CD Sarau Brazil

The Paulista Chamber Orchestra launched in December 20 the CD Sarau Brazil. The objective of the COMPACT DISC was to rescue some rarities of Brazilian music classic that possess few recording. The CD had the sponsorship of Grupo Lacan and was launched by Rio 8 Fonográfica. The research and the arrangements for the CD had been made by maestro Branco Bernardes. With the songs, Mr. Bernardes tried to reproduce the environment of saraus literary and musical saraus of the end of 19 century 19. Thus, the CD has musics of:

José Maurício Nunes Garcia (1767-1830)
Carlos Gomes (1836-1896)
Alberto Nepomuceno (1864-1920)
Francisco Braga (1868-1945)
Luciano Gallet (1893-1931)
Lorenzo Fernandez (1897-1948)
Xisto de Paula Bahia (1841-1894)
Salvador Fábregas (1820-1880)

The CD has as solistas Adriana Bernardes and Sandro Bodilon.

José Maurício Nunes Garcia
(source: African Heritage in American Music)

José Mauricio Nunes Garcia (1767-1830) was an Afro-Brazilian composer and organist who was the grandson of slaves. According to Manuel de Araújo Porto Alegre, his early biographer, he had "a beautiful voice and a great musical memory"; "reproduced everything he heard", and "created melodies of his own and played the harpsichord and the guitar without ever have learned to".In 1779, at twelve, he began to teach music. José Mauricio never had a piano or a harpsichord, and trained himself by teaching harpsichord to the society´s ladies. To learn the organ, he was assisted by some good organists in the churches.
José Mauricio completed his education in the "Royal Classes", with lectures in history, geography, latin grammar and philosophy, and rhetoric as well.
José Maurício followed to be ordained as a priest in the Archdiocese, or See, of Rio de Janeiro. At 16, he composed the first work that came to our days: the antiphon Tota pulchra Es Maria (CPM 1) in 1783, dedicated to the Cathedral and See.
During the decade of 1780, he studied the necessary disciplines to the examinations he had to go through to be ordained a priest, and began a collaboration with the old chapel master of the See, deacon Lopes Ferreira. This would be the first step to his final goal, to be Lopes Ferreira´s successor as the See´s chapel master.
In 1784, a group of musicians founded in Rio de Janeiro the brotherhood of Santa Cecília, whose objective was to regulate their professional life. José Mauricio signed the foundation act as a music teacher.
At this time he composed the following works: Litany for Our Lady in 4 voices and organ, in 1788, the anthems O Redemptor Summe Carmen and Pange Lingua, in 1789, and the works a capella "for all the Holy Week of the See" (Bradados), from those the most important is Bradados de 6ª feira maior (CPM 219), for Holy Friday, which includes the motets Crux Fidelis (CPM 205), Heu Domine (CPM 211), Popule Meus (CPM 222), Sepulto Domino (CPM 223), and Vexilla Regis (CPM 225).
In 1790 he composed an instrumental work that made him famous in Rio de Janeiro: the Funeral Symphony (CPM 230).
José Maurício moved his residence around 1800 and began composing modinhas. At the end of the century, he moved to his house at Rua das Bellas Noutes, taking part in the "serenades" near the Public Garden. From this time three Modinhas were composed, printed by music editor Pierre Laforge in 1837: Beijo a mão que me condena (CPM 226) - I kiss the very hand that condemns me, Marília, se não me amas (CPM 238) - Marília, if you don´t love me, and No momento da partida, meu coração t´entreguei (CPM 239), - At the moment of departure I gave you my heart. A copy of these two last works has been recently found in Germany. Lack of money contributed to José Mauricio Nunes Garcia's loss of health, and he died on April 18, 1830.

Carlos Gomes
(Source: National Library - Brazil)

Biography
1836 - Carlos Gomes was born, on the 11th of July, in Campinas, a son to Manoel José Gomes and Fabiana Maria Jaguary Cardoso. Nicknamed Tonico, he starts his musical education at the age of 10, under his father's supervision. During his adolescence he and his brothers performed in their father's band, in balls and concerts. At the time he already composed religious muisic and modinhas.
1854 - He composes his first mass - Missa de São Sebastião.
1857 - He composes the modinha Suspiro d'Alma, based on verses by Almeida Garrett. The Imperial Academia de Música e Ópera Nacional is founded and in his innaugurational speech José Amat emphasizes its philosophy: "Music is not at all the same in all nations; though obedient to the great rules of art, in each nation it changes in style and taste, according to the inspiration of the country's nature, its habits, the people's inclinations and tendencies."
1859 - He composes the fantasy Alta Noite, for clarinet. and has his first performance as a pianist in a concert in Campinas, accompanied by Henrique Luís Levy. He tours with his brother Pedro Sant'Anna Gomes (who played the violin), performing in several towns of the state of São Paulo, staying in guest-houses for students. He composes the Hino Acadêmico, the modinha Tão longe de mim distante and the Missa de Nossa Senhora da Conceição.
1860 - Against his father's will, he moves to Rio de Janeiro and becomes a student at the Conservatório de Música.
1861 - He presents his first opera, A noite do Castelo, with a libretto by Fernando Reis, in the Teatro Lírico Provisório. He writes a letter to his father, inviting him for the opening night.
1862 - He composes Joanna de Flandres.
1863 - Supported by the Emperor Pedro II, Carlos Gomes travels to Italy, birthplace of the opera and of the bel canto, of Rossini, Verdi, Donizetti, Ponchielli.
1864 - He arrives in Milan. He is considered too old to enroll at the Conservatory. He starts getting composition private classes with Maestro Lauro Rossi.
1866 - He passes the final exam of composition in the Conservatory of Milan and is awarded the title of Maestro. He composes music for the vaudeville Se sa minga, with text by Antonio Scalvini.
1867 - Performance of the canzone Fuzil em Agulha in the Teatro Fossati.
1868 - While in the process of composing Il Guarany, Gomes composes several pieces of chamber music, with texts by Scalvini. He writes Nella Luna and La Moda.
1869 - He is received as a guest in the salon of Condessa Maffei, which will open for him the doors of the famous Scalla di Milano.
1870 - Presentation in the Scalla di Milano of Il Guarany, based on the novel by José de Alencar. In the intermission, he sells all the rights for 3000 lirae to the publisher Francesco Lucca, whose profits with the opera are much greater than its author's.
1871 - He writes the operetta Telégrafo Elétrico and starts working in the opera Os Mosqueteiros do Rei, which remains unfinished. The Industrial Exhibition of Milan is opened with a performance of Il Guarany. Carlos Gomes is invited to prepare the presentation of Il Guarany in the Teatro Apollo in Rome. On the 16th of December he marries the pianist Adelina Peri.
1872 - With the support of his friend André Rebouças, he takes Il Guarany to be performed in great theatres: La Pergola (Florence), Carlo Felice (Genoa), Covent Garden (London), Teatro Municipale di Ferrara, Teatro Municipale di Bologna, Teatro Eretenio (Vicenza), Teatro Sociale de Treviso. He finishes the composition of Fosca , and commits Antonio Ghislanzoni to write the libretto for Marinella, but he abandons the project. Verdi comes to see and hear Il Guarany.
1873 - His son Carlos André is born and his two children (Carlotta Maria and Manuel José) die. Fosca is performed in the Scalla. The opera receives very bad reviews in the Italian press, accused of being impregnated with the Wagnerian leitmotif. He starts writing Salvator Rosa, selling all the rights to the publisher Giulio Ricordi.
1874 - First performance of Salvator Rosa in the Teatro Carlo Felice, in Genoa. Gomes starts to work in Maria Tudor, with libretto by Arrigo Boito and Emílio Praga. His son Mario is born.
1876 - By order of the Emperor Pedro II, Gomes composes Saudação do Brasil, to be presented in the celebration of the first centennial of the Independence of the United States.
He starts writing a new opera, A Máscara, with libretto by Ghislanzoni, but he abandons the project.
Fosca is performed in the Teatro Colón of Buenos Aires, and then is staged in Rio de Janeiro.
He is appointed member of the Musical Institute of Florence.
1878 - He starts building Villa Brasilia, in Lecco.He writes the ballad Corrida de Amor for the Álbum Musical do Trovador.
1879 - The opera Maria Tudor, staged for the first time at the Scalla, is a failure. He starts writing the music for the comic opera Ninon de Lenclos, which he soon abandons, owing to a strong depression which followed his son Mário's death. He moves to Genoa, where he meets Hariclée Darclée. They become lovers.
The opera Il Guarany is performed all around the world: Livorno, Milan, Turin, Moscou, Pittsburgh. In December, Gomes starts a new opera, Palma, another unfinished project.
1880 - He comes back to Brazil in the Lyric Excursion of Tomaso Passini, visiting Rio de Janeiro, Salvador, Recife and Belém. The company stages Salvator Rosa, Il Guarany, and Fosca. While in Bahia, he composes the Hino do Centenário de Camões.
"The bay of Rio de Janeiro, changed into a huge amphitheatre, welcomed in great style the child who had chosen Lombardia as his second country. The night was magically lit up with a saraband of fireworks." Gianfranco Colombo
1882 - Gomes publishes Álbuns de Música de Câmera. He works on two librettos: Emma de Catania and Leona. Neither will be finished. He returns to Brazil in order to participate of the Lyric Season of Pará. His daughter Ítala is born.
1883 - He organizes a Lyric Company in Milan and comes to Brazil for a new season.
1884 - The Emperor asks him to write a march to celebrate the liberation of the slaves in Ceará: Ao Ceará Livre. Coming back to Lecco, he composes the modinha Conselhos. He works on two librettos by Ghislanzoni, Os Ciganos and Oldrada, which also remain unfinished.
1885 - He and Adelina Peri split. He undergoes great financial hardship. The maintenance of Villa Brasilia becomes difficult.
1886 - Gomes has a nervous breakdown, from which he finds relief in opium. None of several promises of staging Fosca is materialized.
1887 - In order to pay his debts, Gomes sells Villa Brasilia, with all its furniture and objects. He moves into a small flat in Milan. He writes Madrigal for the magazine Cena Ilustrada. Adelina dies and his daughter Ítala is brought to live with him. He starts working on the opera Morena, which also remains unfinished.
1888 - He finishes composing Lo Schiavo, based on an argument by the Viscount of Taunay and with libretto by Paravicini.
1889 - Back in Brazil, he presents Lo Schiavo in the Teatro Lírico, in honour of Princess Isabel and to Lei Áurea (the law by which slavery had been abolished in Brazil). Pedro II promises to make him director of the Conservatory of Rio de Janeiro. However, with the proclamation of the republic, the promise is never fulfilled.
1890 - Back to Milan, he lives in the flat of his mistress Countess Cavalini. He starts composing the opera Cântico dos Cânticos, which he does not conclude.
1891 - The opera Condor is staged in the Scalla. Together with Arrigo Boito, Bazzini and Caralani, Gomes is a member of the juri charged with choosing the director of the Scalla orchestra. Pedro II dies in Paris.
1892 - Gomes composes the oratorio Colombo, in honour of the IV Centennial of the Discovery of America. He asks the Government's financial support to represent Brazil in the Universal Colombian Exhibition of Chicago. He travels to Chicago but only presents parts of his operas, since the Government's grant is not sufficient to cover the costs of full presentations. he returns to Milan with his son carlos, who is ill.
1893 - Condor is staged at the Teatro Carlo Felice in Genoa.
1894 - He runs for the chair of director of the Liceo Musicale Rossini, but Carlo Pedrotti gets the position. Gomes works in two operas, Kaila and Cântico dos Cânticos. In Turin he sees the première of the opera Manon Lescaut, by Puccini.
1895 - Il Guarany is staged in Lisbon and the king of Portugal awards him the Order of San Tiago. He gets invitations to direct the Music School of Venice and the Conservatory of Pará, but, being very ill and wanting to protect his son Carlos from military service in Italy, he prefers to come back to Brazil.
1896 - Very ill, he arrives in Pará in April. He dies on the 16th of September.

Alberto Nepomuceno
(source: Library of Congress)


Date    Event

1864     On July 6 Alberto Nepomuceno was born in Fortaleza, Ceará, Brazil to Victor Augusto Nepomuceno (1840-1880), violinist and organist of the Fortaleza's Cathedral, and his wife Maria Virginia de Oliveira Paiva (1846-1892).

1872     His family moved to Recife (Pernambuco). He began his musical studies (piano and violin) with his father.

1880     After his father's death, he started to work in a typographical shop to help his mother and sister Emilia. He began studies in harmony with Maestro Euclides Fonseca.

1881     Professor Tobias Barreto coached him in his studies of philosophy and German.

1883     He played violin in the orchestra of the Santa Isabel Opera House at the premiere of Leonor, an opera composed by his teacher Euclides Fonseca. He actively joined the civic republican and abolitionist movement of the northeast Brazilian region.

1885     The Legislative Assembly of Ceará presented a petition to the Imperial Government to re-activate Nepomuceno's scholarship to study in Europe that was initially rescinded due to his political activities. He settled in Rio de Janeiro and for the first time gave a piano concert at the Club Beethoven. Also, he toured the country with cellist Frederico Nascimento.

1886     He became a piano teacher at the Club Beethoven and studied harmony with Miguel Cardozo.

1887     He composed his first compositions for piano, some songs, and a march for orchestra.

1888     In May at The Club Iracema (Fortaleza) he premiered his first major composition Dança de negros which later became his Batuque for orchestra. In August, he traveled to Europe.

1889     Nepomuceno enrolled at the Accademia di Santa Cecilia in Rome and began his studies with Eugenio Terziani (harmony), Giovanni Sgambatti (piano), and Cesare de Sanctis.

1890     In August he left Rome and enrolled at the Akademische Meister Schulle in Berlin where he began his composition studies with Heinrich von Herzogenberg (1843-1900), a distinguished friend of Brahms.

1891     During his vacation, he travelled to Vienna and heard concerts by Brahms and Hans von Bülow. He also attended classes with Theodor Lechetitzky and met the Norwegian pianist Walborg Rendtler Bang, a pupil of Grieg, and Nepomuceno's future wife.

1892     He transferred to Berlin's Stern Conservatory to study composition and organ with Arnó Kleffel (1840-1913) and piano with H. Ehrlich (1822-1899) for two years.

1893     In July, he travelled to Christiania (Oslo) and married Walborg Rendtler Bang. They had four children: Eivind, Sigurd, Sigrid and Astrid. The couple resided for a time at the Grieg home, in Bergen, where they discussed the idea of creating a Brazilian musical patrimony. He studied with organist Christian Cappelen for three months.

1894     At the final examinations at the Stern Conservatory Nepomuceno conducted the Berlin Philharmonic Orchestra performing his own works, Scherzo für grosses Orchester and Suite antiga. In April, he was nominated Professor of Organ "ad absentio" at the National Institute of Music (NIM) in Rio de Janeiro.

1894     He went to Paris to attend the Schola Cantorum organ courses with Alexandre Guilmant. There he met and discussed music with Camille Saint-Saëns, Charles Bordes and Vincent D'Indy. Nepomuceno was invited by Sorbone's Professor of Greek Charles Chabault to write the incidental music to Sophocles' Electra.

1895     In July, Nepomuceno returned to Rio de Janeiro and gave a historical concert as pianist, organist, and conductor of his works at the NIM.

1896     Nepomuceno was nominated Professor of Composition at the NIM, and Conductor at the Associaçao dos Concertos Populares. In two years, he premiered many works of new Brazilian composers.

1897     On August 1 the NIM organized a major Festival Alberto Nepomuceno. He conducted the premiere of his major symphonic works: Série Brasileira, Symphony in G minor, and As Uyaras among others.

1898     On October 14 Nepomuceno's first opera, Artemis, was premiered at the Teatro São Pedro de Alcântara.

1902     On July 12 Nepomuceno is nominated Director of NIM.

1904     On October 20 he conducted the premiere of O Garatuja. He was designated by the NIM to welcome Saint-Saëns on his arrival in Brazil.

1908     He organized and conducted a 26-concert series, with premieres of major French, Russian, and Brazilian works.

1909     He presented a project to the National Congress for the creation of a National Orchestra subsidized by the government.

1910     He was sent to Brussels, Geneva, and Paris by the Brazilian Government to conduct Brazilian music. He visited Debussy who presented him with the autograph of Pélleas et Mélisande.

1913     On June 30 he traveled to Buenos Aires to attend the world premiere of his opera Abul at the Teatro Coliseo. He conducted a tribute to a Wagner centennial at Rio's Teatro Municipal.

1915     On April 15 he attended the European premiere of Abul at Rome's Teatro Costanzi.

1916     He made a Portuguese translation of Schönberg's Harmonielehre and tried to force it upon the NIM without success.

1919     He conducted his last concerts at the Teatro Municipal and, with the premiere of Villa-Lobos' Concerto for Cello, introduced a new composer to the public.

1920     In February he asked his editor Sampaio Araújo to publish the first of Villa-Lobos' works. In June he was awarded the Gold Medal from King Albert of Belgium for his devotion to Belgian welfare during the war.

1920     On September 23 Richard Strauss conducted the Vienna Philharmonic in his O Garatuja.

1920     On October 16 Nepomuceno died at the age of 56 in Rio de Janeiro.
Alberto Nepomuceno was a pioneer among Brazilian musicians and was recognized as the "father" of musical nationalism in his country. In addition to being the first to incorporate native themes and rhythms into art music in Brazil, he developed a brilliant career as a prominent teacher and theoretician, an orchestra conductor, pianist and organist, and a musical administrator.
Nepomuceno, born in the middle of the nineteenth century, received his early musical education in Brazil from his father, a church organist. Later he became highly cultivated during his scholarly years of musical studies in Europe in the best conservatories of that time, such as Rome's Santa Cecilia, Paris' Schola Cantorum and Berlin's Akademische Meister Schulle, among others. He was fluent in five languages and became acquainted with major composers of the twentieth century, among them Debussy, Saint-Saëns, D'Indy, and Richard Strauss, all of whom praised his works. In addition, his marriage to the distinguished Norwegian pianist Walborg Rendtler Bang allowed him to establish a personal friendship with Edward Grieg.
Parallel to a major career in composition and conducting, Nepomuceno's passion was to give his country a better and more advanced musical curricula. As a professor of composition he tried to apply new systems, for example, Schönberg's Harmony Treatise, but was unable to persuade the musicians of his time to change the traditional way of teaching. Nevertheless, thanks to his tireless work for the recognition of Brazilian nationalism and encouragement of young and new composers, he was able, just one year before his death, to conduct and introduce to the public Heitor Villa-Lobos' work.
From his stage works to the piano pieces Nepomuceno's eclecticism is the common attribute of his whole output. His style goes from a conventional romantic trend passing through transitional styles to the fiery rhythms of the Afro-Brazilian dances. In the middle of these periods can be found piano works that recreated a harpsichord-like resemblance, such as, the early Suite Antiga, as well as vivacious and spontaneous dance-like urban tunes as the "maxixe" and the "choro" with Galhofeira as its best example.
(By Susana Salgado, 1998)

Antônio Francisco Braga
(Source: Wikipedia)
(April 15, 1868 in Rio de Janeiro - March 14, 1945)


Antônio Francisco Braga studied with Luiz António de Moura and Carlos de Mesquita. In 1886 he founded the Sociedade de Concertos Populares. As the Brazilian Republic was declaired in 1889, his composition Hino à bandeira was adopted as the Brazilian National Anthem. Starting in 1890 Antônio Francisco Braga studied at the Conservatoire in Paris with Jules Massenet. After that he spent time both in Germany and in Italy and then returned to Brazil in 1900. Upon his return to Brazil, Antônio Francisco Braga taught at the Instituto Nacional de Música and was the conductor of the Sociedade de Concertos Sinfonicosbetween 1908 and 1933.
Antônio Francisco Braga composed three Operas and produced orquestra pieces, chamber music, piano pieces and many songs.
Works
Missa de S. Francisco Xavier (s.d.)
Missa de S. Sebastião (s.d.)
Te Deum (s.d.)
Stabat Mater (s.d.)
Trezena de S. Francisco de Paula (s.d.)
A Paz, poema com coro (s.d.)
Oração pela Pátria, poema com coro (s.d.)
Trio, para piano, violino e violoncelo (s.d.)
Dois Quintetos (s.d.)
Quarteto para instrumentos de sopro (s.d.)
Virgens Mortas, canção com letra de Olavo Bilac (s.d.)
Trovador do Sertão, para canto e orquestra (s.d.)
Hino à juventude brasileira (s.d.)
Hino à Paz (s.d.)
Paysage (1895)
Cauchemar (1896)
Brasil, marcha (1898)
Marabá, poema sinfônico, sua primeira obra com temática nacional (1898)
Episódio Sinfônico
Jupira, ópera (1898)
A Pastoral, episódio lírico (1903)
Hino à Bandeira Nacional (1905)
Canto de Outono, para orquestra de arcos (1908)
O Contratador de Diamantes, música incidental (1908)
Insônia, poema sinfônico (1908)
Anita Garibaldi, ópera (1912-1922)

Luciano Gallet
(Source: Wikipedia)

Luciano Gallet (June 28, 1893 Rio de Janeiro - October 29, 1931 Rio de Janeiro) was a Brazilian composer, conductor and pianist. He began piano playing as a school boy, and first studied and graduated in architecture, before enrolling at the Instituto Nacional de Música to study music with Henrique Oswald, Abdon Milanez and Agnelo França. In 1917 he studied harmony with Darius Milhaud. In 1922 he started to conduct the choir and the orchestra of the Instituto Nacional de Música and in 1926 he became publisher of the music magazine Weco. In 1930 he was one of the founders of the Associação Brasileira de Música and became Director of the Instituto Nacional de Música.

Works

Orchestra Music
• Tango-batuque (1919)
• Moderato e allegro (1920)
• Suite bucólica (1920)
• Elegia (1921)
• Dança brasileira (1925)
• Toca-zumba (1926)
• Suspira, coração triste (1927)
• Xangô (1929)
• Pai do mato (1929)
• Suite popular (1929)

Chamber Music
• Turuna (1926)
• Suite sobre temas negro brasileiros(1929)

Sonatas
• Berceuse (1917)
• Caxinguelê (1917)
• Doze exercícios brasileiro (1928)
• Elegia (1918)
• Romance n. 1 (1918)
• Romance n. 2 (1918).

Songs
• Le sonnet d'Arvers (1918)
• Alanguissement (1918)
• Canção dolente (1918)
• A Partida (1919)
• Suspira, coração triste (1921)
• A Vida (1922)
• Olhos verdes (1922)
• Fotorototó (1924)
• Ai, que coração (1924)
• Foi numa noite calmosa (1925)
• Maxixe (1925); Tutu-marambá (1927)
• Marcha, soldado (1927)
• Atirei um pau no gato (1928)
• Carneirinho, carneirão (1928)
• Xangô (1928)
• Deux chansons de Bilitis (1920)
• Toada (1922)
• Sertaneja (1924)
• O Luar do sertão (1924)
• Toca-sumba (1926)

Church Music
• Ave Maria n. 1 (1918)
• Padre Nosso n. 2 (1918)
• Três cantos religiosos (1919)
• O Salutaris (1920)
• Si quaeris miracula (1926)


Lorenzo Fernandez

He was born in Rio de Janeiro, on November 4', 1897 and died, at the age of 50, on August 27th, 1948. With Spanish ancestry, he revealed his musical talent in his youth, having entered, in 1917, at the age of 20, the National Music Institute, and in 1923, he would substitute for his professor of Harmony, Polyphony and Fugue.
In 1922, he was awarded the 1st. 2nd and 3rd prizes in a National Composition Contest and two years later he won the 1" prize in an international chamber music contest, with the "Trio Brasileiro" (Brazilian Trio), which is considered one of the basic works of Brazilian music.
A man with high spirit of collectivity, he founded in 1936 the Brazilian Conservatory of Music, with other five professors. He also participated in the foundation of Musical culture society, the Brazilian Academy of Music and the Community Singing Conservatory, where he substituted for Villa-Lobos in the direction several times.
Part of his daring idealism is expressed in the magazine "Ilustração Musical" (Musical Illustration), which he founded in 1930.
He received, both in Brazil and abroad, several titles and honors. In all aspects of his life, he developed an active critical consciousness of his time, his country, his race, and of culture itself. His work as creator used to be thought, worked on and engraved. Inspiration, awareness and critical reflection used to be part of his personality, marked by a quiet command of his daily attitude.
(By Marina Helena Lorenzo Fernandez, Head of the Music Conservatory)

Xisto Bahia

He was composer, singer, violonista and teatrólogo. He was born in Salvador, Bahia. He is considered important figure for the consolidation of Brazilian popular music, since he had performance of prominence as actor, composer and singer of modinhas and lundus in the important phase of the theater of customs (great market and show window for the musicians, composers and interpreters of Brazil, in century XIX). He was, mainly, through this scene, that the Brazilian culture saw to appear innumerable musical successes, new sorts and great interpreters. He is responsible for the first recording in Brazil, the lundu "Isto é bom", decades later plagiarized in some carnivals.

Salvador Fabregas

He was born probably in Rio De Janeiro, around 1820 return. He probably died in the same city in the year of 1880. He participated of the first recital of the of the state of Rio de Janeiro Filarmônica, in 23 of July of 1841. He was nominated in 1848 as singer of the Imperial Chapel, exerting the function up to 1853. It is almost certain - and thus the Gondoleiro of the Love consists in the majority of the partitions of the musical edition - that he is the author of music on verses of Castro Alves, that it is part of the CD Sarau Brazil.

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