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TWENTIETH-CENTURY BRAZILIAN SOLO TRUMPET WORKS

BY LUIS C. ENGELKE

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TWENTIETH-CENTURY BRAZILIAN SOLO TRUMPET WORKS

BY LUIS C. ENGELKE
This article was reviewed and approved for publication by the ITG Editorial Committee.
one would expect, there have been fewer works conceived for wentieth-Century Works for Trumpet and Orchestra, a solo trumpet in Latin America than in Europe or North Amerdefinitive study by Norbert A. Carnovale and Paul F. ica. There are, however, several other less evident factors that Doerksen, lists only six solo trumpet works conceived have until now preempted the infusion of these works into the by composers born outside of North America or Europe.1 mainstream repertoire. Libraries are typically antiquated; for South African-born Canadian Malcolm Forsyth contributed a example, only eight manuscripts of works conceived for solo concerto in 1987, and Chinese-born Boris Blacher authored trumpet have been archived at Biblioteca Nacional do Rio de concerti in 1931 and 1950. These works and Argentine-born Janeiro, one of the largest federal libraries in Brazil housing the American Lalo Schifrins Concerto (1967) represent composinations most comprehensive tions by non-North American- or European-born com- uncovering numerous significant works music collection. With the exception of a few small colposers who currently reside or spent the majority of their previously unknown to Brazilian scholars lections of individual comcareers on one of these two and trumpet players supports the validity posers such as Museu(m) Villa-Lobos, even the libraries continents. Only two listed composers born outside of of a thorough and comprehensive search. in the major cultural centers contain extremely sparse re North America and Europe sources.3 Unfortunately, because of a lack of manuscripts in established careers in their homelands: Joseph Kaminski in libraries and few published works, until recently, most compoIsrael for his work Concertino (ca. 1941) and Antonio Taurielsitions have only been passed down informally from musician lo from Argentina, whose Musica para Cuerdas y Trompeta to musician, often through photocopying. (1965) includes only a small solo for trumpet and can hardly be considered a solo work. Similarly, the hundreds of solo Origins recitals detailed in ITGs annual Trumpet and Brass Programs Since Brazil is a large and diverse country and its libraries are represent a similar performance trend.2 Solo trumpet works by antiquated, even meticulous and systematic research spanning Latin American and non-Western composers missing from more than a decade has not unearthed all the countrys twenthese extensive and comprehensive sources signify a void in the tieth-century solo trumpet works. standard repertoire. If these works exist, Undoubtedly, some compositions why have they remained largely unfamilhave been lost, while others may still iar? How are these compositions similar be found. However, uncovering or different from the standard repertoire? numerous significant works previousDoes nationalism contribute to the ly unknown to Brazilian scholars and uniqueness of specific works including trumpet players supports the validity those from Brazil? of a thorough and comprehensive Many factors contribute to only a few search. The first work conceived for Latin works entering the mainstream solo trumpet in Brazil with a clearly repertoire. With fewer resources for peridentifiable date is Santana Gomess formers of concert trumpet literature, Andante e Bolero (1900), hence this there are indeed fewer soloists and uniwork appears to be the first of the versity professors who might commistwentieth century. Two other undatsion these works. While there are at least ed manuscripts were likely penned a dozen orchestras in Brazil alone that earlier: Henrique Alves de Mesquitas offer incomes and benefits that can be Pequena Fantasia para Trompete and considered full-time positions, only in Anacleto de Medeiross Bouquet warthe past thirty years have many of these rant discussion because they originate musicians and other professional trumthe genre of solo trumpet works in pet players pursued solo performance as Brazil and were conceived around the a viable medium. Since this growing same time as Andante e Bolero. Addinumber of players is still relatively small tionally, some possibility exists that in Latin America, there has been little Mequitas and Medeiross composiincentive for composers to write solo tions were indeed conceived during works, and even less for music publishers the twentieth century. Santana Gomes to release editions of music. Hence, as

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June 2007 / ITG Journal 27

Andante e Bolero by Santana Gomes

A resident of Rio de Janeiro for most of his life, Henrique Alves de Mesquita (1830 1906) was a composer, organist, conductor, and teacher, but he earned the reputation as an accomplished trumpet soloist by the age of 17. In 1853, Mesquita opened a music store that offered lessons and contracted bands for dances and other occasions. His first compositions emanated from this period. Three years later he graduated from Universidade Federal do Rio de Janeiro (UFRJ) with concentrations in counterpoint and organ.4 He was the first Brazilian musician to receive a scholarship to study abroad, opting for the Paris Conservatory where FranoisEmmanuel-Joseph Bazin served as his principal mentor. Upon his return to Brazil, Mesquita earned his livelihood as a trumpeter and conductor. He eventually became the first professor of brass instruments at UFRJ. Mesquita was very important in the development of the Brazilian tango.5 His Pequena Fantasia para Trompete for the A trumpet and piano is the first known Brazilian solo trumpet work ever written. Mesquita probably composed many more trumpet solos, but many of his manuscripts have unfortunately been lost. Anacleto de Medeiros (1866 1907) is best known for organizing Rio de Janeiros Banda do Corpo de Bombeiros (Municipal Fire Department Band), one of the most highly regarded bands in the city. Composed of a variety of instru28 ITG Journal / June 2007

mentalists including specialists in the folk genre of chro (an instrumental genre that preceded the samba), this ensemble produced many of Brazils first recordings around the turn of the century.6 Medeiross compositions in both popular and band idioms, though largely discarded in the past, have recently been revisited. Conceived for B-flat trumpet and symphonic band, Medeiross Bouquet is a polka set in a style and form reminiscent of Herbert L. Clarkes The Maid of the Mist. Santana Gomes (1834 1908) was a lesser-known younger brother of Antnio Carlos Gomesone of Brazils most prolific composers made famous internationally through his opera Il Guarany. His music education was rooted in the band tradition, but Santana later specialized on violin and viola and eventually devoted considerable time to conducting many of Brazils leading orchestras.7 The author discovered Andante e Bolero at Museu(m) Carlos Gomes, a library in Campinas, So Paulo, named after Santanas brother. The library is the source for both of Gomess manuscripts. As the title suggests, the work is divided into two parts and is performed without a break. Conceived in a very operatic style, the Andante ends with a short cadenza. Regarding the second section, no indigenous Brazilian bolero exists; a 3/4 time signature reflects the Spanish bolero, not the Cuban bolero in 2/4. As the earliest solo trumpet work composed during the twentieth century,

2007 International Trumpet Guild

Pequena Fantasia para Piston by Henrique Alves de Mesquita

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this composition is significant. Additionally, the works by Gomes, Mesquita, and Medeiros represent a Romantic compositional style that existed in Brazil at the beginning of the twentieth century. Artistic Impressions The nearly one hundred known Brazilian solo trumpet works are best classified as follows: 1) Romantic or neoRomantic compositions, 2) nationalist works, and 3) pieces that are counter-nationalist and usually employ serialism. Joaquim Antonio Naegeles Estrela de Friburgo , Djalma Guimaress Canto Andaluz, Domingos Raymundos Divagando, and Alfredo Diass Concerto are representative neo-Romantic works. Nationalist works are the most unique and interesting and warrant a more detailed discussion (see below). Third, counter-nationalist works rebelled against the nationalist movement and looked toward European immigrants and trends for inspiration. Two noteworthy works by very significant Brazilian composers fit this style. Mozart Camargo Guarnieris Estudo para trompete em d (1953) was the first unaccompanied work for solo trumpet in Brazil.8 Claudio Santoro contributed the first sonata for trumpet and piano a few years earlier in 1946.9 Born in Teit, So Paulo, Mozart Camargo Guarnieri (1907 1993) was one of Brazils most prodigious composers and influential in structors during the twentieth century. In fact, his parents were musicians, as Guarnieris first name Mozart suggests. His teachers included Ernni Braga, Antnio S Pereira, Lamberto Baldi, and Mrio de Andrade, who introduced Guarnieri to methods of incorporating Brazilian popMozart Camargo Guarnieri ular music into a traditional compositional style. After significant success with some of his early works, Sonatina para piano, Chro No. 3, and O impossvel carinho, Guarnieri was appointed conductor of Orquestra Sinfnica Municipal de So Paulo in 1935 and then promoted to principal conductor and artistic director in 1940. During his residency with this orchestra, Guarnieri received two awards from the Departamento Municipal de Cultura de So Paulo (So Paulo Department of Culture) in 1937: first prize for a choral work with his Coisas deste Brasil (Things from this Brazil) and first prize for an instrumental work with his Flor de Trememb (Flower from Trememb) for fifteen solo instruments and percussion. The following year, he was awarded a fellowship from the municipal government in So Paulo to study in Paris, where he studied composition with Charles Koechlin and conducting with Franz Rhlmann and had many of his works performed. In 1939, Guarnieri returned to Brazil because of World War II. He went on to win numerous prestigious international awards, including the Fleischer Music Collection Award from the Philadelphia Free Library for his Concerto No. 1 para violino e orquestra. His large compositional output includes Abertura concertante (1942), numerous 30 ITG Journal / June 2007

other orchestral works, and an extraordinary number of chamber music and choral works. Guarnieris career as a conductor included directing the Boston Symphony, guest appearances with Brazils principal orchestras, and almost 20 years as conductor and artistic director for Universidade de So Paulos symphony orchestra, a position he held until his death in 1993.10 Guarnieris Estudo para trompete em d, a short yet interesting unaccompanied solo, was created using cells composed of five to six notes. In this work, Guarnieri does not adhere to strict serialism, at times even inserting a chromatic scale.11 Cludio Santoro (1919 1989) was born in Manaus, a city on the Amazon River. His education included a degree from Universidade Federal do Rio de Janeiro. Upon his graduation, Santoro was ap pointed professor of violin at the same institution, and in 1940, he co-founded Orquestra Sinfnica Brasileira (OSB) and also composed his first symphony. In 1943, he won two important awards: the first Cludio Santoro from OSB for his Impresses de uma usina de ao and the second from the Chamber Music Guild of Washington for his first string quartet. During the mid-1940s, a Guggenheim Fellowship brought Santoro to New York, and then a scholarship from the French government led him to study with Nadia Boulanger in Paris. Soon after, in 1948, he was awarded the first prize from the Lili Boulanger Foundation in Boston, selected by a jury that included Stravinsky, Copland, and Nadia Boulanger. Upon returning to Brazil after his international travels, Santoro suffered financial hardships; he had lost his position in OSB because he had resided abroad for so long. Then, after a brief respite on a farm in Manaus, he returned to Rio de Janeiro and composed several soundtracks. In 1957, Santoro founded Orquestra de Cmera da Rdio MEC, also in Rio de Janeiro. The 1960s brought several changes in his career. He divided time between directing the music department at Universidade de Brasilia, working for the Centro de Informao e Divulgao de Msicas Latino-Americanas (an organization in charge of promoting Latin American music), and teaching in Mannheim and conducting several European orchestras including the Berlin Radio Orchestra in performances of his own works.12 Santoros considerable output as a composer includes one opera, numerous orchestral and chamber works, many sonatas, and countless choral works. As the first Brazilian sonata for trumpet and piano, Santoros composition is significant; additionally, the work is the most substantial twelve-tone composition encountered in this study. Santoro and many other highly-regarded Brazilian composers began their careers with a nationalist style; however, a composer and scholar named Hans Joachim Koellreutter swayed several toward a modern European approach. Born in Freiburg, Germany, in 1915, Koellreutter immigrated to Brazil in 1937 after studying music

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titled Ensaio sobre a msica brasileira (Rehearsal about Brazilian Music).17 Arnaldo Contier summarized Andrades statements as follows: 1. Composers should base their works on Brazilian folk music because this methodology reveals the views of the people and embodies the collective thought of the era; 2. Nationalist composers should consciously employ the following techniques: integrate folk melodies, use variations based on folk melodies, and conceive melodies in a folk-like style; 3. With regard to compositional technique, authors should use counterpoint with a neoclassicist approach; 4. Folk instruments should be implemented in works of art; 5. Composers should redefine the traditional European forms by substituting forms that exist in the musical folk tradition whenever possible; for example, the gigue and saraband of traditional suites should be replaced by the samba or seresta.18 Therefore, Brazilian nationalist compositions are influenced by indigenous folk and popular styles, and the unique sound of Msica Popular Brasileira (Brazilian Popular Music) has had a significant influence on Brazilian art music. The trumpet works are no exception, and as a result, many compositions are highly rhythmic and frequently utilize scales and modes found in Brazils folk and popular music. These nationalist influences give Brazilian trumpet works their unique sound. While Rio de Janeiro and So Paulo are two of Brazils oldest and largest cities, and their traditions include several of the countrys historic orchestras and universities, major cultural centers exist throughout Brazil. Musicians were supported through organizations such as the universities and orchestras in these cities. Orchestras have brought several fine brass performers from America and other countries, raising the level of performance and inspiring composers to write solo works. Additionally, while new pieces are not typically written for annual competitions as is the case with the Paris Conservatory, Brazilian solo works are often required on national competitions, degree recitals, and performances as part of interviews for university positions. Numerous nationalist works exist Brazilian Nationalism where the use of Brazilian genres and styles is clear and delibAn understanding of one pivotal event that occurred during erate. Other works even in a counter-nationalist style include the 1920s is critical to comprehend Brazilian music. Nationalfolk influences. For example, the music by Guarnieri and Sanism was building and developing until a nationwide meeting toro listed earlier contain complex or syncopated rhythms of leading musicians, writinfluenced by Brazilian folk traers, authors, and philosodition. Composers with multiNationalism was building and developing phers later dubbed the ple works may show varying folk Semana de Arte Moderna until a nationwide meeting of leading musi- influences from work to work. (Week of Modern Art) A few composers and musihelped coalesce Brazilian cians, writers, authors, and philosophers cians affiliated with Universimusic and art into one helped coalesce Brazilian music and art dade Federal do Rio de Janeiro identifiable nationalist (UFRJ) made significant contristyle. In February of 1922, into one identifiable nationalist style. butions. Jos Siqueira (1907 Heitor Villa-Lobos and 1985) was a trumpet soloist, others met in So Paulo and outlined the importance of theorist, and composer who was born in northeast Brazil but nationalism and elements in music and the other arts that moved to Rio de Janeiro to join a military band. Eventually, should be incorporated in this nationalist ideology. Later, he had a distinguished career that included directing many of Mrio de Andrade, a renowned philosopher, scholar, and the worlds leading orchestras in performances of his own author, further codified these ideas in one of his many texts works. Siqueiras significant output as a composer included in Berlin. He brought with him the neoclassicist philosophies and serialist techniques of Arnold Schoenberg, Anton Webern, and Alban Berg and, in 1939, formed Grupo Msica Viva (Living Music Group), which championed the ideologies of the aforementioned Second Viennese School. Composers conforming to this artistic movement discarded a nationalist philosophy for a modern European style because they viewed nationalism as antiquated and pass.13 Many prolific Brazilian composers abandoned their nationalist methodologies including Cludio Santoro and Camargo Guarnieri, choosing instead to exemplify the movement set forth by Grupo Msica Viva. Interestingly, many composers including Santoro eventually returned to their nationalist roots. While Santoros sonata was listed in his catalog, previous scholars had not been able to locate the work.14 Peculiarly, Brazilian composers (not Santoro in particular) have a tradition of listing phantom works, compositions never written, in their catalogs to appear more productive. Even after repeated requests, Gizele Santoro, the composers widow, who now possesses his complete manuscript collection, insisted that Santoro never wrote a trumpet sonata. Ironically, around the same time as these requests, this authors aunt provided Gizele Santoro a 200-page report regarding education in Brasilia, as the two were working together on a government project. One final search of the Santoros manuscript collection at last disclosed the lost sonata. Gizele Santoro believes the work was never premiered during the composers lifetime, and both a clean score with no markings and a few mistakes in the score support this assumption.15 It is likely that the premiere performance was given on March 28, 2000, by this author on a program that included a modern premiere of Santana Gomess Andante e Bolero.16 Editions Savart recently published Santoros sonata. The composers expertise and craftsmanship are evident in the contrapuntal textures found throughout the work. Rhythmic variety and sudden changes in character add to the compositions interest. Several other works predominantly in a counter-nationalist style include Santoros Fantasia Sul Amrica that can be performed with orchestra or sans accompaniment, and two other unaccompanied works: Flvio Fernandess Aton and Francisco Mignones Sonata para Trompete.
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two operas, two oratorios, two cantatas, three symphonies, numerous symphonic poems and concertos, and countless chamber works. He directed orchestras around the world including in Philadelphia, New York, Rochester, Montreal, Lisbon, Paris, and Moscow. In Brazil, he taught at UFRJ, founded Orquestra Sinfnica Nacional and Orquestra de Cmara do Brasil, co-founded Academia Brasileira de Msica, and published several didactic texts in Portuguese.19 Siqueiras Trs Estudos (1963) and his Concertino para Trompete e Orquestra de Cmera (1966) are substantial compositions conceived in a very nationalist style. Unfortunately, the trumpet part and orchestral score to Siqueiras concertino have been lost. (The author is currently reconstructing the work.) One of the most obvious uses of Brazilian folk tradition in Siqueiras music includes the second movement of Trs Estudos (Three Studies) marked Tempo de Modinha. Lyrical sentimental songs were once referred to as modinhas or modas because they were in style; na moda in fact means in style.20 Similarly, the second movement of his concertino is a cano (song) and employs simple folk-like melodies. The final movements 2/4 time signature and syncopated melodies with offbeat accents are indicative of a folk style. Domingos Raymundos Divagando (1960) and Concertino para Cornetim e Orquestra (1963) were not conceived in particular dance styles; nonetheless, folk qualities are evident. While difficult to codify, a simple melodic construction, lyricism, and outlining of various ascending diminished chords yield a folk sound. Two other lyrical compositions appeared during this time. Baptista Siqueiras Canto de Trompete (1961), a particularly beautiful song, was conceived with a similar type of melodic construction.21 Additionally, Ricardo Tacuchians Subrbio Carioca (1962) includes a valsa brejeira (a slow urban waltz). Interestingly, this Domingos Raymundo work was the first Tacuchian included in his catalog of works; the composition demonstrates a nationalist style that he abandoned early in his career for a more experimental language. Raymundo (1904 2001), Siqueira (1906 1992), and Tacuchian (b. 1939) were all affiliated with UFRJ. Premiered by Rubens Brando, who was the trumpet professor at this university at the time, Raymundos concertino is the first known Brazilian work for trumpet and orchestra. Heinz Schwebel recently premiered Jos Guerra Vicentes Concerto para Trompete e Orquestra (1963). The composers son Antonio Guerra Vicente has been active in reviving his fathers music and arranging premieres of neverperformed works as well.22 This concerto and Ernst Widmers Sonatina para Trompete e Piano (1968), written for Horst Schwebel but not performed until this year by his son Heinz, represent more works not premiered during composers lifetimes and efforts by modern Brazilian soloists to revive old music and expand the trumpet repertoire. In So Paulo, during the last four decades, Osvaldo Lacerda (b. 1927) contributed Invocao e Ponto (1968), Rondino 32 ITG Journal / June 2007

(1974), Pequena Suite in (1983), and Sonata para Trombeta e Piano (1996). All four display nationalist influences, including the use of pentatonic scales found in folk tradition and indigenous styles such as dobrado (a march style) and canco. Lacerda was the first Brazilian to win a Guggenheim Fellowship (1962)an opportunity that allowed him to study with Vittorio Giannini in New York and Aaron Copland at Tanglewood. Lacerda first studied composition with Camargo Guarnieri in Brazil. He also authored several texts on music theory and won numerous prizes in Brazil for his compositions, including the first prize in the Concorso Nacional de Composio da Cidade de So Paulo, for his Suite Piratininga.23 Ernst Mahle (b. 1929) from Piracicaba, So Paulo migrated to Brazil in 1951 at the age of 22. His earliest contributions, Concertino para Trompete (1973) and As Melodias da Ceclia (1976), were intended as didactic works. Mahles two more substantial works for solo trumpet, Concertino para Trompete e Cordas (1979) and Sonatina para Trompete e Piano (1979), exhibit both his European heritage and Brazilian culture. Mahles As Melodias da Ceclia is the first known Brazilian publication for trumpet and piano, released by Irmos Vitale in 1976. Earlier, compositions by Bomfiglio de Oliveira (1894 1940) and Sebastio Cirino (1902 1968) were published as collections of lead sheets without chord symbols. These two musicians were among the most notable Brazilian trumpet soloists in popular music with the genres of chro and maxixe. Since these compositions were in a popular idiom and

Ernst Mahle

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could have been performed on any instrument, they are not considered solo trumpet works as defined by this study and are not included in the list of works.24 Two of his later trumpet works were dedicated to and premiered by Paul Mitchell, an American performing in So Paulos orchestras. Srgio Vasconcellos-Corras Concertino para Trompete e Orquestra (1978) is also noteworthy as one of the few published works and for its distinction of being awarded a governors prize in So Paulo. The last movement of this concerto employs several indigenous percussion instruments following one of the tenets outlined in Semana de Arte Moderna. Edmundo Villani-Crtes (b. 1930) contributed Ponteio para as Alterosas (1998) that pays homage to a region in the composers home state of Minas Gerais. He later added two more movements to what was eventually titled Concerto No. 1 para Trompete (2004) written for Anor Luciano, professor of trumpet at Universidade Federal de Minas Gerais. The second and third movements (added later), titled Aquifero-Guarani and Valsa Ranchera, depict Southern Brazil. Aquifero-Guarani refers to the worlds largest aquifer located in Southern Brazil. This geographic area is famous for its ranchers known as gauchos, and Valsa Ranchera literally means a ranchers waltz.25 Northeast Brazil and the Armorial Movement During the 1960s and 70s, composers from northeast Brazil began a movement that follows nationalist principles on a Brazilian to earn a doctorate in trumpet abroad at Catholic regional level. This cultural development known as Movimento University (Washington, DC). His principal teacher and menArmorial (Armorial Movement) involved the conscious efforts tor was Charles Schlueter. Simess friendship with Duda led of composers, artists, and writers to assimilate their indigenous to several significant works, including Suite Recife, Concertino folk styles and genres into their artwork. Within the folk culpara Trompete e Piano, Suite Monette, and Fantasia Carture, songs, and poems were printed on leaflets (illustrated navalesca.28 These works embody the Armorial style. In the with woodcuts) and were hung for sale and placed on strings fifth movement of Suite Recife, Duda used frevo. This extremestretched between market stalls. ly fast and syncopated music perThis literatura de cordel (literature Movimento Armorial (Armorial formed for the northeastern Caron a cord) was formed through a nival evolved from marches perculmination of narrative poetry, Movement) involved the conscious formed faster and faster and more paintings and e t c h i n g s , a n d syncopated until a new style chants. In the creation of Brazilian efforts of composers, artists, and writ- evolved (frevo comes from the Armorial Art, composers, authors, ers to assimilate their indigenous folk word ferver: to boil).29 The first and artists embraced this popular four movements include baio culture, channeling its characteris- styles and genres into their artwork. (also, a fast and syncopated tics into unique works with uninortheastern folk style) and the versal appeal. Armorial composers adopted several northeastlyrical aboio (cattle rancher song) and cano. All three moveern dance styles into their concert works, including baio, ments were conceived modally with an approach typical of frevo, and maracat. Additionally, lyrical movements entitled many northeastern styles. While the most common northeastcanes (fisherman songs) and aboios (cattle rancher songs) ern modes are the lydian, mixolydian, and lydian-mixolydiwere conceived with an indigenous modal system.26 an,30 Silva uses the lydian, mixolydian, and dorian for these Widely known by the penname Duda, Jos Ursicino da movements. His concertino also used a Brazilian waltz and Silva was born in Goias, Pernambuco in 1935. Largely selfmaracat (a slow and heavy dance style also from northeast taught, he began his musical studies playing clarinet and saxoBrazil). These styles are evident in other northeastern works as phone in several bands including the highly regarded Academwell as compositions by scholars throughout Brazil who have ic Jazz Band of Recife. This ensemble performed many of the researched the music from this area. The group Brassil recordpopular compositions by Glenn Miller and Tommy Dorsey, ed several of Dudas works on the Nimbus label; however, all offering Silva the opportunity to study these masters scores. of the works listed were originally solo trumpet works.31 The American military bases in Recife and Natal during World use of indigenous styles in the movement once again follows War II made these arrangements accessible. In northeast the principles of Semana de Arte Moderna. Brazil, Maestro Duda became a household name due to the Urbanism and Universalism success of his compositions during the northeastern Carnival. In Brazils urban centers, composers have often drawn upon However, only recently has he become highly regarded among universal influences for inspiration, fusing domestic genres academic circles.27 with international styles. Hence, American musical forms such Silvas former son-in-law Nailson Simes was the first
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L R: Nailson Simes, unknown, and Jos Ursicino da Silva Duda

June 2007 / ITG Journal 33

titled Jobiniando Nova Iorque portrays New York in the style as jazz and blues and other nations styles have been acculturof Tom Jobim.35 This work and Raimundos Carambola were ated into Brazilian music. While many composers continue to both written for trumpet and piano, contrasting the works for look abroad for inspiration, the primary catalyst continues to Gould that were conceived with a more eclectic instrumentabe domestic styles; musicians are most familiar with their own tion. artistic forms.32 Several composers who consider their styles The diverse influences and urban-conceived pieces employ particular indigenous styles, While many composers continue to look varied instrumentation of Penafortes music in particular confirming this hypothesis. Antonio Guerreiro (b. 1949) abroad for inspiration, the primary cata- poses the question: What is a Brazilian solo trumpet work? conceived Trs Peas (Three lyst continues to be domestic styles Because popular and classical Pieces) in 1998 with the outer idioms in Brazil are more closely related than in traditional movements set as a chro and frevo respectively. Additionally, western thinking, the answer becomes even more difficult. For while the lyrical middle movement displays influences of the purposes of this study, the following distinctions have been American blues, the vocalise is marked cano. Although Guermade. Unaccompanied works and pieces for trumpet and a reiro considers this solo trumpet work to be in a universal harmonic instrument (piano, organ, guitar) style, his approach is inherently and percussion or ensemble (orchestra, band, nationalist because he chose brass quintet, etc.) are included. If a duo is domestic influences for inspirafeatured such as trumpet and trombone with tion.33 In fact, he calls the final one of these instrumental combinations, then movement of his suite Frevo Carithese pieces are also included. Works for oca, combining the genre of Frevo trumpet and only one other melodic instruwith styles from Rio de Janeiro as ment, for example flute and trumpet, are the word carioca suggests. Likeconsidered duets and excluded. The solo wise, Nestor de Hollanda Cavaltrumpet work genre is further defined as canti (b. 1949) composed four music specifically conceived for the trumpet short works for this author that by the composer and notated as such. Hence, can be performed individually or music with only a lead sheet that may have as a set: Um Gringo no Samba first been performed on trumpet is omitted (1997), Um Gringo no Chro from the collected works. Noteworthy contri(1998), Um Gringo no Frevo butions by Brazilian artists in specifically (1999), and Cissiparidade (1999). popular genres could not be included in this The first three of these composistudys already large scope. tions reflect the styles for which they are named: samba, choro, and Conclusion frevo. Cissiparidade displays influBrazilian solo trumpet works are quite varences of both samba and cano. ied. These works include pieces conceived in Again, although Cavalcanti cites a Romantic style, others demonstrating foreign influences in most of his strong nationalism, some modeling European compositions, his works are also genres, and compositions based on universal innately nationalistic because of experiences. Recently, scholars began appraisthe recurring use of domestic ing cultural riches from the northeast posistyles. Nestor de Hollanda Cavalcanti tively, giving this music equal merit when Born in the city of Recife in compared to Brazils better-known styles that have been northeast Brazil, Raimundo Penaforte (b. 1961) studied at exported internationally. The evolution of mainstream artistic Universidade Federal de Pernambuco and eventually the Juilthought in Brazil during the twentieth century is represented liard School. Many diverse accomplishments include performin these compositions. ances and recordings as a percussionist with Maynard FerguProgress toward the enrichment of the solo trumpet reperson, Chuck Mangione, and Richie Havens. While Penafortes toire involves increasing the literature available for the instruworks are among the most recognizably Brazilian, his travels ment through several methods. This development includes abroad have led to urban and universal influences in his music. maintaining a positive alliance with composers and encouragHe refers to many of his works as recompositions changing ing them to write new works through commissions. In recent original melodies, harmonies, and form to the point where the years, the emergence of desktop publishing has made the dispiece becomes a new [work] without losing its original characsemination of a variety of music easy and increasingly affordteristics.34 One needs only to examine a few of Penafortes able. New works are constantly being released. While leading unique compositions written for Mark Gould to see this prinEuropean scholars continue to locate lost or obscure manuciple in effect: Samboresque , that includes Dvoraks scripts of solo trumpet works from the past four centuries, this Humoresque set as a samba; and America Over Yonder, that source of historically significant literature has been largely includes the melody America the Beautiful. Additionally, his exhausted. New editions of this music rarely reveal composiuse of various styles is represented in his Sweet New York writtions that are revolutionary; most are very similar to the abunten for Fernando Dissenha, principal trumpet of Orquestra dance of literature already available. Furthermore, these works Sinfnica do Estado de So Paulo. The fourth movement 34 ITG Journal / June 2007

2007 International Trumpet Guild

do not disclose any new artistic ideologies. The music from South America includes the emergence of new musical forms and indigenous styles by merging two or more genres into a new art form of European styles with African music. In Brazil alone, nationalism was codified in Semana de Arte Moderna; Grupo Msica Viva looked to Europe for counter-nationalist inspiration; Armorial composers championed their regional artwork; and urban composers looked for universal influences for the creation of new music. An examination of the list of works provided reveals a growing momentum for solo performance in Brazil; more known works can be attributed to each succeeding decade with roughly one third being written during the 1990s. Furthermore, Brazilian trumpet soloists have produced an increasing number of solo recordings: Nailson Simes, Fernando Dissenha, Paulo Mendona, Heinz Schwebel, Paulo Ronqui, Silvrio Pontes, and this author during the past decade. Most importantly, Brazilian trumpet works represent a unique body of literature that can significantly enhance the solo trumpet repertoire. Many of these works have recently been published and are available to performers worldwide. A substantial number of works revealed in this study being unknown to the international trumpet community indicates there are likely other substantial bodies of literature awaiting discovery. Scholars must work to preserve repertoire from the Latin American, African, Middle Eastern, and other cultures, or many unique and diverse works will be lost. About the author: Originally a native of Brazil, Luis Engelke is currently professor of trumpet at Towson University in Baltimore, MD. He performs more than 100 engagements annually as a soloist and orchestral/chamber musician, serves as Music Reviews Editor for the ITG Journal, and is a Yamaha Performing Artist. Engelke has performed as a soloist in North America, South America, Asia, and Europe and has appeared on more than 20 commercially released recordings. Most recently, he was featured with a trumpet solo in the film Stories of the Land (Aurora Films and Records) with Pennsylvanias Lancaster and York Symphony Orchestras. Engelkes performances and research into Latin music include a solo CD titled A Brazilian Collection and an anthology published by Balquhidder Music under the same title. His work in Brazil consists of performances with several of the countrys leading orchestras including a tenure with Orquestra Sinfnica Brasileira; collaborations with legendary artists such as Paulo Moura, Ivan Lins, and Ze da Velha; instruction at Universidade Federal do Rio de Janeiro and several other institutions. The present article spans more than a decade of research on Brazilian solo trumpet music. 1 2 3 4 Endnotes Norbert A. Carnovale and Paul F. Doerksen, TwentiethCentury Music for Trumpet and Orchestra, second ed. ([United States]: The Brass Press, 1994). Kevin Eisensmith (Editor), Trumpet and Brass Programs, United States: The International Trumpet Guild, 1994 2005. Museu Villa-Lobos, Villa-Lobos, Sua Obra, 2d ed. (Rio de Janeiro: [Ministrio da Educao e Cultura]/[Departamento de Arquivo Cultural]/Museu Villa-Lobos, 1972). Escola de Msica da Universidade do Rio de Janeiro (The

8 9

10 11

12

13

15

14 16 17

18 19

20 21 22 23

24

25

26 27

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School of Music from the Federal University of Rio de Janeiro) assumed many names in existence including Conservatrio de Msica and Instituto Nacional de Msica. For the purpose of clarity in this article, this institution is referred to only by its current name of Universidade do Rio de Janeiro (UFRJ). Enciclopdia da Msica Brasileira, Mesquita, Henrique Alves de (So Paulo: Art Editora, 1998), 7 8. Enciclopdia da Msica Brasileira, Medeiros, Anacleto de (So Paulo: Art Editora, 1998), 496. Enciclopdia da Msica Brasileira, Gomes, Santana (So Paulo: Art Editora, 1998), 337 338. Compositores Brasileiros: Camargo GuarnieriCatlogo de Obras (Rio de Janeiro: Ministrio das Relaes Exteriores; Departamento de Cooperao Cultural, Cientfica e Tecnolgica, 1977). Vasco Mariz, Claudio Santoro (Rio de Janeiro: Editora Civilao Brasileira, 1994). Enciclopdia da Msica Brasileira, Guarnieri, Camargo (So Paulo: Art Editora, 1998), 349 353. Nailson de Almeida Simes, Six Twentieth-Century Compositions for Trumpet Solo (Manuscript from D.M.A. Lecture Recital: Washington, DC, Catholic University of America, 1990), 5. Enciclopdia da Msica Brasileira, Santoro, Claudio (So Paulo: Art Editora, 1998), 710 712. Jos Maria Neves, Msica Contempornea Brasileira (So Paulo: Ricordi, 1977), 85. Vasco Mariz, Claudio Santoro (Rio de Janeiro: Editora Civilao Brasileira, 1994). Gizele Santoro, interview by author, 15 August 1999, personal notes, Rio de Janeiro. Luis Engelke and Eva Mengelkoch, Twentieth-Century Brazilian Trumpet Works, recital program (Towson, MD: Towson University) March 28, 2000. Mrio de Andrade, Ensaio sobre a msica brasileira (So Paulo: Livraria Martins, n.d.). Arnaldo Daraya Contier, Msica e ideologia no Brasil (So Paulo: Editora Novas Metas, 1985), 47 (liberally translated). Enciclopdia da Msica Brasileira, Siqueira, Jos (So Paulo: Art Editora, 1998), 745 747. Bruno Keifer, A modinha e o lundo, duas razes da msica popular brasileira (Porto Alegre, RS: Editora Movimento, 1986), 8 9. Baptista Siqueira was the younger brother of Jos Siqueira. Heinz Schwebel, EMail correspondence, 11 September 2006, Salvador, Bahia. Compositores Brasileiros: Osvaldo LacerdaCatlogo de Obras (Rio de Janeiro: Ministrio das Relaes Exteriores; Departamento de Cooperao Cultural, Cientfica e Tecnolgica, 1976); and Enciclopdia da Msica Brasileira, Lacerda, Osvaldo (So Paulo: Art Editora, 1998), 428. Bomfiglio de Oliveira, Solos de Pistonlbum No. 1 (Rio de Janeiro: Irmos Vitale, n.d.). Anor Luciano, interview by author, 2 June 2006, personal notes, Baltimore, MD. Jos Ursicino da Silva. Fantasia Brasileira, edition with commentary by Luis Engelke (Oxford, OH: Triplo Press, 2003), i ii. Luis Engelke(Ed.). A Brazilian Collection: Five works for June 2007 / ITG Journal 35

Trumpet & Piano by da Silva, Raymundo, Gomes, and Guerreiro (Montrose, CA: Balquhidder Music, 2006), 2 3. 28 Nailson Simes, interview by author, 16 June 1999, personal notes, Universidade do Rio de Janeiro, Rio de Janeiro. 29 Antonio Adolfo, Brazilian Music Workshop ([Rottenberg N., Germany]: Advance Music, 1993), 127. 30 Jos Siqueira, O Sistema Modal na Msica Folclrica do Brasil (Joo Pessoa, PE: Secretaria da Educao e Cultura, 1981), 4.

31 Jos Ursicino da Silva, telephone interview by author, 6 August 1999, personal notes, Rio de Janeiro. 32 Nestor de Hollanda Cavalcanti, interview by author, 19 July 1999, personal notes, Rio de Janeiro. 33 Antonio Guerreiro, interview by author, 6 July 1999, personal notes, Universidade do Rio de Janeiro, Rio de Janeiro. 34 Raimundo Penaforte, EMail correspondence, 12 September 2006, New York, NY. 35 Fernando Dissenha, EMail correspondence, 5 September 2006, Salvador, Bahia.

A COMPREHENSIVE LIST OF KNOWN TWENTIETH-CENTURY BRAZILIAN SOLO TRUMPET WORKS COMPILED BY LUIS C. ENGELKE
Composer/Composition Gomes, Santana. Andante e bolero em r Medeiros, Anacleto de. Bouquet Mesquita, H. A. de. Pequena Fantasia para Trompete Naegele, Joaquim Antonio. Estrela de Friburgo Santoro, Cludio. Sonata Guarnieri, Camargo. Estudo para trompete em d Penalva, Jos. Cantilena e Fuga para trompete e orgo Guimares, Djalma. Canto Andaluz Raymundo, Domingos. Divagando Siqueira, Baptista. Canto de Trompete Tacuchian, Ricardo. Subrbio Carioca Raymundo, Domingos. Concertino Siqueira, Jos. Trs Estudos Vicente, Jos Guerra. Concerto Siqueira, Jos. Concertino Nobre, Marlos. Desafio XIV para Trompete e Piano Lacerda, Osvaldo. Invocao e Ponto Widmer, Ernest. Sonatina para Trompete e Piano Mignone, Francisco. Sonata para Trompete Pumar, Laura Maria. Valsa Schubert, Guilherme. Fantasia Miniatura Aguiar, Ernani. Trs Peas Szpilman, Waldemar. Fantasia para Dois Trompetes Borges, Ruy Brasileiro. Fantasia em R Bifurcado Mahle, Ernst. Concertino para Trompete (Pai Francisco) Lacerda, Osvaldo. Rondino Fernandes, Flvio. Aton Mahle, Ernst. Concertino Mahle, Ernst. As Melodias da Ceclia. Simes, Nailson. Melodia para Marilian Silva Duda, Jos Ursicino da. Marilian no Frevo Szpilman, Waldemar. Concerto 36 ITG Journal / June 2007 Instrumentation Trumpet & Piano Trumpet & Band Trumpet & Piano Trumpet & Band Trumpet & Piano Unaccompanied Trumpet & Organ Trumpet & Piano Trumpet & Piano Trumpet & Piano Trumpet & Piano Trumpet & Orchestra Trumpet & Piano Trumpet & Orchestra Trumpet & Piano Trumpet & Piano Trumpet & Orchestra Trumpet & Piano Trumpet & Piano Trumpet & Piano Trumpet & Piano Trumpet & Orchestra Two Trumpets & Orchestra Trumpet & Orchestra Trumpet & Orchestra Trumpet & Piano Unaccompanied Trumpet & Orchestra Trumpet & Piano Trumpet & Piano Trumpet & Piano Trumpet & Orchestra Premiere (Trumpet Soloist) Date Candido Lima 1900 Unavailable ca. 1900 H. A. de Mesquita Unavailable Luis Engelke* Unavailable Unavailable Djalma Guimares P. J. Terry Rubens Brando Rubens Brando Rubens Brando Valdomiro Alves Heinz Karl Schwebel* Luis Engelke* Unavailable Dino Pedini Heinz Karl Schwebel* Rubens Brando Rubens Brando Rubens Brando Grever Castro Unavailable Unavailable Luiz Antonio Unavailable Srgio Cascapera Paul Mitchell Unavailable Nailson Simes Nailson Simes Rubens Brando ca. 1900 ca. 1940 1946 1953 1956 1960 1960 1961 1962 1963 1963 1963 1966 1968 1968 1968 1970 1970 1970 1971 1972 1973 1973 1974 1976 1976 1976 1976 1976 1976

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Widmer, Ernest. Espera Unaccompanied Horst Schwebel Bidart, Lycia de Biase. Solitude Trumpet & Piano Henrique Cesar Bidart, Lycia de Biase. Concerto para Piano e Trompete Trumpet & Piano Henrique Cesar Trumpet & Orchestra Jos Maria Barrios Dias, Alfredo. Concerto Trumpet & Piano Nailson Simes Fernandes, Flvio. Preludiando No. 3 Trumpet & Piano Rubens Brando Priolli, Maria Lusa. Berceuse Vasconcellos-Corra, Srgio. Concertino Trumpet & Orchestra Ermildo Luiz Vianna Mahle, Ernest. Sonatina Trumpet & Piano Paul Mitchell Sedcias, Dmas. Requiem para um Novillero Trumpet & Guitar Jos Maria Pimental Silva Duda, Jos Ursicino da. Tema para um Trompetista Trumpet & Piano Nailson Simes Silva Duda, Jos Ursicino da. Suite Recife Trumpet & Piano Nailson Simes Hofman, Hubertus. Concerto para Dois Trompetes e Orquestra Two Trumpets & Orchestra Unpremiered Fernandes, Flvio. Criao No. 1 Trumpet & Piano Nailson Simes Lacerda, Osvaldo. Pequena Suite Trumpet & Piano Unavailable Mignone, Francisco. Cinco Cirandes Trumpet & Piano Unavailable Santoro, Cludio. Fantasia Sul Amrica Trumpet & Orchestra Anor Luciano Silvestre, Lourival. Verd e Amarelo Trumpet & Piano Rubens Brando Chassin, Ibaney. Piazzolando Trumpet & Piano Unavailable Silva Duda, Jos Ursicino da. Zinzinho nos States Trumpet & Piano Nailson Simes Bidart, Lycia de Biase. Srie Retratos Trumpet & Piano Paulo Reis Kaplan, Jos Alberto. Sonata para Trompete e Piano Trumpet & Piano Nailson Simes Almeida, Carlos de. Stima Seresta Trumpet & Piano Rubens Brando Nobre, Marlos. Concerto Trumpet & Orchestra Unavailable Silva Duda, Jos Ursicino da. Msica para Metais No. 3 Trumpet, Trombone & Piano Nailson Simes Silva Duda, Jos Ursicino da. Concertino Trumpet & Piano Nailson Simes Gagliardi, Gilberto. Trompeta de Espanha Trumpet & Band Unavailable Penaforte, Raimundo. Carambola. Trumpet & Piano Fernando Dissenha Victoria, Roberto. Ens Unaccompanied Nelson Oliveira Silva Duda, Jos Ursicino da. Toada Trumpet, Trombone & Brass Quintet Charles Schlueter Silva Duda, Jos Ursicino da. Suite Monette Trumpet & Brass Quintet Charles Schlueter Freitas, Gizele. Lore Infantil do Folk Trumpet & Piano Unavailable Lima, Paulo Costa. Oriki Trumpet & Piano Heinz Karl Schwebel Penaforte, Raimundo. Sweet New York Trumpet & Piano Fernando Dissenha Silva Duda, Jos Ursicino da. Fantasia Three Trumpets & Band Charles Schlueter, Nailson Carnavalesca Simes, Anor Luciano Gomes, Wellington. Policromo Trumpet & Piano Heinz Karl Schwebel Lacerda, Osvaldo. Sonata Trumpet & Piano Renato Misiuk Linhares, Joo. Concertino para Trompete Trumpet & Guitar Anor Luciano Penaforte, Raimundo. Nana Trumpet, Guitar & Percussion Mark Gould Penaforte, Raimundo. Serenade Trumpet & Guitar Mark Gould Cavalcanti, Nestor de Hollanda. Um Gringo no Samba Trumpet & Piano Luis Engelke Cerquiera, Fernando. Clipses Emotivos Trumpet & Piano Heinz Karl Schwebel Escalante, Eduardo. Duo No. 14 Trumpet & Guitar Unavailable Lima, Paulo Costa. Oriki II Unaccompanied Heinz Karl Schwebel Magalhes, Alexandre Brasolim de. Contradana Trumpet & Piano Fernando Dissenha Nogueira, Hudson. Divertimento para Trompete e Piano Trumpet & Piano Fernando Dissenha Penaforte, Raimundo. America Over Yonder Trumpet, Guitar, Bass Clarinet & Percussion Mark Gould Penaforte, Raimundo. Picada de Abelha Trumpet & Percussion Mark Gould Penaforte, Raimundo. Samboresque Trumpet, Guitar & Percussion Mark Gould
2007 International Trumpet Guild

1976 1977 1977 1978 1978 1978 1978 1979 1980 1980 1981 1982 1983 1983 1983 1983 1984 1986 1986 1987 1987 1988 1989 1989 1991 1992 1992 1993 1994 1994 1994 1995 1995 1995 1996 1996 1996 1996 1996 1997 1997 1997 1997 1997 1997 1997 1997 1997

June 2007 / ITG Journal 37

Prado, Almeida. Nh Euphrazina, bela cabocla, for-de-maracuj Villani-Crtes, Edmundo. Ponteio para as Alterosas Cavalcanti, Nestor de Hollanda. Um Gringo no Chro Gorni, Vitor Hugo. Pequena Sute para Trompete Guerreiro, Antonio. Suite para Trompete e Piano Cavalcanti, Nestor de Hollanda. Um Gringo no Frevo Cavalcanti, Nestor de Hollanda. Cissiparidade Sedcias, Dmas. Corda e Caamba

Trumpet & Piano Trumpet & Piano Trumpet & Piano

Gilberto Reinheimer Anor Luciano Luis Engelke

1997 1997 1998 1998 1998 1999 1999 1999

Trumpet, Acoustic Bass, Piano & Percussion Arthur Fernandes Trumpet & Piano Trumpet & Piano Trumpet & Piano Trumpet & Percussion Nailson Simes Luis Engelke Luis Engelke Unavailable

Composers, programs, manuscripts, and other sources were used to ascertain soloists premiering works. Sources indicate that in a few cases certain works were never premiered during composers lifetimes. An asterisk marks these works. For several works not dedicated to a particular soloist, determining the soloist who premiered the work was not possible.

A LIST OF RECOMMENDED PUBLISHED AND CURRENTLY AVAILABLE BRAZILIAN MUSIC FOR TRUMPET (SOLO WORKS AND CHAMBER MUSIC) COMPILED BY LUIS C. ENGELKE
Composer Cavalcanti, Nestor de Hollanda Gagliardi, Gilberto Gagliardi, Gilberto Gagliardi, Gilberto Gagliardi, Gilberto Gomes, Santana Guerreiro, Antonio Havens, Daniel Kaplan, Jos Alberto Mahle, Ernst Raymundo, Domingos Santoro, Claudio Santoro, Claudio Santoro, Claudio Sedicias, Dimas Sedicias, Dimas Silva Duda, Jos Ursicino da Silva Duda, Jos Ursicino da Silva Duda, Jos Ursicino da Silva Duda, Jos Ursicino da Silva Duda, Jos Ursicino da Composition Urban Quintet No. 1 Cantiga Brasileira Cantos Nordestinos Melancolico Modinha Andante e bolero em r Suite para Trompete e Piano Cenarios Brass Quintet As Melodias da Ceclia. Divagando Fantasia Sul Americana Fantasia Sul Americana Sonata Burundunga Trilogia Matuta Concertino Fantasia Brasileira Suite Monette Suite Recife Suite Recife Instrumentation Brass Quintet Trumpet Quartet Brass Ensemble Trumpet Quartet Trumpet Quartet Trumpet & Piano Trumpet & Piano Brass Ensemble Brass Quintet Trumpet & Piano Trumpet & Piano Unaccompanied Trumpet Trumpet & Orchestra Trumpet & Piano Brass Quintet Brass Quintet (w. opt. percussion) Trumpet & Piano Trumpet Quintet Solo Trumpet & Brass Quintet Trumpet & Piano Brass Quintet (transcription by the composer) Trumpet & Piano Brass Quintet (transcription by the composer) Trumpet, Trombone & Brass Quintet Publisher Brazilian Music Enterprises Brazilian Music Enterprises Brazilian Music Enterprises Brazilian Music Enterprises Brazilian Music Enterprises Balquhidder Music Balquhidder Music Brazilian Music Enterprises Brazilian Music Enterprises Irmos Vitale Balquhidder Music Editions Savart Editions Savart Editions Savart Brazilian Music Enterprises Brazilian Music Enterprises Balquhidder Music Triplo Press Alfia Publishing Balquhidder Music Alfia Publishing Alfia Publishing Alfia Publishing Alfia Publishing

Silva Duda, Jos Ursicino da Tema para um trompetista Silva Duda, Jos Ursicino da Tema para um trompetista Silva Duda, Jos Ursicino da Toada

All of these works except for Ernst Mahles As Melodias de Ceclia were first published between 1996 and 2006. Antonio Guerreiros Suite para Trompete e Piano, Santana Gomess Andante e Bolero, Domingos Raymundos Divagando, and Dudas Concertino and Suite Recife were all published by Balquhidder Music as one anthology titled A Brazilian Collection in 2006. 38 ITG Journal / June 2007

2007 International Trumpet Guild