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Compositores Portugueses
~ Portuguese Composers
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:;:it Compositeurs portugais
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~
:i!
:iii
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Repert6rio para Pianistas
~ Repertoire for Pianists
;.'il
;.'il
Repertoire pour pianistes
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Volume II
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~
:;;i! Selec~ao:/Selected by:/Choisis par:
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Bruno Belthoise
~

~
J oao Pedro Mendes dos Santos
;:ii
~

:il D!REITOS RESERV ADOS

~
ALL RIGHTS RESERVED

(1u\ t '\-
~ AvA MUSICAL EDITIONS '
Agradccimen tos/ Acknowledgmen ts/Remerciements
Ana Barros

ll,g

t;;f
Tituloffitleffitrc
Compositores Portugueses
Repert6rio para pianistas
~
Volume II
~
Editor/Publisher
AvA Musical Editions ~
Rua Nova do Loureiro, n°1-l/16
1200-295 Lisboa ~
Tel./ Fax. 213 430 337- Tm. 967 074 349
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Sclec4;iio /Selection /Selection ~

Bruno Belthoise
joao Pedro ivlendes dos Santos g
COpin e Puginn4;iio/Copyist and Page JuyouUCopic c Pagination ~
Jose Lourenc;o
~
Biografius/Biographics/Biographies
SOnia Silva ~
joao Pedro M. Santos
Bruno Belthoise ~
Tradu4;0esffranslationsrfruductions
~
Bruno Belthoise (Frances/French/ Fran<;ais)
jed Barahal, joao Pedro Barros (Ingles/ English/ Anglais)
~
Supen·isiio tCcnicuffechnical supen·ision/ Supen·ision technique
Jose Lourenc;o ~
Nuno Fernandes
~
Concep4;iio du capa/Designer/ Conception de Ia couvcrture
Joflo Vasco de Almeida ~
Reuliza4;iio da capa!Cover Design/ Cover realisation ~
N uno Fernandes
~
Impressa em PortugaUPrintcd in PortuguU IrnprimC nu Portugal
AvA Musical Editions ~
1' Edi<;ao em Outubro de 2014

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~
~ Compositores portugueses
Repert6rio para Pianistas
~
3 Volume II

~ 0 segundo volume da colec~ao Repert6rio para pianistas foi elaborado atraves de uma escolha
diversificada de pe~as para piano de compositores portugueses, desde sonatas de Carlos Seixas ate obras de
~ compositores acuais. Todas as obras podem ser abordadas a partir do 4" grau do instrumento. Com este segundo
volume, perseguimos a aventura iniciada com o Volume I, mantendo o objectivo de apresentar uma antologia
~ progressiva das obras que ret1ectem a hist6ria da mtisica para tecla Portuguesa (*). Apresentado em ordem
cronol6gica de autores, as pe~as de diferentes estilos testemunham, ao Iongo do album, urn conjunto de
~
personalidades sempre ricas e contrastantes.
~ Para este novo volume, escolhemos seleccionar certas pe~as extraidas de recolhas celebres em Portugal,
mas igualmente fazer descobrir ineditos, como a Toccata em D6 maior de Jorge Peixinho ou os Tres Esbo,os
~ de Fernando C. Lapa. Pareceu-nos importante apresentar tam bern as 36 Histoires pour am user /es e1~(ants d'un
artiste de Francisco de Lacerda, amigo de Claude Debussy e valorizar as obras de inspira~ao popular, tais como
2!!!1
~ lmagens Portuguesas de Olga Silva, adaptadas a este nivel de estudo.
Queremos agradecer vivamente aos compositores que aceitaram ser editados neste segundo volume de
~ Repert6rio para pionistas.
~ ( *) Propositadamente n5o foram acrcsccntadas dedilha~Oes para dar total liberdade aos jovcns pianistas e pedagogos.

~ ~~~~~Wi'tY'i'tY'i'tY'i'tY'i'tY'
~ The second volume of the collection Repert6rio para Pianistas consists of a diverse selection of piano
pieces by Portuguese composers, from Carlos Seixas's sonatas to the work of contemporary composers. These
;;il can be addressed from the fourth year of study of this instrument. With this second volume, we pursue an
adventure initiated with Volume I, maintaining the aim of presenting a progressive anthology of works
~ ret1ecting the history of the Portuguese keyboard music (*).Presented in chronological order of authors, these
;jll pieces, in various styles, testify a set of still rich and contrasting personalities.
In this new volume, we chose to select some pieces from celebrated collections in Portugal but also to
~ discover some unedited works like Toccata em D6 maior by Jorge Peixinho or Tres Esbo,os from Fernando C.
Lapa. It seemed likewise important for us to present 36 Histoires pour mnuser les en[allfs d'un artiste by
~ Francisco de Lacerda, a friend of Claude Debussy, and to highlight the value of popular inspired works, such as
lmagens Portuguesas, by Olga Silva, suited to this study level.
;:l1; We are pleased to thank the composers who accepted to be published in this second volume of
Repert6rio para pianistas
~
(*) We have purposely left the scores without fingerings so that pianists and teachers may feel free to make their 0\\11 choices.
;jl
~~~~~Wi'tY'i'tY'i'tY'i'tY'i'tY'
~

~ Le deuxieme volume de Ia collection Repert6rio para Pianistas est constitue d'un choix tres diversifie
de pieces pour piano de compositeurs portugais depuis les sonates de Carlos Seixas jusqu'aux a!uvres de
;;::ill
;;;;;,.... compositeurs actuels. Celles-ci peuvent etre abordees a partir de Ia quatrieme annee d'instrument. Avec ce
dcuxieme volume, nous poursuivons une aventure, initiee avec le Volume I, en gardant comme objectif de
5il presenter une anthologie progressive d'a!uvres temoignant de l'histoire de Ia musique portugaise pour clavier
(*). Presentees par ordre chronologique des auteurs, Jes pieces de difterents styles temoignent, au fil des
:;:lJI albums, d'un ensemble de personnalites toujours riches et contrastees.
Pour ce nouveau volume, nous avons choisi de selectionner certaines pieces extraites de recueils
::;;J celebres au Portugal mais egalement de faire decouvrir des inedits, comme Ia Toccata em D6 maior de Jorge
Peixinho ou Jes Tres Esba,os de Fernando C. Lapa. II nous a semble important de taire aussi connaitre Jes 36
:21 Histoires pour am user /es enfimts d 'w1 artiste de Francisco de Lacerda, ami de Claude Debussy et de valoriser
~ les a!uvres d'inspiration populaire telles les lmagens Porruguesas de Olga Silva, adaptees ace niveau d'etude.
Nous tenons a remercier vivement les compositeurs qui ont acceptes d'etre edites dans ce deuxieme
~ volume de Repertorio para pianistas.
(*) Nous n'avons pas souhaitt! proposer de doigtCs afin dc laisser toutc Iibert!.! aux pianistes et aux pCdagogul!s.
til
~ Bruno Belthoisc
.Joilo Pedro Mendes dos Santos
~
 IE
~
INDICE I INDEX! SOMMAIRE
I]!:
Biografias- Biographies- Biographies . . . . . . . . . . . . . . p.l
~
Carlos Seixns
I I\rloderato da Sonata 29 em re menor- l\'Ioderato from Sonata 29 in D minor
r\'Ioderato de Ia Sonnte 29 in re mineur. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 2
II 1\linueto dn Sonata I 0 em do maior- Minuet from Sonata 10 in C major ~
1\lenuet de In Sonate I 0 en ut majeur. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 4
III Allegro da Sonata 14 em do menor- Allegro from Sonata 14 inC minor ~
Allegro de In Son ate 14 in ut mineur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 6

Joze Luis da Silveira ~

IV Minuette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.7

Joiio Domingos Bomtempo

V Largo de Uma Sonata F:icil, op. 13- Largo from An Easy Sonata, op. 13 ~
Largo d'npres Une sonate facile, op. 13. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 8
~
Jose de Santa Rita Marques e Silva
VI Duns Contradan~ns- Two Couterdances- Deux Contredanses . . . . . . . . . . . . . . . . . . . . . . . . p. I 0 ~
Augusto Machado ~
VII Arabesco- Arabesque- Arabesque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 12
VIII Folhn d'album- Album's Leaf- Feuillet d'nlbum. . . . p. 14
IX Giga Portuguesn- Portuguese Gigue- Gigue portugaise . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 16 ~

Alexandre Rey Cola~;o ~

X Fadinho- Little Fado- Petit fado . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 18
g
Arthur Ferreira
XI Confidencia- Confidence- Confidence. p.20 g::
Tomas Borba
XII Folhn d'Aibum n." 3- Album's Leaf No.3- Feuillet d'album n" 3 . . . . . . . . . . . . . . . . . . . . . . p.22
~
Francisco de Lacerda ~
XIII 0 pombo ferido- The injuried pingeon- Le ramier blesse . . . . . . . . . . . . . . . . . . . . . . . . . . p.24
XJV 0 gordo ganso bran co sentimental- The Sentimental \Vhite Goose- Voie-Blanche-Grassc scntimcntalc . . p.25
g
XV A miimii lciio-marinho udormece o seu bCbC- I\lom sea lion asleep her baby- I\laman oturic cndort son bcbC. p.26
XVI Rolns- Turtle Doves- Tourterelles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.28 ~
XVII 0 meu cilo sonha ... -My Dog Dreams ... -Moo chien reve... . . . . . . . . . . . . . . . . . . . . . . . p.30
XVIII 0 vendo ferido- The Wounded Deer- Le cerf blesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.31 ~
XIX Lndninhas para os nnimnis doentes- Litanies For The Sick Animals- Litnnie pour les betes mnlades . . p.32
~
Luiz Costa
XX Can~ilo triste- Sad Song- Chanson triste. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.33 ~
XXI Figurinhns de porcelana- Porcelain Figurines- Figurines de porcelnine . . . . . . . . . . . . . . . . . . p.34
g:
Botelho Leitiio
XXII A cnbra cega- Blind Man's Buff- Colin-maillnrd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.37 ~
XXIII Mnrcbn dos soldados de cbumbo- Tin Soldiers Murch- Mnrche des soldnts de plomb . . . . . . . . . p.38
XXIV Vnlsn- Waltz- Valse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.40
~
Guilherme Ribeiro g;
XXV Pequena tarnnteln- Little Tarnntelle- Petite tarentelle. . p.42

Jose Maria Navarro ~

XXVI Solidao- Solitude- Solitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.44

Ruy Coelho
m:=:
XXVII Toccata • • • • 0 • • • • • • • • • 0 0 0 • • • • • • • • 0 0 0 • • • • • • • • • • • • 0 0 • • • • • • • • p.46
~
Armando Le~;a
XXVIII Arlequinadn- Hnrlequinade- Arlequinnde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.48 ~
)LXIX Historieta - Storiette- Historiette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.50
~
~
 ~
..:!:!!.

~
Antonio Fragoso
~ XXX Minueto- Minuet- Menuet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.5~
XXXI Aria- Aria- Aria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.53
;j; XXXII Gavota- Gavotte- Gavotte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.54
~ Fernando Lopes-Gra~;a
~
XXXIII Pequeno passeio matinal- Early Morning Walk- Petite promenade matinale . . . . . . . . . . . . . p.56
~ XXXIV Pranto- Mourning- Deuil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.58
~
XXXV Embalo- Lullaby- Berceuse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.60
~ Berta Alves de Souza
2!!1 XXXVI Preludio - Prelude- Prelude . · . p.6c
~

_:1!!1
Enrico Thomaz de Lima
~ X.,XXVII Tamborilbeiros- Drummers- Tambourins. . p.64

Fernando Correa de Oliveira

~ XXXVIII A can~fio do moleiro- The Miller's Song- La chanson du meunier. . p.66
~ Jorge Peixinho I Versao de piano sabre urn an6nimo portugues, sec. XVIIl
XXXIX Toccata em DO maior- Toccata in C l\'lajor- Toccata en ut majeur. . p.68
~
Jorge Peixinho
~ XL Janeira- Song For The New Year- Chant du nouvel an. . p.70

~ Fernando C. Lapa
XLI Tres Esbo~os- Three Sketches- Trois esquisses . . . p.72
;;;;; Antonio Pinho Vargas
;;;;; XLII Brinquedos- Toys- Jouets . . p.74

Olga Silva
;;!I XLIII Tambem quero colinho- I Want Your Lap Too- Je veux aussi un cfilin . . . . . . . . . . . . . . . . . p.76
XLIV 0 meu coletinho- My Little Vest- Moo gilet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.78
~ XLV Urn ai, meu amor- Oh! My Love- Ah! Moo amour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.SO
- .1:'llllil\ Carlos Marecos
:!!" XLVI Pequeno Preludio- Little Prelude- Petit prelude. · p.sc
~ Sergio Azevedo
XL VII A Versailles: Matachim . p.84
:;il XLVIII Nu casa de Rnvcl: Pequena caixn de mUsica- In Ravel's House: Little i\lusic Box
Dans Ia muison de Ravel: petite boite it musique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.85
jl; XLIX Marcha- March- Marche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.86

:;il Eduardo Luis Patriarca

XL Mantra I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.87
~
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::;]!!~

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BIOGRAFIAS VOLUME 2
g
.~ Nota do editor/ Editor's Note/ Note de l'editeur:
Niio existem jo11tes biograjicas disponiveis para estes compositores :I There are 110 bibliographic sources for
these composers :1 Aucu11e source biographique 11 'est disponible pour les compositeurs suivants:
~
~ Jose Luis du Silveira (17??-1795), JosC l\laria Navarro (18??-192?), Jose Botelho Lcitao (c.1880-c.1970), Arthur Ferreira
-2:ll
(1858-1916)
~

~ Carlos Scixas (l70..t-t7..J2) Organista. cravista c mestrc de capt:la. Foi professor do infante Dom AntOnio na
corte do Rei D. Joao V. Em Lisboa, conhcceu Scarlatti, que muito o influcnciou aquando da pcnnanencia
~ deste em Portugal, entre I T!.l e I 7:28. CompOs cerca de 100 sonatas para instrumcntos de tccla, urn concerto
~
para cravo, obras para orquestra, atem de v<irias obras corais. Muita da sua obra ter-se-a perdido no grande

~
terrJ.moto de 1755.

Curios Scixas {170...J-t7..J2), organist, harpsichordist, and chapel master, tutored the iniUnt Don AntOnio at
.....2!!!
~ the court of King Joi1o V. In Lisbon, he met Scarlatti, and was greatly influenced by him from 1721 to 1728.
He composed over 100 sonatas for keyboard instruments, a concerto for harpsichord, works for orchestra
2!1
~ and several other choral works. Much of his work was most likely lost in the great earthquake of 1755.

~ a
Curios Seixas (1704-1742) Organiste, claveciniste, maitre de Chapelle, il est professeur de !'infant Dom AntOnio Ia cour du roi Jean
V. A Lisbonne, Carlos Seixas rencontre Domenico Scarlatti qui !'influence beaucoup lors de sa presence au Portugal entre 1721 et
...2!!! 1728. II compose pres de cent sonates pour clavier, un concerto pour clavecin, des ccuvres pour orchestre et diverses autrcs pour
2!1
cha:ur dont une grande partie fut dCtruite dans le grand trcmblemcnt de terre de 1755.

~
~ Joiio Domingos Bomtempo (1775-18-12) Compositor de talento not<ivel e pianista dotado de b'T<mde
virtuosismo. Passou nove anos em Paris, entre 1801 e 1810, onde conviveu com Clementi e Field.
~ Contribuiu de forma not<ivel para o conhecimento das novas mecdnicas dos pianos modemos, em plena
evolw;:Uo, tais como a de Sebastien Erard, tocando nestes instrumentos durante os seus concertos em Paris.
2!!1 De seguida, rnudou-se para Londres, ern 1811. Regressou a Portugal em 1820 e revclou os grandes
~
cliissicos: Haydn, Mozart, BeethO\'en. Fundou o ConservatOrio de Lisboa e a Socicdade FilnrrnOnicn. E

~ tambCm considerado o ''pai" da sinfonia em Portugal.

Joilo Domingos Bomtcmpo (1775-18-12), an exceptionally virtuoso pianist and talented composer, spent
~ nine years in Paris (It-om 1801 to 1810), where he met with Clementi and Field. He assisted Sebastien Erard
in his ongoing experiments with innovative piano construction techniques, and premiered them in his Paris
t]i concerts. He was then exiled to London, in 1811. On his return to Portugal in 1820, he brought the \\·orks of the great classical
composers (Haydn, Mozart, and Beethoven) to the public, and founded the National Conservatory in Lisbon and the Philhannonic
~ Society. He is also considered to be the "father" of the symphony in PortugaL

;;;; Joiio Domingos Bomtcmpo (1775-18-12) Pianiste douC d'une grande virtuosite et d'un rcmarquable talent de compositeur, il passe
a
neuf annees :l Paris entre 180 I et 1810 oll il frCquente Clementi et Field. II contribue fa ire connaitrc les mCcaniques modcrnes des
;;;; pianos Erard en pleine evolution, en les jouant Iars de ses concerts parisiens. avant son exil j Londres en 1811. De retour au Portugal
en 1820 oU il rCvele les grands classiques : Haydn, Mozart, Beethoven, il fonde le Conservatoire de Lisbonne et In Societe
Phi1hannonique. Il est considere comme le .. perc" de Ia symphonic au Portugal.
~
~
Jose de Sunta Rita Marques c Silva (1780-1837) Compositor e organista. E nomeado organista da lgreja
~ dos Padres Paulistas nos :22 anos r..· estuda contraponto com Joao JosC Baldi. Entre 1816 e 1834, toma-se
Mestre·Capela da Capela Real de Bemposta. Por ocasiUo de um concurso mcmoriivcl, no qual compete
~ com AntOnio Jose So::ues, obtCm em 18::!0 o cargo de Mestre do Semin<irio do Rio de Janeiro. A sua obra C
muito rica em MUsica SacrJ para voz e Orgao c contCm algumas peps para piano. Comp6e tambCm urn
motete sabre urn tema do Rei D Joiio VI. De car"ricter irascivel, mas dotado de uma personalidadc
~ generosa, ensina inUmcros discipulos, entre os quais Joaquim Casimiro ( 1808-1862).
:::;;;; Jose de Santn Rita i\lurqucs c Silvu (1780-1837) Composer and organist. At the age of22 he was named
organist of the Church of priests Puulistas. He studied counterpoint with Joao JosC Baldi bet\\"een 1816
;; and 1834 and became Kapcllmeisler ofCapela Real de Bemposta. Due to a memorable competition in which AntOnio Jost! Soares was
also a contestant, he received the title of Master of the Rio de Janeiro Seminary, in 1820. His work is very rich in sacred music for
;di voice and organ and contains some piano pieces. He has also composed a motet on a theme of King Joao VI. \Vith an irritable
character, but endowed with a generous personality, he taught numerous disciples, including Joaquim Casimiro (1808-1862 ).
~
~
~
..
~
 a
JosC de Santa Rita i\larques e Silva ( 1780-1837) compositeur et organiste, il est nom me I' argue de I' eglise des freres Paulistas J ~
22 ans et Ctudie le contrepoint avec JoJo Jose Baldi. En 1816, il devicnt Maitre de Ia Chapellc Royale de Bcmposta jusqu'en 1834. A
I" occasion d'un concours memorable en concurrence avec Antonio Jose So::ues, il obtient en 1820 Ia charge de Maitre du seminaire de ~
Rio de Janeiro. Son n:uvrc est trCs fournie en musique sacr&e pour voix et orguc et contient des piCccs pour piano, il compose aussi un
motet sur un thCmc du Roi D. J6ao VI. De caractCrc irascible mais dote d'une sensibilitC gCnCreusc, il enseigne it de nombreux ~
disciple tel Joaquim Casimiro ( 1808-1862).
~
Augusto de Oliveira i\luchudo (18-tS-192-t) Compositor e pianistn, estuda em Lisboa e de seguida em
~
Paris, onde mantem uma estreita relat;ilo com Massenet e Saint-Saens, retirando dui grande parte das suas
inllut!nclas, nomeadamente numa das suas Operas, Laurianc. Muito cnvolvido na docCncia, ensina canto
e torna-se director do Conscrvat6rio Nacional entre 190 I e 1910, assim como do Teatro Nacionnl de Sii.o ~
Carlos. A sua obra compreende pet;as para piano, melodies e intlmcras 6peras. Segue nas suas obras
liricus o caminho tra~ado por Alfredo Keil e Joaquim Casimiro, sempre na buscu de uma express:J.o de ~
car:icter nacional.
~
Augusto de Oliveira l\lachado (1845-1924) Composer and pianist, he studied in Lisbon and then in
Paris. \\·here he maintained a close relationship with Massenet and Saint-SaCns, who strongly influenced ~
them, \Vhich would be particularly noted in the opera Lauriane. Very involved in teaching, he lectured
singing and became director of the National Conservatory (between 1901 and 1910), and of the Sao Carlos National Theatre. His
work includes pieces for piano, melodies and numerous operas. In his lyrical works, he followed the path traced by Alfredo Keil and
~
Joaquim Casimiro and kept on searching for an expression of the national character.
~
Augusto de Oliveira !\Iachado (18-!5-192-t) Compositcur ct pianistc, il Ctudie a Lisbonne puis a Paris oU il se lie avec Massenet et
Saint-Sat:ns doni il subira les influences que I' on dCce!e notamment dans J'un de ses operas: Lauriane. Tres impliquC dans ~
l'enscignemcnt, il cnseigne le chant et devient directeur du Consen'atoire de 1901 a 1910 ainsi que du Teatro Sao Carlos. Son ccuvre
comprend des pieces pour piano, des mCiodies, plusieurs operas. II poursuit dans ses reuvres lyriqucs le chemin truce par Alfredo Keil ~
ct Joaquim Casimiro a Ia recherche d'une expression de caractCrc national.
se:
Guilherme Ribeiro (1851-1921) Compositor, professor de canto e piano. Em 1877 iniciou os estudos no ~
ConservatOrio Real de Lisboa. No ano lectivo de 1901-1902 iniciou as funt;6es de professor. CompOs peps
para piano, cant;6es portuguesas para voz e piano. Foi tambCm um forte defensor da mllsica para cora.
~
Guilhermc Ribeiro (1851-1921) Composer, singing and piano teacher. In 1877 he began his studies at the
Royal Conservatory of Lisbon. In the academic year 1901-1902 began teaching duties. He composed piano ~
pieces, Portuguese songs for voice and piano. It wns also a strong advocate of choral music.
~
Guilhermc Ribeiro (1851-1921) Compositeur, professeur de chant ct de piano. II Ctudie au conservntoire
Royal de Lisbonne a partir de 1877 puis entre dans cctte institution comme professeur a partir de 1901- ·~
1902. II compose des pieces pour piano, des mCiodics portugaises pour voix et piano. II est egalcment un
grand dCfenseur de Ia musique pour chreur. ~
~

Alexandre Rey Cola~;o (1854-1928) Compositor e pianista portugues de origem franco-espanhola. Estudou
t;::
piano com George Mathias e Theodore Ritter (em Paris) e com Barth e Rudorff (em Bcrlim), tendo
dcsenvolvido uma importante actividade pedagOgica em Portugal, nomeadumentc cnquanto professor de ~
piano no Conservat6rio Nacional e na Academia de Amadorcs de MUsica. Enquanto interprete, destacou-se
pela divulga~llo do repcrtOrio de Bach e da mUsica de ciimara dos romfinticos alemU.es. A sua reduzida obra ~
retlectc a intluCncia da dant;a e de melodias populnres.

Alexandre Rey Cola~;o (185-t-1928), Portuguese pianist and composer of French and Spanish heritage,
&
studied piano \Vith George Mathias and Theodore Ritter (in Paris) and with Barth and Rudorff (in Berlin), ·~
and led an important career as a teacher in Portugal, having held piano positions at the National
Conservatory and the Academia dos Amadores de MUsica (Music Amateurs' Academy, Lisbon). As a
pcrfomlCr, he became known for promoting the works of Bach and chumber music of the Gennan ~
Romantics. His limited opus reflects the influence of dance and folk melodies.
cg:;
Alexandre Rey Colu~;o (185-t-1928) Pianiste et compositeur portugais d'origine franco-espagnole, il Ctudie le piano avec George
Mathias et ThCodore Ritter a Paris, ainsi qu'avcc Barth et RudorfT a Berlin. II est reconnu comme un pedagogue important au Portugal ~
et enseigne notamment au Conscn'atoire National eta !'Academia de Amadores de MUsica (AcadCmie des Amateurs de Musique). En
tant qu'interprCtc, il se dCdie aux ccuvres de Bach et au repertoire de musique de chambre des compositeurs allemands. Ses a:uvrcs, ~
assez peu nombreuses, tt!moignent de l'intlucncc de Ia danse et des melodies populaires commc le fado.
~
~

II I?
IF
~
Tomas Borba (1867-1950) Compositor, pedagogo e homem de letras, efcctua os scus cstudos nos A~ores
e postcriormente no ConservatOrio Nacional. E. considerado urn inovador no dominio da pedagogia em
~ e
Portugal. Co-autor de urn cCicbre Diciomirio de !l!tisica, com Fernando Lopes Graya, designado alto
responsiivel do Conselho Superior de lnstnu;ao PUblica em 1910. A partir de 1911 e professor de
~ Harmonia, HistOria da mtlsica c Canto coral. A sua vida estri. ainda ligada ao sacerd6cio catOiico, deixando
inU.meras obras sacras, mas tambem pe~as profanas: melodie.'l e pe!faS para piano.
~
Tomas Borba (1867-1950) Composer, educator and man of letters, he studied in the Azores and later at
~ the National Conservatory. He is considered an innovator in the field of pedagogy in Portugal. Co-author
of n celebrated Dictionary of !\!usic with Fernando Lopes-Grn~a. he was appointed senior ollicial of the
~ Supreme Council of Public Instruction in 1910. From 1911 on, he taught Harmony, Histot)-' of music and
Choral singing. His life was linked to the Catholic priesthood and he lett numerous sacred works, but also

~ profane pieces: melodies and piano pieces.

Tomas Borba (1867-1950) Compositeur, pedagogue et homme de Lettrcs, il efTectue ses Ctudcs aux Acores puis au Conservntoire de
~ Lisbonnc. ll est considCrC comme un innovatcur dans lc domainc de Ia pedagogic au Portugal. Co-auteur d'un cC!Cbrc Dictionnaire de
Ia Musique avec Fernando Lopes GrnfYa, il est dCsigne haut responsable du Conseil Supt!rieur de !'Instruction Publique en 1910. A
~ partir de 1911, il est professeur d'Harmonie, d'I-Iistoire de Ia Musique, de chant choral. Sa vic est liCe au sacerdoce catholique, il
laisse plusicurs reuvrcs sacrCcs mais aussi des pieces profanes : mCiodies, piCces pour piano.
~
~ e
Francisco de Lacerdu (1869-1934) Compositor e Maestro, uma tigura marcante do nacionalismo portugues,

~ que se cxprime atraves de urn simbolismo finnemcntc modcrno. Formado em Paris na Escola Cantorum,
amigo dos grandes mUsicos do seu tempo (Debussy, Duparc, D'lndy) e mestre do jovem Maestro Ernest
Ansermet, debuta em FranfYa e na SuifYa. A sua obra como compositor contCm notil.veis ciclos, como as Trams
~ e 36 histoires pouramuser les enfams d'un artiste, em que algumas pe~as sao dedicadas a filha de Debussy. A
sua personalidade est:i fortemente ligada a
recolha do patrimOnio musical portugut!s e a outras formas de
;;]; cxprcssiio, como a pocsia c a danfYa.

~ Francisco de Luccrdu {1869-1934) Composer and conductor, he was a leading figure of the Portuguese
nationalism, expressed through a finnly modem symbolism. He studied in Paris, at the Cantorum School, was
iii a tncnd ot great musicians of his time (such as Debussy, Duparc and d'lndy), and Master of the young Conductor Ernest Ansermet.
He debuted in France and Switzerland and his work as a composer has remarkable cycles, such as Trams and 36 histoires pour
am user les enfaws d'un artiste, some of which \\"ere dedicated to Debussy's daughter. He dedicated himself to collecting Portuguese
~ musical heritage and other forms of expression, such as poetry and dance.

~ Francisco de Lacerda (1869-193-J) Compositeur et chef d'orchestre, il est unc figure marquante du nationalisme portugais qui
a a
s'exprime :1 travers une Ccriture symboliste resolument moderne. Forme Paris Ia Schola Cantorum, nmi des grands musiciens de
~ son temps (Debussy, Duparc, d'lndy ... ) et maitre dujeune chef Ernest Ansermet, sa carriere dt!bute en France et en Suisse. Son reuvrc
de compositeur conticnt de rcmarquables cycles comme les Trows pour voix ou lcs 36 histoires pour mm1ser les enfmrts d'rm artiste
~ dont certaines sont dCdiCes it Ia fille de Debussy. Sa personnalite est attachee it Ia recherche du patrimoine musical portugais ct a
d'autres formes d'cxpression comme Ia pot!sie et Ia danse.
~
Luiz Costa (1879-1960) Pianista e compositor de fonna~ilo germiinica (estudou com Vianna da Motta e
~ Ferruccio Busoni, entre outros), distinguiu-sc principalmcnte como inh~rprete e tocou ao !ado de mUsicos
como Casals, Cortot ou Enesco. Luiz Costa foi tarnbem director do ConservatOrio de MUsica do Porto,
~ assim como presidente do Orphemr Por111ense, scndo que nesta actividade lhc devemos a vinda a Portugal
de alguns dos maiorcs nomcs da mUsica clil.ssica do scu tempo. As obras por ele compostas revelam as
~ influencias do impressionismo frances e ilustram a mutafYilo progressiva da cria~Uo musical, que tevc Iugar
em Portugal durante a primcira metade do sCculo XX, passando do campo oper.itico para a mUsica
~ instmmental. 0 Minl10, rcgiii.o do litornl norte de onde era natural, foi uma foote de inspira~Uo constante na
sua obra para piano.
~ Luiz Costa (1879-1960), pianist and composer, received his musical education in Germany (from Vianna
da rvtotta and Ferruccio Busoni, among others). He became well known as a performer, and shared the stage
~ with musicians such as Cnsals, Cortot and Enesco. Luiz Costa was also the director of the Musical ConservatOT)' of Porto and, as
...J¥!!l
chnirman ofOrpheon Portuense, was responsible for the presence in Portugal of some of the better known names in classical music of
~ the tim~.:. His works reveal the inlluence of French Impressionism and reflect the progressive changes in musical writing that took
plncc in Portugal during the first half of the XX Centut)·, moving from the lyrical domain to instmmcntal music. Minho, a region in
~ the north\\-est of Portugal where he was born, was a source of inspiration for his piano works.

~ Luiz Costa (1879-1960) Pianiste et compositcur fom1C en Allemagne (notamment auprCs de Vianna da Motta et Fcmtccio Busoni), il
est connu comme interprete jouant aux cOtCs de musiciens tels Casals, Cortot ou Enesco. Luiz Costa a ete Cgalcment directeur du
Conscrvatoirc de Musiquc de Porto. President de I'Orpheon Portuense, on lui dolt Ia \'enue au Portugal de quelqut!s uns des plus
;ii grands noms de Ia musique classique de son Cpoquc. Ses ceuvrcs rCvCicnt des inllucnces de l'imprcssionnismc frnn~ais et illustrent
I'Cvolution du goUt portugais qui sc porte de plus en plus, Iars de Ia premiCre moitiC du 20t:CI:~ siecle, \'ers Ia musique instrumcntale,
~ dt!laissant le domaine lyriquc. Lc Minho, rCgion du Littoral nord dont il est originairc, est unc source d'inspiration frCquente dans son
ceuvrc pour piano.
;;;i;i
III
~
 Ru,y Coelho (1892-1986) Compositor, director de orqucstra e pianista. Estudou no Conservat6rio
Nacional, com Alexandre Rcy Cola~o c Tomiis Borba, e ern Berlim, com Max Bruch c Engelbert
Humpcrdinck. Dcdicou-se sobretudo ao genero openitico c ao bailado, sendo igualmente autor de uma
vasta produc;ilo sinfOnica e de ciimara. A sua obra, de inspirac;fio naclonalista, revela tendencias folcloristas.
0 facto de tcr mantido uma colabornc;fio activa com o regime salazarista justifica a marginalizm;fio que a
sua obra sofreu apOs a revolw;ilo de Abril de 1974.

Ruy Coelho (1892-1986), composer, orchestra director and pianist, studied at the Nationnl Conservatory,
under Alexandre Rcy Colac;o and Tamils Borba, and in Berlin, under Ma'l: Bruch and Engelbert ~
Humperdinck. He dedicated himself particularly to opera and ballet, and yet is also the author of a vast
number of symphonic and chamber works. His works, of nationalistic inspiration, reveal a folkloric
influence. His active connection to Salazar's regime explains the marginalizntion of his works after the ~
revolution of April 1974.
~
Ruy Coelho (1892-1986) Compositeur, chef d'orchestre et pianistc, il t!tudie nu Conservatoire National, avec Alexandre Rey Cola~o
d Tomis Borba ainsi qu'il. Berlin avec Max Bruch et Engelbert Humperdinck. II se consacre en particulicr ilIa musique de ballet et ~
aux ouvmges lyriques sans negliger lc domaine symphonique et Ia musique de chambre. Son ccuvre, d'inspiration nationaliste, reveJc
des intCrCts pour In musique folklorique. Le fait qu'il ait maintcnu une collaboration active avec le regime de Salazar a entrainC Ia mise ~
au ban de sa musique aprCs Ia revolution d'nvril 1974.
~
Armando Le~;a (1893-1977) Compositor c ctnomusicOiogo, e, no principia do sCculo X-"'\, urn dos
pesquisadores mais activos no dominio da mllsica portuguesa. Fonnado pclo Conservat6rio Nacional, cnsina E=
piano e composi~5.o, escreve pe~as para piano, operetas, pc~as corals e acompanha tilmes ao vivo no cinema.
A partir de 1919, realiza imlmcras conferCncias pelo pais sabre a mUsica tradicional e o folclore. lgualmentc ~
activo na r.idio, efcctua a partir de 1939 urn grande trabalho de recolha de grava~Ues nns aldcias de Portugal,
considerando-se cle mcsmo como urn verdadeiro missionlirio dn mllsica itinerante. ~
Armando Le~;n (1893-1977) Composer and ethnomusicologist, he was, at the beginning of the 20th century, ~
one of the most active researchers in the field of Portuguese popular music. He studied at the National Conservatory and taught piano
and composition wrote pieces fOr piano, operetta and choir and accompanied movies in cinema. From 1919 on, he made numerous ~
conferences around the country about the Portuguese traditional music and folklore and he was also active in the radio. In 1939, he
started collecting recordings in the villages of Portugal, considering himself as a true missionary of itinerant music.
~
Armando Lc~;n (1893-1977) Compositeur et ethnomusicologue, il est au debut du 20e siecle l'un des plus actifs cherchcurs dans le
domaine de Ia musique populaire portugaise. Forme au Conscrvatoire National, il enseigne lc piano ct Ia composition, ecrit des pieces
g::
pour le piano, l'operettc, lc chceur ct accompagne des films en direct au cinema. A partir de 1919 il realise de tres nombreuses
conferences dans le pays sur Ia musique folklorique. Actif t!galemcnt a Ia radio, il effectue a partir de 1939 un grand travail de collecte ~
d'enregistrements dans les campagnes du Portugal, se considerant lui-meme comme un veritable musicien missionnaire itinerant.
g;:
AntOnio Fragoso (1897-1918) Compositor e pianista de talentos precoces, entra no ConservatOrio Nacional ~
com 17 anos, nas classes de Piano e Harmonia, em que cstuda com Marcos Garin, Tomas Borba c Luiz de
Freitas Branco. Vitima de uma pneumonia, falece com 21 anos. Este jovem mUsico deixa mnis decem obras e
as suas qualidades inh1itivas fazem dele urn dos visionlirios mais promissores da mllsica portuguesa. Atraves
~
dos seus Prellldios para piano e do seu Notumo para orquestra detctam-se as influCncias de Chopin, Faure c
Debussy. ~
AntOnio Fragoso (1897-1918) Composer and pianist whose talents \\'ere early noticed, he entered the ~
Conservatory of Lisbon at the age of 17, attending piano and harmony classes, studying with Marcos Garin, Tomil.s Borba and Luiz de
Freitas Branco. Victim of pneumonia, he died at the age of 2 I. TI1is young musician leaves over one hundred works and his intuitive I:S=
qualities made him one of the most promising visionaries of Portuguese music. Through his Preludes for piano, his chamber music
and his orchestral Nocturne, we can detect several influences, from Chopin, Faure and Debussy. ~
AntOnio Fragoso (1897-1918) Compositeur et pianistc aux talents precoces, il entre au Conservatoire de Lisbonne a l'iige de 17 ans g:
en classes de piano et hannonie oll il Ctudie aupres de Marcos Garin, Tomas Borba et Luiz de Freitas Branco. Victime d'une
pneumonic qui l'emporte prCmatun!ment :1 l':ige de 21 ans, cc jeunc musicien laisse plus de cent ceuvrcs dont les qualitCs intuitivcs
font de lui l'un des visionnaires les plus promettcurs de l'histoire de Ia musique portugaisc. A travers ses Preludes pour piano, sa I:S=
musique de chambre et son Nocturne pour orchestrc se dCcdent les influences de Chopin. Faure et Debussy.
~
Fernando Lopes-Grn~;n (1906-199-J) Pianista e compositor. A sua obra impressionante aborda todos os ~
generos musicals e exprime-se dcntro de urn estilo forte, construido sob as bases fundamentais da mllsica
popular. 0 piano ocupa urn importantc Iugar na sua obra e Fernando Lopes-Grap compOs seis sonatas de ~
grande envergadura. Politicamente participative e dotado de uma forte pcrsonalidade, compOs em 1965 urn
concerto para o violoncelista Mstislav Rostropovich. Lopcs-Gra~;a e tarnbem autor de numerosos livros
essenciais para a reflexilo musico!Ogica rclacionada com Portugal.
~
~

IV ~
~
 - _'CJ
~
Fernando Lopes-Grn~tu (1906-199-l), pianist and composer. His impressive output covers all musical genres and expresses itself inn
bold style with a basis in folk music. The piano holds a special place in his opus and Fernando Lopes-Gra~a composed six important
~
~
sonatas for this instrument. Politically active and git1ed with a strong personality, in 1965 he composed a concerto for the cellist
Mstislav Rostropovich. Lopes-Gra.ya is also the author of many books that arc essential for understunding Portuguese music.
~
Fernando Lopcs-Grn'tu (1906-199-t.) Pianistc et compositeur, politiquemcnt engage, il est dote! d'une forte pcrsonnalitC; son u:uvre
~ impressionnant aborde taus les genres musicaux ct s'exprime dans un style fort, construit sur les bases fondamcntales de Ia musique
populaire. Lc piano occupe une grande place dans son ccuvrc, il compose six Sonates de grande envergure ainsi qu'un concerto en
~.
~ !96j pour le violoncelliste Mstislav Rostropovitch. Lopes-Gra~a est aussi !'auteur de nombrcux livres utiles a Ia renexion
musicologique liee au Portugal.
~
~ Berta Alves de Sousa (1906-1997) Pianista e compositora, estuda tanto em Portugal, com Luiz Costa,
Cl:iudio Cameyro c Vianna da Motta, como em Parise Berlim, com Wilhelm Backhaus, Titeodor Sz:int6,
~ Alfred Cortot, Georges Migot c Clemens Krauss. A partir de 1946 toma-sc professora de mUsica de
ciimara e de piano no Conservat6rio do Porto. Critica musical e confcrcncista, apresenta-sc
~ e
frequenternente como pianista, rnaestrina e agraciada com o premia Moreira de Sri ( 1941 ). A sua obra
~ contCm pe4tas para piano, mUsica de c:lmam, pe4tas sintl'micas c corais, que se exprimcm atmves de uma
escrita que aprcsenta frequentemente a politonalidade.
~
Berta Alves de Sousa (1906-1997) Pianist and composer, she studied in Portugal with Luiz Costa,
~ Claudio Carneyro and Vianna da Motta, and also in Paris and Berlin with Wilhelm Backhaus, Theodor Szrint6, Alfred Cortot, Georges
Migot and Clemens Krauss. From 1946 on, she taught Chamber music and Piano at the Conservatory of Music of Porto. Music critic
~ and lecturer, she perfonned often as a pianist and conductor and was awarded with the Moreira de Sit (1941) award. Her work
includes pieces for piano, chamber music, symphonic and choral pieces, which are expressed through a writing that often presents
~ polytonality.

Bcrtu Alves de Sousa (I 906-1997) Pianistc et compositrice, clle etudie au Portugal au pres de Luiz Costa, Claudio Cameyro, Vio.nna
~ da Motta ainsi qu'a Paris et Berlin avec \Vilhclm Backhaus, Theodor SzimtO, Alfred Cortot, Georges Migot ct Clemens Krauss. A
partir de 1946, elle est professeur de musique de chambre ct de piano au Conscrvatoire de Porto. Critique musical, conferenciCre, elle
::1i se produit frequcmment comme pianiste, chef d' orchcstre et rem porte lc Prix Moreira de Sit ( 1941 ). Son ccuvre conticnt des piCces
a
pour piano, de Ia musique de chambrc, des piCces symphoniques, chorales qui s'exprimcnt travers une ecriturc utilisant souvent Ia
~ polytonalitC.

~
Eurico Thomaz de Limn (1908-1989) Pianista e compositor. Discipulo de Alexandre Rey Cola4to c Vianna
~ da Motta, Eurico Tamils de Lima fez carreirn sobretudo enquanto pianista, tendo-se apresentado em
concerto em Portugal e no Bmsil, com intCrpretes como a violoncelista Madalena Sit e Costa, o violinista
.~ Paulo Manso e a cantora Leonor Bivar Vianna da Motta, entre outros. Foi professor na Academia de
Amadores de MUsica, na Academia de MUsica e Be las Artcs da Madeira, na Academia Parnaso (no Porto) e
no Conservat6rio de MUsica Calouste Gulbenkian (em Braga}. Autor de uma produ4tiio rnarcada par
;;iii influCncias nacionalistas, o seu mCtodo para piano Gradual foi incluido, em 1973, no programa oficial do
Curso Biisico de Piano.
~
Eurico Thomnz de Lima (1908-1989), pianist and composer. A student of Alexandre Rcy Cola4to and of
~ Vianna da Motta, Eurico Tomiis de Lima made his career essentially as a pianist, having perfonned in
Portugal and BrJZil \Vith artists such as the cellist Madalena Sri e Costa, the violinist Paulo Manso, and
~ singer Leonor Bivar Vianna da Motta, among others. He taught at the Music Amateurs' Academy (Lisbon), the Madeira Academy of
;='!!!
Music and Fine Arts, ll1e Parnaso Academy (Oporto), and at the Caloustc Gulbenkian Conservatory (Braga). Eurico Tamils de
~ Lima's compositions arc markedly influenced b)i nationalistic tendencies. !-lis piano method, Gradual, \\'as included in the Oflicial
Portuguese Beginning Piano Course in 1973.

Eiil Eurico Thomaz de Limu (1908-1989) Pianiste et compositcur, il est lc disciple d'Alexandre Rcy Coia(j':O ct de Vianna da Motta. II
mene sa carrit::re principalement comme pianiste conccrtiste et se produit au Portugal ct au Bresil avec des artistes tcls le violoniste
~ Paulo rvlanso, Ia violoncelliste Madalena Site Costa ou Ia chanteuse Eleanor Bivar Vianna da Motta. II a CtC professeur U !'Academia
de Amadores de MUsica, a l'AcadCmic des Beaux-Arts de Madere, a !'Academic Parnassus de Porto et au Conservatoire dl! Musique
~
~ Caloustc Gulbcnkian de Braga. Auteur d'une ccuvrc marquee par des influences nationalistcs, sa mCthode pour piano Gradual est
inscritc en 1973 dans le programme ollicicl des cours d'initiation au piano.
~
~ Fernando CorrCu Oliveira (1921-200.t) Compositor e pedagogo. Frcquentou o Conservat6rio de MUsica do Porto, onde cstudou com
;.;,;!!!!~
Cl:iudio Carnevro (composi4tfio) e Maria Adelaide Freitas Gonyalves (piano). Complementou os seus cstudos musicais em Vcneza,
~ onde cstudou dircc4tiio de orquestra com Hennann Scherchen, e em Paris, onde contactou com o sistema de
;,.d!"!!l notayilo do compositor russo Nikolai Obukhof, que adoptou e divulgou em Portugal, designando-o por
(lsistema de notayfio russo-portuguesaH. Desenvolveu urn novo sistema de composil;iio- ((simetria sonora))-
~
;.;,;!!!!~ que se encontra na base de todas as suas composi4tUes. No campo do ensino musical, defendeu urn novo
mdodo baseado numa pauta de seis linhas e numa escala de 11 sons. Fundou a Academia Parnaso, no
til Porto, e leccionou nos conservatOrios de Braga, Guimarii.es e Porto.

ttil v
~
Fernando Correa Oliveira (1921-200-1), composer and pedagogue, studied at the Oporto Conservatory of Music \Vith Chiudio
Cnmeyro (composition) and Mnria Adelaide Freitas Gon~nlves (piano). He perfected his musical education in Venice, where he
studied orchestral conducting with Hermann Scherchen. In Paris, he discovered and adopted the musical notation system of the
Russian composer Nikolai Obukhof, introducing it in Portugal under the name of the "Russian-Portuguese notation system". He
developed his own system of composition, cnlled "sound symmetry", which served as the basis for his own works. In the domain of
musical education, he espoused a new method based on a staff of six lines with a scale of 12 tones. He founded the Pamassus
Academy in Oporto and taught at the conservntories in Braga, Guimariies and Oporto. ~
Fernando CorrCa Oliveira (1921-2004) Compositeur et pedagogue, il Ctudic au Conservatoire de Musique de Porto avec Chiudio ~
Carneyro (composition) ct Maria Adelaide Freitas Gon~alves (piano). II complete ses Ctudes musicales a Venise en direction
d'orchcstrc aupres de Hermann Scherchcn. A Paris. il decouvre ct adoptc le systeme d'ecriture du compositeur russe Nikolai Obukhof
qu'il fait connaitrc au Portugal sous le nom de "systCme d'ecriture russo-portugais". II di:veloppe alors son propre systeme de ~
composition intitule ··symCtrie sonore" qui est :i Ia base de son ct:uvre. Dans le domaine de l'cnseignement, il dt:!fend unc mCthode
nouvelle fondCc sur une porti:e de six !ignes avec une gamme de 12 sons. II fonde !'Academic Pamasse ii Porto et enseigne dans lcs ~
conservatoires de Braga, Guimaracs ct Porto.
~
Jorge Pcixinho (19-10-1995) Compositor e pianista, estudou no ConservatOrio Nacional e depois com ~
Luigi Nono. Pierre Boulez e Karlhcinz Stockhausen. Bolseiro da Funda~iio Gulbenkian, frequentou
masterc/asses em Roma, Darmstadt e em Bali. Em 1970, fundou o Gmpo de MUsicn Contempor:lnen de
~
Lisboa e purticipa em inUmeros festivals, quer nacionais quer internacionais. A sua obra, que cxplora
profundamentc todas as rela~Oes entre harmonia e timbre, influencia bastante a jovem gera~i'io de
compositores dos anos 1980 em Portugal. Ele evoca a principal caracteristica da sua mllsica como uma ~
especie de "atmosfera sonora onirica".
~
Jorge Pcixinho (19-t0-1995) Composer and pianist, he studied at the National Conservatory and later with
Luigi Nono, Pierre Boulcz and Karlheinz Stockhausen. With a scholarship from the Gulbenkian Foundation, he attended ~
masterclasses in Rome, Darmstadt and Bali. In 1970 he founded the Contemporary Music Group of Lisbon and participated in
numerous festivals, both national and international. His work, which deeply explores all the relationships between harmony and ~
timbre, greatly influences the younger generation of composers of the 1980's in Portugal. He evokes the main characteristic of his
music as n kind of"onciric sonorous atmosphere". ~
Jorge Pci:xinho (19-t0-1995) Compositeur et pianistc, il Ctudie au Conservatoire de Lisbonne puis avec Luigi Nono, Pierre Boulez et g:;
Karlhcinz Stockhausen. Boursier de Ia Fondation Gulbenkian, il frCquente des Master·class :1 Rome, Oannstadt ct ii Bille. En 1970, il
fonde lc Groupe de Musiquc Contcmporninc de Lisbonne, participe <'a de nombreux festivals nationaux et intemationaux. Son ct:uvre,
qui explore profondCmcnt toutes les relations entre harrnonie ct timbre, influence beaucoup Ia jcune generation de compositcurs des ~
annCes 1980 au Portugal. II Cvoque volontiers Ia caracti:ristique principale de sa musique comme une sorte H d' atmosphere son ore
onmque )). ~
~
Fernando Lnpa (1950) Compositor forrnado no Consen'ntOrio de Mllsica do Porto, onde
estudou composi.y5.o corn Maria Teresa de Macedo e C:lndido Lima. Fernando Lapa tern ~
desenvolvido a sua actividade enquanto compositor, mas tambt:!m enquanto professor em
diversas escolas a Norte do pais. Autor de uma ohm que abrange diversos gCneros musicais,
designadamcnte os gCneros sinfOnico, coral, vocal, mUsica de c:lmara e mUsica electroacltstica,
~
o compositor tambem escreve frequentemente para tcatro e cinema. Bastante eciCctica em
termos estilisticos, a obrn de Fernando Lapa assume diversus referencias da cultura portugucsa,
g;
•'
popular e erudita, como a poesia, a mllsica tradicional, ns artes pl:isticas e performativas, entre
muras.
g::
Fernando Lupn (1950), composer, received his musical education at the Oporto Conservatory of Music, where he was a student of ~
Maria Teresa Macedo and Cfindido Lima in composition, and has since been active not only as a composer, but also as a teacher at
several schools in northern Portugal. Having written works for many different musical genres, including symphonic, choral, chamber
and electroacoustic music, he writes often for theatre and film. \Vith an openly eclectic style, Fernando Lapa's music is influenced by
F
many different elements of both popular and emdite Portuguese culture: poetry, folk music. fine arts and the performing arts, among
others.
~

Fernando Lapa (1950) Compositeur, dipiOme du Conservatoirc de Musique de Porto (oU il Ctudie Ia composition avec Marin Teresa ~
de Macedo et Jose C:lndido Lima), Fernando Lapa developpe une activitC de compositeur et de professeur dans plusieurs Ccoles du
nord du Portugal. II est !'auteur d'un ccuvre qui s'exprimc ii travers plusieurs genres tels les musiques symphoniques, chorales, le ~
chant, Ia musique de chambre et Ia musique t!lectroacoustique. II Ccrit aussi fn!quemment pour Ia musique de thC:ltre et le cinema.
Abordant divers styles, l'ceuvre de Fernando Lapa assume ses references il Ia culture portugaise, populaire et savante, notamment Ia ~
poCsic, In musique traditionnclle, lcs bcallx-arts et les arts de Ia scCne.
~
.g:;
~

VI
g::
~
 ~ AntOnio Pinho Vorgus (1951) Compositor c pianista. Estudou piano no Consen. atOrio do Porto, tendo
~ completado, paralelamcnte, uma licenciatura ern Hist6ria na Univcrsidadc do Porto. Prosscguiu os seus
estudos musicais no Conservat6rio de Roterdao, onde se diplomou em composi~iio na classc de Klaas de
Vries. Ap6s urn a curta passagcm, durante a sua juventudc, pelo universe do pop~rock, o seu percurso musical
~ tem-se descnvolvido sobretudo nos dominies doja.:.: c da mltsica erudita. Naja.:.:, foi urn dos primeiros
mllsicos a procurar um cruzamento entre cssa linguagem e elementos mel6dicos c ritmicos da mllsica
~ trndicional portuguesa. No dominic da mllsica erudita, a obra de Pinho Vargas caracteriza-se pcla libcrdade
com que usa as divcrsas tt~cnicas de composh;Jo do seculo X.X, demarcando~se assim do paradigma das
~
~ vanguardas musicais.

~ AntOnio Pinho Vargns (1951), composer and pianist, studied piano at the Oporto Conservatory while also
taking a degree in history at the University of Oporto. He continued studying music at the Rotterdam
Conservator~y, where he graduated in composition as a student of Klaas de Vries. Following a short incursion in the world of pop~
~ rock, his musical career has been primarily in jazz and classical music. As a jazz musician, he was one of the first to look tOr a bridge
between the idioms of jazz and the melodic and rhythmic clements of Portuguese folk music. In the domain of classical music, Pinho
~
-:2!!1
..
Vargas' music is noted for the freedom with which he uses contemporary composition techniques, having set himself apart from the
typical avant~garde.
~
AntOnio Pinho Vnrgns (1951) Compositeur ct pianiste, il etudic lc piano au Conseryatoirc de Porto et y obtient en parallele une
~ licence d'Histoire. II poursuit scs etudes musicales au Conservatoire de Rotterdam en composition dans Ia classe de Klaas de Vries.
AprCs une peri ode innuencee par l'univers du pop-rock, sa carriCre musicale se developpe principalement dans le domaine du jazz et
~ de Ia musique classique. Dans le jazz, il est l'un des premiers musicicns ii chercher un croisement entre le l::mgage du jazz et des
Clements mCiodiques et rythmiques de Ia musique traditionnelle portugaise. Dans le domaine de Ia musique classique, le travail de
Pinho Vargas se caractCrise par Ia libertC avec Jaquelle il utilise les diffCrentes techniques de composition du 20~"'-~ siecle, se
~ dCmnrquant ninsi du paradigme de l'avant-garde musicale.

~
Olga Silva (1961) lniciou o seu pc:rcurso profissional como educadora de inffinciu., tendo posteriormente
~ concluido o Curso Superior de Pinna no Conservat6rio Nacional de MUsica de Lisboa, sob a orientajfi!O das
professoras NoCmia de Brederode e Filomena Campos, assim como o curso de Cit!ncias Musicais na
~ Universidnde Nova de Lis boa. Obteve tambt!m a profissionalizw;ao pel a Universidadc de A veiro. E autora e
co-autora de peifas did:icticas direccionadas para jovens pianistas, tendo como principal motivo a divulgajf5.o
;:;; da mUsica portuguesa e de novas compositores, n5.o sO em Portugal como tambem no estrangeiro. E
profcssora de Piano desde 1986, leccionando actualmente na Academia de MUsica e Danjfa do Fund5.o, sendo
co-organizadora do Concurso Intc:rnacional Cidade do Fundao.
~
Olgu Silva ( 1961) Pianist and teacher, she began her career as a kindergarten teacher, and later completed her
~ studies of Piano, at the National Consentatory of Music (under the guidance of the teachers Noemia Bredcrode and Filomena
Campos), and Musicology, nt the Nova University, in Lisbon. Holder of a professionalization degree from the University of Avciro.
~ she devoted herself to \\Titing educational pieces lOr young pianists, with the main objective of the dissemination of Portuguese music
and new composers, not only in Portugal but also abroad. Piano teacher since 1986, she teaches at the Academy of Music and Dance
~ ofFundiio and is actively engaged in the organization of the International Cidade do Fwulao contest.

~ Olga Silva (1961) Pianiste et pCdagogue, elle dt!bute son pilrcours profcssionnel dans le domainc de !'education des cn!Unts puis
tcrmine ses Ctudes de piano au Conservatoire de Lisbonne auprCs de NoCmia de Brcderode et Filomena Campos ainsi qu'en
Musicologie :i I'Universidnde Nova de Lisbonne. Titulaire du grade Professionnel de l'Universitt! de Aveiro, elle se consacre it
~ !'ecriture de pieces didactiques pour les jeunes pianistes avec, comme objectif principal, Ia divulgation de Ia musiquc portugaise et
s'anachc a faire connaitrc t!galement celle des compositeurs internationaux actuels. Professeur de piano depuis 1986, elle cnseigne a
;3 a
!'Academic de Musique et de Danse de Fundfi.o, se consacrant activcment !'organisation du Concours International "Cidnde do
Fundfi.o".
~
~ Curios !\larccos (1963) Natural de Lisboa, e licenciado em Composi!f:1o pela Escola Superior de rvtltsica
da mesma cidade, em que esn1dou, entre outros, com Eurico Carrapatoso, AntOnio Pinho Vargas c
Christopher Bachmann. Doutorado em MUsica pel a Universidadc de A veiro, sob a orienta~5.o de Jofi.o
3 Pedro Oliveira, foi Prt!mio Lopes~Graya de Composi.;fi.o, por duas vezes, nas ediy6es de 1999 e 2000. E.
diretor musical do Ensemble Portcitil, com o qual tern desenvolvido um trabalho na :irea dn mUsica
~.
~ contemporiinca c na harmoniznifilO moderna de mUsica tradicional ponuguesa. Colabora rcgularmente com
criadores nas <irens do Tcatro e da Dan~a contempor:lnea. Paralelamente a sua atividade como compositor.
.. ··
~
~ e docentc na :irea da Cmnposi~ao na Escola Supcrior de Mllsica de Lisboa e na Universidade de Evora.
~ Carlos i\Iurecos (1963) Composer born in Lisbon, he completed his degree at the Superior School of Music, where he studied, among
others, with Eurico Carrapatoso, AntOnio Pinho Vargas and Christopher Bachmann. He also holds a PhD in Music from the
;;;:;it University of A veiro, under the guidance of Jofi.o Pedro Oliveira., and was awarded twice with the Lopes Graifa Composition award, in
the editions of 1999 and 2000. He is Musical Director of the Ensemble Pon:itil, with which he has becn developing composition and
modem harmonies of traditional Portuguese music. His collaborations with theater and contemporary dance arc usual. Alongside his
~ work us a composer, he teaches composition at the Superior School of Music, in Lisbon, and at the University of E.vora .

~
.

~ VII
~
Curios Murccos (1963) Compositeur ne a Lisbonne, il efTectuc ses etudes a !'Ecole SupCrieure de Musiquc notamment auprCs
d'Eurico Carrnpatoso, AntOnio Pinho Vargas ct Christopher Bachmann. Titulaire d'un Doctoral de l'UniversitC d'Aveiro sous Ia
direction du compositeur Jo5.o Pedro Oliveira, il obtient a deLL'\ reprises le Prix Lopes Grap de composition en 1999 ct 2000.
Directeur musical de I' Eusemh!e Portiitil, il dCveloppe un important travail de composition et d'hannonisations modernes de
musiques traditionnelles portugaiscs. Ses collaborations avec le thedtre et Ia danse contemporaine sont frCquentes. ParallC!cment ason ~
activitC de compositeur, il enseigne Ia composition a !'Ecole SupCricure de Musique de Lisbonne et 3 I'UniversitC de Evora.
~
SCrgio Azevedo (1968) Estudou piano, guitarra e fonnm;5.o musical na Academia de Amadores de ~
Mllsica, assim como composi!YUO, sob a orienta'Yao de Fernando Lopes-Gra'Ya. Na Escola Superior de
~
Mllsica de Lisboa, onde se diplomou em composi'Yfio, estudou com Constanp Capdeville e
Christopher Bochmunn. Complementou a sua fonna'Yilo a nivel musical, frequentando diversos
seminririos orientados por Jorge Peixinho, Emmanuel Nunes, Tristan Murail, Philippe Manoury-·,
Louis Andriessen, Luca Francesconi e Mary Finsterer. Paralclamente a intensa actividade que ~
descnvolve como compositor, dcdica-se frequentemente a escrita, sendo autor das obras A inn:n~·Jo
dos sons (Caminho, 1999) e Olga Prats Um piano singular (Bizfmcio, 2007). E professor na ~
Escola Superior de Mt1sica de Lisboa e doutorado ern Musicologia pcla Universidade do Minho.
~
SCrgio Azevedo (1968), composer, studied piano, guitar and car training at the Academia dos Amadorcs de Mllsica (Lisbon), as well
as composition under Fernando Lopes-Gra.;a. At the Lisbon College of Music (ESML), where he took a degree in composition, he
\vas a student of Constan'Ya Capdeville and Christopher Bachmann. He completed his musical education in workshops nnd seminars
~
with Jorge Peixinho, Emmanuel Nunes, Tristan Murail, Philippe Manoury, Louis Andriessen, Luca Francesconi and Mary Finstercr.
In addition to a particularly active career as a composer, he \\Tites frequently about music, having published A imuu;Jo dos sons ~
( "Jm·enting Sounds", Caminho, 1999) and Olga Prats Um piano singular ("Olga Prats - A Unique Pianist", Biz5ncio, 2007). At
present he a member of the faculty of the Lisbon College of Music (ESML) and received his doctorate in musicology from the ~
University of the Minho.
~
SCrgio Azevedo (1968) Compositcur, II Ctudie le piano, Ia guitarc et Ia fonnation musicale a !'Academia de Amadores de Mllsica
ainsi que Ia composition sous Ia direction de Fernando Lopcs-Gm'Ya. A !'Ecole Supi:rieure de Musique de Lisbonnc, oU il est dip16mi: ~
en composition, il etudie avec Constan'Ya Capdeville et Christopher Bachmann. II complete sa formation musicale en participant ii
plusieurs si:minaircs rCalisCs pnr Jorge Peixinho, Emmanuel Nunes, Tristan Murail, Philippe Manoury, Louis Andriessen, Luca
Francesconi et Mary Finstercr. En plus de son ceuvre consequent, il se vouc a J'ecriture de divers ouvra~cs dont: !nremion des sons
~
(Caminho, 1999) et Olga Prats-Un piano sin~u!ier (Biz5ncio, 2007). II est actuel\ement profcsseur a !'Ecole Supt!rieure de Musique
de Lisbonne eta obtenu son doctoral en musico\ogie de I'UniversitC du Minho. ~
~
Eduardo Luis Patriarca (1970) Compositor. Estudou na Escolu Superior de Mllsica, Artes e
~ Espect:iculo, do Porto, com Cdndido Lima, Filipe Pires, Amilcar Vasques Dias e AntOnio Pinho t;;:
Vargas. Prosseguiu os estudos na Escola Superior de Mllsica de Lisboa, com AntOnio Pinho Vargas
e Christopher Bachmann. Trabalhou tambCm com Jorge Peixinho, Emmanuel Nunes, Wilfred ~
Jenstchz, Gerhard Staebler, AntOnio Sousa Dias, Leo Brouwer e Philippe Hurel. Tem-se dedicado ao
' '·:.,;;.,.
· --·W'i
ensino da anfllise e tt!cnicas de composi!Yi!O em vfuias escolas. As suas obras tern sido tocadas com
regularidadc em vflrios locais de Portugal, bern como no estrangeiro. Algumas del as encontram-se
~
gravadas por mllsicos como Duo Porquoi Pas, Nuno Aroso eo grupo Sintese.
~
Eduardo Luis Putriurcu (1970), composer, studied at the Oporto College of Music and Performing Arts (ESMAE) witl1 Candido
Lima, Filipe Pires, Amilcar Vasques Dias und AntOnio Pinho Vargas. He continued his studies at the Lisbon College of Music ~
(ESML) with AntOnio Pinho Vargas and Christopher Bochmnnn. He also studied with Jorge Pcixinho, Emmanuel Nunes, \Vilfrcd
Jenstchz, Gerhard Staebler, AntOnio Sousa Dias, Leo Brouwer and Philippe Hurel. His compositions have been perfonned regularly in ~
Portugal and abroad, and some of his works have been recorded by the Duo Pourquoi Pas, Nuno Aroso and Sintese.
~
Eduardo Luis Patriarca (1970) Compositeur, il etudie a !'Ecole SupCrieure de Musique, des Arts et du Spectacle de Porto avec
C5ndido Lima, Filipe Pires, Amilcar Vasques Dias et AntOnio Pinho Vargas. II poursuit ses etudes a \'Ecole Superieur de Musique de
Lisbonne avec AntOnio Pinho Vargas et Christopher Boclunann. II travaille egalement avec Jorge Peixinho, Emmanuel Nunes,
~
Wilfred Jenstchz, Gerhard Staebler, AntOnio Sousa Dias, Leo Brouwer ct Philippe Hurel. II se consacre a l'enscigncment de !'analyse
et de Ia composition dans diverses ecoles. Ses cem·res sont jouees regulif:rement au Portugal et il I'Ctranger. Certaines sont enrcgistrt!es ~
par les ensembles Duo Pourquoi Pas et le groupe Sintese, mais aussi par Je musicien Nuno Aroso.
~
~
~
~
,;::
~

VIII ~
~
 ~
~
~
~
~
~
~
~
~
~
~
~
~
Compositores Portugueses
~ Portuguese Composers
~
;:;;
Compositeurs portugais
~
~ Volume II
~
~
~
~
~
;:::;
;iii
;iii
;:3
;iii
~
~

-- ~

::i1
~

3
3
 Compositores Portugueses
Repert6rio para pianistas
Volume II
Revisao/Edited by/Edite par: Carlos Seb:as
Bnmo Belthoise 1704-1742
Joao Pedro Mendes dos Santos
Jose Lourens;o

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Allegro da Sonata 14 em do menor- Allegro from Sonata 14 inC minor- Allegro de Ia Sonate 14 en ut mineur

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 10 Compositores Portugueses - Volume II

VI
Duas Contradan~as - Two Couterdances - Deux Contredanses
Jose de Santa Rita Marques e Silva
1780-1837
Primeira - First - Premiere
Allegro giusto
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 Compositores Portugueses - Volume II 11

Segunda- Second- Deuxieme

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 12 Compositores Portugueses - Volume II

VII
Arabesco- Arabesque- Arabesque
in "Quatro pequenas pe9as"
Augusto Machado
1845-1924
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 Compositores Portugueses - Volume II 13

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 14 Compositores Portugueses - Volume II

VIII
Folha d'album- Album's Leaf- Feuillet d'album
in "Quatro pequenas pe<;as"
Augusto Machado
1845-1924

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 Compositores Portugueses - Volume II 15

poco ritenuto _______ - - - - - - - - - - - - - - - _ - - - Primo tempo

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 16 Compositores Portugueses - Volume II

IX
Giga Portuguesa - Portuguese Gigue - Gigue portugaise
in "Tres Pec;as"
Augusto Machado

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 18 Compositores Portugueses - Volume II

X
Fadinho - Little Fado - Petit fado
in "Duas pe<;as para os pequenos"

Alexandre Rey Cola~;o

1854-1928

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 Compositores Portugueses - Volume II 19
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 20 Compositores Portugueses - Volume II

XI
Confidencia - Confidence - Confidence
in "Seroes Musicaes"
Arthur Ferreira
1858-1926
Andante
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 22 Compositores Portugueses - Volume II

XII
Folha d'Album n. 3 -Album's Leaf No.3- Feuillet d'album n° 3
0

in "Folhas de Album"
Tomas Borba
1867-1950

Moderato
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 24 Compositores Portugueses - Volume II

XIII
0 pombo ferido -The injuried pigeon - Le ramier blesse
;n "36 histoires pour amuser les enfants d'un artiste"

Francisco de Lacerda
1869-1934

Triste et doux
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 Compositores Portugueses - Volume II 25
XIV
0 gordo ganso branco sentimental- The Sentimental White Goose- L'oie-Blanche-Grasse sentimentale
Monologo - Monologue - Monologue
in "36 histoires pour amuser les enfants d'un artiste"
Francisco de Lacerda
1869-1934
Tres massenetique et valselenteux
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 26 Compositores Portugueses - Volume II

XV
A mama leao-marinho adormece o seu hebe - Mom sea lion asleep her baby - Maman otarie endort son hebe
in "36 histoires pour amuser les enfants d'un artiste"

Francisco de Lacerda
1869-1934

Tendrement, comme il faut

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 28 Compositores Portugueses - Volume II

XVI
Rolas - Turtle Doves - Tourterelles
in "36 histoires pour amuser les enfants d'un artiste"

Francisco de Lacerda
1869-1934
Heureuses dans Ia peur et dans leur solitude...
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 30 Compositores Portugueses - Volume II

XVII
0 meu cao sonha ... - My Dog Dreams... - Mon chien reve ...
in "36 histoires pour amuser les enfants d'un artiste"
Francisco de Lacerda
1869-1934
Tres soutenu et serieux
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 Compositores Portugueses - Volume II 31

XVIII
0 veado ferido -The Wounded Deer - Le cerf blesse
in "36 histoires pour amuser les enfants d'un artiste"

Francisco de Lacerda
1869-1934

Triste et resigne >

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 32 Compositores Portugueses - Volume II

XIX
Ladainhas para os animais doentes - Litanies For The Sick Animals - Litanies pour les betes malades
in "36 histoires pour amuser les enfants d'un artiste"

Francisco de Lacerda
1869-1934

Tres modere et selon les rites

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 Compositores Portugueses - Volume II 33

XX
Can~ao triste - Sad Song - Chanson triste
Luiz Costa
1879-1960

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 34 Compositores Portugueses - Volume II

XXI
Figurinhas de porcelana - Porcelain Figurines - Figurines de porcelaine

Luiz Costa
1879-1960

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 36 Compositores Portugueses - Volume II

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 Compositores Portugueses - Volume II 37

XXII
A cabra cega -Blind Man's Buff- Colin-maillard
in "Para as crian<;:as"

Botelho LeiHio
18??-19??

Vivo ::::-~ rit.

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 38 Compositores Portugueses - Volume II

XXIII
Marcha dos soldados de chumbo -Tin Soldiers March - Marche des soldats de plomb
in "Para as crian9as"

Botelho Leitiio
18??-19??

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 40 Compositores Portugueses - Volume II

XXIV
Valsa- Waltz- Valse
in "Para as crian9as"
Botelho Leitao
18??-19??

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 42 Compositores Portugueses - Volume II

XXV
Pequena tarantela- Little Tarantelle- Petite tarantelle
Guilherme Ribeiro
1851-1921

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 Compositores Portugueses - Volume II 43

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 44 Compositores Portugueses - Volume II

XXVI
Solidao - Solitude - Solitude
Fa do
in "Six Dances faciles pour Piano"
Jose Maria Navarro
18??-192?

Allegretto
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 46 Compositores Portugueses - Volume II

XXVII
Toccata
in "Album para a juventude portuguesa"
Ruy Coelho
1889-1986

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 48 Compositores Portugueses - Volume II

XXVIII
Arlequinada- Harlequinade- Arlequinade
in "Filigrana"
Armando Le.ya
1891-1977
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 50 Compositores Portugueses - Volume II

XXIX
Historieta - Storiette - Historiette
in "Figurilhas"
Armando Let;a
1891-1977

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 52 Compositores Portugueses - Volume II

XXX
Minueto- Minuet- Menuet
in "3 Pes:as do sec. XVIII"
Antonio Fragoso
1897-1918
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 Compositores Portugueses - Volume II 53

XXXI
Aria - Aria - Aria
in "3 Pe<;as do sec. XVIII"
Antonio Fragoso
1897-1918

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 54 Compositores Portugueses - Volume II

XXXII
Gavota - Gavotte - Gavotte
in "3 Pec;as do sec. XVIII"
Antonio Fragoso
1897-1918
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 56 Compositores Portugueses - Volume II

XXXIII
Pequeno passeio matinal- Early Morning Walk- Petite promenade matinale
in "Album do jovem pianista"

Fernando Lopes-Gra~;a
1906-1994
Con gioia J= 138

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 Compositores Portugueses - Volume II 57

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 58 Compositores Portugueses - Volume II

XXXIV
Pranto - Mourning - Deuil
Fernando Lopes-Gra«;a
1906-1994

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 60 Compositores Portugueses - Volume II

XXXV
Embalo -Lullaby- Berceuse
in "Dois embalos"

Fernando Lopes-Gra~a
1906-1994

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 Compositores Portugueses - Volume II 61

poco rit. - ______________________ _

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 62 Compositores Portugueses - Volume II

XXXVI
Preliidio - Prelude - Prelude
in "3 Preludios"
Berta Alves de Souza
1906-1997

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 64 Compositores Portugueses - Volume II

XXXVII
Tamborilheiros - Drummers - Tambourins
(Tnis-os-Montes)
in "Gradual"
Eurico Thomaz de Lima
1908-1989

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 Compositores Portugueses - Volume II 65

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66 Compositores Portugueses - Volume II

XXXVIII
A can«;ao do moleiro -The Miller's Song- La chanson du meunier
in "50 Pe9as para os 5 dedos"
Fernando Correa de Oliveira
1921-2004
~ = 126

senza 'Xio cantabile

 Compositores Portugueses - Volume II 67
23

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> > > > > >
'XCO 'XCO 'XCO 'XCO 'XCO 'XCO * senza'XW

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Estas pe<;as fazem parte das "50 pe<;as para os 5 dedos" de Fernando Correa de Oliveira. Estao cscritas numa nota<;i!o sem altera<;6es, inventada
par Nicolas Obouhow (1892-1954), em que as teclas pretas do piano sao indicadas por cruzes. Assim, por exemplo, num sol com uma cruz
deveni tocar-se urn sol#. Estas pe<;as esti!o tam bern compostas no sistema harmonica do autor, denominado HARMONIA SIMETRICA.
Assim, o interval a de oitavas passa a chamar-se "setono" e a ser representado pelo algarismo 7. A oitava acima e oitava abaixo silo indicadas,
respectivamente, par 7 A e 7B.

Notation
These pieces are taken from "Fifty Pieces for Five Fingers" by Fernando Correa de Oliveira. They are written in a system of notation without
accidentals, created by Nicolas Obouhow ( 1892-1954 ), in witch the black piano keys are indicated by crosses. So, a G with a cross will be played
as a G sharp. These pieces are written using the composer's own harmonic system, called "SYMMETRIC HARMONY". As such, the interval of
an octave, for example, is called "seven-tone" and is represented by the figure 7. Therefore, a diminished and augmented will be shown,
respectively, as 7A and 7B.

Notation
Ces pieces sont extraites des« 50 Pieces pour les 5 doigts ''de Fernando Correa de Oliveira. Elle sont ecrites dans une notation sans alterations
accidentelles, inventee par Nicolas Obouhow (1892-1954), dans laquelle les touches noires du piano sont indiquees par des croix.
Ainsi, un sol avec une croix devra etrejoue sol#. Ces pieces sont egalement composees dans un systeme harmonique de !'auteur appele
HARMONIE SYTviETRIQUE. Ainsi, l'intervalle d'octave s'appelle (( septon '' et sera represente par le chiffre 7. L'octave haute et !'octave
bassc seront done indiquees respectivement 7A et 78.

aval41137
 68 Compositores Portugueses - Volume II

XXXIX
Tocata em Do maior- Toccata in C Major- Toccata en ut majeur
Anonimo portugues
sec. XVIII
Versao piano: Jorge Peixinho
Andante J = 80 1940-1995

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 Compositores Portugueses -Volume II 69

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 70 Compositores Portugueses -Volume II

XL
Janeira- Song for The New Year- Chant du nouvel an
in "Album de Colien" Jorge Peixinho
1940-1995
J=lOS-116

fdim.

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a tempo

ava141137
 Compositores Portugueses - Volume II 71

a tempo
24fl .lolo
(.\ -· >
I

'i ~7-
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::::-
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i

qi i~~i-
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a tempo (.\
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Meno mosso poco accel. rit. _________ - __ motto

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\.:.1

aval41137
 72 Compositores Portugueses - Volume II

XLI
Tres Esbo~os- Three Sketches- Trois esquisses
Fernando C. Lapa
Esbo~o 1 n. 1950

J= 88
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 74 Compositores Portugueses - Volume II

XLII
Brinquedos -Toys - Jouets
in "Dinky toys e outras hist6rias"

Antonio Pinho Vargas

n. 1951
J=46-50
motto espressivo, cantabile

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 76 Compositores Portugueses - Volume II

XLIII
Tambem quero colinho -I Want Your Lap Too - Je veux aussi un dilin
(Melodia de: I Melody by: I Melodie: Jose Reis Fontao)
in "Imagens Portuguesas"

Olga Silva
n. 1961

Andante

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aval4ll37
 Compositores Portugueses - Volume II 77

75 .,.. ~ I

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cresc. poco a poco

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ava141137
 78 Compositores Portugueses - Volume II

XLIV
0 meu coletinho -My Little Vest- Mon gilet
(Me1odia da: I Melody from: I Me!odie: Beira Baixa)
in "Imagens Portuguesas"
Olga Silva
n. 1961
Allegretto
_-----........
fl - ~ ~ 1.,--., _----.......__
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it..
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3

25
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aval41137
 Compositores Portugueses - Volume II 79

30
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aval41137
 80 Compositores Portugueses - Volume II

XLV
Urn ai, meu amor- Oh! My Love- Ah, moo amour
(Canc;ao popular portuguesa I Portuguese folk song I Chanson populaire portugaise)
in "Imagens Portuguesas"
Olga Silva
n. 1961
d"t f
M e1a~
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aval41137
 Compositores Portugueses - Volume II 81

-11 ~ . £ .--.. ._ ~
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ava141137
 82 Compositores Portugueses - Volume II

XLVI
Pequeno Preludio -Little Prelude- Petit prelude
Carlos Marecos
n. 1963

Tranquillo, espressivo, (kca. 69)

800----------------------------------.
> #> > #> >
() e e 6-
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f
fl > > > I > I
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aval4ll37
 Compositores Portugueses - Volume II 83

17
'f)
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mf f mp f
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Este preludio e baseado numa melodia da Beira-Baixa e num improviso da Maria.

This prelude is based on a melody from Beira Baixa and an improvisation of Maria.
Ce prelude est base sur une melodie de Beira Baixa et une improvisation de Maria,

aval41137
 84 Compositores Portugueses - Volume II

XLVII
A Versailles: Matachim Sergio Azevedo
in "Souvenirs" n. 1968

21

mp

-· f\ i>
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111
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 Compositores Portugueses - Volume II 85

XLVIII
Em casa de Ravel: Pequena caixa de musica
In Ravel's House: Little Music Box
Dans Ia maison de Ravel: petite boite a musique

---
:'1111
in "Souvenirs"
Sergio Azevedo
n. 1968

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J
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aval41137
 86 Compositores Portugueses - Volume II

XLIX
Marcha - March - Marche
Sergio Azevedo
n. 1968

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aval4ll37
 Compositores Portugueses -Volume II
87

XL
Mantra 1
in "3 Mantras e Medita<;ao"
Eduardo Luis Patriarca
n. 1970

Lento(}= 60)
fl I I I

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