, asA seen7 in Choro No. 5D, mAlma Brasileira, composed 13 œ >œ œ œ œ œ#œ œ œ œ œ œ #œ œ #œ œ œ > in 1925.b ≈Exampleœ bœ œ #4œ indicatesœ the three-dimens≈ ional writing featuresœ theœ melody in the top & Canto notes of the#œ rightœ œ hand,œ the basicœ œ cellœ œ of the choro in the left hand,œ œ andœ œthe harmony in the ? #œ œ œ œ œ œ œ œ #œœ œœ œœ œœ œ œ œ œ b œ œ middle voice,œ in ostinato. œ
Example 4. Choro No.5 Alma Brasileira1/3 , mm.25-26. (Casa Arthur Napoleão 1925) ©2011 Acervo Digital Chiquinha Gonzaga | www.ChiquinhaGonzaga.com/acervo Editoração: Douglas Passoni | Revisão e Cifras: Alexandre Dias
He also uses the same basic cell in the left hand. However, he creates a displacement in the rhythm by tying the note value, which causes a rubato effect. He also utilizes the left hand not only as a rhythmic unit but also melodic, built on ascending
46 inverted chords. This first melody becomes secondary, once the right hand takes over the melody, as seen in Example 5.
Example 5. Choro No.5 Alma Brasileira, mm. 1-4 (Casa Arthur Napoleão 1925).
Nazareth took the primitive motive of the lundu ( ) that in Gonzaga’s music appeared as an accompaniment figure, shown in Example 6, and transformed it into a melody, commonly played as the line for guitar in the choro ensemble.
Example 6. Odeon, mm. 1-5. (Mangione & Filhos 1968)
47
Example 7 reveals how Gonzaga and Nazareth use the same chromatic notes to connect parts:
Example 7. Atraente, mm. 42-43. (Gonzaga 2011)
Example 8. Odeon, mm. 1-2. (MangioneATRAENTE & Filhos 1968) 47 œ œ œ œ √ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ b œ œ œ œ nœ œ œ œ œ œ bœ & b œ
œ œ œ œ œ nœœ œœ œœ œ bœ ? b > œ > œ > œ œ œ œ œ œ œ b œ bœ œ œ
51 Gonzaga and Nazareth take a more traditional approach to the closing of the œ >œ >œ œ bœ >œ > > œ œ bb >œ œ œ œ œ œ œ œ œ pieces& shown inœ Exampleœ 9. Villaœ -Lobos’sœ extremebœ dynamicsœœ œanœ d figurationsœ œ introduce a more emotional appeal. œ œ œ œ œ œ œ œ ? b > œ >œ œ >œ ≈ œ ‰ n>œ >œ >œ œ œ œ Exampleb 9.œ Atraente, mm. 55-58. (Gonzaga J2011) œ
55 œ œ œ nœ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ & b œ œ œ . D.C. al Fine > œ > nœ œ œ œ œ œ ? b œ bœ >œ >œ bœ >œ >œ œ œ . b œ .
3/3 48 Nazareth’s ending shares a similar approach to Gonzaga’s. The difference is that Gonzaga uses the polka rhythm in the left hand while Nazareth keeps the initial character of choro, illustrated in Example 10.
Example 10. Odeon, mm. 51-55. (Mangione & Filhos 1968)
Example 11 shows Villa-Lobos’s dramatic ending that reveals an emphasis on the form of his composition rather than the usage of traditional choro language, relying on the usage of overtones that offer an introspective and psychological approach to the music.
Example 11. Choro No.5 Alma Brasileira, m. 76-79. (Casa Arthur Napoleão 1925)
49 CHAPTER 3 OVERVIEW OF SELECTED PIANO WORKS
Unlike her contemporaries, Gonzaga’s array of compositions features a vast number of works displaying different styles: polkas, schottisches, marches, waltzes, sacred music, operettas, vocal music and arrangements for small orchestras. It was challenging to choose a limited number of piano works that would represent her musical identity. The selected works best depict the core of her musical language and reflect the personality and mindset that was narrated in the previous chapters.
The first piece in the discussion, Atraente, was the first composition that presented her to the world as a mature composer. It also shows traces of a virtuoso musician whose playing skills reveal a fresh and free approach to piano that is not traditionally pianistic, but extremely efficient in transferring the idiom of choro to piano solo.
Secondly, Gaúcho – Corta-Jáca shows the strong collection of rhythms and passionate melodies that she combined and synthesized from dances brought to Brazil by slaves, and which contradicted the classical aesthetics of the time. It reveals in its structure her assimilation of the choro represented in solo piano and reflects her free soul and a beautiful creativity in the melodic writing.
The third selection is Meditação, which is an evocative composition that contains
Gonzaga’s introspective character. It reveals the personality of a composer whose image has already been absorbed by society and it reveals the sentiment of a brave soul who is not hesitant to show the essence and the vulnerability of humanity in musical form.
50 1. Atraente
In 1877 the polka Atraente was the first of Gonzaga’s pieces to be published. The composition was created during a jamming session in a Roda de Choro that took place in
Henrique Alves de Mesquita’s. Gonzaga sat at the piano and started improvising this
“attractive” melody that summoned everyone’s attention, musicians included, who joined her in the playing session. It was such a success that fifteen editions were published in that very same year of 1877, crowning Gonzaga’s success. The sudden popularity of the composer provoked the disapproval of her family, who destroyed many of her published copies to show their objection to Gonzaga’s musical talent. It became one of the staples in the choro repertoire and in 1932 it was published for flute as the eleventh piece in the second Series of Alma Brasileira, Gonzaga’s own compendium of chamber music arrangements from her solo pieces.
The composition is written in a rondo form: ||: A :|| B || A ||: C :|| A ||. Example 12 shows the four-bar introduction of the piece features grace notes in the right hand, organized in leaps of eighth notes grouped in twos to be played brilliantly. The grace notes reproduce the pinching sound effect used by the cavaquinho (a small four string guitar). This leads to a final decrescendo, preceding the arpeggio that serves as a connector between the sections of the piece. The composer displays a great variety in texture by exploring a simple motive placed first as leaps, then as repeated notes, creating a diminution of the motive and adding color.
The clever usage of this sound effect in the introduction paves the way for the main melody and sets up the character of the composition.
ATRAENTE Polca 51 Example 12. Atraente, mm. 1-4, Introduction. (Gonzaga 2011)6
Francisca Gonzaga (1847-1935) Introdução j j j j j j j j j j j n œ n œ œ n œ œ œ œ n œ œ œ œ œ j j œ œ j j œ œ œ œ œ œ œ œ œ & b 42 n œ œ œ œ n œ œœ œ Piano Brilhante di - mi - nu - in - do œ ATRAENTE ? 2 J j b 4 & œ œ #œ œ œ œ Polca#œ œ #œ œ œ œ #œ œ œ
Polca 5 ¨ U % Francisca Gonzaga (1847-1935)œ œ th œ Gonzagaœ œ capturedœ œ the spirit ofœ œ the Rodasœ de Choroœ by using a œdominantœ 7 œœ œœIntrodução. . œ œ œ œ œ œœ œ œ & b œ . œ j≈œ j œ œ. j j ≈#œjœ j bjœ œ j j j j arpeggio as the endCom of gosto the phrase.Then œ n œ fermataœ placedn œ œon theœ lastœ andn œ theœ highestœ œ note of œ j j œ œ j j œ œ œ œ œ œ œ œ œ 2 n œ œ n œ œ & b 4 œœœœœœœ œœœœ œœœ œ œ œ œ œ œ œ œ œ œ œ the ascending ?arpeggioBrilhanteœ depictsœ œ surprise and uncertaintyœ œ œ di asœ - œ well bmiœ as- œ ≈thenuœ œ-improvised inœ - do nature & Pianob œ Œ . œ ≈ œ ≈ œ ≈ œ ≈ œ of the choro? tradition2 œ , as seen in Example 13. j b 4 J & œ œ #œ œ œ œ #œ œ #œ œ œ œ #œ œ œ 11 œ œ œbœ œ œ œ Example 13. Atraenteœ œ œ, œm.œ 5.œ (GonzagaU œ2011) œ œ Polca œœœ œ œ œœ œ œ œœ œ œ & b œœ œ œ. ≈œœ œ œ. 5 Expressivo¨ % œ œ Uœ œ œ œ œ œœœ œœœœ . œ œœ œ œ œ œ œœ œœœœœ œœœœœœœ œœœœœœ & b œnœ œ œ . œ. œœœœ œœ ≈œœ œ œ.œœœœœœ ≈#œœœœœ œœ bœ œœ œ œ ? Com gosto Œ b œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œœœœœœ œ œ œ œ œ 1.œ œ œ bœ2. œ œ œ œ b œ Œ . œ ≈ œ ≈ œ ≈ œ ≈ ≈ 17 & œ fi œ œ œ U œ œ œ œ œ œ œ œ œœœœ œ œ œœ œ œœœœ œ#œ œ b ≈#œTheœ leftbœ hand, showedœ œ ≈ ninœœ Example œ14,œ displays œa œsupportingœ. J role through its thirds & Fine 11 œ œ œbœ œ œ œ œ œ U moving byœ œhalfœ steps Overallœ œ œ, thisœ œ œcreatesœ a œnaturalœ diminuœ œ tion of theœ œharmonicœ idea and œ œ bœ œ œ œ œ œbœœœ œ œ œ œ œ œœ œ œ ?& b œ œ œ œ œ œ nœ œ œœ ≈œ œœ œœ. œ ≈œœ. œ œ œ. b œ Expressivo≈ œ ≈ œ Œ . ‰Œ suggests a spontaneous accelerando. It does that by combining fourJ -note groupings that œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œœœœ œœ œœ œœœœœœ œœœœ œœ œ œ œ are? reducedb ≈ to two notesœ in≈ half steps.1/3 Œ œ ≈ œ ≈ œ ≈ ©2011œ Acervo Digital Chiquinha Gonzaga | www.ChiquinhaGonzaga.com/acervo Editoração: Douglas Passoni | Revisão: Alexandre Dias 1. 2.
17 fi œ œ œ U œ œ œ œ œ œ œ œ œœœœ œ œ œœ œ œœœœ œ#œ œ b ≈#œœ bœ œ œ ≈nœœ œ œ œœ œ. J & Fine 6 All examples from Gonzaga’s scores are from Acervo Digital Chiquinha Gonzaga, 2011, accessedœ œ through:œ www.ChiquinhaGonzaga.com/acervo.œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ nœ bœœ œ œ œ œ œ ? ≈ œ ≈ œ œ œ ≈ œ Œ . œ ‰Œ b œ J
1/3 ©2011 Acervo Digital Chiquinha Gonzaga | www.ChiquinhaGonzaga.com/acervo Editoração: Douglas Passoni | Revisão: Alexandre Dias ATRAENTE Polca
Francisca Gonzaga (1847-1935) Introdução j j j j j j j j j j j n œ n œ œ n œ œ œ œ n œ œ œ œ œ j j œ œ j j œ œ œ œ œ œ œ œ œ 52 2 n œ œ n œ œ Example& b 4 14. œAtraenteœ , mm. 1-4œ, Introduction,œ left hand. (Gonzaga 2011) Piano Brilhante di - mi - nu - in - do œ ? 2 J j b 4 & œ œ #œ œ œ œ #œ œ #œ œ œ œ #œ œ œ
Polca 5 Gonzaga% left almost no tempo indications or markings in her music. However this œ¨ U œ œ œ œ œ œœ œ œ œ œ œœ œ œ œœ œ œ & b œoneœ is anœ Example. œ. of her≈ personalœœ thoughtsœ œ. of dynamics≈#œœ œ andœ bcharaœ œ œcter. The melody Com gosto carries the marking com gosto (with pleasure, in a extroverted manner). It is constructed œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œœœœœœ œ œ œ œ œ œ œ œ bœ œ ≈ œ œ œ & b œ in twoŒ parts:. œ the≈ first presentsœ ≈ a syncopatedœ ≈ motiveœ and≈ the second one a straightforward
succession of arpeggios. The two-octave C major arpeggio used in m. 10, referred in 11 œ œ œbœ œ œ œ œ œ U Example 15, unexpecœ œ œtedœ œlyœ descendsœ inœ step-wiseœ œtwo-note slurs.œ œ Gonzagaœ œ makes this b œ œœœœ œœ œ. ≈œœ œ œœ & th œ. Expressivopassage expressivo, bringing us back to the same dominant 7 chord used in m. 5. The œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ passagenœ œ offersœ a varietyœœœœ ofœœ figurationsœœ by mixingœœœ œdoœœtted rhythms,œœœœ œœ arpeggiosœ œ œ and two-note ? œ œ œ œ œ œ Œ œ œ œ œ œ œ b œ ≈ œ ≈ œ ≈ œ ≈ œ ≈ slurs. It serves as a model for further reference in how to articulate in the performance of
1. 2. Gonzaga’s works of the same style. 17 fi œ U œ œ œ œ œ œ œ œ œ œœœ œ œ œœœ œ œœ œ#œ œ b ≈#Exampleœœ bœ 15. Atraenteœ œ , mm.≈nœ œ5-13. (Gonzagaœ œ œ 2011) œœœ œœ. J & Fine œ œ bœ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ nœ bœ œ ≈œ œ œ œ œ b œ ≈ œ ≈ œ œ Œ . J ‰Œ
1/3 ©2011 Acervo Digital Chiquinha Gonzaga | www.ChiquinhaGonzaga.com/acervo Editoração: Douglas Passoni | Revisão: Alexandre Dias
Gonzaga does not establish the key of F major until m. 8. The preceding measures
feature a pedal point on C outlining the dominant in its second inversion and displaying a
53 steady polka rhythm that is predominant in section A. This rhythm emphasizes a single note that shows the downbeat followed by three chords that are repeated, imitating the strumming of guitars. The tenor A∫, is used as a connector (in semi-tones) in the
6 6 6 progression I – i - V , being the foundation of a brief tonicization to the dominant key 4 of C major, in mm. 10-14, as appeared in Example 16.
Example 16. Atraente, mm. 5-13. (Gonzaga 2011)
The same melody and harmony are played again in mm. 14-20, but unexpectedly, the composer uses the chord ii6 in m. 17 to create a conclusive answer and symmetry to the same passage presented earlier in m. 9. The contrast between ascending notes and descending leaps, in addition to two-note slurred arpeggio gestures (in the right hand) complements and affirms the brilliant character of the music indicated in Example 17.
54
Example 17. Atraente, mm. 17-21. (Gonzaga 2011)
Section B modulates to the relative minor, D minor. As illustrated in Example 18, the right hand melody is constructed from a series of repeated arpeggios outlining the new key and its dominant. Several B∫ at the top of each arpeggio are placed strategically to create a separate layer of syncopation. At the same time, the left hand shows a variation of the polka rhythm.
Example 18. Atraente, mm.23-27. (Gonzaga 2011) ATRAENTE . 23 . . 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 bœ œ œ œ & b #œ œ #œ œ œ œ œ Gracioso œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ bœ œ ≈ œ œ ? b ≈ ‰ J ≈ ‰ J œ ≈ ‰ J ≈ ‰ J ‰ J œ œ œ œ œ œ 28 . . . 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 œ #œ œ œ œ & b In Example 19, Gonzaga featuresJ a rhythmic variation based on the melody and harmonies ofœ mm. 2œ3-25. The œright œhandœ now plays steady#œ eightœ h notes#œ œthat leap in ? nœ œ œ œ œ œ œ œ œ b œ ≈ ‰ J œ ≈ ‰ J œ Œ œ ≈ ‰ J œ ≈ ‰ J octavesœ in a persistent andœ virtuoso fashion. œ œ 33 œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ nœ b œ œ œ œ œ œ œ œ œ œ & œ œ ≈ œ œ ≈ œ œ ≈ œ œ ? œ œ œ œ bœ œ œ nœ œ b œ ≈ ‰ J ‰ J ‰ J ‰J œ
37 j j j j √j j √j j √j j √j ¨ n œ n œ œ n œ œ œ œ n œ œ œ œ ¨ U fi œ œ j j œ œ j j œ œ œ œ œ œ œ œ œ œ œ n œ œ n œ œ œ œœ œœbœ b & b œ œ œ œ œœ œ J b D.S. al Coda œ œ ? j ? œ b J& œ œ #œ œ œ œ #œ œ #œ œ œ œ #œ œ œ œ Œ Œ bb
43 œ >œ >œ œ bœ >œ > > œ œ bb . œ œ œ œ œ œ œ œ œ & . > œ œ œ œ bœ œœ œœ œ œ œ œ œ œ œ œ œ ? b . œ >œ œ >œ ≈ œ ‰ n>œ >œ >œ ≈ œ ‰ œ b . >œ J œ J
2/3 ATRAENTE
23 . . œ. > > > . . œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ >œ œ œ œ bœ œ œ œ. œ œ b #œ œ œ œ #œœ œœ œ œ œ & ATRAENTE Gracioso . œ œ œ œ23 œ œ œ œ . . œ. œ. œ #œ œ #œ œ œ œ œ >œœ œ œ œ œ >œ œœ >œ >œ œ> . œ. œ. œ œ ? œ œ œ œ œœ œ œ œ œœ bœœ œœœ œ≈ œ œœ œ Jœ œœ œ œ bœ œ œ œ b œ ≈ ‰ J œ ≈ ‰ J& bœ #≈œ ‰ Jœ #≈œ ‰ œ J ‰ Graciosoœ œ œ œ œ œ œ œ 55 . #œ œ #œ œ œ œ œ œ œ œ 28 œ œ. œ. œ. œ. . . . ? œ œ œ œ œ œ œ œ bœ œ ≈ J œ œ nœ. œ œ. œ. . . b œ ≈ ‰ J œ œ≈√œ ‰ œJ√œœ ≈œ ‰œ J ≈ ‰ J ‰ œ œ œ. œ. . œ #œ œ œ œ œ œœ œExampleœ œ œœ 19. Atraente, mm. 30-32. (Gonzaga 2011) & b œ œ œ œ #œ œ œ œ #œ œ œ œ 28 . . .J 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 b œ œ #œ œœ œ œ. œ #œ œ#œ œ œ œ #œ œ œ œ ? nœ œ œ& œ œ œ œ J œ œ b œ ≈ ‰ J œ ≈ ‰ J œ Œ œ ≈ ‰ J œ ≈ ‰ J œ œ œ œ œ œ #œ œ #œ œ œ ? nœ œ œ œ œ œ œ œ œ œ œ b œ ≈ ‰ J œ ≈ ‰ J œ Œ œ ≈ ‰ J œ ≈ ‰ J 33 œœ œ œ œ œ œ œ œ œ œ œ œ bœ œœ œ œ œ nœ œ œ œ œ œ œ 33œ œ œ œ œ & b Afterœ œ repeatingœ theœ rondo, the composer transitions to the C section with a œ œ œ œ œ œ bœ œ œ œ nœ & b œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ ≈ œ descendingœ chromatic scale in m. 42, in the right hand as indicated in Example 20: œ œ ≈ œ bœ œ œ œ œ nœ œ ? œ ≈ ‰ œ ‰ œ œ ‰ J ≈ œ œ ‰J≈ œ œ ≈ œ œ b J ? J œ œ œ œ bœ Exampleœ 20. Atraenteœ , nm.œ 42. œ(Gonzaga 2011) œ b œ ≈ ‰ J ‰ J ‰ J ‰J œ 37 j j j j √j j √j j √j j √j ¨ n œ n œ œ n œ 37œ œ œ njœ œ j œ œ j ¨ j √jUj fi√j œ j √j j √j œ j j œ œ j j œ œ œ ¨œ œ n œ œn œ œ œ œœ œn œ œ œ œ n œ œ œ œ ¨ U fi œ œ j j œ œ j j œ œ œœœ œ œ œ œ œ œ œ œ œ n œ œœ œ n œ œœ œ n œ œ n œ œ œœ œœ J œbœ b œ œœ œœbœ b & b & b œ œ œ œ œ b œœ œ J b D.S. al Coda D.S. al Coda œ œ œ œ œ œj ? œ ? ? J& jœ œ œ œ ?œ œ œ œ œ Œ œ Œ b b J& œ œ œ œ œ œ œ œ œb œ œœ #œœ œ œœ œ#œ œ œ #Œœ œ œ Œœ #œ bbœ œ œ b #œ #œ #œ œ #œ œ
43 Next, the subdominant key of B∫ major becomes the home key, the section 43 œ œ b >œ >œ œ œ bœ >œ œ>œ > œ > > b . œ œ > œ > œ functioningœ as ifœ it wereœ aœ trio in a minuet. Example 21 shows how the left-hand rhythmic b . œ œ œ œ œ &œ bœ> œ œ œ œ œ œ> œ bœœ œ œœ œœ œ œ & b . > œ œ œ œ bœ œœ œœ œ œ œ œ œ pattern changes to a lessœ syncopatedœ motive, which offers a sense of gravity not heard œ œ œ > œ > œ œ œ ? b . > œ >œ œ >œ ≈ ‰ n>œ œ œ ≈ œ ‰ œ œ œ œ b œ œ œ œJ œ œ J ? b . œ > œ >œ ≈ œ n>œ >œ >œ œ until now.œ The syncopation in this section adds character and generates a sense of b . >œ œ ‰ J œ ≈ ‰ J 2/3 playfulness in the music, in contrast to the eighth notes that are played consecutively. In
2/3 addition, we hear a more colorful harmonic progression, which includes an augmented 6th
chord.
56
Example 21. Atraente, mm. 43-46. (Gonzaga 2011)
As seen in Example 21 above, the bass notes in the left hand have an extremely important role. They act as the walking bass, connecting all the harmonies in a seamless thread. Gonzaga places an accent on each one to highlight the support of the bass line.
The last beat of m.44 displays an unusual voiced augmented 6th chord (despite Gonzaga’s lack of profound musical training). Example 21 also shows the melody in the right hand that is constructed by interspersing single notes and two-note intervals that outline B∫ major. The downbeats in the left hand, outline the tonic, and the upbeats are played as accompaniment using the notes of B∫ major chord.
The three chromatic scale notes in the right hand are a common compositional device, used in transitional passages like the second beat of m. 44. This time, it is played in broken octaves as opposed to single notes.
One of the most effective and energetic devices used in this section is the ascending and descending pattern as a simple but very efficient movement between the tonic and dominant. It generates a sense of tension when it ascends and a sense of release when it descends as revealed in Example 22.
57
Example 22. Atraente, mm. 47-50. (Gonzaga 2011) ATRAENTE
47 œ œ œ œ √ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ b œ œ œ œ nœ œ œ œ œ œ bœ & b œ œ œ œ œ œ n œ œ œ œ bœ œ œ œ œ œ œœ œœ œœ œ œ œ œ ? bb >œ œ b>œ œ >œ œ
51 After a fair amount of syncopation, the left hand features four steadyœ eighth notes >œ >œ œ bœ >œ > > œ œ bb >œ œ œ œ œ œ œ œ œ announ& cing theœ beginningœ œ of the codœ ettabœ in m.55.œœ Thisœœ codaœ œis a very short one, lasting for œ œ œ œ œ œ œ œ only ?fourb measuresœ > .œ The>œ walkingœ bassn>œ (B∫, >œA∫œ, G,>œ Eœ∫, F, B∫œ) movesœ œthrough a different b >œ œ ≈ ‰ J œ harmony at every downbeat, demonstrated in Example 23. 55 œ œ œ nœ œ œ œ œ œ œ œ œ œ œ Exampleb 23.œ Atraente, mm. 55-58.œ (Gonzaga 2011) œ œ œ œ & b œ œ œ . D.C. al Fine > œ œ œ œ œ œ œ ? œ b>œ nœ >œ > bœ >œ œ >œ œ œ œ bb œ œ .
2. Gaúcho – Corta-Jáca
Gaúcho was the original name of this composition but it was popularized under the name Corta-Jáca. Originally, Gonzaga titled the work Gaúcho, and it had the subtitle
Dança Corta-Jáca, which became the best-known name of the piece. The composition 3/3 was conceived in 1895 and belongs to the final scene of the Opereta Burlesca de
Constumes Nacionais “Zizinha Maxixe” (1895). Corta-Jáca was performed in varied venues such as café-cantante and Rodas de Choro. However its coronation came from its
58 performance at Palácio do Catête in 1914. It was played on the acoustic guitar by Nair de Teffé, Brazil’s first lady, during that time, and it caused tremendous political turmoil.
Brazilian Senator Rui Barbosa gave a public address to the Brazilian Parliament in which he mentioned that Gaúcho – Corta-Jáca was “the lowest, the poorest and the most grotesque of all the savage dances; it was batuque’s, cateretê’s’ and samba’s twin brother.” (Diniz 2009). This composition was first written for piano, with two subsequent versions: an orchestration for oboe, viola, timpani, horn and bassoon, and a transcription for guitar that received lyrics by José Machado Pinheiro e Costa.
Gonzaga uses two specific words that mold the two alternating distinct characters of the themes in the A section: batuque and ritimado (percussive and rhythmic) for the drum-like section and Canto for the lyrical part. It is centered in the key of d minor and follows the form || A ||: B :|| A ||. As addressed by Barbosa above, maxixe was considered a very vulgar dance. For that reason, the composer used a subtitle of Tango
Brasileiro, for marketing purposes.
In Example 24, the first theme, Batuque, incorporates rhythms associated with lundu in the left hand: a dotted eighth note followed by a sixteenth note. The four-note pattern per measure, in the left hand, is placed in large intervals, which create very distinct layers of sound. The lowest note is presented on the first beat of each measure, emphasizing the downbeat of the 2 meter, while the second beat shows an internal voice 4 that creates some secondary melodic movement. Large intervals between the notes add value to the harmonic aspect of the piece in addition to its syncopated rhythm. The insistent alternation between the tonic D minor and dominant A major supports the direct
59 approach of the harmonic pillars. However, the composer uses the dominant in its
A minha irmã Rosinha second inversion, which reveals an erudite and less heavy approach to the basic GAÚCHO 7 i – V progression. O Corta-Jaca de CÁ E LÁ Tango Brasileiro Example 24. Gaúcho – Corta-Jáca, mm. 1-4. (Gonzaga 2011) Francisca Gonzaga (1847-1935)
Batuque j j j j b 2 ≈ ‰ ≈ ‰ ≈ ‰ ≈ ‰ & 4 œ œ œ œ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ Piano œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ ? 2 œ. œ œ. œ b 4 œ œ œ . œ œ œ œ . œ œ. œ. œ. œ.
5 Canto œ The drum-œlike accompaniment#œ œ ofœ œ the Bœ atuqueœ .shown in Example 25 offers a œ œ œ œ œ œ #œ œ œ œ œ œ œ & b ≈ œ. œ drum-like accompaniment in sixteenth notes. It starts out with a sixteenth rest, in the right œ œ œ œ œ œ œ œ œ œ œ œ #œœA minhaœœ œœ irm㜜 Rosinhaœ œ œ œ #œœ œœœ œœ œœ hand,? b leaving a clear œdownbeat for the lefœ t hand. Everyœ last note of the right hand is a œ GAÚCHO dramaticBatuque chord that is not marked tenuto. However, tenuto is implied so as to emphasize 9 O Corta-Jaca de CÁ E LÁ j Tango Brasileiroj j j theb short≈ œ œ restœ ‰ thœat occurs≈ œœ œ œafterœœ ‰ eachœœ one≈ œ ofœ œthem.‰ œ ≈ œœ œœ œœ ‰ œœ & 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 œFranciscaœ Gonzagaœ œ (1847-1935)œ Example 25. Gaúcho – Corta-Jáca, mm. 1-2, right hand accompaniment. (Gonzaga 2011) ? Batuqueœ. œ œ. œ b œ œ œ . œ œ œ œ . œ œ. œ. œ. œ. 2 j j j j & b 4 ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ 13 Canto œ œ œ œ œ œ œ œ Piano œ œ œ œ œ #>œœ œ œ œ œœœœ œ œ #œ œ œ œ œ œ#œœ œ œ œ œ #œ œ #œ œ œ > œ b ≈ œbœ œ#œœ ≈ œ œ ≈ œbœ œ#œœ &? 2 œ. œ. œ. œ. b 4 œ œ œ œ œ œ œ œ #œ œœœ. œ œ œ œ.œ œ. œ œ œ œ œ#.œ œ œ œ ? #œ œ œ œ œ œ œ œ #œœ œœ œœ œœ œ œ œ œ #œ œ œ œ b That adds a very efficient and dramaticœ accent, creating an opposing symmetry œ œ œ œ 5 Canto œ œ #œ œ œ œ œ œ . withœ theœ œleftœ œhand, œcontrasting#œ œ the1/2 rhythmic accentuationœ œ œ of theœ downbeatœ of the left hand, & b ≈ ©2011 Acervo Digital Chiquinha Gonzaga | www.ChiquinhaGonzaga.com/acervoœ. œ and emphasizingEditoração: the first Douglas note Passoni and |rhythmic Revisão: Alexandre accentuation Dias of the last beat in the right hand, œ œ œ œ œ œ œ œ œ œ œ œ #œœ œœ œœ œœ œ œ œ œ #œœ œœœ œœ œœ ? b as indicated in Exampleœ 26. œ œ œ
9 Batuque j j j j & b ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ ? œ. œ œ. œ b œ œ œ . œ œ œ œ . œ œ. œ. œ. œ.
13 Canto œ œ >œ œ #œ œ œ œbœ œ œ#œœ œ œ #œ œ œ œ > œbœ œ & b ≈ œ#œœ ≈ œ œ ≈ œ#œœ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ ? #œ œ œ œ œ œ œ œ #œœ œœ œœ œœ œ œ œ œ #œ œ œ œ b œ œ œ œ œ
1/2 ©2011 Acervo Digital Chiquinha Gonzaga | www.ChiquinhaGonzaga.com/acervo Editoração: Douglas Passoni | Revisão: Alexandre Dias 60 Example 26. Gaúcho – Corta-Jáca, mm. 1-2, left hand accompaniment. (Gonzaga 2011)
The second theme, Canto is shown in Example 27. It presents a very expressive
melody that suggests musical writing for the flute, rather than piano. The first part
consists of notes in ascending step-wise motion. The second part is initiated by a written-
out turn. That creates energy and leads to the next part of the melody, with syncopated
leaps. These add a more harmonic feel to the drama of the passage that ends with two
assertive syncopated octaves. A minha irmã Rosinha Example 27. Gaúcho – Corta-GAÚCHOJáca, mm. 5-8. (Gonzaga 2011) O Corta-Jaca de CÁ E LÁ Tango Brasileiro
Francisca Gonzaga (1847-1935)
Batuque j j j j b 2 ≈ ‰ ≈ ‰ ≈ ‰ ≈ ‰ & 4 œ œ œ œ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ Piano œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ Example 28 indicates a variation on the batuque rhythm presented pervisouly in ? 2 œ. œ œ. œ b 4 œ œ œ . œ œ œ œ . œ the Batuque theme,œ. in the rightœ hand.. This time itœ .displays the œpattern. that became the
5standardCanto rhythm of the choro. œ œ #œ œ œ œ œ œ . œ œ œ œ œ œ #œ œ œ œ œ œ œ Exampleb ≈ 28. Standard Rhythm of choro œ. œ &
œ œ œ œ œ œ œ œ œ œ œ œ #œœ œœ œœ œœ œ œ œ œ #œœ œœœ œœ œœ ? b œ œ œ œ
9 Batuque j j j j & b ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ ? œ. œ œ. œ b œ œ œ . œ œ œ œ . œ œ. œ. œ. œ.
13 Canto œ œ >œ œ #œ œ œ œbœ œ œ#œœ œ œ #œ œ œ œ > œbœ œ & b ≈ œ#œœ ≈ œ œ ≈ œ#œœ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œœ œœ œœ œœ œ œ œ œ œ œ œ œ ? b #œ œ œ œ œ #œ œ œ œ œ œ œ œ
1/2 ©2011 Acervo Digital Chiquinha Gonzaga | www.ChiquinhaGonzaga.com/acervo Editoração: Douglas Passoni | Revisão: Alexandre Dias 61 M. 13 introduces the D major harmony, establishing a very brief tonicization to the key of G minor. It also reveals written-out turns (semitones) in the right hand, making the passage very chromatic and unsettled. The melody is constructed in two-bar phrases.
The first two bars have an ascending line, and the second two bars present a descending line. Both of them feature two eighth notes, which give a sense of balance and symmetry to the musical narrative of the passage, as if it were a closing of a statement. As indicated in Example 29, the composer marks an accent on the very last note of every two bars to emphasize the repeated note, which gives an insistent character to the end of each phrase.
Example 29. Gaúcho – Corta-Jáca, mm. 13-17. (Gonzaga 2011)
The progression shown in Example 30 below, I - iv - V7 - i - I, creates a crescendo.
Each bass line presents a variety of chords, some open (a fifth and a fourth from the lowest note) and some closed (triads), that support the arched structure of the phrase.
Example 30. Gaúcho – Corta-Jáca, mm. 13-17, left hand. (Gonzaga 2011)
62 Mm. 17-19 repeat the same melody and harmonic progression as mm. 13-16.
However, the composer uses only half of the phrase used previously, which is dramatically concluded with a two-octave leap from the pitch D into the Batuque theme, as illustrated in Example 31.
Example 31. Gaúcho – Corta-Jáca, mm. 18-22. (Gonzaga 2011)
GAÚCHO de CÁ E LÁ After the reprise of the Canto, the composer closes the A section with an abrupt 18 > œ Batuque and furious statementœ œ œ of twoœ quaœ œrter notesœ featuringœ the tonic D minor in full chord root œ#œ œ #œ R j j j & b ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ ≈ œ œ œ ‰ œ position (Example 32). The second beat is oneœ octaveœ œ -œhigher# œthanœ theœ firstœ beatœ inœ bothœ œ hands. œ œ œ œ # œ œ œ œ ? œ œ œ œ œœ œœ œœ œœ œ. œ œ. b œ œ œ œ . œ œ œ Exampleœ 32. Gaúcho – Corta-Jáca, mm. 23œ-.24. (Gonzagaœ 2011). œ. Coro e Dança 23 œ œ œ nœbœ œ j œ œ œ b œ œ œ & b ≈ œœ œœ œœ ‰ œœ œ . œ ≈ œ œ #œ œ œ œ œ Fine œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ ? b œ. œ œ . œ œ œ œ œ œ œ. œ œ œ
28 As shown in Example 33, Section B receives a different treatment than section A. œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ It highlights& b ≈ a polkaœ œ patternœ accompanimentœ in the left hand. It is in the key of F major and carries the subtitle Côro e Dança (Chorus and Dance). Although the modulation is 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 b œ œ œ œ œ
1. 33 œ œ nœ bœ œ œ b œ œ œ œ œ œ œ œ œ œ & b 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 œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ œ
39 2. œ > œ œ œ ˙ œ œ ˙ œ œœ & b œ œ ˙ . œ œ œ ˙ œ ‰# œ J J œ œ œ œ f # œ œ œ œ > >œ > œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ > ? œœ œœ œœœ œœ œ nœ œ œ œ œ œ œ œ œ œ b œ œ œ œnœ . œ œ œ #œ D.C. al Fine
2/2 63 very clear, it does not feel satisfactorily established until m. 27. Gonzaga uses the C7 chord, which offers a direct modulation to F major from D minor. GAÚCHO de CÁ E LÁ Example 33. Gaúcho – Corta-Jáca, mm. 23-27. (Gonzaga 2011)
D 7 G m A 7 D m 17 œ >œ œ œ œ œ#œ œ œ œ œ œ #œ œ j b ≈ œ bœ œ #œ œ ≈ R œ ‰ & œ œ œ œ Batuqueœ œ œ œ- #œ œ œ œ œ œ œ œ # œ œ œ œ ? #œ œ œ œ œ œ œ œ œœ œœ œœ œœ œ. b œ œ œ œ œ œ.
A 7 A 7 /E D m /E D m 21 The bass notes are also very particular and unorthodox in the senseœ that the j j j œ œ & b ≈ œœ œœ œœ ‰ œœ ≈ œ œ œ ‰ œ ≈ œœ œœ œœ ‰ œœ œ composer#œ uœsesœ an alternationœ œbetweeœ œ n theœ pitches#œ œE andœ C, œwhereœ theFine opposite is usually œ expected? : C to Eœ or C to G. However,œ. the choice of leavingœ the pitch Cœ as the last note b œ . œ œ œ œ . œ œ œ œ. œ. œ. œ supports a modulation to F major, as demonstrated in Example 34.
ExampleC 7 34. Gaúcho – Corta-Jáca, mm. 25-F28, left hand accompaniment. (Gonzaga 25 2011) œ œ nœ bœ œ œ œ b œ œ œ œ & b . œ ≈ œ œ ≈ œ œ Coro e Dança œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ ? . œ œ œ œ œ œ œ œ œ œ œ b . œ œ œ œ
C 7 Example 35 features a combinationF of thirds and sixths, in the right hand, that 29 œ nœ œ œ œ œ gives a lightnessœ and elegance toœ the newœ sectionœ œ, which remains in theœ œrelation I - V. & b œ œ However, it feels as if we are hearing I - IV œinœ the keyœ œ of Cœ major.œ Theœ two-bar phrase œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ ? œ œ œ th œ nowb presents theœ following pattern:œ an ascendingœ 7 leap followedœ by a descending minor
th th 6 in the first phrase and an ascending2/3 7 and a descending arpeggiation of the tonic. It suggests a feeling of sliding down to F major. M. 31, as seen Example 35 presents four
GAÚCHO de CÁ E LÁ 64 ascending18 notes (three> whole steps and aBatuque half step, in the right hand), which depicts the œ œ œ œ œ œ œ œ œ œ#œ œ #œ R j j j feeling& b of climbing up≈ to F major. M. 32œ presentsœ œ ‰ œ ascending≈ œœ œœ œœ half‰ œœ steps≈ œ œfollowedœ ‰ œ by a forth, œ œ œ -œ #œ œ œ œ œ œ œ œ which leadsœ inœtoœ theœ descending# œ œ œ arpeggiationœ back to F major. ? œ œ œ œ œœ œœ œœ œœ œ. œ. œ. b œ œ œ œ œ œ œ œ Example 35. Gaúcho – Corta-Jáca, mm.œ. 23-32. (Gonzagaœ. 2011) œ. Coro e Dança 23 œ œ œ nœbœ œ j œ œ œ b œ œ œ œ & b ≈ œœ œœ œœ ‰ œœ œ . œ ≈ œ œ #œ œ œ œ œ Fine œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ ? b œ. œ œ . œ œ œ œ œ œ œ. œ œ œ
28 œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ & b ≈ 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 œ œ b œ œ œ œ œ
1. 33 Mm. 37œ-40 display a similar idea. Nonetheless, the composer uses a half cadence œ œ nœ bœ œ œ œ œ b œ ≈ œ b œ œ œ œ ≈ œ ≈ œ œ#œ œ on &V7 of D minor, which announcesœ the repetition of Sœectionœ Bœ with octaves in the left œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ hand, in aœ œchromaticœœ œœ œœ ascentœœ œ œfromœœ the pitœ œchesœ œA œtoœ Cœ, asœ seenœ inœ œ Exampleœ œ œ œ36.œ œ ? b œ œ œ œ œ œ œ œ œ Example 36. Gaúcho – Corta-Jáca, mm. 33-40 (Gonzaga 2011)
39 2. œ > œ œ œ ˙ œ œ ˙ œ œœ & b œ œ ˙ . œ œ œ ˙ œ ‰# œ J J œ œ œ œ f # œ œ œ œ > >œ > œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ > ? œœ œœ œœœ œœ œ nœ œ œ œ œ œ œ œ œ œ b œ œ œ œnœ . œ œ œ #œ D.C. al Fine
2/2
65 Mm. 41-44 feature a closing section using the progression F: ii6 - V 4 - I. The 2 last chord of A major announces, abruptly, the final return to Batuque section in the home key of D minor, as revealed in Example 37.
Example 37. Gaúcho – Corta-Jáca, mm. 41-44. (Gonzaga 2011)
3. Meditação
Meditação is dated ca. 1890 and was published under the series Arpeggios da
Saudade, a musical collection containing nocturnes, melodies and romances for piano
(Dias, 2011 chiquinhagonzaga.com/acervo). Along with Gaúcho, it was part of the repertoire performed by Gonzaga in the first recital she organized at Clube Euterpe as the concert director, on February 10, 1900 (Dias, 2011 chiquinhagonzaga.com/acervo).
This nocturne is structured in || A || B || A’|| form in the key of F major. As shown in Example 38, mm. 1-8 reveal the introduction that unfolds in eight bars and is marked tranquillo in addition to the subtitle Andante maestoso. The melody is played by the left hand, which is rather unusual for Gonzaga. As in Atraente, the composer uses chromatic descending steps to connect and to give flow to the harmony.
The long open fifth in the left hand held for four beats imparts a sense of openness and settles the mood of the piece, which develops in a spacious tempo. The left hand uses
66 note pairs that ascend in thirds and descend in minor seconds, being set a 7th apart and creating a pondering character. The minor seconds add a pensive character and introspective mood to the nocturne. The harmonies are carefully placed in the progression
I - vii°/V - V - iv6 - V7, which invite the listener to the poised and reverent first phrase.
The rallentando marking, along with the quarter rest, concludes the measure. They add elegance and anticipation to the opening phrase of the melody of the nocturne. The first note of each measure, in the left hand, outlines the chord progression that closes with an arpeggiation of the dominant 7th chord in m. 6. The rolled V7 chord, deceivingly, is extended to the pitch D∫ transporting the listener for a brief moment to the iv chord, which delays the resolution to a strong cadence in a solid C dominant seventh in m.8, as revealed in Example 38.
Example 38. Meditação, mm. 1-8. (Gonzaga 2011)
M. 9 displays the subtitle “poetizando” (writing poetry), delivering the melody to the right hand in a series of long notes that outline an F major chord. As seen in example
39, the single-note melody gains more drama in m. 11, when the composer adds a second voice (G#). The left hand plays a diminished chord that adds intensity to the character of
Ao ilustre violoncelista Frederico do Nascimento MEDITAÇÃO 67 the peaceful, meditative mood. Despite being written in 3 time, the piece moves in a 6 da “peça anticlerical” O CRIME DO PADRE AMARO4 4 Noturno meter, which contributes to the flowing nature of the nocturne. The vii chord, in its third Francisca Gonzaga (1847-1935) irversion, leads theAndante passage maestoso to reconciliation. The second musical phrase starts in the 3 Œ Œ Œ Œ Œ tonic but now& b is4 supportedœ œ ˙ by theŒ note Cœ inœ the˙ bass, creatingœ aœ pedal˙ point between Piano tranquilloœ œ Ao˙ ilustre violoncelistanœ œ Fredericon˙ do Nascimentobœ œ ˙ 7 6 > chords V and I , as appeared inœ .Example 39. œ. œ œ ? 3 ˙. œ œ œ œ œ œ œ b 4 ˙. œ œ MEDITAÇÃOn˙. œœ nœ b˙. œ Example 39. Meditação,da “peça anticlerical” mm. 7-19. O(Gonzaga CRIME 2011) DO PADRE AMARO
7 Poetisando Noturno ˙. ˙. ˙ & b Ó bœ ˙˙ Œ ˙ œ #˙. Francisca˙ Gonzagaœ (1847-1935) rall. œ ˙ a tempo Andante maestosoœ œ ˙. b˙. ˙ œ œ ˙. n œ œ œ n ˙ ? Œ # œœ œœ œœ # ˙˙ Œ b 3 Œ œ Œ Œ Œ Œ & b 4 œ œ ˙ Œ œ œ ˙ œ œ ˙ Piano tranquilloœ œ ˙ nœ œ n˙ bœ œ ˙ 13 œ > œ . œ œ œ . œ ˙ .? 3 j œ œ œ œ œ œ œ œ ˙. œ ˙ œ œ & b œ b 4 Ó˙. ‰ œ œ œ‰ 33œ n˙. œ œœœ nœ b˙. œ œ œ œ dolcissimo 3 ŒŒ ˙. œ œ 3 œ œ œ ˙ œ œ œ œ œ ˙. ? œœ œœ ˙˙ œ œ œ œ œ ˙. 7 b Œ Poetisando ŒŒ œ œ œ ˙. ˙. ˙ b TheÓ phrasebœ ends˙˙ onŒ a cadence back to ˙the tonic of F and an arpeggio figurationœ &19 œ #˙. ˙ rall. œ ˙ a tempo ˙. ˙ j marked& b dolcissimo#˙. that suggest˙ œ s an˙œ .improvisedœ œ Ó˙. feeling‰ œ andœ˙. colorsœ œ ˙toœ theŒ key ˙of F major in b˙. ˙ œ œŒŒœ ˙. œ n ŒŒœ œ œ n ˙ ? Œ # œœ œœ œœ # ˙˙ Œ a hazeb as seenœ œ in œExample˙ 40. œ œ œ ˙ #nœœ œœ œœ #n˙˙ œœ œœ ˙˙ œ œ ˙ ? b Œ œ œ ˙ Œ Œ Example 40. Meditação, mm. 13-œ16. (Gonzaga 2011) œ 13 1/3œ œ œ œ œ œ œ ˙. b ˙œ©2011. Acervo DigitalÓ Chiquinha‰ j œ Gonzaga‰ | www.ChiquinhaGonzaga.com/acervoœ œ œ ˙ & Editoração: Douglasœ œ Passoni33 | Revisão: Alexandre Diasœ œ œ dolcissimo 3 ŒŒ 3 œ œ œ œ œ œ ˙. œœ œœ ˙˙ œ œ œ œ œ ˙. ? b œ œ ˙ Œ ŒŒ œ œ œ
19 ˙. ˙ œ j b . ˙œ. Ó ‰ œ˙. ˙ Œ & #˙ ˙ œ ŒŒ œ œ ŒŒ œ œ œ ˙ œ œ ˙ #nœœ œœ œœ #n˙˙ œœ œœ ˙˙ œ œ ˙ ? b Œ œ œ ˙ Œ Œ œ œ
1/3 ©2011 Acervo Digital Chiquinha Gonzaga | www.ChiquinhaGonzaga.com/acervo Editoração: Douglas Passoni | Revisão: Alexandre Dias 68 The triplet figuration in the right hand highlights the key of F major but ends on the note C, leaving the section open-ended for the repetition of the same phrase in mm.18-24. It quotes the same melody from m.9 until the downbeat of m.14.
The B section starts on m. 25 and is centered around the relative minor key,
D minor. The opened harmonies are now overtaken by an agitated V7 chord that precedes the settlement into D minor. Example 41 presentes the left hand note features top notes E,
A, B∫ and A that are combined in melodies that add a descant with the right hand, while the right hand takes a more simplistic role, alternating between the harmonies V and i.
Example 41. Meditação, mm. 25-30. (Gonzaga 2011)
The bass line now shows strong downbeats in octaves that alternate between V and i. It is interesting that Gonzaga uses the second inversion of the V chord instead instead of its root position, emphasizing the minor second motion between the bass notes in the first octave of each measure. The return of section A in m. 63 shows the same melody used in the introduction, but with meaningful alteration: the melody that was once in the left hand is shifted to the right hand, presenting appoggiaturas that create an anticipation of the downbeats of the right hand. The codetta, Example 42, suggests a more orchestral approach due melodies presented in the alto line (right hand) and tenor line (left hand) as well as chords.
55 j œ. œ. œ œ œ œ. & b ˙. Œ‰J œ n˙. œ ‰ œ nœ b˙. œ ‰ J œ espress. ˙. œ J p œ ˙ œ œ ˙ nœ œ n˙ œ œ ˙ 69 Example? 42.œ Meditação, Œmm. 61˙. -72.œ œ(Gonzaga˙ 2011)Œ ˙. œ œ ˙ Œ b œ˙. œ œ
61 b Œ Œ ‰ j œ Œ ‰j & ˙. œ œ œ œ œ . œ œ œ œ œ. œ ˙.rall. œ n˙. nœ ˙ œ œ ˙ ? b œ Œ ˙. ˙. ˙. ˙. œ ˙. ˙. ˙. ˙. 67 b˙. ˙ œ ˙. & b Œ œ œ œ ‰ j œ. œ ˙ œ ˙. ˙ ˙. b˙ œ ˙ œ dim. Fine . p ˙ œ p p p b˙. ˙ œ ˙. ? ˙. ˙. ˙ œ j b ˙. ˙. ˙ œ œ
All of the pieces presented in this chapter are based on eight-bar phrases. Gonzaga departs from this pattern in the B section of Meditação, employing a seven-bar phrase as well as a ten-bar phrase, as shown in Examples 43 and 44.
Example 43. Meditação, mm. 33-39, seven-bar phrase. (Gonzaga 2011)
3/3
70 Example 44. Meditação, mm. 61-72, ten-bar phrase. (Gonzaga 2011)
It is very meaningful because she is suggesting a stylization of the dance rhythm.
She is moving away from the piece as a dance toward something that can only be listened to. Despite the rather simple harmonic language, Gonzaga shows impressive creativity in the melody and in the use of harmonic inversions. This reveals a natural talent and manifestation of art that comes from the simple desire to make the best of opportunities that were available to her. It also demonstrates the nature of improvisation that was such an important element of her music.
71 CHAPTER 4 INTERVIEWS
I feel very lucky to have had the opportunity to speak with three highly accomplished individuals who specialize in the areas that I explored in this document: a folk musician, a performer and a music researcher. They genuinely and kindly shared their personal relationship with the subject of this monograph and offered valuable oral documentation and ideas regarding Gonzaga’s music. All the direct or indirect quotes were gathered during December of 2018 and January of 2019 from phone and skype interviews as well as via emails.
I spoke with musicians who I knew would have an avid interest in the music making that derives from Gonzaga herself or that represents late nineteenth-century
Brazilian music style. These emerged in very special places, including my own family.
The conversations shed an immense light on the topic. They offered varied knowledge based on everyone’s background, but shared the same common thread: making the music come alive and keeping the tradition of a very special culture. I asked questions that were relevant to the background of each person interviewed, as they related to the music and life of Gonzaga. The result of the discussion that follows is a collection of thoughts that help us understand the world and the music of Gonzaga.
Ms. Eudóxia de Barros
Ms. Barros was one of the first pianists in Brazil to discover and record Gonzaga.
She recorded thirty-one albums and has contributed immensely to broadcasting Brazilian
72 composers in her recitals throughout the world. She holds Chair Number 14 in the
Academia Brasiliera de Música (Brazilian Music Academy).7
As was Gonzaga, Ms. Barros is a pioneer in representing Brazilian music. I asked her if she could share what made her love and respect the music and composers from
Brazil, especially those who are not well-known among concert goers. She responded,
“Brazil is enormous, and I would say that every state has its own culture and its own music. The melodies, the exotic rhythm, the brejeirice, and the rich melodies of Brazilian waltzes were what made me fall in love with Brazilian music.”
I was so curious to ask her about the first time that she heard the music of
Gonzaga and what was the sound that remained in her mind after that. She shared that when she was a child she heard much music through the radio, including Gonzaga’s Oh,
Abre Alas! (Oh, make way!). She added that she looked for that particular music and used it as the opening for her program in a concert in Hotel Toriba in Campos do Jordão, because it was the first Saturday of Carnaval.
Ms. Barros continued by discussing the importance of Gonzaga in the development of the Brazilian national music: “Nazareth is a very well-known composer these days, but he found a suitable field which was already paved by Gonzaga’s extraordinary repertoire. Nazareth was only capable of composing more elaborate works because he had a chance to study music in more depth than Gonzaga.”
7 The Brazilian Music Academy is located in Rio de Janeiro, Brazil and was founded by Heitor Villa-Lobos in 1945. It is a nonprofit institution, constituted of forty academic individuals who received national and international recognition in the areas of musical composition, performance and musicology.
73 The music of Gonzaga carries a very unique sound that comes from a brave heart, a strong character depicting the freedom of expression and from the feminine oppression rooted in the nineteenth century. I asked Ms. Barros what, in her opinion, expresses Gonzaga’s style in her music. She answered, “Her most striking features are the most playful music, alive, full of humor and joy . . . for example, the sound of the polka Atraente.”
In Brazil there is a famous saying that no man is a prophet in his own country.
Based on my own experience of performing Gonzaga in the United States, I have found her music to receive a positive and distinguished reception. I asked Ms. Barros her view on that matter. She shared that it was very difficult to talk about it but mentioned that she had many standing ovations when performing Brazilian composers in some places in
Europe, such as France and Switzerland. She added, “There, they notice how great the music is, as for example, Osvaldo Lacerda’s8 music (my husband) – so well applauded!
During a recording session of Brazilian compositions only, for Radio de la Suisse
Romande, I became astonished by the curiosity of the sound engineer, while recording the Sonata for Cravo or Piano [by Lacerda], who was so impressed with Lacerda’s original harmonies and form . . .”
I also asked Ms. Barros about the challenges in programming Gonzaga’s music in recitals. She replied promptly that “When the composer is good, there is no problem in inserting him or her in a program containing Bach or Beethoven, for instance. I always include her music in my programs. She added that thanks to the mini-series aired in 1999
8 Osvaldo Costa de Lacerda (1927-2011) was an important Brazilian composer and professor of music.
74 by Globo Network Television, Gonzaga’s music regained life and is now played more often. In addition, there were many releases of several DVDs featuring the sound track of the show as well the release of the show itself in a set of DVDs.
Many composers left little indication in their music about tempo, dynamics and articulation. Gonzaga rarely specifies a proper tempo, mark accents, pedal markings, etc . . . I posed these interpretative questions to Ms. Barros and asked her about her decisions that would represent Gonzaga’s style and musical character. “Musicians could inform themselves through other composers or older pianists. In my case, I have had a long life walking side by side with Brazilian music, which leaves me no questions about my choices of tempi, dark/soft nuances, or when to insert an unexpected stop (the famous
Brazilian break).9 For example, I can see that the central part of Villa Lobos’s Alma
Brasileira is clearly a marcha-rancheiro and therefore more solemn (just watch the traditional Carnaval parades!), and I suffer when I see pianists speed up through that section, not realizing it is a marcha-rancho.”
While researching Gonzaga, I encountered a constant association with the music of Nazareth, especially when talking about tango Brasileiro. I asked Ms. Barros about her point of view about the comparisons with the music of her other two contemporaries
(Nazareth and Villa-Lobos). She replied that both Gonzaga and Nazareth are border line classical/popular composers. “Nazareth is known to be as a classicist within popular music due to his high capacity for advanced harmonies at times. Gonzaga is formidable and extraordinarily talented, but she did not have the musical education that she deserved.
9 “Brazilian break” is a particular way of inserting a quick pause in the rhythmic part while the melody shines alone. Usually used in a specific phrase that repeats quite often.
75 Her music language is simple. And Villa-Lobos had a classical music education, traveling all over Brazil to gather elements of musical narration that served to his genius.
However he was not always spontaneous in his music . . . as beauty goes . . . [his music] is irregular.
Mr. Gumercindo dos Reis
I could not pass up the opportunity to include my dearest father in this document.
It was through many conversations that led me to the musical path that I followed. He is an accordion player who never formally studied his instrument and was completely self- taught.
While studying the music of Gonzaga, I realized that her music and style lived in the music that my father taught me based on oral, aural and visual tradition. I was very curious about where he learned it, so I asked him how it all started. He replied “I was sixteen years old.” He described what a typical day was like at the farm where he was hired. “We used to live at the farm and we would work really hard in the crops. At night, we would arrive at home after a bath in the river and wait eagerly for the show broadcast on the radio.”
My dad was born in 1942, not too long after Gonzaga’s death. I was very curious to see if there were any similarities regarding the way they learned how to play an instrument. My father shared that he was always in love with music. It is very difficult to believe that anything just starts out of nothing, so I asked him why he wanted to play. He replied with enthusiasm, “Music is Life. Music is never ending. We will die of old age and never know it all.”
76 This is actually one of the lines that he constantly repeats in our conversations.
He added that his musical heritage came from “blood.” “My great grandfather was a cantador de viola, so was my grandfather. My dad was also a musical player (by ear) so our musical roots came from long ago.” He recalls that when he was eight he would turn on the radio and would hear music from the populat singers Castelinho, Torre &
Florença . . . “people whose bones no longer exist,” he replied laughing.
“My music apprenticeship started out of curiosity about playing the cavaquinho
(one of the popular instruments in Gonzaga’s time). “I bought a cavaquinho and my father taught me how to tune it. From that moment on, I taught myself how to make some sound on it, and my brother would join me adding lyrics to whatever I would play.” “But my intention was really to play the accordion . . . I would go to the house of my uncle, who had one, and he would allow me to hold it. I would always feel embarrassed and not comfortable for it was not mine.”
“When I was eighteen, we were at the harvest season and my father asked me to take care of a particular square footage of the rice crops. The intention was to sell it so I could buy an accordion. Unfortunately, that year we were plagued with a terrible drought and we lost most of the harvest. The next year, after harvesting the cotton crops, my father and I came into the city to trade it in. We had to come by jardineira (a very old fashioned bus that has open sides) and we had to spend the night in the city. The next day we were going to take the bus back at 7 a.m. . . . we woke up at the hotel, and Dad said we would take the 10 a.m. one.
77 “We arrived at the music store. My dad surprised me with a visit to the store.
The salesman brought in the accordion and played so I could hear it. I was about to burst within for desiring to play it. Then my dad surprised me and bought it for me. My father asked me, Do you like this accordion? I replied yes! He then told me, “so you will bring this accordion home with you today!” . . . and Daddy bought himself a hat and another one for me. Both accordion and the hat cost us 104,000 réis. I was so scared to see that amount of money spent and the possibility of my failure in learning the instrument.”
Who taught you how to play? “Nobody. I taught myself . . . I already knew how to play the ‘scale of the cavaquinho’10 entirely . . . and then I transferred it to the accordion.”
During Gonzaga’s time there were many musical manifestations that were around her: the music of the slaves, European music and the sounds that shaped her surroundings such as vendors and theaters. I asked my father what sounds or music he heard around him in his childhood. He mentioned that famous repertoire was recorded by musicians like the accordionists Nardelli, Mario Zan and Clóvis Pontes. He added that he was always eager to get back home from work to listen to these musicians on the radio and shared that he was nineteen when he was able to get his accordion.
I find it very interesting to imagine that all the years he could not play for the lack of an instrument served as an accumulation of aural data that could finally be transferred to the accordion. I could imagine that a similar process might have taken place in the music of Gonzaga, seeing that all the events that she lived through became the energy and inspiration for her musical production.
10 My father refers the primary chord progression (I-IV-V) as scales.
78 Among the repertoire that the accordionists play were arrasta-pé, tango samba, baião, xote and waltzes. To my surprise, I realized through the accounts of Gonzaga’s history, and the world that she lived in, that the word xote was a popular adaptation of the word Schottish (related to Schottish polkas), which were very popular in Brazilian music,
Above all I was touched to see how the transformations that were done in the music. The language of Gonzaga lived in my father’s personal relationship with the musical arts. As
Gonzaga, Gumercindo dos Reis learned how to be practical and how to utilize the accordion related to his life. He added that he started playing in public balls at nineteen, all by ear, and described the way he learned: “During that time, I would hear the music on the radio and keep track of the programming of the radio stations. The music was played only once per show, so it would take a few days to learn the entire song. I would add bit per bit in my mind until I could play the entire composition.” “The other way that
I learned was by attending balls in which I could observe in person how people would play.”
During Gonzaga’s time, parties at yards and houses were a very important activity that connected her to what she loved the most: freedom and creation. My father describes that these dances were held at farms. They would use the slots used for drying coffee, corn and other crops as the place where the ball would happen. They would set up a tarpaulin, usually made out of coconut tree branches or colonião (a very long and tall kind of grass), and the musicians were placed in the center.
Seeing so much similarity with the popular taste of Gonzaga, I inquired about the structure of the ball as well as the number of musicians and ensembles. “There were
79 usually three musicians: an accordionist (usually the soloist), guitarist or a cavaquinho player, very rarely a singer. The accordionist would be placed on top of a table and the other musicians along both sides on the floor, which is very similar to Gonzaga’s type of ensemble. Dad talked about the rehearsal sections: “We would rehearse at home, after a long day of work in the fields. I would be playing something at home, and someone would show up with a guitar and would not be until long before another person would join with the percussion – pandeiro [a Brazilian form of the tambourin] usually.” Balls were very popular and well attended on weekends, usually in sessions that would start around 8 p.m. and would last until sunrise. The floor that was nothing more than dirt would make a lot of dust in the air, so they needed to spray water throughout the night to control the clouds of dust. An interesting characteristic of these balls was that most of the music played was instrumental and rarely sung. Dad adds the etiquette was as it follows:
“Each piece was played individually. If the crowd applauded, then we would repeat the same song, which was called ENCORE.” This popular practice mirrors the choro with its repetition of particular sections.
Another factor that surprised me was the nature of the titles of the pieces. During
Gonzaga’s time, the lyrics would usually feature double entendres, which made it very inappropriate for high society to associate with. In my father’s accounts, two of the pieces that he would play or hear were entitled Fúga da África (Escape from Africa), a very comical polka and Caminho da Roça (On the way to the fields). Dad adds that people were very humble, respectful and had very good manners.
80 In these wonderful conversations I had with my dad, he shared a very interesting use of words that determined the tempo of the piece and I wonder if this was the same idea behind the diverse usage of variation on main roots of words that Gonzaga used. Dad explained that there were several types of waltzes (from the slowest to the fastest): valsa, valsiado, cancão-rancheira, rancheira and mazurka. Marches were ordered as marcha, marcha-dobrado (usually played by brass ensemble or when played by a soloist would feature a tuba playing the bass line) and arrasta-pé.
Mr. Alexandre Dias
Mr. Alexandre Dias is the coordinator of Instituto Piano Brasiliero and the coordinator/editor and musicologist for the Chiquinha Gonzaga Digital Archives (Dias
2011 http://chiquinhagonzaga.com/wp/). He was the former coordinator and researcher for the website Ernesto Nazareth 150 years at the Instituto Moreira Salles (n.d. https://ims.com.br/titular-colecao/ernesto-nazareth/). Mr. Dias has always been passionate about preserving Brazilian music and history. His work at Gonzaga’s digital archives has become a major reference for researches about the composer.
I asked him if he remembered the first time that he encountered Gonzaga’s music.
He said that Gonzaga is part of the diversity of the musical scenario in Brazil and an important composer. “I first discovered Gonzaga during my early research about choro, which I started when I was fourteen. Secondly, I found her by researching Brazilian piano.
Gonzaga is the name that always appears.” He added that Gonzaga’s name was always connected with Ernesto Nazareth. “In many biographies and documents, the name
Gonzaga is linked to Nazareth’s due to their common musical background and style.” He
81 reinforced that Gonzaga and Nazareth share a lot of common background, including the rodas de choro, Rio’s musical social activities and interest in salon music.
His third contact with the topic was through CD recordings of other Brazilian composers that would feature one or two pieces by Gonzaga. In addition to that Dias mentions that as a piano student, he played one or two pieces by Gonzaga. “In 1999,
Globo Television Network released a mini-series about Gonzaga, which was a great success.” He reported that he has fond memories of the mini-series being the subject of conversation in school and that there was a release of many CDs featuring the soundtrack.
“One of them was by Maria Teresa Madeira, whose hands served as Gonzaga’s hands on the mini-series. I was always her fan, and she later became my piano teacher and friend.
The show on television was certainly a revival of Gonzaga. Prior to that, in the 1980s,
Edinha Diniz wrote a wonderful biography on the composer and Clara Sverner also recorded a CD featuring Gonzaga’s works.” However Dias worries that despite everything, most of her works remain unknown.
Since he has dedicated so much work towards composers that deserve more recognition, I was very interested in learning his thoughts on Gonzaga and the history of choro: “Gonzaga is part of a continuum of a musical tradition that includes Anacleto de
Medeiros, Henrique Alvarez de Mesquita, Antonio Callado . . .” He explained that there are quite a few composers who incorporated Brazilian elements in European-style music.
“She was not alone. Henrique Alvez de Mesquita is known as the first composer to use the word “tango” for one of his compositions, Olhos matadors (1871)
(www.henriquealvesdemesquita.com.br 2018), long before Gonzaga and Ernesto
82 Nazareth. Henrique Alvez de Mesquita is of extreme importance. His first tango
Brasileiro precedes the maxixe and the choro.” Dias added that there are speculations that
Gonzaga might have been one of his students and certainly one of the composers that she frequently interacted with. “Mesquita’s main students were Joaquin Antonio Callado and
Anacleto de Medeiros, two great composers from Gonzaga’s time period. She dedicated a piece to Mesquita called Tango Caracteristico. Nazareth also dedicated music to him entitled Mesquitinha,” described Dias.
Dias explains further that Gonzaga strongly contributed to the synthesis of choro.
“She was born one year before Callado, who is considered the father of choro. Therefore she witnessed the origins of Brazilian music. She helped to consolidate what later became known as choro, and some other genres.” Furthermore, Dias confirmed that she assimilated the rhythms brought by the slaves, which were absorbed in various ways by
Brazilian culture and this is very clear when we hear her music. “For example Gaúcho and Atraente crowned her as one of the mothers of choro. Radamés Gnatalli composed
Suite Retratos (1956) dedicated to the four pillars of the choro: the first movement was dedicated to Pexinguinha, the second movement to Ernesto Nazareth, the third movement to Anacleto de Medeiros and the fourth movement to Chiquinha Gonzaga. Dias also mentioned that her works have a certain brilliance and great ingenuity in the melodical construction:
“They are delightful and always find unusual development, always creatively, in my opinion. If I could describe her strength, it would be based on the character of her melodies.”
83 Dias has been a pioneer in bringing attention and a national recognition of
Ernesto Nazareth. I asked him if he could share his thoughts about why Gonzaga’s music remains neglected. He said that it takes time and a combination of different events in to consolidate the work of a composer in popularity. In Nazareth’s case, for example, he says that there was a musician named Jacob do Bandolin who was a very talented mandolin player. He had played an important part in the consolidation of the standard choro repertoire. Dias says, jokingly, that “he was one of those people that would turn everything into gold by simply touching it.“This person played many compositions by
Nazareth and they all became a hit.” He also adds that it takes many cycles for music of composers to become immortal. In the case of Nazareth, it took a lot of effort, including from Dias himself, who commissioned compositions to be dedicated to the composer and thereby promote his music. He adds,“Today there are three editions of all the music by
Nazareth available and none of Gonzaga’s.
According to Dias, one way to contribute to Gonzaga’s popularity would be for famous pianists to program her music in their recitals and recordings. He exclaimed,
“Gonzaga would be immortal and instantly popular if a famous pianist recorded a single composition of hers. Another way would be if famous orchestras would play arrangements, potpourris of her music that would create curiosity among audiences to investigate more about her music.” Dias shared that he finds it challenging to program
Gonzaga’s music in a classical piano recital: “Her pieces are short and simple. People are still embarrassed to perform her music because they do not fit into the traditional classical musical idiom.”
84 I finally asked him about his work as coordinator, musicologist and music editor for Gonzaga Online Archives. He explained that the project was born from common interests in the same idea between Wanderlei Braga, his colleague, and himself.
They decided to gather as much music as possible by Gonzaga, on their own. Braga and
Dias applied for a cultural grant offered by Natura (a major cosmetic industry in Brazil) which accepted their proposal. This resulted in the initial funding. They then reached out to Instituto Moreilla Salles in Rio, which held all of Gonzaga’s personal musical collection that was previously in possession of her partner Mr. Lage. Most of the work was already digitized by the IMS, so a good amount of work was already done. They also hired someone to edit the music.
Mr. Dias himself did the editing, note per note, he says. Edinha Diniz also was hired to contribute specific information about each of the pieces that they uploaded on the website, since she had personal notes that had never been published.
85 CONCLUSION
Francisca Edwiges Neves Gonzaga belongs to a continuum that narrates the development of Brazil’s national music, from its existence as a colony of Portugal until its formation as an independent socio-cultural country.
Gonzaga’s contributions go beyond musical works. She was the first Brazilian female composer, the first female conductor, and the first female pianist to perform in public. She was also an enthusiastic supporter of the Brazilian abolition of slavery and the proclamation of the Republic. She was on the front lines of the creation of copyright for artists in Brazil and created the first Carnaval march, which became the prototype of the Carnaval celebrated in present-day Brazil. She lived intensively defying the models of late nineteenth-century society, being one of very few women to file for divorce and work independently in a male-dominated field.
She composed over 300 works featuring varied musical genres including waltzes, polkas, tangos, mazurkas, gavottes, habaneras, barcarolles, maxixes, lundus, fados, serenades, religious music, modinhas, marches and choros. Furthermore, she composed seventy-seven operettas that depict daily life and local scenarios, which offered her a direct collaboration with the most famous Brazilian playwrights of her time. Between
1901 and 1910, Gonzaga spent time traveling and performing intensively in Portugal,
Spain, France, Italy and England.
Gonzaga was a model and merits inclusion among the musicians who were her better-known contemporaries. The time has come for her to take a more prominent place in history, not only as an exceptional human being but also for her unquestionable
86 influence in the development of Brazilian music that followed her through the compositions by Nazareth and Villa-Lobos, among others.
The online database established by Mr.Wanderlei Braga and Mr. Alexandre Dias has made Gonzaga’s music readily available. Nonetheless, there is a need to create more space in recital programming for her unique voice in musical form. As her pieces are of a short nature, there is always a challenge in programing her music as classical repertoire.
Her music, even in Brazil, still faces a considerable amount of underestimation, especially from a performer’s point of view. I perceive that Brazilian pianists are reluctant to pursue her solo music. I believe this to be the result of a lack of knowledge of the art found in her music, which might not show its depth at first glance.
My hopes are that with this document more will understand the originality of her music and learn how much Brazilian history is embedded in her musical language. I have found that her music encourages spontaneity in the process of music making, given that her music will not sound organic if we play it literally. A certain amount of artistic freedom is necessary in order to express her genuine musical style. Perhaps this is the main reason her music is not performed more often: a lack of understanding of her music aesthetic.
Up to the present, the only significant available database is found on her official website. There is no comprehensive critical edition of her works. Studies about Gonzaga as a musician are still a developing project, as her reputation as a composer receives little recognition in Brazil and is still making its first steps in other countries.
87 I hope to be able to contribute to Gonzaga’s legacy by producing more recordings of her works as well as by programming her wide range of compositions in live performances, to help her works to get more recognition. In addition, I hope to find opportunities to produce editorial editions of her compositions that will serve as performance guides to future generations.
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Freyre, Gilberto. 1959. Ordem e Progresso. Rio de Janeiro: J. Olympio.
Gonzaga, Chiquinha. 1998 O Melhor de Chiquinha Gonzaga. São Paulo, Brazil: Irmãos Vitale S.A. Ind. E Com. ______. 2011. Gaúcho – Corta-Jáca [music score]; available from http://www.chiquinhagonzaga.com/acervo/partituras/Gaúcho_ca-e-la_piano.pdf (Acervo Chiquinha Gonzaga, accessed 24 January 2019). ______. 2011. Atraente [music score]; available from http://www.chiquinhagonzaga.com/acervo/partituras/atraente_alma- brasileira_piano.pdf (Acervo Chiquinha Gonzaga, accessed 26 January 2019).
______. 2011. Meditação [music score]; available from http://www.chiquinhagonzaga.com/acervo/partituras/meditacao_o-crime-do- padre-amaro_piano.pdf (Acervo Chiquinha Gonzaga, accessed 2 February 2019). Heynemann, Claudia Beatriz. n.d. O Arquivo Nacional e a Historia Luso-Brasileria [online database]; available from http://historialuso.an.gov.br/index.php?option=com_content&view=article&id=34 27:recolhimento-de-mulheres&catid=2039&Itemid=215; Internet, , accessed 8 December 2018.
90 Jezic, Diane Peacock. 1994. Women Composers: the lost traditional found. Second Edition. New York: The Feminist Press at the City of New York. León, Javier F. and Helena Simonett. 2016. A Latin American music reader: views from the south. Urbana: University of Illinois Press. Society for Ethnomusicology. Levine, Robert M. 2003. The History of Brazil. Palgrave Macmillan. Lira, Mariza. 1978. Chiquinha Gonzaga, Grande Compositora Brasileira. Funarte. Magaldi, C. (2001, January 01). Gonzaga, (Francisca Edwiges Neves) Chiquinha. Grove Music Online. Ed. Retrieved 20 Mar. 2019, from http://www.oxfordmusiconline.com.libproxy.temple.edu/grovemusic/view/10.109 3/gmo/9781561592630.001.0001/omo-9781561592630-e-0000045492. Marcilio, Carla Crevelanti. 2009. “Chiquinha Gonzaga e o Maxixe.” Master’s thesis. Universidade Estadual Paulista. Accessed September 11 2018. https://repositorio.unesp.br/bitstream/handle/11449/95140/marcilio_cc_me_ia.pdf ?sequence=1&isAllowed=y Millen, Mànya. n.d. Instituto Moreia Salles. [online database]; available from https://www.ims.com.br/por-dentro-acervos/abre-alas-para-chiquinha/, accessed 13 December 2018. Muniz, Lauro César and Marcílio Moraes, directors. 1999. Chiquinha Gonzaga. Featuring Regina Duarte, Gabriela Duarte. Som Livre. DVD, 2008. Nazareth, Ernesto. 1968 .Odeon [music score]. São Paulo-Brasil: Mangione & Filhos. Peppercorn, L. M. and S. Haan. 1991. Villa-Lobos, the music: An analysis of his style. London : Kahn & Averill ; White Plains, New York : Pro/Am Music Resources Inc. Peres, Talitha. 1999. Clássicos e Inédito. Rio de Janeiro: Rioarte Digital. CD Pinto. Alexandre Gonzalves. 1978. Choro. Rio de Janeiro: Funart. Reis, Gumercindo. 2019. Interviewed by Silvanio Reis, phone interview. January 16 Ribeyrolles, Charles. 1965. “Piano, Janela, Procissão.” In Rio de Janeiro em prosa & verso, edited by Manuel Bandeira and Carlos Drummond de Andrade. Rio de Janeiro: Livraria José Olympio Editora. Rosa, Patricia L. F. Santa. 2015. “Mulheres-exemplo.” Estudos Feministas 23, 1, 276-78. [online database]; available from http://www.jstor.org/stable/estufemi.23.1.276. Accessed 3 April, 2017.
91 Rosa, Robervaldo Linhares. 2012. “Como é bom poder Tocar um Instrumento: Presença dos Pianeiros na Cena Urbana Brasileira dos anos 50 do Império aos 60 da República.” Ph.D diss., Universidade de Brasília. Accessed 2 December 2018. http://repositorio.unb.br/bitstream/10482/10745/3/2012_RobervaldoLinharesRosa .pdf. Saffioti, Heleith. 1976. A Mulher na Sociedade de Classes: Mito e Realidade. Petropolis: Vozes.
Simões, Ana Paula Machado. 2018. “A Pedagogical Approach to the Waltzes and Tangos for Piano by Francisca Gonzaga.” D.M.A. Diss., Louisiana State University. Accessed December 13 2018. http://chiquinhagonzaga.com/wp/wp- content/uploads/2018/03/2018_A_Pedagogical_Approach_to_the_Waltzes_and_T angos.compressed.pdf.
Siqueira, Baptista. 1967. Ernesto Nazareth na Música Brasileira. Rio de Janeiro: Gráf. Ed. Auróra. Sverner, Clara. 1980. O Piano de Chiquinha Gonzaga. Brasil: EMI-ODEON. LP. ______.1981. O Piano de Chiquinha Gonzaga Vol. 2. Brasil EMI-ODEON. LP. Tamara Elena Livington-Isenhour and Thomas George Garcia. 2005. Choro: A Social History of a Brazilian Popular Music. Indiana University Press. Tinhorão, José R. 1998. História social da Músical Popular Brasileira. Sao Paulo: Editora 34. Thompson, Daniella. Musica Brasiliensis. n.d. [database online]; available from from http://www.daniellathompson.com/Texts/Le_Boeuf/boeuf.pt.8a.htm. Accessed 17 December 2018. Tompkins, Cynthia and David William Foster. 2001. Notable twentieth-Century Latin American Women. Westport: Greenwood Press. Vasconcelos, Ary. 1977. Raízes da Música Popular Brasiliera: (1500-1889). São Paulo, Martins;Brasilia, INL. Verzoni, Marcelo. 2011. “Chiquinha Gonzaga e Ernesto Nazareth: Duas Mentalidades e Dois Percursos.” Revista Brasileira De Música 24, 1, 155-69. Villa-Lobos, Heitor 1925. Choro No. 5 Alma Brasileira. [music score]. Rio de Janeiro: Casa Arthur Napoleāo. Wehrs, C. Carlos. 1980. O Rio Antigo: Pitoresco e Musical (memorias e diário). Rio de Janeiro. Wright, Simon. 1992. Villa-Lobos. Oxford-New York: Oxford University Press.
92
APPENDIX A
GONZAGA’S CONTEMPORARIES
Henrique Alvares de Mesquita (1830-1906) Arthur Napoleão (1843-1925) Chiquinha Gonzaga (1847-1935) Henrique Oswald (1852-1931) Ernesto Nazareth (1863-1934) Alexandre Levy (1864-1892) Alberto Nepomuceno (1864-1920) Barroso Neto (1881-1941) Frutuoso Vianna (1896-1976) Heitor Villa Lobos (1887-1959) Oscar Lorenzo Fernandez (1897-1948) Francisco Paulo Mignone (1897-1986)
93 APPENDEX B GONZAGA’SGonzaga’s MUSICAL Musical LILineageNEAGE
94 APPENDIX C
Table 3. COMPARATIVE CHART OF CHIQUINHA GONZAGA’S, ERNESTO NAZARETH’S AND HEITOR VILLA-LOBOS’ LIFE EVENTS
Gonzaga Nazareth Villa-Lobos
1847 – Gonzaga’s Birth 1850 – abolition of traffic of slaves 1858 – First Composition 1863 – Gets married to 1863 – Nazareth’s Birth Jacinto Ribeiro Amaral 1864 – Birth of her first son 1865 – Birth of her daughter: Maria 1866 – Gonzaga boards the 1866 – First piano lessons ship São Paulo along with his mom who his husband headed to teaches him the music Paraguay War of Beethoven, Chopin, Gottschalk and Arthur Napoleão 1869 – Gonzaga’s dirvorce 1869 – Meets, by accident, from Jacinto the North American – She receives Homage composer and pianist from Antonio Callado Louis Moreau Gottschalk (1829-1869) 1870 – End of Paraguay War 1871 –“Ventre Livre” Law 1874 – Death of his mother 1876 – Birth of he daughter, Alice (from an affair with João Batista de Carvalho) 1877 – Composes and 1877 – Composes his first publishes Atraente composition: Você sabe (first published music) bem (polca-lundu) dedicated to his father
95 Table 3. (Continued)
Gonzaga Nazareth Villa-Lobos
1880 – Starts to advertise 1880 –First public recital herself as teacher to several disciplines – Callado’s death 1881 – Lessons with Charles Lucien Lambert 1883 – Recognition as composer, performer and piano teacher in Rio 1885 – Conducter’s Debut 1885 – Five public – Sexagenarian Law performances featuring works of Thalberg, Ravina and Raff 1886 – Gets Married – Chamber music performance of Rossini’s Denza and Astroc 1887 – Birth of his first Son 1887 – Villa Lobos’ Birth 1888 – Golden Law: end of 1888 – Birth of his second slavery in Brazil child 1889 – Brazil’s proclamation 1889 – Birth and death of his 1899 – Death of Villa-Lobos’s of republic third child father – First composition, “ os sedutores” 1890 – Birth of Gonzaga’s 1890 – Birth and death of his first granddaughter fourth child 1891 – Death of Gonzaga’s father
1893 – Composes Brejeiro 1894 – Starts working at piano stores in Rio 1896 – Death of Gonzaga’s mother 1899 – Composes “O Abre Alas”
1900 – Travels around Brazil
96 Table 3. (Continued)
Gonzaga Nazareth Villa-Lobos
1902 – First trip to Europe 1902 – First of his piece recorded: Está Chumbado 1903 – Death of his nephew 1903 – Learns the technique of playing cello with Breno Niemberg – Participates in choro ensembles (account by Santos Dumont) 1905 – Wandered around Brazil for eight years 1904 – Second trip to Europe 1904 – Meets the pianist Ernest Schelling 1905 – Moves in bohemian circles and mixes with popular composers including Ernesto Nazareth and Chiquinha Gonzaga 1906 – Third trip to Europe 1906 – Composes Cardosina, – Settles in Lisbon first music advertising a commercial business (pharmacy) 1907 – Attended the National Institute of Music for a short while 1908 – Works as a demonstrating pianist at Casa Mozart 1909 – Returns to Brazil 1909 – Composes Odeon 1911 – Intense Activity composing music for theatrical plays at cine-theaters at Tiradentes Square 1912 – Premier of Forrobodó 1912 – Gets married to the pianist Lucília Guimarães
97 Table 3. (Continued)
Gonzaga Nazareth Villa-Lobos
1913 – Copyrights for artists 1913 – First publications done under Arthur Napoleāo (short set for cello and piano) – First appearance of the Ballets Russes in Brazil: Russian and impressionist sounds 1914 – “Gaúcho, Corta-Jáca” 1914 – Apanhei-te 1914 – Composes Dansas becomes the number cavaquinho, Brejeiro Caracteristicas Africanas 1 composition in and Dengoso are Salons recorded in the USA by several artists 1915 – Start concert series in Rio – First concert dedicated to only Villa-Lobos pieces played by him 1917 – Gonzaga participates 1917 – He works as a pianist 1917 – Meets Darius Milhaud in the Brazilian in the orchestra at Society of Screen Odeon Theater where Players for Theather Villa-lobos plays cello 1918 – Meets Arthur Rubisntein 1919 – Premiers Jurití 1920 – Dedicades Choro No. 1 to Ernesto Nazareth 1921 – Start composing Rudepoema dedicated to Rubinstein 1922 – Week of Modern Art 1922 – Week of Modern Art 1922 – Week of Modern Art 1923 – Composes Improviso 1923 – Travels to Europe dedicated to Villa- Lobos 1924 – Well acclaimed in Paris 1924 – Choro No. 2 and No. 7 1925 – National Recognition 1925 – Choro No.3, No 8 No 10 1925 – Cirandinhas 1926 – Choro No.4, No 5 (alma brasileira), No. 6 1926 – Cirandas
98 Table 3. (Continued)
Gonzaga Nazareth Villa-Lobos
1927 – Returns to Europe and leads prestigious orchestras including Portuguese Symphony Orchestra in Lisbon 1928 – Choro No 11, No 14 1929 – Nazareth’s Death 1929 – Choro No.9, N. 12, No. 13 1930 – Returns to Brazil from Europe – Bachianas Brasileiras No.1 and No. 2 – 1930(36) Bachianas Brasileiras No. 4 1932 – “Alma Brasileira” (set 1932 – Appointment as Director of choros) of Musical and Artistic Education of Brazil – Guia-Prático 1933 – Last composition, “Maria” 1934 – Death of her daughter 1935 – Gonzaga’s Death 1936 – Leaves wife and have an affair with the writer Arminda Neves d’Almeida
1938 – Bachianas No. 3 1938(45) – Bachianas No. 5 1938 – Bachianas No 6 1942 – Bachianas No. 7 1944 – Bachianas No. 8 1943 – Receives Honoris Causa in Music from New York and Los Angeles Universities 1945 – Bachianas No. 9 1947 – Honored by the Brazilin Institute of Education, Science and Culture 1954 – Visits Israel 1959 – Villa-Lobos’ Death
99 APPENDIX D
Table 4. GONZAGA’S CHRONOLOGICAL WORKS CATALOGUE
Title Year Dedication Genre Publisher Canção dos Composed: Chanson Mariza Lira Pastores: Noite 1858 de Natal Published: 1939 Nao Insistas, Composed: Polka Narciso & Raparíga ? Arthur Published: Napoleão 1877 Atraente Composed: Polka Narciso & 1877 Arthur Published: Napoleão 1881 Desalento Composed: Valsa de Viúva Canongia 1877 Concerto & Arthur Published: Napoleão 1944 Harmonias do Composed: Valsa de Viúva Canongia Coração ? Concerto & Arthur Published: Napoleão 1877 Plangente Composed: Valsa Viúva Canongia 1877 Sentimental & Arthur Published: Napoleão 1877 Aracê Composed: Polka-Choro Viúva 1877 Canongia/ Published: Narciso & 1877 Arthur Napoleão O Dia Sai Composed: Polka-Choro Viúva 1877 Canongia/ Published: Narciso & 1877 Arthur Napoleão Sultana Composed: “Offered and Polka Edited by Casa 1878 dedicated to the da Viúva Published: Distinct Clube Canongia 1878 dos Políticos”
100 Table 4. (continued) Title Year Dedication Genre Publisher Teu Sorriso Composed: Polka Casa Arthur 1879 Napoleão Published: 1879 (1881) Camilla Composed: “Offered and Polka Casa Arthur 1879 dedicated to Mr. Napoleão Published: Dr. Cunha 1879 Sales” Marcha Fúnebre Composed: “To the memory Funeral March Narciso & 1879 of the always Arthur Published: wept-cried Napoleão 1879 death of the General Osório, Marquês de Herval” Sonhando Composed: “To the distinct Habanera Arthur 1879 Violinist José Napoleão & Published: White” Cia. 1881 Dejaneira Composed: Polka Buschmann e 1879 Guimarães Published: 1881 Tango Composed: “To distinct Tango Manoel Antônio Brasileiro 1880 Friend Miguel Brasileiro Guimarães Published: de ca.1898 Vasconcelos” Carlos Gomes Composed: “In Homage to Valse Brillante Narciso, Arthur ca.1880 the Illustrious Napoleão e Published: Maestro” Miguez ca.1880 Yo te adoro Composed: Tango Buschmann e 1881 Brasileiro Guimarães Published: 1881 Harmonias das Composed: “Dr. Gonzaga Valsa brilhante Cia. de Música Esferas 1881 Filho" e Pianos Published: 1881 Hip!!! Composed: Polka-Gallop Manoel Antônio ? Guimarães Published: 1881
101 Table 4. (continued) Title Year Dedication Genre Publisher Ismênia Composed: “Homage to the Waltz Cia. De Música ? eminent artist e Pianos Published: Ismênia dos sucessora de ca.1881 Santos” Arthur Napoleão
Manhã De Composed: Ballade Arthur Amor 1881 Napoleão & Published: Cia. 1881 Oh! Mon Étoile Composed: Tango Arthur 1881 Brasileiro Napoleão e Cia. Published: 1881 Os Olhos Dela Composed: Polka Viúva Canongia ? Published: 1881 Sedutor Composed: Tango Viúva Canongia ? Brasileiro Published: 1877 Suspiro Composed: Tango Publicada por ? Brasileiro Arthur Published: Napoleão e Cia. ca. 1881 Xi Composed: Tango Buschmann e ? Guimarães Published: 1883 Biónne, adeus Composed: “To Melle. Tango Buschmann e ca.1883 Yvonne Brasileiro Guimarães Published: Doynel” 1895 Festa de São Composed: Operetta Arcevo Digital João – Opereta 1884 Chiquinha completa em 1 Published: Gonzaga ato e 2 quadros 2014 Walkyria, from Composed: "To the Waltz Buschmann e the Opereta “A 1884 illustrious Guimarães corte na Roça” Published: Clinician Dr. 1885 Frederico Fróes. Real proof of consideration and respect”
102 Table 4. (continued) Title Year Dedication Genre Publisher Viva o Composed: “To distinct Polka Buschmann e Carnaval!! 1884 Maestro Guimarães Published: Francisco G. de ca. 1886 Carvalho” Prelúdio from Composed: Prelude Arcevo Digital Opereta “A 1884 Chiquinha Corte na Roça” Published: Gonzaga 2011 Recitativo from Composed: Recitative Buschmann e Opereta “A 1884 Guimarães Corte na Roça” Published: 1885 Saci-Pererê Composed: “To my son Tango Buschmann e from Opereta 1884 João” Brasileiro Guimarães “A Corte na Published: Roça” ca. 1885 Balada from Composed: Ballade Acervo Digital Opereta “A 1884 Chiquinha Corte na Roça” Published: Gonzaga 2011 Se o Forreta Composed: Polka Buschmann e está de Veneta 1885 Guimarães Published: ca. 1885 Se Fuera Composed: “To distinct Habanera Manoel Antônio Verdad!... 1885 writer Luiz Gomes Published: Murat” Guimarães 1885 Tim-Tim Composed: “To the smart Tango Buschmann e 1885 little son of Brasileiro Guimarães Published: Mister. Dr. 1885 Valentim Magalhães” A Corte na Composed: Operetta Acervo Digital Roça 1885 Chiquinha Published: Gonzaga 2015 Ai que Broma! Composed: “To Melle. Rose Bolero Buschmann e 1885 Meryss” Guimarães Published: 1885 Arcádia Composed: “To my Quadrille Buschmann e ? children” Guimarães Published: 1885
103
Table 4. (continued) Title Year Dedication Genre Publisher Mulher- Composed: Polka Buschmann e Homem, ca. 1886 Guimarães from “Revista Published: Comico- ca. 1886 fantástica dos acontecimentos de 1885” Filha da Noite Composed: “To Mr. João Polka Buschmann e ? Gomes Guimarães Published: Guimarães” 1885 Yara Composed: “To disctinct Valsa de Buschmann e “Coração de 1885 Pianist Geraldo Concerto Guimarães Fogo” Published: Ribeiro” 1885 Menina Faceira, Composed: Tango Acervo Digital adaptation from 1885 Chiquinha the French Published: Gonzaga Comedy 2011 “Guedes’ Daughter” Musiciana Composed: “To the little Polka Buschmann e ? daughters of Dr. Guimarães Published: A. Cardoso de 1885 Menezes” Psyché Composed: Habanera Buschmann e ? Guimarães Published: ca. 1885 Radiante Composed: “ To the Clever Polca de Salão Buschmann e ? Academic Guimarães Published: Francisco 1885 Sodré” São Paulo Composed: “To the State of Tango Manoel Antônio 1885 São Paulo” Brasileiro Guimarães Published: ca. 1900 Cançoneta Composed: Canzonetta Buschmann e Cômica from ? Cômica Guimarães cena comica Published: “Há Alguma 1886 novidade?” Há Alguma Composed: Operetta Acervo Digital Novidade? ? Chiquinha Published: Gonzaga 2011
104 Table 4. (continued) Title Year Dedication Genre Publisher Tango from Composed: Tango Acervo Digital cena comica ? Brasileiro Chiquinha “Ha Alguma Published: Gonzaga Novidade?” 2011 Diário de Composed: “Offered to the Polka Buschmann e Notícias ? illustrious Guimarães Published: writers of this 1886 newspaper” Grata Esperança Composed: Waltz Buschmann e ? Guimarães Published: 1886 Cançoneta Composed: Tango 1886 - Cômica from 1886 Brasileiro Buschmann e cena comica Published: Guimarães “Há alguma 1886, 2011 (piano solo) novidade” 2011- Acervo Digital Chuiquinha Gonzaga (piano & voice) Para a Cera do Composed: Canzonetta Manoel Antônio Santíssimo 1886 Cômica Gomes Published: Guimarães ca. 1886 Rondolini- Composed: “To distinct Canzonetta Manoel Antônio Rondolinão 1886 artist Machado” Cômica Guimarães Published: ca. 1886 Tango Composed: “To distinct Tango Buschmann e Característico 1887 young maestro característico Guimarães Published: Francisco ca. 1889 Braga” A Sereia Composed: Ballade Revista A 1887 Semana Published: 1887 Tango from Composed: Tango Buschmann e “Comic Scene ? Brasileiro Guimarães Carlino Published: Desempregado” 1887 Dança das Composed: “Offered to Mr. Valsa de salão Buschmann e Fadas 1887 Adolfo Silva” Guimarães Published: 1887
105 Table 4. (continued) Title Year Dedication Genre Publisher Gruta das Flores Composed: “To my female Polka Buschmann e ca. 1887 disciples” Guimarães Published: 1887 Poesía e Amor Composed: Romance Acervo Digital 1888 Chiquinha Published: Gonzaga 2011
Satã Composed: “To my Lundu Manoel Antônio 1888ca working partner Brasileiro Guimarães Published: Ernesto Matos" 1888 Candomblé Composed: “ To Dr. Dança Africana Buschmann e from “Peça ca. 1888 Moreira Guimarães Fantástica Céu Published: Sampaio” e Inferno” ca. 1893 Day-Break; Composed: Tango Buschmann e Ainda nao 1888 Brasileiro Guimarães Morreu Published: 1888 É Enorme Composed: “To the Distinct Polka Buschmann e 1888 and Original Guimarães Published: Paula Nei” 1888 Hino à Composed: Hymn Acervo Digital Redentora 1888 Chiquinha Published: Gonzaga 2011 Io T’amo Composed: Gavota Guimarães & 1889 Irmão Published: ? Invocação Composed: “To the distinct Capricho Acervo Digital 1889 poet and singer elegiaco Chiquinha Published: Rose Meryss” Gonzaga 2011 Julia Composed: “Dedicated to Tango Casa Ao ? my excellency Lambari: Published: Ms. Disciple D. Pereira & 1889 Julia Vieira” Araújo
Laurita Composed: “Dedicated to Mazurka Buschmann e 1889 the smart little Guimarães Published: daughter of 1889 Cardoso de Menezes”
106 Table 4. (continued) Title Year Dedication Genre Publisher Leontina Composed: “ To my distinct Habanera Buschmann e ? female disciple Guimarães Published: Leontina Gentil 1889 Torres”
Pehô-Pekim Composed: “To Mr. João Dança Buschmann e ? Gomes Característica Guimarães Published: Guimarães” Chinesa 1889
Sabiá da Mata Composed: choro 1889 – Alma ? Brasileira series Published: (flute version) 1889, 2011 2011 – Acervo Digital Chiquinha Gonzaga (piano version) Só no Choro Composed: “To Maestro Tango I. Bevilacqua e ? Henrique Alves Característico C. Published: de Mesquita” ca. 1889 As Pombas Composed: “ To the Chanson Casa ca. 1889 Illustrious Bevilacqua Published: Corporation of ca. 1929 Jornalists of Rio de Janeiro” Caramurú, Deus Composed: “ To Excellency Fado Buschmann e do Fogo 1889 Mrs. Cândida Característico Guimarães Published: Muniz Barreto Brasileiro ? Costa” Faceiro Composed: “To the Tango Buschmann e ? Illustrious Brasileiro Guimarães Published: Clinician Dr. ca. 1889 José Ferraz de Magalhães Castro” Habaneira from Composed: Habanera Buschmann e “Zarzuela 1890 Guimarães Dama de Published: Ouros” 1890 Mazurka from Composed: Mazurka Acervo Digital “Zarzula Dama 1890 Chiquinha de Ouros” Published: Gonzaga 2011
107 Table 4. (continued) Title Year Dedication Genre Publisher Angá-Catu- Composed: Mazuka- 1932 - Rama, Alma 1890 rancheira Buschmann e bondosa Published: Guimarães 1932, 2011 (flute version)
2011 – Acervo Digital Chiquinha Gonazaga – (piano version) O Padre Amáro Composed: “To the Waltz Buschmann e 1890 Illustrious Guimarães Published: Master and ca. 1890 Emeritus Artist L. C. Furtado Coelho” Oh! Não Me Composed: Habanera I. Bevilacqua e Iludas ? Cia. Published: 1890 Tupã Composed: “Homage to the Tango Buschmann e ca.1 890 Republican Brasileiro Guimarães Published: Emeritus Dr. 1891 Lopes Trovão" … A Rir o Composed: Waltz Buschmann e Santo do dia… 1890 Guimaraes from “Zarzuela Published: A Dama de 1890 Ouros” Aguará, A Composed: Waltz Acervo Digital Garça Vermelha 1890 Chiquinha Published: Gonzaga 2011 À Meia Noite Composed: “To Distinct Polka Buschmann e 1890 Actress Ismênia Guimarães Published: dos Santos” 1890 Alerta!... Composed: Military Polka Arthur ? Napoleão Published: ca. 1890 Foi um Composed: “ To the most Barcarolle Manoel Antônio Sonho!... 1890 distinct writer Gomes Published: Augusto Guimarães 1890 Fábrega”
108 Table 4. (continued) Title Year Dedication Genre Publisher Meditação from Composed: “To illustrious Nocturne Buschmann e “Peça ca. 1890 cellist Frederico Guimarães anticleral, O Published: do Nascimento” Crime do Padre 1890 Amaro” Romance de Composed: Romance de Acervo Digital Amor from the 1891 Amor Chiquinha Comic Opera Published: Gonzaga “Cora” 2011 Dança Composed: “To Dr. Vicente Dança Manoel Antônio Brasileira ca. 1892 Reis” Brasileira Guimarães Published: ca. 1898 Atkinsons Composed: Valsa de Salão Acervo Digital 1892 Chiquinha Published: Gonzaga 2011 Ortruda Composed: Waltz Arthur ? Napoleão e Cia. Published: 1893 (after) Prece à Virgem Composed: Sacred piece Acervo Digital ca. 1894 Chiquinha Published: Gonzaga 2011 Tambiquererê Composed: “To distinct Tango Manoel Antônio 1894 Maestro Brasileiro Guimarães Published: Zeferino ca. 1894 Hourcades” Annita Composed: “To friendly Polka Buschmann e ? Artist A. Guimarães Published: Manarezzi” ca. 1894 Duquesne Composed: “To monsieur Military March Acervo Digital 1894 l’Amiral et Chiquinha Published: toute la Gonzaga 2011 officialité de Duquesne” Genéa Composed: Waltz Buschmann e ? Guimarães Published: ca. 1894 L’ange du Composed: Invocation Acervo Digital Seigneur 1894 Chiquinha Published: Gonzaga 2011
109 Table 4. (continued) Title Year Dedication Genre Publisher Rosa Composed: “To my Valsa Buschmann e ? Excellency Caracteristica Guimarães Published: mother Mrs. 1895 Rosa Gonzaga” Zizinha Maxixe Composed: Operetta Acervo Digital 1895 Chiquinha Published: Gonzaga 2015 Píu-Dudo, Composed: “To Maestro Batuque Buschmann e Beija-Flor ? Soter” Brasileiro Guimarães Published: ca. 1896 Na Verdade tem Composed: Tango Buschmann e Razão from ? Brasileiro Guimarães “Amapá” Published: ca. 1896 Valsa from Composed: “Dedicated to Waltz Buschmann e “Amapá” ? Ritoca and Guimarães Published: Candinha” ca. 1896 Eis a Sedutora Composed: “To Ms. Lola Bolero Buschmann e ? Natividad” Guimarães Published: 1896 Maxixe de Composed: Maxixe Buschmann e Carrapatoso e ? Guimarães Zé from Published: “Amapá” ca. 1896 O Jagunço Composed: Tango Arthur ? Característico Napoleão Published: Brasileiro 1987 Robertinha Composed: “ To the smart Waltz Bushchmann e ? daughter of the Guimarães Published: distinct 1897 physician Dr. José Batista Gonçalves” Toujours et Composed: “To Rose Polka Buschmann e Encore ? Meryss” Guimarães Published: 1897 Água do Vintém Composed: Tango Buschmann e ? Brasileiro Guimarães Published: 1897
110
Table 4. (continued) Title Year Dedication Genre Publisher Catita Composed: Polka Buschmann e ? Guimarães Published: ca. 1897 Evoé Composed: Tango Buschmann e ? Carnavalesco Guimarães Published: 1897 Heloisa Composed: “To my Niece Valsa de Salão Buschmann e ? Heloisa Guimarães Published: Gonzaga” 1897
Itararé Composed: “To Misters Polka Buschmann e ? Drs. Gonçalves Guimarães Published: and Amaral 1897 owners of the brave Itararé” Janniquinha Composed: “To the most Schottisch Buschmann e ? distinct pianist Guimarães Published: Joana Leal de ca. 1897 Barros” Juracy Composed: “To my Valsa de Salão Buschmann e ? Disciple Guimarães Published: Raymundo 1897 Rocha dos Santos” Cubanita Composed: Habanera Manoel Antonio ? Guimarães Published: 1898 Desejos Composed: Portuguese Casa Vieira ? Fado Machado Published: ca. 1899 Diálogo e Valsa Composed: Waltz Acervo Digital 1899ca Chiquinha Published: Gonzaga 2011 Oh, Abre-Álas! Composed: Marcha Manoel Antonio 1899 Cavalesca Gomes Published: Guimarães 1939
Maria Composed: “To kind Melle Waltz Manoel Antônio ? Maria Josefina Gomes Published: Delpino” Guimarães 1899
111 Table 4. (continued) Title Year Dedication Genre Publisher Phalena Composed: “To the Waltz Manoel Antônio 1899 Illustrious Gomes Published: Presedent of Guimarães 1899 ‘Clube Euterpe’, Mr. José Vasco Ramalho Ortigão” Agnus Dei Composed: Sacred music Digital Archive ca. 1899 Chiquinha Published: Gonzaga 2011 Beijos Composed: “To Excellency Waltz Manoel Antonio ? Mrs. Rafaela Guimarães Published: Lambert 1899 Garcez” Dueto de Amor Composed: Duet Acervo Digital 1900 Chiquinha Published: Gonzaga 2011 Beijos do Céu, Composed: Romance Acervo Digital Um Sonho 1900ca Chiquinha Published: Gonzaga 2011 Cananéa Composed: Waltz Manoel Antônio ca. 1900 Gomes Published: Guimarães 1901
D. Adelaide Composed: Canzonetta Manoel Antônio ca. 1900 Gomes Published: Guimarães 1901 Guasca Composed: Polka Acervo Digital ca. 1900 Chiquinha Published: Gonzaga 2011
Machuca! Composed: “To the most Canzonetta Manoel Antônio ? kind and Gomes Published: distinct artist Guimarães ca. 1900 Plácida dos Santos”
112 Table 4. (continued) Title Year Dedication Genre Publisher Os Namorados Composed: Serenade 1910 – da Lua ca. 1900 (Portugal) Published: Almanaque 1910/2011 Musical Artistico Literario
2011 – (Brazil) Acervo Digital Chiquinha Gonzaga Roda Ioiô Composed: “To distinct Brazilian Manoel Antônio 1900 Artist Sofia Chanson Gomes Published: Camps” Guimarães ca. 1900 Taci Composed: Romance Acervo Digital ca. 1900 Chiquinha Published: Gonzaga 2011 A Morena Composed: “To the popular Chanson Manoel Antônio ca.1901 songwriter Gomes Published: Geraldo de Guimarães 1901 Magalhães”
À Noite Composed: “To Batista Gavote Acervo Digital 1901 Coelho e Rafael Chiquinha Published: Pinheiro” Gonzaga 2011 Balada Composed: Ballade Acervo Digital 1901 Chiquinha Published: Gonzaga 2011 Desalento, Composed: Romance Acervo Digital Romance de 1901 Chiquinha Estrela, from Published: Gonzaga “drama-lírico O 2011 Perdão” Elvira Composed: “To Tuna Portuguese Manoel Antônio 1901 Academia de Fado Gomes Published: Lisboa” Guimarães 1904 Vamos à Missa Composed: “To my dear Dueto Cômico Manoel Antônio 1901 Friends Gomes Published: Machado e Guimarães 1901 Maria Lina”
113 Table 4. (continued) Title Year Dedication Genre Publisher A Brasileira Composed: Chanson 1901 - Manoel ? Antônio Gomes Published: Guimarães ca. 1901/1910 (Brazil)
1910 – Almanaque Musical Artistico Literario (Lisbon) Morena Composed: “To the Popular Luso-Brazilian Manoel Antônio ? songwriter Chanson Gomes Published: Geraldo de Guimarães 1901 Magalhães” Trigueira! Composed: Desgarrada Neuparth e ? minhota Carneiro Published: Editores 1902 (Portugal) Côco Velho Composed: Dança Acervo Digital 1902 Chiquinha Published: Gonzaga 2011 Fado Gonzaga Composed: Fado Chiquinha from Opereta de 1902 Gonzaga Costumes Published: “Manobras do 1932 Amor” Em Guarda! Composed: “To Excellency Dobrado Manoel Antônio 1902 Mr. Capitan Gomes Published: Antônio José da Guimarães ca. 1904 Rocha” Fado Português Composed: Portuguese Manoel Antônio de Marcolino 1902 Fado Gomes from peça de Published: Guimarães costumes 1904 cariocas “ Não Venhas!...” Quadrilha from Composed: “To the Distinct Quadrille Manoel Antônio Opera Sertaneja 1903 Board of Gomes “Jandyra” Published: Directors of Guimarães 1903 Derby-Club” Santa Composed: “To the Brazilian Manoel Antônio 1903 Illustrious and Chanson Gomes Published: Good Fellow Guimarães 1910 Calixto”
114 Table 4. (continued) Title Year Dedication Genre Publisher Tango da Composed: Tango Manoel Antônio Quitandeira, ? Gomes from “revista O Published: Guimarães Esfolado” 1904
Espanha e Composed: Chanson Manoel Antônio Brasil ca. 1903 Gomes Published: Guimarães 1903 Romance da Composed: Romance Almanaque Princesa from 1904 Musical “peça fantastica Published: Artístico A Bota to 1908 Literário Diabo” (Portugal) Modinha Composed: Modinha Manoel Antônio Brasileira De ? Brasileira Gomes Lydia from peça Published: Guimarães de costumes 1904 cariocas “Não Venhas!...” Valsa De Lydia Composed: Waltz Manoel Antônio from Peça de 1904 Gomes Costumes Published: Guimarães Cariócas “Não 1904 Venhas!...”
Cá por Composed: Brazilian Manoel Antônio Coisas!... ? Chanson Gomes Published: Guimarães 1904 Café de São Composed: Tango Acervo Digital Paulo from ca. 1904 Brasileiro Chiquinha Revista de Published: Gonzaga Costumes e 2011 Fatos Nacionais e Estrangeiros “Cá e Lá” Coplas de Composed: Dobrado Manoel Antônio Pedrinho from ? Gomes Peça de Published: Guimarães Costumes 1904 Cariócas “Não Venhas!...”
115 Table 4. (continued) Title Year Dedication Genre Publisher Dueto de Amor Composed: Duet Manoel Antônio De Marcolino e ca. 1904 Gomes Lydia, from Published: Guimarães Peça de 1904 Costumes Cariócas “Não Venhas!...” Dueto de Nery, Composed: Choro-Waltz Manoel Antônio from Peça de ? Gomes Costumes Published: Guimarães Cariócas “Não 1904 Venhas!...” Dueto de Composed: Duet Manoel Antônio Pedrinho e ? Gomes Eunicia from Published: Guimarães Peça de 1904 Costumes Cariócas “Não Venhas!...” Minha Patria! Composed: “ I offered it to Marcha Manoel Antônio ? the Brazilian Palaciana Gomes Published: Army” Guimarães ca. 1904 O Coió Composed: Canzonetta Manoel Antônio ? Gomes Published: Guimarães ca.1904 Faceira Composed: Raconto Boletim SBAT ? Published: 1905 Cançoneta from Composed: Polka Acervo Digital Revista ca. 1906 Chiquinha Fantástica “Nú Published: Gonzaga e Crú” 2011 Cantiga do Composed: Cantiga 1906-Manoel Sertão from ? Antônio Gomes Revista Published: Guimarães Fantástica “Nú 1906/2011 2011- Acervo e Crú” Digital Chiquinha Gonzaga Valsa da Rainha Composed: Waltz Acervo Digital Saracura e do 1907 Chiquinha Principe Chichi Published: Gonzaga from Peça 2011 fantástica “A Bota do Diabo”
116 Table 4. (continued) Title Year Dedication Genre Publisher Coplas dos Composed: Waltz Boletim SBAT, Ministros from 1907 Revista Os Peça fantástica Published: Serões “A Bota do 1947 Diabo” Serenata from Composed: Serenade Acervo Digital Peça fantástica 1907 Chiquinha “A Bota do Published: Gonzaga Diabo” 2011 Dueto Composed: Maxixe Acervo Digital Luminárias e 1907 Brasileiro Chiquinha Diabo from Published: Gonzaga Peça fantástica 2011 A “Bota do Diabo” Marinagem, Composed: Barcarolle Acervo Digital from Peça 1907 Chiquinha fantástica A Published: Gonzaga “Bota do 2011 Diabo”
Fado from Composed: Fado Acervo Digital ópera-cômica 1908 Chiquinha “As Três Published: Gonzaga Graças” 2011 Feijoada do Composed: Chanson Vieira Machado Brasil ca. 1908 & Cia. Published: 1909 Canção Composed: “To Illustrious Brazilian Acervo Digital Brasileita 1908 writer Chanson Chiquinha Published: Excellency Mr. Gonzaga 2011 Luiz Galhardo” Não Sonhes Composed: Romance Acervo Digital 1909 Chiquinha Published: Gonzaga 2011
Prece à Nossa Composed: Sacred Music Acervo Digital Senhora das 1909 Chiquinha Dores Published: Gonzaga 2011 A Grande Sorte Composed: Canzonetta Acervo Digital 1909 Chiquinha Published: Gonzaga 2011
117
Table 4. (continued) Title Year Dedication Genre Publisher Alégre-se Viúva Composed: “To Illustrious Tango Casa Arthur 1909 Friend Cesar de Brasileiro Napoleão Published: Araújo” 1913-15 Aurora Composed: Fado Acervo Digital 1909 Chiquinha Published: Gonzaga 2011 Ave Maria Composed: “To Illustrious Sacred music Acervo Digital 1909 Jornalist Chiquinha Published: Excellency Gonzaga 2011 Mrs.Virgínia Quaresma” Bijou Composed: Tango Nascimento ? Brasileiro Silva & Cia. Published: ca. 1909 Doce Fado Composed: Fado Acervo Digital 1909 Chiquinha Published: Gonzaga 2011 Serenata from Composed: Serenade Acervo Digital Opereta de 1911 Chiquinha Costumes Published: Gonzaga “Manobras do 2011 Amor” Tango do Composed: Tango Manoel Antonio Guarda Noturno 1911 Brasileiro Gomes from Burleta de Published: Guimarães & Costumes ca. 1911 Chiquinha Cariócas Gonzaga “Forrobodó”
Não se Composed: Tango Manoel Antonio Impressione 1911 Brasileiro Gomes from Burleta de Published: Guimarães & Costumes ca. 1911 Chiquinha Cariócas Gonzaga “Forrobodó”
Lição de Composed: Maxixe Acervo Digital Maxixe from 1911 Chiquinha opereta Published: Gonzaga “Colégio de 2011 Senhoritas”
118
Table 4. (continued) Title Year Dedication Genre Publisher Marcha, Cordão Composed: March Acervo Digital Carnavalesco 1911 Chiquinha from Burleta de Published: Gonzaga Costumes ? Cariócas “Forrobodó” Desgarrada, Composed: Desgarrada Acervo Digital from opereta de 1911 Chiquinha costumes Published: Gonzaga “Manobras do 2011 Amor” Forrobodó, Composed: Operetta Acervo Digital Burleta de 1911 Chiquinha Costumes Published: Gonzaga Cariócas” in 3 2015 acts Lua Branca Composed: “Dr. Octavio de Chanson Casa Vieira 1911 Almeida Gama” Machado (?) Published: 1940 Irmãos Vitalle (1940) Não se Composed: Tango Manoel Antônio Impressione 1911 Brasileiro Gomes from Burleta de Published: Guimarães/ Costumes ca. 1911 Chiquinha Cariócas Gonzaga “Forrobodó” Manobras do Composed: Operetta Acervo Digital Amor, Opereta 1911 Chiquinha de Costumes Published: Gonzaga cariocas em 3 2014 atos (complete)
Meu Deus que Composed: Maxixe Acervo Digital Maxixe 1911 Chiquinha Gostoso, from Published: Gonzaga Revista 2011 “Pomadas e Farofas”
Passos no Choro Composed: Brazilian Polka Acervo Digital ca. 1912 Chiquinha Published: Gonzaga 2011
119 Table 4. (continued) Title Year Dedication Genre Publisher Baile..., from Composed: Waltz Manoel Antônio Burleta de 1912 Gomes Costumes Published: Guimarães Nacionais ca. 1912 “Pudessa esta Paixão”
Teus Olhares Composed: “Homage to the Brazilian Acervo Digital ca. 1913 Talent of L.T.” Chanson Chiquinha Published: Gonzaga 2011 A Fiandeira Composed: Raconto Acervo Digital 1913 Chiquinha Published: Gonzaga 2011 Depois do Composed: Operetta Acervo Digital Forrobodó, ca. 1913 Chiquinha Burleta em 3 Published: Gonzaga atos e 4 quadros 2014 (complete)
O Beijo Composed: Chanson Acervo Digital ca. 1914 Chiquinha Published: Gonzaga 2011 O Meu Sertão, Composed: Serenade Acervo Digital from Burleta de 1915 Chiquinha Costumes Published: Gonzaga Nacionais “A 2011 Sertaneja” Serenata, from Composed: Serenade Casa Burleta de 1915 Bevilacqua Costumes Published: Nacionais “A ca. 1929 Sertaneja” Promessa!... Composed: Waltz Arthur 1915 Napoleão e Cia. Published: 1915 Hino à Bandeira Composed: Hymn Acervo Digital Brasileira, from 1915 Chiquinha Tragédia Published: Gonzaga Fantástica “ A 2011 Desfilada dos Mortos”
120
Table 4. (continued) Title Year Dedication Genre Publisher Barcarola, from Composed: Barcarolle Acervo Digital Burleta de 1915 Chiquinha Costumes Published: Gonzaga Nacionais “A 2011 Sertaneja”
Desafio, A Composed: Dobrado Acervo Digital viola, from 1915 Chiquinha Burleta de Published: Gonzaga Costumes 2011 Nacionais “A Sertaneja” O Meu Sertão, Composed: Serenade Acervo Digital from Burleta de 1915 Chiquinha Costumes Published: Gonzaga Nacionais “A 2011 Sertaneja”
Dança Nº 2 Composed: Waltz Acervo Digital 1915 Chiquinha Published: Gonzaga 2011 Amarguras Composed: Ballade revista Futuro 1917 das Moças Published: 1917 Uma Página Composed: Ballade Acervo Digital Triste 1918 Chiquinha Published: Gonzaga 2011 Canção da Composed: Chanson Acervo Digital Corcundinha, 1919 Chiquinha from Peça de Published: Gonzaga costumes 2011 Sertanejos “Jurití”
Fogo Foguinho, Composed: Samba Acervo Digital from Peça de 1919 Chiquinha Costumes Published: Gonzaga Sertanejos 2011 “Jurití”
121 Table 4. (continued) Title Year Dedication Genre Publisher Sou Morena Composed: Dobrado Acervo Digital from Peça de 1919 Chiquinha Costumes Published: Gonzaga Sertanejos 2011 “Jurití” Linda Morena Composed: choro-tango Acervo Digital 1919 Chiquinha Published: Gonzaga 2011 Os Oito Batutas Composed: Tango Acervo Digital 1919 Brasileiro Chiquinha Published: Gonzaga 2011 Abertura, from Composed: Romance Chiquinha opereta-pastora 1920 Gonzaga ”Estrela Published: d’Alva” ca. 1925
Meu Deus por Composed: Romance Acervo Digital fim ja Creio, 1920 Chiquinha Romance de Published: Gonzaga Luiz, from 2011 opereta ”Festa de São João” Desgarrada, Composed: Desgarrada Acervo Digital from opereta- 1920 Chiquinha pastoral Published: Gonzaga “Estrela 2011 d’Alva”
Valsa, from Composed: Waltz Acervo Digital opereta- 1920 Chiquinha pastoral Published: Gonzaga “Estrela ca. 1925 d’Alva” Barcarola, from Composed: Barcarolle Acervo Digital Opereta de 1921 Chiquinha Costumes Published: Gonzaga Portugueses 2011 “Redes Ao Mar” Canção da Composed: Chanson Acervo Digital Viola, from 1921 Chiquinha Opereta Published: Gonzaga “Sertaneja 2011 Jandira”
122 Table 4. (continued) Title Year Dedication Genre Publisher Canção do Tio Composed: Chanson Acervo Digital Afonso, from 1921 Chiquinha Opereta Published: Gonzaga Sertaneja 2011 “Jandira” Cuauhtémoc Composed: March Acervo Digital ca. 1922 Chiquinha Published: Gonzaga 2011 Mexicana Composed: March Acervo Digital ca. 1922 Chiquinha Published: Gonzaga 2011 Romance de Composed: Romance Acervo Digital Benta, from 1922 Chiquinha Opereta de Published: Gonzaga Costumes 2011 Portugueses e Brasileiros “O Minho em Festa” Serenata, from Composed: Ballade Acervo Digital Opereta 1926 Chiquinha “Colégio de Published: Gonzaga Senhoritas” 2011
O Mar Composed: Ballade Acervo Digital 1926 Chiquinha Published: Gonzaga 2011 Canção de Composed: “ To Vicente Chanson Casa Edison Lauro, from 1933 Celestino. Mom Peça Rude Published: Chiquinha” “Maria!...” ca. 1933