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Chiquinha Gonzaga, Brazilian Musical Trailblazer A 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 ii © Copyright 2019 by Silvanio Reis All Rights Reserved iii 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. iv 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. vi 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 vii 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 viii 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 ix 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 x 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 xi 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
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