Ernesto Nazareth

Ernesto Nazareth
Nazareth in an undated portrait from Correio da Manhã.
Nazareth in an undated portrait from Correio da Manhã.
Background information
Born
Ernesto Júlio de Nazareth

(1863-03-20)20 March 1863
Rio de Janeiro, Neutral Municipality[a], Empire of Brazil
Died1 February 1934(1934-02-01) (aged 70)
Rio de Janeiro, Federal District, Brazil
Genres
Occupations
  • Composer
  • pianist
InstrumentPiano
Websiteernestonazareth150anos.com.br

Ernesto Júlio de Nazareth (20 March 1863 – 1 February 1934) was a Brazilian composer and pianist. He wrote almost entirely for the piano, drawing on the waltzes and polkas of Rio de Janeiro's salons, carnival music, the playing of chorões[b] and pianeiros,[c] and the European repertory he had studied, especially Chopin. His piano writing adapted figures from the guitar, cavaquinho[d] and flute as syncopated accompaniment, lyrical melody and inner counterpoint.[e][1][2][3]

Nazareth composed about ninety tangos, forty waltzes and twenty polkas, as well as mazurkas, schottisches,[f] marches and sambas.[4] He rejected the name maxixe[g] for his tangos, although they shared its syncopated rhythms. His scores circulated as salon music[h] through cafés, music shops and cinemas, in rodas de choro[i] and on the concert stage.[5][6]

Pieces such as Brejeiro, Odeon, Apanhei-te, cavaquinho and Ameno Resedá passed from sheet music to bands, recordings, choro groups and concert pianists. His works have been recorded thousands of times, in settings that run from solo piano to chamber groups and orchestras.[7] The Brazilian Academy of Music named him patron of chair no. 28.[j][8]

Biography

Nazareth was born in Rio de Janeiro, in the area then known as Morro do Nheco, now Morro do Pinto,[k] in the neighborhood of Santo Cristo. His father, Vasco Lourenço da Silva Nazareth, worked as a customs broker. His mother, Carolina Augusta Pereira da Cunha, was his first piano teacher and introduced him to a repertory that included Beethoven, Chopin, Gottschalk, Arthur Napoleão and salon pieces then circulating in Rio de Janeiro. Chopin became one of Nazareth's strongest musical interests.[9][2]

His mother died in 1874, when Nazareth was eleven. He then studied with Eduardo Rodolfo de Andrade Madeira, a family friend, and later with Charles Lucien Lambert, a New Orleans-born pianist and teacher who lived in Rio de Janeiro and had been a friend of Louis Moreau Gottschalk. A childhood fall from a tree caused a head injury and bleeding from one ear; the hearing problems that followed worsened in later life.[9]

At fourteen, Nazareth composed his first piece, the polka-lundu Você bem sabe, which he dedicated to his father. It was published the following year by Casa Arthur Napoleão.[l] In 1880, shortly before his seventeenth birthday, he made his first public appearance at Club Mozart, in a concert attended by Emperor Pedro II and members of the imperial family.[10]

His early published pieces included Cruz, perigo!! in 1879 and Não caio noutra!!! in 1880, the latter his first broad success. In the 1880s he appeared in concerts at clubs in the imperial capital. In 1893, Casa Vieira Machado published Brejeiro, which became one of his best-known works and circulated outside Brazil, with editions later issued in Paris and in the United States.[9][4]

On 14 July 1886, Nazareth married Teodora Amália Leal de Meireles, with whom he had four children: Eulina, Diniz, Maria de Lourdes and Ernestinho. He gave his first concert as a pianist in 1898. In 1899, the first edition of Turuna appeared. In 1902, his music was recorded for the first time, when the Banda do Corpo de Bombeiros do Rio de Janeiro[m] recorded Está chumbado. In 1904, the singer Mário Pinheiro recorded Brejeiro with lyrics by Catulo da Paixão Cearense under the title O sertanejo enamorado.[9]

Invoice issued by Casa Carlos Gomes in 1920 for the printing of Nazareth's piece Magnífico.

Nazareth worked in music shops as a demonstrator pianist, a common profession before radio and records became widespread. Customers learned new pieces by hearing them played live in the shop. He worked at Casa Mozart in 1908 and later at Casa Carlos Gomes on Rua Gonçalves Dias, a store owned by the composer Eduardo Souto. In 1909, he gave a recital at the Instituto Nacional de Música,[n] in which he played the gavotte Corbeille de fleurs and the tango Batuque.[9][4]

Between 1909 and 1913, and again between 1917 and 1918, Nazareth played in the waiting room of the old Cinema Odeon in Rio de Janeiro. The venue became closely linked to his name; admirers came to hear him there, and he named his tango Odeon after the cinema. At the Odeon he met Arthur Rubinstein and the French composer Darius Milhaud, who was in Brazil from 1917 to 1918 as secretary to the French diplomatic mission. Milhaud later drew on Brazilian popular music in works such as Le boeuf sur le toit and Saudades do Brasil.[9][4]

In 1919, the Banda do Corpo de Bombeiros recorded three of his pieces: Sarambeque, Menino de ouro and Henriette. In 1920, Heitor Villa-Lobos dedicated Choro no. 1 to Nazareth.[9]

In 1922, Luciano Gallet invited Nazareth to give a recital at the Instituto Nacional de Música. He performed Brejeiro, Nenê, Bambino and Turuna. Some resistance arose to presenting popular urban repertory in the institution, and police intervention was needed to guarantee that the concert could take place.[4]

In 1926, at the age of sixty-three, Nazareth left the state of Rio de Janeiro for the first time on a planned three-month tour of São Paulo state. The tour lasted eleven months and included appearances in the city of São Paulo, Campinas, Sorocaba and Tatuí. He was honored by the Sociedade de Cultura Artística de São Paulo and performed at the Conservatório Dramático e Musical de Campinas. At the Theatro Municipal de São Paulo, his appearance was preceded by a lecture by Mário de Andrade.[4]

Nazareth returned to Rio de Janeiro in 1927. He was among the first artists to perform on Rádio Sociedade, later Rádio MEC. In 1930, he composed his final work, the waltz Resignação, and recorded four piano solos: Apanhei-te, cavaquinho, Escovado, Turuna and Nenê. In 1932, he gave a recital devoted to his own music, with a lecture by Gastão Penalva, and toured southern Brazil.[9][11]

Nazareth lived in Ipanema from 1917 onward. His hearing loss became more severe in the late 1920s. In 1932, he was diagnosed with syphilis, and in 1933 he was admitted to the Colônia Juliano Moreira, a psychiatric hospital in Jacarepaguá. On 1 February 1934, he left the institution. His body was found three days later in the waters of a reservoir that supplied the hospital. The registered cause of death was asphyxia by submersion.[o] He was buried at the São Francisco Xavier Cemetery in Caju, Rio de Janeiro.[4]

Brazilian tango, maxixe and choro

Nazareth in later life

Nazareth's connection with choro runs through the pieces he published as tangos brasileiros (“Brazilian tangos”). In Rio de Janeiro during the late nineteenth century, the words choro, maxixe and tango brasileiro did not yet have the fixed meanings they later acquired. Choro first described a way of playing and the gatherings where small groups of flute, guitars and cavaquinho performed polkas, lundus, habaneras, mazurkas and other dances in a syncopated urban style.[4][5] These musicians, known as chorões, had been adapting imported dance forms since the mid-nineteenth century, using rhythmic patterns associated with the habanera, tresillo and the Afro-Brazilian lundu.[p][5]

The Brazilian tango took shape in that Rio musical world. It was related to the tango-habanera,[q] but in Rio it also touched the maxixe, a syncopated urban dance that carried strong class and moral stigma in elite circles. In printed music, the name tango brasileiro gave composers and publishers a less controversial label for repertory whose rhythm and dance associations could otherwise be heard as maxixe.[12][5] For Nazareth's generation, the word belonged to a wider repertory of habanera-derived, syncopated piano and dance music heard in Rio's music shops, salons, theatres and cafés, before Argentine tango became the form most widely associated with the name internationally.[5]

Nazareth's tangos brasileiros brought the accent and movement of Rio's popular ensembles into piano writing. Later commentators described his music as a piano condensation of the rhythmic and melodic language of choro, carioca[r] serenade and maxixe.[13]

This helps explain why choro musicians later embraced Nazareth even when his scores used other genre names. Many of his pieces were issued as salon piano music, but they circulated through rodas de choro, popular theatres and elite parlors.[5] Works such as Brejeiro, Odeon, Escovado, Bambino and Apanhei-te, cavaquinho entered a repertory where publication genre, dance rhythm and performance practice did not always align neatly.[6] Nazareth wrote for the piano and for the sheet music market, while his syncopations, bass lines and melodic turns kept his work close to the sound world of Rio's popular instrumental groups.[6][13]

In his work on Nazareth, Cacá Machado places this tension within the musical life of Rio at the turn of the twentieth century, when composers, performers and publishers moved across a porous boundary between salon repertory and urban popular music.[14][15] Nazareth's Brazilian tangos can therefore be read as piano works shaped by the printed dance market, the maxixe's syncopated language, choro performance practice and the technique of a pianist trained in the European salon tradition.[5][6]

Musical style, reception and legacy

Piano writing and repertory

Nazareth at the piano.

Nazareth wrote almost entirely for the piano. He drew on the waltzes and polkas played in Rio's salons, carnival music, the work of chorões and pianeiros, and the European repertory he had studied, especially Chopin.[1][2] He recast the sound of serenades and choro groups at the keyboard. Figures from the guitar, flute and cavaquinho became syncopated accompaniment, singing melody and inner counterpoint in his piano writing.[3][4][5]

His catalogue runs to about ninety tangos, forty waltzes and twenty polkas, besides mazurkas, schottisches, marches, sambas and fox-trots.[4] Tangos and waltzes form its largest part, and their titles often came from people, scenes and occasions in Rio.[16] Nazareth rejected the name maxixe for his tangos. He wrote much of this music for listening at the piano: dance supplied the rhythm, but ballroom steps did not govern its course.[4][1] His waltzes belong to the world of European salon and concert piano music. Chopin can be heard in their melodic curves, chromatic turns and flexible pacing.[2][1] The tangos and polkas find their momentum in Rio's syncopated rhythms.[5] Otto Maria Carpeaux credited Nazareth as one of the composers who gave Brazilian music a new piano language in the early twentieth century.[17]

Nazareth played in cafés, music shops, cinemas, social gatherings and private parties, where pianists like him were called pianeiros. They read from scores but played with the rhythmic freedom of Rio's popular music.[6] Yet the label goes only so far. Nazareth's scores demand firm command of the keyboard, and Mozart de Araújo argued that their pianistic writing cannot be reduced to dance music.[1] Recordings of Fon-fon! by Eudóxia de Barros and André Mehmari offer contrasting readings of the same score, bringing the classical concert tradition and popular performance to the same notes.[18]

Reception and later circulation

Nazareth at age 45, in a photograph dated 1908.

Nazareth's music drew attention from musicians working in different parts of Brazilian and European musical life. Darius Milhaud, who lived in Brazil from 1917 to 1918, later praised the rhythmic richness, melodic invention and expressive force of Nazareth and Marcelo Tupinambá, and his Brazilian period shaped works such as Le boeuf sur le toit and Saudades do Brasil.[19] Heitor Villa-Lobos dedicated Choro no. 1 to Nazareth in 1920, a gesture often noted in accounts of Nazareth's connection with the early choro repertory.[9]

During Nazareth's lifetime, some of his works were heard in settings usually associated with concert music. In 1922, Luciano Gallet invited him to perform at the Instituto Nacional de Música, where he played Brejeiro, Nenê, Bambino and Turuna.[9][4] In São Paulo in 1926, Mário de Andrade introduced one of his appearances at the Theatro Municipal de São Paulo.[4] Cacá Machado's work on Nazareth treats this career as part of the musical life of Rio at the turn of the twentieth century, when composers, performers and publishers moved across a porous line between salon repertory and urban popular music.[14][15]

After his death, Nazareth's music remained active in choro and piano repertories. Jacob do Bandolim, Radamés Gnattali and Carolina Cardoso de Menezes helped keep his music in circulation in the mid-twentieth century, while Eudóxia de Barros and Arthur Moreira Lima brought it strongly into the concert-piano repertory from the 1960s and 1970s onward.[7][20] Moreira Lima included Nazareth in a 1966 recital at the Theatro Municipal do Rio de Janeiro, where he played the waltz Coração que sente and the tango Batuque in a program otherwise centered on European concert repertory.[20]

The Instituto Moreira Salles later created the project Ernesto Nazareth 150 Anos, with a chronology, essays, photographs, scores and a catalog of works and recordings.[21] Its discography project catalogs about 2,500 recordings of Nazareth's music from 1902 onward and made more than 2,000 recordings available for online listening.[7] This large recorded afterlife ranges from early bands and choro groups to pianists, chamber ensembles and orchestral arrangements.[7]

The Instituto Cultural Cravo Albin also used Nazareth's name for the Diploma Ernesto Nazareth, a commendation connected with choro and Brazilian popular music. The diploma was presented during editions of Chorando com Joel, a choro salon led by bandolinist Joel Nascimento at the Instituto Cultural Cravo Albin. Awardees include Josimar Carneiro, Jayme Vignoli, Zezé Motta, Ademilde Fonseca, Henrique Cazes, Dirceu Leite, Zé Menezes, Sílvio César, Zélia Duncan and Virgínia Rodrigues.[22] Other recipients include singer Márcio Gomes, who received the diploma at a 2012 edition of Chorando com Joel, and Luiz Antonio de Almeida, one of Nazareth's principal researchers and a contributor to the Ernesto Nazareth 150 Anos project, who received the diploma from the institute in 2010.[23][24]

In 2004, STV and We Do Comunicação produced the documentary Ernesto Nazareth, directed by Dimas de Oliveira Junior and Felipe Harazim; the film included interviews with the pianists Eudóxia de Barros and Maria Teresa Madeira, the composer Osvaldo Lacerda and the biographer Luiz Antonio de Almeida.[4] In 2016, a public vote chose Nazareth's name for a street in Rio de Janeiro's port region, and the Passeio Ernesto Nazareth was inaugurated on 3 December of that year.[9] His tango Brejeiro was later used as the Brazilian Industrial Era ambient music in the video game Civilization VI, in an arrangement by Geoff Knorr.[25]

Compositions

Nazareth left 211 complete works, most of them for piano. The catalog below follows the Instituto Moreira Salles project Ernesto Nazareth 150 Anos, which groups the works by title and genre and provides individual pages with scores, recordings and, where available, videos.[26][27]

Original title English gloss Style / genre Date or first publication Article, score or recording link Source / notes
1922 Brazilian tango [28]
A Bela Melusina The Beautiful Melusine Polka [29]
A flor de meus sonhos The flower of my dreams Quadrille [30]
A florista The flower seller Canzonet [26]
A Fonte do Lambary The Lambary spring Polka [29]
A Fonte do Suspiro The Sighing Spring Polka [29]
Adieu Goodbye [26]
Adorável Adorable Later associated with Yolanda as an earlier manuscript title.[31]
Ai rica prima Rich cousin Later used as a sung title associated with Brejeiro.[32]
Albíngia Earlier manuscript title associated with Primorosa.[33]
Alerta! Alert! Polka [29]
Ameno Resedá Polka [29]
Andante expressivo Expressive andante Concert piece probably 1920s; published posthumously in 2008 IMS page [34]
Apanhei-te, cavaquinho I caught you, cavaquinho Polka IMS catalog [29]
Arreliado Annoyed Brazilian tango [28]
Arrojado Bold Samba [35]
Arrufos Tiffs Schottische [36]
As gracinhas de Nhô-nhô Nhô-nhô's little charms [26]
Até que enfim... At last... Fox-trot [37]
Atlântico Atlantic Brazilian tango [28]
Atrevidinha Little bold one Polka [29]
Atrevido Bold Brazilian tango [28]
Bambino Child Brazilian tango [28]
Batuque Batuque Characteristic tango [28]
Beija-flor Hummingbird Polka; also cataloged as Brazilian tango [29][28]
Beijinho de moça Young woman's kiss [26]
Bicyclette-club Bicycle club Brazilian tango [28]
Bombom Bonbon Polka [29]
Brejeira Roguish woman Brazilian waltz [38]
Brejeiro Roguish Brazilian tango composed and first published c. 1893 IMS page One of Nazareth's best-known works.[32]
Caçadora Huntress Polka [29]
Cacique Chief Brazilian tango [28]
Canção cívica Rio de Janeiro Civic Song: Rio de Janeiro Hymn [39]
Capricho Caprice Concert piece estimated 1920; published posthumously in 2008 IMS page [40]
Cardosina Waltz [38]
Carioca Carioca Brazilian tango [28]
Catrapus Brazilian tango [28]
Cavaquinho, por que choras? Cavaquinho, why do you weep? Brazilian choro [41]
Celestial Celestial Waltz [38]
Chave de ouro Golden key Brazilian tango [28]
Chile-Brasil Chile-Brazil Quadrille [30]
Comigo é na madeira Brazilian samba [35]
Confidências Confidences Waltz [38]
Coração que sente A heart that feels Waltz [38]
Corbeille de fleurs Basket of flowers Gavotte composed and first published c. 1899 IMS page [42]
Correta Correct Polka [29]
Crê e espera Believe and wait Waltz first published 1895 IMS page [43]
Crises em penca!... Carnival Brazilian samba [35]
Cruz, perigo!! Cross, danger!! Polka [29]
Cruzeiro Brazilian tango [28]
Cubanos Cubans Brazilian tango [28]
Cuéra Polka-tango [29]
Cuiubinha Polka-lundu [29]
Cutuba Brazilian tango [28]
De tarde In the afternoon Dramatic music; incomplete [26]
Delightfulness (Delícia) Delight Fox-trot [37]
Dengoso Coy Maxixe first published 1907 IMS page; IMSLP [44]
Desengonçado Ungainly Brazilian tango [28]
Digo I say Characteristic tango [28]
Dirce Waltz-caprice estimated 1922; first published 1926 IMS page [45]
Divina Divine Waltz first published 1915 IMS page [46]
Dor secreta Secret sorrow Slow waltz [38]
Dora Waltz [38]
Duvidoso Doubtful Brazilian tango [28]
Elegantíssima Most elegant Waltz-caprice estimated 1922; first published 1926 IMS page [47]
Elegia (para mão esquerda) Elegy for left hand Elegy [48]
Elétrica Electric Fast waltz [38]
Elite club Elite club Brilliant waltz [38]
Encantada Enchanted Schottische [36]
Encantador Enchanting Brazilian tango [28]
Ensimesmado Self-absorbed Earlier manuscript title associated with O alvorecer.[49]
Eponina Waltz [38]
Escorregando Slipping Brazilian tango [28]
Escovado Brushed Brazilian tango [28]
Espalhafatoso Showy Brazilian tango [28]
Españolita Little Spanish woman Spanish waltz [38]
Está chumbado Brazilian tango [28]
Eulina Polka-lundu [29]
Expansiva Expansive Waltz [38]
Êxtase Ecstasy Romance for voice, piano and violin first published 1926 [50]
Exuberante Exuberant Brazilian tango [28]
Faceira Stylish Waltz [38]
Famoso Famous Brazilian tango [28]
Fantástica Fantastic Modern brilliant waltz [38]
Favorito Favorite Brazilian tango [28]
Feitiço Spell Brazilian tango [28]
Feitiço não mata Spells do not kill Carioca chorinho [41]
Ferramenta Tool [48]
Fidalga Noblewoman Waltz [38]
Floraux Brazilian tango [28]
Fon-fon! Honk-honk! Brazilian tango [28]
Fora dos eixos Off the rails Carnival tango [28]
Fraternidade Fraternity Children's hymn [39]
Furinga Brazilian tango [28]
Garoto Boy Brazilian tango [28]
Gaúcho Gaucho Brazilian tango [28]
Gemendo, rindo e pulando Moaning, laughing and jumping Brazilian tango [28]
Genial Brilliant Waltz [38]
Gentes! O imposto pegou? Folks! Did the tax hit? Polka [29]
Gentil Gentle Schottische [36]
Gotas de ouro Drops of gold Waltz [38]
Gracietta Polka [29]
Guerreiro Warrior Brazilian tango [28]
Helena Waltz [38]
Henriette Waltz [38]
Hino ao Sr. Prefeito Alaor Prata Hymn to Mayor Alaor Prata Hymn [39]
Hino da cultura de afeto às nações Hymn of the culture of affection for nations Hymn [39]
Hino da escola Bernardo de Vasconcellos Hymn of the Bernardo de Vasconcellos School Hymn [39]
Hino da escola Esther Pedreira de Mello Hymn of the Esther Pedreira de Mello School Hymn [39]
Hino da escola Floriano Peixoto Hymn of the Floriano Peixoto School Hymn [39]
Hino da escola Pedro II Hymn of the Pedro II School Hymn [39]
Ideal Ideal Brazilian tango [28]
If I am not mistaken If I am not mistaken Fox-trot [37]
Improviso Impromptu Concert study [48]
Insuperável Unsurpassable Brazilian tango [28]
Ipanema Ipanema Brazilian tango [26]
Iris Iris Waltz [38]
Jacaré Alligator Carnival tango [28]
Jangadeiro Raftman Brazilian tango [28]
Janota Dandy Brazilian choro [41]
Julieta Juliet Quadrille; also cataloged as waltz [30][38]
Julita Waltz [38]
Labirinto Labyrinth Brazilian tango [28]
Laço azul Blue ribbon Waltz [38]
Lamentos Laments [48]
Magnífico Magnificent Brazilian tango [28]
Mágoas Sorrows Meditation [48]
Maly Brazilian tango [28]
Mandinga Brazilian tango [28]
Marcha fúnebre Funeral march Funeral march composed and first published 1927 IMS page [51]
Marcha heroica aos 18 do forte Heroic March to the 18 of the Fort Heroic march composed c. 1922; published posthumously in 2008 IMS page; IMSLP [52]
Mariazinha sentada na pedra!... Little Maria sitting on the stone Carnival samba [35]
Marietta Polka [29]
Matuto Countryman Brazilian tango [28]
Meigo Gentle Brazilian tango [28]
Menino de ouro Golden boy Brazilian tango [28]
Mercêdes Mazurka of expression [48]
Mesquitinha Characteristic tango [28]
Myosótis Forget-me-not Brazilian tango [28]
Não caio noutra!!! I won't fall for another one!!! Polka [29]
Não me fujas assim Do not run away from me like that Polka [29]
Nazareth Nazareth Polka [29]
Nenê Baby Brazilian tango first published 1895 IMS page [53]
No jardim In the garden [26]
Noêmia Waltz [38]
Noturno Nocturne Nocturne [48]
Nove de julho Ninth of July Argentine tango English article [28]
Nove de maio Ninth of May Fox-trot IMS page [49]
O alvorecer The dawn Salon tango composed c. 1924; first published 1924 IMS page [54]
O futurista The futurist Brazilian tango [28]
O nome dela Her name Polka; also cataloged as grand brilliant waltz [29][38]
O que há? What is it? Brazilian tango [28]
Odeon Odeon Brazilian tango composed and first published 1909 English article; IMS page; IMSLP [55]
Onze de maio Eleventh of May Quadrille [30]
Orminda Waltz [38]
Os teus olhos cativam Your eyes captivate Polka [29]
Ouro sobre azul Gold on blue Brazilian tango [28]
Pairando Hovering Brazilian tango [28]
Paraíso Paradise Milonga-style tango [28]
Pássaros em festa Birds celebrating Slow waltz [38]
Pauliceia, como és formosa!... Pauliceia, how beautiful you are! Brazilian tango IMS page [50]
Perigoso Dangerous Brazilian tango [28]
Pierrot Pierrot Brazilian tango [28]
Pinguim Penguin Brazilian tango [28]
Pipoca Popcorn Polka [29]
Pirilampo Firefly Brazilian tango [28]
Plangente Plaintive Brazilian tango with habanera style first published 1925 English article [28]
Plus Ultra Further beyond Fox-trot fragment or sketch Mentioned in the IMS discussion of Nove de maio as an unidentified or missing fragment.[49]
Podia ser pior It could be worse Brazilian tango [28]
Polca (para mão esquerda) Polka for left hand Polka-tango [29]
Polonesa Polonaise Polonaise IMS page [56]
Por que sofre?... Why do you suffer? Meditative tango [28]
Primorosa Exquisite Waltz estimated 1885; published posthumously in 1968 IMS page [57]
Proeminente Prominent Brazilian tango [28]
Quebra-cabeças Puzzle Brazilian tango [28]
Quebradinha Little break Polka [29]
Ramirinho Brazilian tango [28]
Ranzinza Grumpy Brazilian tango [28]
Rayon d'or Golden ray Polka-tango [29]
Reboliço Commotion Brazilian tango [28]
Recordações do passado Memories of the past Waltz [38]
Remando Rowing Brazilian tango [28]
Resignação Resignation Slow waltz composed 1930; published posthumously [38]
Respingando Splashing [26]
Ressaca Undertow; hangover [26]
Retumbante Resounding Brazilian tango [28]
Rosa Maria Rosa Maria Slow waltz; also associated with song material [38]
Sagaz Shrewd Brazilian tango [28]
Salve, Salve, Nações Unidas Hail, Hail, United Nations [26]
Sarambeque Brazilian tango [28]
Saudação ao Dr. Carneiro Leão Salutation to Dr. Carneiro Leão Hymn [39]
Saudade Longing Waltz IMS page [58]
Saudade dos pagos Longing for home places Song composed after 1917; published posthumously in 2008 IMS page; IMSLP [59]
Saudades e saudades..!! Longings and longings [26]
Segredo Secret Brazilian tango [28]
Segredos da infância Childhood secrets Waltz [38]
Sentimentos d'alma Feelings of the soul Waltz [38]
Soberano Sovereign Brazilian tango [28]
Suculento Juicy Brazilian samba [35]
Sustenta a... nota... Hold the note Brazilian tango [28]
Sutil Subtle Brazilian tango [28]
Talismã Talisman Brazilian tango [28]
Tango-habanera Tango-habanera Tango-habanera [28]
Tenebroso Gloomy Brazilian tango [28]
Thierry Brazilian tango [28]
Topázio líquido Liquid topaz Brazilian tango [28]
Travesso Naughty Brazilian tango [28]
Tudo sobe!... Everything goes up! Carnival tango [28]
Tupynambá Tupinambá Brazilian tango [28]
Turbilhão de beijos Whirlwind of kisses Slow waltz [38]
Turuna Grand characteristic tango [28]
Vem cá, branquinha Come here, little fair one Brazilian tango [28]
Vésper Vesper Waltz [38]
Vitória Victory Children's hymn [26]
Vitorioso Victorious Brazilian tango [28]
Você bem sabe! You know very well! Polka-lundu first published 1878 [29]
Xangô Xangô Brazilian tango [28]
Yolanda Yolanda Waltz estimated 1922; first published 1925 IMS page [60]
Zênite Zenith Listed in some catalogs but attributed to Maestro Gaó; include only if retained from the previous catalog list and clearly noted.[26]
Zica Waltz [38]
Zizinha Polka [29]

Recordings as performer

Nazareth recorded only a small part of his own repertory. His earliest known recordings as a performer were made in 1912 with Pedro de Alcântara, who played piccolo or flute. In 1930, Nazareth recorded four solo piano sides for Odeon; two were commercially issued at the time, while two test recordings were released decades later.[11]

With Pedro de Alcântara

  • 1912 - Odeon - Ernesto Nazareth, piano; Pedro de Alcântara, piccolo. Odeon Record 108.791.
  • 1912 - Favorito - Ernesto Nazareth, piano; Pedro de Alcântara, flute. Odeon Record 108.790.
  • 1912 - Linguagem do coração, by Joaquim Callado - Ernesto Nazareth, piano; Pedro de Alcântara, flute. Odeon Record 108.789.
  • 1912 - Choro e poesia, by Pedro de Alcântara - Ernesto Nazareth, piano; Pedro de Alcântara, flute. Odeon Record 108.788.

Solo piano

  • 1930 - Apanhei-te, cavaquinho. Odeon 10.718-a.
  • 1930 - Escovado. Odeon 10.718-b.
  • 1930 - Nenê. Odeon matrix 3940.[s] Rejected test recording at the time; released in 1986 on the LP Os Pianeiros.
  • 1930 - Turuna. Odeon matrix 3942. Rejected test recording at the time; released in 1986 on the LP Os Pianeiros.

Select Recordings devoted to Nazareth

Several albums, boxed sets and DVDs have been devoted to Nazareth's music. The Instituto Moreira Salles project Ernesto Nazareth 150 Anos separately catalogs dedicated albums and individual recordings of his compositions.[61] Examples include:

Year Title Main performer(s) Format / label Notes
1952 Carolina Cardoso de Menezes interpreta Ernesto Nazareth Carolina Cardoso de Menezes, piano, with ensemble 10-inch LP, Sinter SLP 1007 Four tracks were reissued by Sinter on 78 rpm discs[t] in 1953.
1954 Ernesto Nazareth Radamés Gnattali, piano, with string orchestra 10-inch LP, Continental LP-V-2001 Reissue of Continental 78 rpm recordings made in 1953; later reissued on CD in 1995 in the Mestres da MPB series as Radamés Gnattali Vol. 2.
1955 Jacob Revive Músicas de Ernesto Nazaré Jacob do Bandolim with Regional do Canhoto 10-inch LP, RCA Victor BPL 3001 Reissue of four 78 rpm discs recorded in 1951 and issued in the RCA Victor BP-1 set in 1952.
1957 Carolina toca Nazareth Carolina Cardoso de Menezes, piano, with ensemble Double EP, Odeon BWB 1011 Original recordings for this release.
1958 A Música de Ernesto Nazareth para Você Dançar Mario de Azevedo, piano, with rhythm ensemble 12-inch LP, Sinter SLP-1734 Dance-oriented arrangements of Nazareth works.
1963 Ouro Sobre Azul Eudóxia de Barros, piano 12-inch LP, Chantecler CMG 1017 Reissued the same year as Eudóxia de Barros Interpreta Obras de Ernesto Nazareth Vol. 1; later reissued under the original title.
1965 Gotas de Ouro Eudóxia de Barros, piano 12-inch LP, Chantecler CMG-1034 Reissued the same year as Eudóxia de Barros Interpreta Obras de Ernesto Nazareth Vol. 2.
1967 Antologia da Música Romântica Brasileira Vol. 2 - Nazareth Roberto Szidon, piano 12-inch LP, Angel 3CBX 438 Later reissued as Szidon Toca Nazareth.
1970 Ernesto Nazareth Déo Rian, bandolim; Quinteto Villa-Lobos; string quartet of the Escola de Música da UFRJ 12-inch LP, RCA Victor BBL 1523 Later reissued on CD in the Revivendo collection Gotas de Ouro.
1973 Homenagem a Ernesto Nazareth Dilermando Reis and Dino 7 Cordas, guitars 12-inch LP, Continental SLP 10116 Later reissued by Phonodisc.
1975 Arthur Moreira Lima Interpreta Ernesto Nazareth Arthur Moreira Lima, piano Double 12-inch LP, Discos Marcus Pereira MPA 2009 / MPA 9311-9312 Twenty-five pieces; later reissued in separate CD volumes and in CD compilations.
1977 Arthur Moreira Lima Interpreta Ernesto Nazareth Nº 2 Arthur Moreira Lima, piano Double 12-inch LP, Discos Marcus Pereira MPA 9364-9365 Follow-up album with twenty-four additional pieces; later reissued in separate CD volumes.
1978 Ernesto Nazareth Duo Mignone: Maria Josefina Mignone and Francisco Mignone, two pianos 12-inch LP, RGE/Fermata 303.1010 Later partly reissued on CD as Nazarethiando com o Duo Mignone.
1981 Os Pianeiros - Antônio Adolfo Abraça Ernesto Nazareth Antônio Adolfo, piano and arrangements 12-inch LP, Artezanal LPA-005 Later reissued on CD by Imagem and Artezanal.
1983 Arthur Moreira Lima Plays Tangos, Waltzes, Polkas of Ernesto Nazareth Arthur Moreira Lima, piano 12-inch LP, Pro Arte Digital PAD 144 / Intersound Recorded in September 1982 at the American Academy and Institute of Arts and Letters on Steinway CD 372.
1983 Obras de Ernesto Nazareth Maria Nadir Patti, piano 12-inch LP, CBS Especial 620.042 Includes pieces such as Reboliço, Feitiço, Odeon, Cavaquinho, por que choras? and Gotas de Ouro.
1984 Arthur Moreira Lima Plays Brazilian Tangos and Waltzes of Ernesto Nazareth Arthur Moreira Lima, piano 12-inch LP, Pro Arte Digital PAD-170 Recorded in September 1982 at the American Academy and Institute of Arts and Letters.
1984 Homenagem a Ernesto Nazareth Duo Mignone: Maria Josefina Mignone and Francisco Mignone, two pianos 12-inch LP, independent FJA-110 Later reissued on CD as part of Coração que Sente - Nazarethiando com o Duo Mignone.
1984 Ernesto Nazareth - Brazilian Piano Music Marco Antônio de Almeida, piano 12-inch LP, XYMAX Musikproduktions GmbH 29199 Recorded in Hamburg; later reissued on CD under titles including Brazilian Ragtime and Ernesto Nazareth - Brazilian Classics.
1984 Recordações de um Sarau Artístico Joel Bello Soares, piano, with other performers Triple 12-inch LP, FENABB 108 First disc devoted to Nazareth for the fiftieth anniversary of his death; includes reissues of historical recordings by Nazareth with Pedro de Alcântara and by Nazareth as solo pianist.
1985 Maurício de Oliveira Interpreta Ernesto Nazareth ao Violão Maurício de Oliveira, solo guitar; Abner Ferreira and Sebastião de Oliveira, accompanying guitars 12-inch LP, Fundação Jônice Tristão LP-G 001 Promotional LP marking the fiftieth anniversary of the Fundação Jônice Tristão.
1986 Obras de Ernesto Nazareth (Vol. 1) Eudóxia de Barros, piano 12-inch LP, Main Engenharia 529.404.343 Promotional LP; combines reissued material from Ouro Sobre Azul and Gotas de Ouro with two new recordings.
1986 Obras de Ernesto Nazareth (Vol. 2) Eudóxia de Barros, piano 12-inch LP, Main Engenharia 529.404.342 Promotional LP; includes material from Gotas de Ouro and two new recordings.
1987 Ernesto Nazareth Inédito Miguel Proença, piano 12-inch LP, Arsis 992 604-1 Recorded at Sala Cecília Meireles in August 1987; later reissued in the Biscoito Fino collection Piano Brasileiro.
1987 Piano Music by Ernesto Nazareth Polly Ferman, piano CD, Music Matters Recorded in November 1987; later reissued by Musical Heritage Society, PAMAR and Classic Talent.
1989 Odeon - Músicas de Ernesto Nazareth Beatriz Licurci, piano 12-inch LP, UFRJ 803.908 Includes Improviso, Favorito, Brejeiro, Odeon, Sagaz and other works.
1990 Ernesto Nazareth - Série Inesquecível: Grandes Compositores Various performers 12-inch LP, RGE 320.6101 Compilation of recordings from different years.
1993 Tributo a Ernesto Nazareth Tânia Mara Lopes Cançado, piano CD, Karmim KPCD002 Recorded in 1988; later included with Cançado's book Pelos tangos de Nazareth - Da rítmica africana à síncope brasileira.
1993 Nazareth - Grupo Corpo Companhia de Dança José Miguel Wisnik, keyboards CD, Grupo Corpo GC Nº 001 Music for Grupo Corpo's dance work Nazareth, with quotations and transformations of Nazareth themes.
1995 Nazareth - Brazilian Tangos & Waltzes Dominique Cornil, piano CD, GHA 126.028 Twenty-two piano pieces.
1995 Ernesto Nazareth - Tango Brasileiro Yukio Miyazaki, piano CD, Victor PRCD 5158 Later issued in Brazil as Ernesto Nazareth by Yukio Miyazaki.
1996 Ernesto Nazareth - Tango Brasileiro, valsa & polca Yukio Miyazaki, piano CD, Doremi ACD-1379 Includes tangos, waltzes and polkas.
1997 Sempre Nazareth Maria Teresa Madeira, piano; Pedro Amorim, bandolim; Oscar Bolão, percussion CD, Kuarup KCD095 Chamber settings for piano, bandolim and percussion.
1997 Tango Brasileiro Jessie De Bellis, piano CD, Project Music & Media 230 Includes works by Nazareth and Pérolas de Orvalho by Diniz Nazareth.
1998 Ernesto Nazareth - Doze Valsas e Oito Peças para Piano Aloysio de Alencar Pinto and Arnaldo Rebello, piano CD, Repertório Rádio MEC No. 15, SOARMEC S015 Recordings made in 1963 and first released on this CD.
1998 Tango Brasileiro Frank French, piano CD, Viridiana Productions VRD 2008 Includes thirteen pieces.
1998 Tango Brasileiro! Izumi Tateno, piano CD, Finlandia Records 3984-21447-2 Sixteen piano works.
1998 Paulo Romário refletindo Ernesto de Nazareth Paulo Romário Menezes de Souza, piano CD, independent NM 212798 Recorded on the Steinway piano at Estúdio Companhia dos Técnicos.
1998 Brazilian Delights Spencer Doidge, guitar CD, independent 186334934 Guitar album listed by IMS as a dedicated Nazareth recording.
2001 Tangos Brasileiros Meander Guitar Duo: Gerhard Koele and Pieter Jan den Hartigh, guitars CD, ORBIS Productions ORB 2001 Guitar-duo arrangements of Nazareth pieces.
2002 Confidências Lena Verani, clarinet; Luiz Flávio Alcofra, guitar CD, independent Includes guest appearances by Marcílio Lopes, Paulino Dias, Rui Alvim, David Chew and Jaime Vignoli.
2002 O Piano Erudito de Ernesto Nazareth Leonie Elise Fest Andreolla, piano CD, label and number unknown Twelve piano works.
2003 Ernesto Nazareth (1) (Mestres Brasileiros Vol. 3) Maria Teresa Madeira, piano CD, Sonhos e Sons SSCD051 Recorded in July and August 2002; includes guest appearances by Marcus Viana and Sebastião Vianna.
2003 Ernesto Nazareth (2) (Mestres Brasileiros Vol. 4) Maria Teresa Madeira, piano CD, Sonhos e Sons SSCD052 Companion volume recorded in July and August 2002.
2004 Anima Brasiliana Maria Di Pasquale, piano CD, Pan Pot Records PP119 Includes Nazareth piano works alongside a Brazilian repertory focus.
2005 Ernesto Nazareth: Tangos, Waltzes and Polkas Iara Behs, piano CD, Naxos 8.557687 Recorded in November 2003 in Heek, Germany.
2005 E. Nazareth - Pieces pour piano / Piano Works Maria José Carrasqueira, piano CD, Solstice SOCD 224 Also issued by YB Music as YBCD025.
2005 Ernesto Nazareth Quinteto Villa-Lobos, with guests CD, ND Comunicação Ltda. Arrangements by Marcílio Lopes, Josimar Gomes Carneiro, Caio Márcio, Paulo Sérgio Santos and Maurício Carrilho.
2005 Ernesto Nazareth - Music for Solo Piano Thomas Tirino, piano CD, Koch Entertainment KIC-CD-7547 Twenty-five solo piano works.
2005 Ernesto Nazareth Tangos Paul Posnak, piano CD, Cambria Master Recordings CD-1152 Twenty works, mainly tangos and choro-related pieces.
2005 Odeon - Tango Brasileiro - Frank French Plays the Tangos of Ernesto Júlio de Nazareth Frank French, piano CD, independent AFF 1028 Recordings made in 1987 and first released on this disc.
2006 Embalada pela Brisa do Rio Yuka Shimizu, piano CD, independent Sixteen piano works.
2007 Ernesto Nazareth 1 (Clássicos do Choro Brasileiro) Choro ensemble with Daniel Dalarossa, Edmilson Capelupi, Lula Gama, Arnaldinho do Cavaco and Betinho Sodré CD with score book, Choro Music CCEN01P First volume in the Clássicos do Choro Brasileiro Nazareth set.
2007 Ernesto Nazareth 2 (Clássicos do Choro Brasileiro) Choro ensemble with guest soloists CD with score book, Choro Music CCEN02P Second volume in the Clássicos do Choro Brasileiro Nazareth set.
2008 Ernesto Nazareth 3 (Clássicos do Choro Brasileiro) Choro ensemble with guest soloists CD with score book, Choro Music CCEN03PE Third volume in the Clássicos do Choro Brasileiro Nazareth set.
2009 Ernesto Nazareth - Obras Raras Alexandre Dias, piano MP3 album, Choro Music Rare works including Cuéra, Encantador, Cruz, perigo!!, Suculento and Pauliceia, como és formosa!....
2009 Luciano Alves Interpreta Ernesto Nazareth Luciano Alves, piano CD, Biscoito Fino BF885 Recorded on 4 August 2007; includes Pipocando, a Luciano Alves homage to Nazareth.
2009 Ernesto Nazareth - Solo Piano Works Marcelo Bratke, piano CD, Quartz Music QTZ2066 Seventeen piano pieces.
2009 Ernesto Nazareth por Ronaldo do Bandolim Ronaldo do Bandolim and ensemble CD, Niterói Discos 117 Bandolim-centered interpretations of Nazareth works.
2009 Nazareth Rosana Lanzelotte, harpsichord and pianoforte; Luis Leite, guitar; Caito Marcondes, percussion CD, Biscoito Fino BC 240 Includes harpsichord and early-keyboard adaptations.
2009 Tadeu Borges Interpreta Ernesto Nazareth Tadeu Borges, piano CD, Paulus 010063 Seventeen piano works.
2009 Odeon - Brazilian Dances by Ernesto Nazareth Antoine Zemor, piano CD, Fleur de Son 57989 Nineteen piano works.
2010 Ernesto Nazareth Marcelo Bratke, piano; Camerata Brasil Vale Música CD, Biscoito Fino BF-976 Includes works by Nazareth and Brasileira by Darius Milhaud.
2010 Comigo É na Madeira - Obras de Ernesto Nazareth Quarteto Contemporâneo CD, independent QCCD001 Ensemble of cavaquinho, winds and seven-string guitar.
2010 Ernesto Nazareth Various performers CD, Coleção Folha Raízes da Música Popular Brasileira, Vol. 20 Compilation with recordings by Altamiro Carrilho, Pixinguinha, Quinteto Villa-Lobos, Garoto, Arthur Moreira Lima, Jacob do Bandolim and others.
2012 Nazareth: fora dos eixos Choro & Companhia CD, independent Includes guest appearances by Juninho Alvarenga, Alexandre Dias, Hamilton de Holanda, Ricardo Dourado Freire and Roberto Corrêa.
2012 Giovanni Sagaz interpreta Ernesto Nazareth Giovanni Sagaz, piano; Susi Brito, voice; Sérgio Espezim, seven-string guitar; Eduardo Tiriba Moore, percussion DVD, independent Includes vocal versions of Bambino and Apanhei-te, cavaquinho.
2013 Músicas Raras de Ernesto Nazareth, Vol. 1 (Rare Music of Ernesto Nazareth, Vol. 1) Alexandre Dias, piano MP3 album, independent First volume of rare works.
2013 Músicas Raras de Ernesto Nazareth, Vol. 2 (Rare Music of Ernesto Nazareth, Vol. 2) Alexandre Dias, piano MP3 album, independent Second volume of rare works.
2013 Músicas Raras de Ernesto Nazareth, Vol. 3 (Rare Music of Ernesto Nazareth, Vol. 3) Alexandre Dias, piano MP3 album, independent Third volume of rare works.
2013 Músicas Raras de Ernesto Nazareth, Vol. 4 (Rare Music of Ernesto Nazareth, Vol. 4) Alexandre Dias, piano MP3 album, independent Fourth volume of rare works.
2013 Músicas Raras de Ernesto Nazareth, Vol. 5 (Rare Music of Ernesto Nazareth, Vol. 5) Alexandre Dias, piano MP3 album, independent Fifth volume of rare works.
2013 Elétrico Nazareth - Mú Carvalho interpreta Ernesto Nazareth Mú Carvalho, keyboards, with ensemble CD, Som Livre 3278-2 Electric and ensemble arrangements; includes Variações sobre o tema Odeon by Mú Carvalho.
2013 Tangos Brasileiros - The Music of Ernesto Nazareth Christina Petrowska Quilico, piano Double CD, Marquis Classics 81519 Two-disc piano album.
2013 Nazareth Revisitado João Carlos Assis Brasil, piano, with Carlos Navas and Alaíde Costa CD, independent, distributed by Tratore, CN4 Includes suites after Nazareth themes and vocal versions of Bambino, Nenê and Odeon.
2013 Ernesto Nazareth Nicolas de Souza Barros, eight-string guitar CD, independent Guitar arrangements of fourteen works.
2013 Ernesto Nazareth 150 Anos Vol. 1 Various historical performers CD, Revivendo Músicas RVPC 085 Compilation of 78 rpm recordings, including Nazareth's recording of Odeon with Pedro de Alcântara and his solo recording of Escovado.
2013 Ernesto Nazareth 150 Anos Vol. 2 Various historical performers CD, Revivendo Músicas RVPC 086 Companion compilation of 78 rpm recordings, including Nazareth's solo recording of Apanhei-te, cavaquinho.
2014 Pairando - Maogani interpreta Nazareth Quarteto Maogani CD, Biscoito Fino BF 307-2 Guitar quartet arrangements by members of the group.
2014 Ernesto Nazareth - Ouro Sobre Azul André Mehmari, piano, with Neymar Dias and Sérgio Reze on selected tracks CD, Estúdio Monteverdi EM 014 Includes Suíte Nazareth Solo, Odeon with incidental music by Guinga, and a first recording of De tarde.
2014 Rio, Choro, Jazz... Antônio Adolfo, piano, with ensemble CD, AAM Music AAM 0706 Described on the release as a tribute to Nazareth; arrangements by Antônio Adolfo.
2015 Sarambeque - 150 anos de Nazareth Grupo Papo de Anjo, with Fabiana Cozza on selected tracks CD, independent Choro ensemble interpretations.
2015 Ernesto Nazareth - Portrait of Rio Clélia Iruzun, piano CD, Lorelt LNT139 Eighteen piano works.
2016 Ernesto Nazareth Integral Maria Teresa Madeira, piano 12-CD box Integral recording project with 215 piano compositions.[62]

Further reading

Books and major studies

The following list includes books, chapters, catalogues and major editions directly concerned with Nazareth or frequently used in scholarship on his work. The Instituto Moreira Salles bibliography for Ernesto Nazareth 150 Anos lists a broader body of books, articles, recordings, score albums and digital media related to the composer.[63]

  • Almeida, Luiz Antonio de. Ernesto Nazareth - Vida e Obra (Unpublished manuscript) (in Portuguese).
  • Andrade, Mário de (1934). "Ernesto Nazareth". Música, doce Música (in Portuguese). São Paulo: L. G. Miranda.[64]
  • Costa, Haroldo (2005). Ernesto Nazareth: Pianeiro do Brasil (in Portuguese). Rio de Janeiro: ND Comunicação. p. 204. ISBN 9788589914024.
  • Diniz, Jaime C. (1963). Nazareth: Estudos Analíticos (in Portuguese). Recife: Departamento de Extensão Cultural e Artística. p. 80.
  • Machado, Cacá (2007). O Enigma do Homem Célebre: Ambição e Vocação de Ernesto Nazareth (in Portuguese). São Paulo: Instituto Moreira Salles. p. 264. ISBN 9788586707155.
  • Machado Neto, Carlos Gonçalves (2005). O enigma do homem célebre: ambição e vocação de Ernesto Nazareth (1863-1934): música, história e literatura (PhD thesis) (in Portuguese). São Paulo: Universidade de São Paulo. Retrieved 21 May 2026.
  • Nascimento, Antonio Adriano Blanc (2009). A influência da habanera nos tangos de Ernesto Nazareth (1863-1934) (in Portuguese). Bebedouro: Albergráfica.
  • Pequeno, Mercedes Reis, ed. (1963). Catálogo da exposição comemorativa do centenário do nascimento de Ernesto Nazareth (1863-1934) (in Portuguese). Rio de Janeiro: Biblioteca Nacional.
  • Siqueira, Baptista (1967). Ernesto Nazareth na Música Brasileira: ensaio histórico-científico (in Portuguese). Rio de Janeiro: Gráfica Editora Aurora.
  • Wisnik, José Miguel (2004). "Machado Maxixe". Sem Receita: Ensaios e Canções (in Portuguese). São Paulo: Publifolha. p. 533. ISBN 9788574025643.
  • Wisnik, José Miguel (2008). Machado Maxixe: O Caso Pestana (in Portuguese). São Paulo: Publifolha. p. 93. ISBN 9788574029955.

Major score editions

  • Nazareth, Ernesto (2011). Cury, Thiago; Machado, Cacá (eds.). Todo Nazareth: Obras Completas (in Portuguese). Vol. 6 volumes. São Paulo: Água Forte Produções.
  • Nazareth, Ernesto (1997). Appleby, David P. (ed.). Brazilian Tangos and Dances. Alfred Masterwork Edition. Van Nuys, California: Alfred Publishing. p. 40. ISBN 9780739063798.

Explanatory notes

  1. ↑ The Neutral Municipality was the federal district that contained Brazil's capital, Rio de Janeiro, from 1834 to 1889. It was governed separately from the surrounding province of Rio de Janeiro; “neutral” did not mean politically neutral.
  2. ↑ A chorão (plural chorões) is a musician who plays choro. The word literally means “one who cries”, but choro is often lively and is not simply sad music.
  3. ↑ A pianeiro was a working pianist who played in cafés, shops, cinemas, dances or private parties. The word often implied a freer and more rhythmic style than that of a formal concert pianist.
  4. ↑ The cavaquinho is a small four-string instrument with a bright sound. In choro and samba, it commonly supplies rhythm and harmony.
  5. ↑ Syncopation shifts an accent away from the beat where a listener normally expects it. Inner counterpoint is a secondary melody heard between the bass and the main melody.
  6. ↑ The schottische was a nineteenth-century European couple dance in duple time. In Brazil, a related dance and rhythm became known as the xote.
  7. ↑ The maxixe was a fast Brazilian couple dance that developed in Rio de Janeiro during the late nineteenth century. Its close body movement led some members of the upper classes to condemn it as improper.
  8. ↑ Here, salon music means music intended for performance in private homes and small social rooms, as well as in public venues.
  9. ↑ Roda means “circle”. In a roda de choro, musicians gather informally—often seated in a circle—to play choro together, with listeners nearby.
  10. ↑ The Brazilian Academy of Music divides its membership into numbered chairs. Each chair honors a deceased patron, while an elected living member occupies it.
  11. ↑ The Portuguese word morro means “hill” and is common in Rio de Janeiro place names.
  12. ↑ In Brazilian business names of this period, casa (“house”) could mean a shop or publishing house.
  13. ↑ The name means “Band of the Rio de Janeiro Firefighters Corps”. The corps maintained a professional wind band that performed in public and made commercial recordings.
  14. ↑ Despite its name, the Instituto Nacional de Música (“National Institute of Music”) was a conservatory that trained musicians, not a scientific research institute.
  15. ↑ This is a medical term for drowning: breathing stops because the person is under water.
  16. ↑ The habanera was a Cuban dance with a repeated rhythmic pattern. Tresillo divides eight equal pulses into groups of 3 + 3 + 2. The lundu was an Afro-Brazilian song and dance with African roots.
  17. ↑ Tango-habanera refers to an earlier family of tango forms derived from the Cuban habanera. It is not the same style as the Argentine tango that later became internationally familiar.
  18. ↑ Carioca means a person or thing from the city of Rio de Janeiro. It does not refer to the whole state of Rio de Janeiro.
  19. ↑ In the recording industry, a matrix number identifies the original master recording used to manufacture copies. It is different from the catalogue number printed on a commercial release.
  20. ↑ A 78 rpm disc rotates 78 times per minute. These usually brittle shellac records were the main commercial format before vinyl LPs became common.

References

  1. 1 2 3 4 5 Cohen, Sara (1988). A obra pianística de Ernesto Nazareth: uma aplicação didática (PDF) (Master's dissertation thesis) (in Portuguese). Rio de Janeiro: Escola de Música, Universidade Federal do Rio de Janeiro. Retrieved 21 May 2026.
  2. 1 2 3 4 Almeida, Luiz Antonio de. "Chopin na formação de Ernesto Nazareth". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  3. 1 2 Costa, Rafael Rodrigues (19 April 2013). "Uma pedra fundamental da música brasileira que ainda guarda mistérios". Gazeta do Povo (in Portuguese). Retrieved 21 May 2026.
  4. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Costa, Haroldo (2005). Ernesto Nazareth: pianeiro do Brasil (in Portuguese). Rio de Janeiro: ND Comunicação.
  5. 1 2 3 4 5 6 7 8 9 Budasz, Rogério (December 2017). "A Scholarly Edition of Ernesto Nazareth's Piano Music". Notes. 74 (2). Music Library Association: 314–317. doi:10.1353/not.2017.0130. JSTOR 26397609.
  6. 1 2 3 4 5 Júnior, Gonçalo (November 2005). "Between two hearts and worlds". Revista Pesquisa FAPESP. No. 117. Retrieved 21 May 2026.
  7. 1 2 3 4 "Escute a discografia completa de Ernesto Nazareth". Blog do IMS (in Portuguese). Instituto Moreira Salles. 25 April 2012. Retrieved 21 May 2026.
  8. ↑ "Acadêmicos". Academia Brasileira de Música (in Portuguese). Retrieved 21 May 2026.
  9. 1 2 3 4 5 6 7 8 9 10 11 Almeida, Luiz Antonio de. "Linha do tempo". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  10. ↑ Almeida, Luiz Antonio de. "A primeira apresentação de Ernesto Nazareth". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  11. 1 2 "Discografia/Gravações". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  12. ↑ Almeida, Luiz Antonio de. "Tango brasileiro". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  13. 1 2 Almeida, Luiz Antonio de. "A importância de Ernesto Nazareth". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  14. 1 2 Machado, Cacá (2007). O enigma do homem célebre: ambição e vocação de Ernesto Nazareth (in Portuguese). São Paulo: Instituto Moreira Salles. ISBN 9788586707155.
  15. 1 2 Machado Neto, Carlos Gonçalves (2005). O enigma do homem célebre: ambição e vocação de Ernesto Nazareth (1863-1934): música, história e literatura (PhD thesis) (in Portuguese). São Paulo: Universidade de São Paulo. Retrieved 21 May 2026.
  16. ↑ "Nazareth, E.: Tangos, Waltzes and Polkas (I. Behs)". Naxos. Retrieved 21 May 2026.
  17. ↑ Carpeaux, Otto Maria (1977). "Novo nacionalismo musical: as Américas". Uma Nova História da Música (in Portuguese) (3rd ed.). Rio de Janeiro: Alhambra. p. 303.
  18. ↑ Zan, Bernardo; Lima, Sonia Albano de (2018). "Pianistas ou pianeiros: duas interpretações do tango Fon Fon de Ernesto Nazareth". Orfeu (in Portuguese). 3 (2): 218–237. Retrieved 21 May 2026.
  19. ↑ "Parcours de l'oeuvre: Darius Milhaud". IRCAM Ressources. Institut de Recherche et Coordination Acoustique/Musique. Retrieved 21 May 2026.
  20. 1 2 "Popular, clássico e fundamental: os 160 anos de Ernesto Nazareth numa conversa com Arthur Moreira Lima". Discografia Brasileira (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  21. ↑ "Ernesto Nazareth". Instituto Moreira Salles (in Portuguese). 1 June 2017. Retrieved 21 May 2026.
  22. ↑ "Joel Nascimento". Dicionário Cravo Albin da Música Popular Brasileira (in Portuguese). Retrieved 21 May 2026.
  23. ↑ "Márcio Gomes". Dicionário Cravo Albin da Música Popular Brasileira (in Portuguese). Retrieved 21 May 2026.
  24. ↑ Almeida, Luiz Antonio de. "Sobre o autor". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  25. ↑ Knorr, Geoff. "Brejeiro - "Brazil - The Industrial Era" from Civilization VI Digital Study Score". Geoff Knorr. Retrieved 21 May 2026.
  26. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 "Obra". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  27. ↑ "Discografia/Gravações". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  28. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 "Obra: tango". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  29. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 "Obra: polca". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  30. 1 2 3 4 "Obra: quadrilha". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  31. ↑ "Obra: Yolanda". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  32. 1 2 "Obra: Brejeiro". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  33. ↑ "Obra: Primorosa". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  34. ↑ "Obra: Andante expressivo". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  35. 1 2 3 4 5 "Obra: samba". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  36. 1 2 3 "Obra: schottisch". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  37. 1 2 3 "Obra: fox-trot". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  38. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 "Obra: valsa". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  39. 1 2 3 4 5 6 7 8 9 "Obra: hino". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  40. ↑ "Obra: Capricho". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  41. 1 2 3 "Obra: choro". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  42. ↑ "Obra: Corbeille de fleurs". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  43. ↑ "Obra: Crê e espera". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  44. ↑ "Obra: Dengoso". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  45. ↑ "Obra: Dirce". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  46. ↑ "Obra: Divina". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  47. ↑ "Obra: Elegantíssima". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  48. 1 2 3 4 5 6 7 "Obra: outros". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  49. 1 2 3 "Obra: Nove de maio". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  50. 1 2 "Obra: Pauliceia, como és formosa!..." Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  51. ↑ "Obra: Marcha fúnebre". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  52. ↑ "Obra: Marcha heroica aos 18 do forte". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  53. ↑ "Obra: Nenê". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  54. ↑ "Obra: O alvorecer". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  55. ↑ "Obra: Odeon". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  56. ↑ "Obra: Polonesa". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  57. ↑ "Obra: Primorosa". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  58. ↑ "Obra: Saudade". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  59. ↑ "Obra: Saudade dos pagos". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  60. ↑ "Obra: Yolanda". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  61. ↑ "Discos dedicados". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  62. ↑ "Ernesto Nazareth". Dicionário Cravo Albin da Música Popular Brasileira (in Portuguese). Retrieved 21 May 2026.
  63. ↑ "Textos: Livro". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.
  64. ↑ "ANDRADE, Mário de. Ernesto Nazareth". Ernesto Nazareth 150 Anos (in Portuguese). Instituto Moreira Salles. Retrieved 21 May 2026.

See also

  • Choro, the Brazilian instrumental genre into whose repertory many of Nazareth's works entered
  • Maxixe, the syncopated Brazilian dance underlying many of his Brazilian tangos
  • Odeon (Nazareth), a Brazilian tango named after the Rio cinema where Nazareth performed
  • Plangente, his 1925 Brazilian tango for solo piano, written in habanera style
  • Lundu, an Afro-Brazilian song and dance whose rhythms fed into maxixe and choro
  • Nove de julho, his 1917 Argentine tango commemorating the centenary of Argentine independence
  • Music of Brazil, an overview of Brazilian musical traditions and genres
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