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TWENTIETH-CENTURY BRAZILIANSOLO TRUMPET WORKS

BY LUIS C. ENGELKE

June 2007 • Page 27

© 2007 International Trumpet Guild June 2007 / ITG Journal 2277

T wentieth-Century Works for Trumpet and Orchestra, adefinitive study by Norbert A. Carnovale and Paul F.Doerksen, lists only six solo trumpet works conceived

by composers born outside of North America or Europe.1South African-born Canadian Malcolm Forsyth contributed aconcerto in 1987, and Chinese-born Boris Blacher authoredconcerti in 1931 and 1950. These works and Argentine-bornAmerican Lalo Schifrin’s Concerto (1967) represent composi-tions by non-North Ameri-can- or European-born com-posers who currently reside orspent the majority of theircareers on one of these twocontinents. Only two listedcomposers born outside ofNorth America and Europeestablished careers in their homelands: Joseph Kaminski inIsrael for his work Concertino (ca. 1941) and Antonio Tauriel-lo from Argentina, whose Musica para Cuerdas y Trompeta(1965) includes only a small solo for trumpet and can hardlybe considered a solo work. Similarly, the hundreds of solorecitals detailed in ITG’s annual Trumpet and Brass Programsrepresent a similar performance trend.2 Solo trumpet works byLatin American and non-Western composers missing fromthese extensive and comprehensive sources signify a void in thestandard repertoire. If these works exist,why have they remained largely unfamil-iar? How are these compositions similaror different from the standard repertoire?Does nationalism contribute to theuniqueness of specific works includingthose from Brazil?

Many factors contribute to only a fewLatin works entering the mainstreamrepertoire. With fewer resources for per-formers of concert trumpet literature,there are indeed fewer soloists and uni-versity professors who might commis-sion these works. While there are at leasta dozen orchestras in Brazil alone thatoffer incomes and benefits that can beconsidered full-time positions, only inthe past thirty years have many of thesemusicians and other professional trum-pet players pursued solo performance asa viable medium. Since this growingnumber of players is still relatively smallin Latin America, there has been littleincentive for composers to write soloworks, and even less for music publishersto release editions of music. Hence, as

one would expect, there have been fewer works conceived forsolo trumpet in Latin America than in Europe or North Amer-ica. There are, however, several other less evident factors thathave until now preempted the infusion of these works into themainstream repertoire. Libraries are typically antiquated; forexample, only eight manuscripts of works conceived for solotrumpet have been archived at Biblioteca Nacional do Rio deJaneiro, one of the largest federal libraries in Brazil housing the

nation’s most comprehensivemusic collection. With theexception of a few small col-lections of individual com-posers such as Museu(m)Villa-Lobos, even the librariesin the major cultural centerscontain extremely sparse re -

sources.3 Unfortunately, because of a lack of manuscripts inlibraries and few published works, until recently, most compo-sitions have only been passed down informally from musicianto musician, often through photocopying.

OOrriiggiinnss

Since Brazil is a large and diverse country and its libraries areantiquated, even meticulous and systematic research spanningmore than a decade has not unearthed all the country’s twen-

tieth-century solo trumpet works.Undoubtedly, some compositionshave been lost, while others may stillbe found. However, uncoveringnum erous significant works previous-ly unknown to Brazilian scholars andtrumpet players supports the validityof a thorough and comprehensivesearch. The first work conceived forsolo trumpet in Brazil with a clearlyidentifiable date is Santana Gomes’sAndante e Bolero (1900), hence thiswork appears to be the first of thetwentieth century. Two other undat-ed manuscripts were likely pennedearlier: Henrique Alves de Mesquita’sPequena Fantasia para Trompete andAnacleto de Medeiros’s Bouquet war-rant discussion because they originatethe genre of solo trumpet works inBrazil and were conceived around thesame time as Andante e Bolero. Addi-tionally, some possibility exists thatMequita’s and Medeiros’s composi-tions were indeed conceived duringthe twentieth century.

TWENTIETH-CENTURY BRAZILIANSOLO TRUMPET WORKS

BY LUIS C. ENGELKE

TThhiiss aarrttiiccllee wwaass rreevviieewweedd aanndd aapppprroovveedd ffoorr ppuubblliiccaattiioonn bbyy tthhee IITTGG EEddiittoorriiaall CCoommmmiitttteeee..

“…uncovering numerous significant workspreviously unknown to Brazilian scholarsand trumpet players supports the validityof a thorough and comprehensive search.”

Santana Gomes

mentalists including specialists in the folk genre of chôro (aninstrumental genre that preceded the samba), this ensembleproduced many of Brazil’s first recordings around the turn ofthe century.6 Medeiros’s compositions in both popular andband idioms, though largely discarded in the past, have recent-ly been revisited. Conceived for B-flat trumpet and symphon-ic band, Medeiros’s Bouquet is a polka set in a style and formreminiscent of Herbert L. Clarke’s The Maid of the Mist.

Santana Gomes (1834 – 1908) was a lesser-known youngerbrother of Antônio Carlos Gomes—one of Brazil’s most pro-lific composers made famous internationally through his operaIl Guarany. His music education was rooted in the band tradi-tion, but Santana later specialized on violin and viola andeventually devoted considerable time to conducting many ofBrazil’s leading orchestras.7 The author discovered Andante eBolero at Museu(m) Carlos Gomes, a library in Campinas, SãoPaulo, named after Santana’s brother. The library is the sourcefor both of Gomes’s manuscripts. As the title suggests, thework is divided into two parts and is performed without abreak. Conceived in a very operatic style, the Andante endswith a short cadenza. Regarding the second section, no indige-nous Brazilian bolero exists; a 3/4 time signature reflects theSpanish bolero, not the Cuban bolero in 2/4. As the earliestsolo trumpet work composed during the twentieth century,

A resident of Rio de Janeiro for most of his life, HenriqueAlves de Mesquita (1830 – 1906) was a composer, organist,conductor, and teacher, but he earned the reputation as anaccomplished trumpet soloist by the age of 17. In 1853,Mesquita opened a music store that offered lessons and con-tracted bands for dances and other occasions. His first compo-sitions emanated from this period. Three years later he gradu-ated from Universidade Federal do Rio de Janeiro (UFRJ)with concentrations in counterpoint and organ.4 He was thefirst Brazilian musician to receive a scholarship to studyabroad, opting for the Paris Conservatory where François-Emmanuel-Joseph Bazin served as his principal mentor. Uponhis return to Brazil, Mesquita earned his livelihood as a trum-peter and conductor. He eventually became the first professorof brass instruments at UFRJ. Mesquita was very important inthe development of the Brazilian tango.5 His Pequena Fantasiapara Trompete for the A trumpet and piano is the first knownBrazilian solo trumpet work ever written. Mesquita probablycomposed many more trumpet solos, but many of his manu-scripts have unfortunately been lost.

Anacleto de Medeiros (1866 – 1907) is best known fororganizing Rio de Janeiro’s Banda do Corpo de Bombeiros(Municipal Fire Department Band), one of the most highlyregarded bands in the city. Composed of a variety of instru-

© 2007 International Trumpet Guild2288 ITG Journal / June 2007

Andante e Bolero by Santana Gomes

Pequena Fantasia para Piston by Henrique Alves de Mesquita

June 2007 / ITG Journal 2299© 2007 International Trumpet Guild

other orchestral works, and an extraordinary number of cham-ber music and choral works. Guarnieri’s career as a conductorincluded directing the Boston Symphony, guest appearanceswith Brazil’s principal orchestras, and almost 20 years as con-ductor and artistic director for Universidade de São Paulo’ssymphony orchestra, a position he held until his death in1993.10 Guarnieri’s Estudo para trompete em dó, a short yetinteresting unaccompanied solo, was created using cells com-posed of five to six notes. In this work, Guarnieri does notadhere to strict serialism, at times even inserting a chromaticscale.11

Cláudio Santoro (1919 –1989) was born in Man-aus, a city on the AmazonRiver. His education in -cluded a degree from Uni-versidade Federal do Riode Janeiro. Upon his grad-uation, Santoro was ap -pointed professor of violinat the same institution, andin 1940, he co-foundedOr questra Sinfônica Brasil -eira (OSB) and also com-posed his first symphony.In 1943, he won two im -portant awards: the firstfrom OSB for his Impres -sões de uma usina de aço and the second from the ChamberMusic Guild of Washington for his first string quartet. Duringthe mid-1940s, a Guggenheim Fellowship brought Santoro toNew York, and then a scholarship from the French govern-ment led him to study with Nadia Boulanger in Paris. Soonafter, in 1948, he was awarded the first prize from the LiliBoulanger Foundation in Boston, selected by a jury thatincluded Stravinsky, Copland, and Nadia Boulanger. Uponreturning to Brazil after his international travels, Santoro suf-fered financial hardships; he had lost his position in OSBbecause he had resided abroad for so long. Then, after a briefrespite on a farm in Manaus, he returned to Rio de Janeiro andcomposed several soundtracks. In 1957, Santoro foundedOrquestra de Câmera da Rádio MEC, also in Rio de Janeiro.The 1960s brought several changes in his career. He dividedtime between directing the music department at Universidadede Brasilia, working for the Centro de Informação e Divul-gação de Músicas Latino-Americanas (an organization incharge of promoting Latin American music), and teaching inMannheim and conducting several European orchestrasincluding the Berlin Radio Orchestra in performances of hisown works.12

Santoro’s considerable output as a composer includes oneopera, numerous orchestral and chamber works, many sonatas,and countless choral works. As the first Brazilian sonata fortrumpet and piano, Santoro’s composition is significant; addi-tionally, the work is the most substantial twelve-tone compo-sition encountered in this study. Santoro and many otherhighly-regarded Brazilian composers began their careers with anationalist style; however, a composer and scholar namedHans Joachim Koellreutter swayed several toward a modernEuropean approach. Born in Freiburg, Germany, in 1915,Koellreutter immigrated to Brazil in 1937 after studying music

this composition is significant. Additionally, the works byGomes, Mesquita, and Medeiros represent a Romantic com-positional style that existed in Brazil at the beginning of thetwentieth century.

AArrttiissttiicc IImmpprreessssiioonnssThe nearly one hundred known Brazilian solo trumpet

works are best classified as follows: 1) Romantic or neo-Romantic compositions, 2) nationalist works, and 3) piecesthat are counter-nationalist and usually employ serialism.Joaquim Antonio Naegele’s Estrela de Friburgo, DjalmaGuimarães’s Canto Andaluz, Domingos Raymundo’s Divagan-do, and Alfredo Dias’s Concerto are representative neo-Roman-tic works. Nationalist works are the most unique and interest-ing and warrant a more detailed discussion (see below). Third,counter-nationalist works rebelled against the nationalistmovement and looked toward European immigrants andtrends for inspiration. Two noteworthy works by very signifi-cant Brazilian composers fit this style. Mozart CamargoGuarnieri’s Estudo para trompete em dó (1953) was the firstunaccompanied work for solo trumpet in Brazil.8 ClaudioSantoro contributed the first sonata for trumpet and piano afew years earlier in 1946.9

Born in Teitê, São Paulo,Mozart Camargo Guarnieri(1907 – 1993) was one ofBrazil’s most prodigiouscom posers and influentialin structors during thetwentieth century. In fact,his parents were musicians,as Guarnieri’s first nameMozart suggests. His teach-ers included Ernâni Braga,Antônio Sá Pereira, Lam-berto Baldi, and Mário deAndrade, who introducedGuarnieri to methods of in -corporating Brazilian pop -ular music into a tradition-al compositional style. After significant success with some ofhis early works, Sonatina para piano, Chôro No. 3, and Oimpossível carinho, Guarnieri was appointed conductor ofOrquestra Sinfônica Municipal de São Paulo in 1935 and thenpromoted to principal conductor and artistic director in 1940.During his residency with this orchestra, Guarnieri receivedtwo awards from the Departamento Municipal de Cultura deSão Paulo (São Paulo Department of Culture) in 1937: firstprize for a choral work with his Coisas deste Brasil (Things fromthis Brazil) and first prize for an instrumental work with hisFlor de Tremembé (Flower from Tremembé) for fifteen soloinstruments and percussion. The following year, he was award-ed a fellowship from the municipal government in São Pauloto study in Paris, where he studied composition with CharlesKoechlin and conducting with Franz Rühlmann and hadmany of his works performed. In 1939, Guarnieri returned toBrazil because of World War II. He went on to win numerousprestigious international awards, including the Fleischer MusicCollection Award from the Philadelphia Free Library for hisConcerto No. 1 para violino e orquestra. His large composition-al output includes Abertura concertante (1942), numerous


Mozart Camargo Guarnieri

Cláudio Santoro

titled Ensaio sobre a música brasileira (Rehearsal about Brazil-ian Music).17 Arnaldo Contier summarized Andrade’s state-ments as follows:

1. Composers should base their works on Brazilianfolk music because this methodology reveals the viewsof the people and embodies the collective thought ofthe era;

2. Nationalist composers should consciously em -ploy the following techniques: integrate folk mel -odies, use variations based on folk melodies, and con-ceive melodies in a folk-like style;

3. With regard to compositional technique, authorsshould use counterpoint with a neoclassicistapproach;

4. Folk instruments should be implemented inworks of art;

5. Composers should redefine the traditional Euro-pean forms by substituting forms that exist in themusical folk tradition whenever possible; for example,the gigue and saraband of traditional suites should bereplaced by the samba or seresta.18

Therefore, Brazilian nationalist compositions are influencedby indigenous folk and popular styles, and the unique soundof Música Popular Brasileira (Brazilian Popular Music) has hada significant influence on Brazilian art music. The trumpetworks are no exception, and as a result, many compositions arehighly rhythmic and frequently utilize scales and modes foundin Brazil’s folk and popular music. These nationalist influencesgive Brazilian trumpet works their unique sound.

While Rio de Janeiro and São Paulo are two of Brazil’s old-est and largest cities, and their traditions include several of thecountry’s historic orchestras and universities, major culturalcenters exist throughout Brazil. Musicians were supportedthrough organizations such as the universities and orchestras inthese cities. Orchestras have brought several fine brass per-formers from America and other countries, raising the level ofperformance and inspiring composers to write solo works.Additionally, while new pieces are not typically written forannual competitions as is the case with the Paris Conservato-ry, Brazilian solo works are often required on national compe-titions, degree recitals, and performances as part of interviewsfor university positions. Numerous nationalist works existwhere the use of Brazilian genres and styles is clear and delib-erate. Other works even in a counter-nationalist style includefolk influences. For example, the music by Guarnieri and San-toro listed earlier contain complex or syncopated rhythms

influenced by Brazilian folk tra-dition. Composers with multi-ple works may show varying folkinfluences from work to work.

A few composers and musi-cians affiliated with Universi-dade Federal do Rio de Janeiro(UFRJ) made significant contri-butions. José Siqueira (1907 –1985) was a trumpet soloist,

theorist, and composer who was born in northeast Brazil butmoved to Rio de Janeiro to join a military band. Eventually,he had a distinguished career that included directing many ofthe world’s leading orchestras in performances of his ownworks. Siqueira’s significant output as a composer included

in Berlin. He brought with him the neoclassicist philosophiesand serialist techniques of Arnold Schoenberg, Anton Webern,and Alban Berg and, in 1939, formed Grupo Música Viva (Liv-ing Music Group), which championed the ideologies of theaforementioned Second Viennese School. Composers con-forming to this artistic movement discarded a nationalist phi-losophy for a modern European style because they viewednationalism as antiquated and passé.13 Many prolific Braziliancomposers abandoned their nationalist methodologies includ-ing Cláudio Santoro and Camargo Guarnieri, choosinginstead to exemplify the movement set forth by Grupo Músi-ca Viva. Interestingly, many composers including Santoroeventually returned to their nationalist roots.

While Santoro’s sonata was listed in his catalog, previousscholars had not been able to locate the work.14 Peculiarly,Brazilian composers (not Santoro in particular) have a tradi-tion of listing “phantom” works, compositions never written,in their catalogs to appear more productive. Even after repeat-ed requests, Gizele Santoro, the composer’s widow, who nowpossesses his complete manuscript collection, insisted thatSantoro never wrote a trumpet sonata. Ironically, around thesame time as these requests, this author’s aunt provided GizeleSantoro a 200-page report regarding education in Brasilia, asthe two were working together on a government project. Onefinal search of the Santoro’s manuscript collection at last dis-closed the lost sonata. Gizele Santoro believes the work wasnever premiered during the composer’s lifetime, and both aclean score with no markings and a few mistakes in the scoresupport this assumption.15 It is likely that the premiere per-formance was given on March 28, 2000, by this author on aprogram that included a modern premiere of Santana Gomes’sAndante e Bolero.16 Editions Savart recently published San-toro’s sonata. The composer’s expertise and craftsmanship areevident in the contrapuntal textures found throughout thework. Rhythmic variety and sudden changes in character addto the composition’s interest. Several other works predomi-nantly in a counter-nationalist style include Santoro’s FantasiaSul América that can be performed with orchestra or sansaccompaniment, and two other unaccompanied works: FlávioFernandes’s Aton and Francisco Mignone’s Sonata paraTrompete.

BBrraazziilliiaann NNaattiioonnaalliissmmAn understanding of one pivotal event that occurred during

the 1920s is critical to comprehend Brazilian music. National-ism was building and developing until a nationwide meetingof leading musicians, writ-ers, authors, and philoso-phers later dubbed theSemana de Arte Moderna(Week of Modern Art)helped coalesce Brazilianmusic and art into oneidentifiable nationaliststyle. In February of 1922,Heitor Villa-Lobos andothers met in São Paulo and outlined the importance ofnationalism and elements in music and the other arts thatshould be incorporated in this nationalist ideology. Later,Mário de Andrade, a renowned philosopher, scholar, andauthor, further codified these ideas in one of his many texts


“Nationalism was building and developinguntil a nationwide meeting of leading musi-cians, writers, authors, and philosophers…helped coalesce Brazilian music and artinto one identifiable nationalist style.”

(1974), Pequena Suite in (1983), and Sonata para Trombeta ePiano (1996). All four display nationalist influences, includingthe use of pentatonic scales found in folk tradition and indige-nous styles such as dobrado (a march style) and cancão. Lacer-da was the first Brazilian to win a Guggenheim Fellowship(1962)—an opportunity that allowed him to study with Vit-torio Giannini in New York and Aaron Copland at Tangle-wood. Lacerda first studied composition with CamargoGuarnieri in Brazil. He also authored several texts on musictheory and won numerous prizes in Brazil for his composi-tions, including the first prize in the Concorso Nacional deComposição da Cidade de São Paulo, for his Suite Pira-tininga.23

Ernst Mahle (b. 1929) from Piracicaba, São Paulo migratedto Brazil in 1951 at the age of 22. His earliest contributions,Concertino para Trompete (1973) and As Melodias da Cecília(1976), were intended as didactic works. Mahle’s two moresubstantial works for solo trumpet, Concertino para Trompete eCordas (1979) and Sonatina para Trompete e Piano (1979),exhibit both his European heritage and Brazilian culture.Mahle’s As Melodias da Cecília is the first known Brazilianpublication for trumpet and piano, released by Irmãos Vitalein 1976. Earlier, compositions by Bomfiglio de Oliveira(1894 – 1940) and Sebastião Cirino (1902 – 1968) were pub-lished as collections of lead sheets without chord symbols.These two musicians were among the most notable Braziliantrumpet soloists in popular music with the genres of chôro andmaxixe. Since these compositions were in a popular idiom and

two operas, two oratorios, two cantatas, three symphonies,numerous symphonic poems and concertos, and countlesschamber works. He directed orchestras around the worldincluding in Philadelphia, New York, Rochester, Montreal,Lisbon, Paris, and Moscow. In Brazil, he taught at UFRJ,founded Orquestra Sinfônica Nacional and Orquestra deCâmara do Brasil, co-founded Academia Brasileira de Música,and published several didactic texts in Portuguese.19

Siqueira’s Três Estudos (1963) and his Concertino paraTrompete e Orquestra de Câmera (1966) are substantial compo-sitions conceived in a very nationalist style. Unfortunately, thetrumpet part and orchestral score to Siqueira’s concertino havebeen lost. (The author is currently reconstructing the work.)One of the most obvious uses of Brazilian folk tradition inSiqueira’s music includes the second movement of Três Estu-dos (Three Studies) marked Tempo de Modinha. Lyrical sen-timental songs were once referred to as modinhas or modasbecause they were “in style;” na moda in fact means “instyle.”20 Similarly, the second movement of his concertino is acanção (song) and employs simple folk-like melodies. The finalmovement’s 2/4 time signature and syncopated melodies withoffbeat accents are indicative of a folk style.

Domingos Raymundo’s Divagando (1960) and Concertinopara Cornetim e Orquestra (1963) were not conceived in par-ticular dance styles; nonetheless, folk qualities are evident.While difficult to codify, a simple melodic construction, lyri-

cism, and outlining of vari-ous ascending diminishedchords yield a folk sound.Two other lyrical composi-tions appeared during thistime. Baptista Siqueira’sCanto de Trompete (1961), aparticularly beautiful song,was conceived with a similartype of melodic construc-tion.21 Additionally, Ricar-do Tacuchian’s SubúrbioCarioca (1962) includes avalsa brejeira (a slow urbanwaltz). Interestingly, thiswork was the first Tacuchian

included in his catalog of works; the composition demon-strates a nationalist style that he abandoned early in his careerfor a more experimental language. Raymundo (1904 – 2001),Siqueira (1906 – 1992), and Tacuchian (b. 1939) were allaffiliated with UFRJ. Premiered by Rubens Brandão, who wasthe trumpet professor at this university at the time, Raymun-do’s concertino is the first known Brazilian work for trumpetand orchestra. Heinz Schwebel recently premiered José Guer-ra Vicente’s Concerto para Trompete e Orquestra (1963). Thecomposer’s son Antonio Guerra Vicente has been active inreviving his father’s music and arranging premieres of never-performed works as well.22 This concerto and Ernst Widmer’sSonatina para Trompete e Piano (1968), written for HorstSchwebel but not performed until this year by his son Heinz,represent more works not premiered during composers’ life-times and efforts by modern Brazilian soloists to revive oldmusic and expand the trumpet repertoire.

In São Paulo, during the last four decades, Osvaldo Lacerda(b. 1927) contributed Invocação e Ponto (1968), Rondino


Domingos Raymundo

Ernst Mahle

Brazilian to earn a doctorate in trumpet abroad at CatholicUniversity (Washington, DC). His principal teacher and men-tor was Charles Schlueter. Simões’s friendship with Duda ledto several significant works, including Suite Recife, Concertinopara Trompete e Piano, Suite Monette, and Fantasia Car-navalesca.28 These works embody the Armorial style. In thefifth movement of Suite Recife, Duda used frevo. This extreme-

ly fast and syncopated music per-formed for the northeastern Car-nival evolved from marches per-formed faster and faster and moresyncopated until a new styleevolved (frevo comes from theword ferver: to boil).29 The firstfour movements include baião(also, a fast and syncopatednortheastern folk style) and the

lyrical aboio (cattle rancher song) and canção. All three move-ments were conceived modally with an approach typical ofmany northeastern styles. While the most common northeast-ern modes are the lydian, mixolydian, and lydian-mixolydi-an,30 Silva uses the lydian, mixolydian, and dorian for thesemovements. His concertino also used a Brazilian waltz andmaracatú (a slow and heavy dance style also from northeastBrazil). These styles are evident in other northeastern works aswell as compositions by scholars throughout Brazil who haveresearched the music from this area. The group Brassil record-ed several of Duda’s works on the Nimbus label; however, allof the works listed were originally solo trumpet works.31 Theuse of indigenous styles in the movement once again followsthe principles of Semana de Arte Moderna.

UUrrbbaanniissmm aanndd UUnniivveerrssaalliissmmIn Brazil’s urban centers, composers have often drawn upon

universal influences for inspiration, fusing domestic genreswith international styles. Hence, American musical forms such

could have been performed on any instrument, they are notconsidered solo trumpet works as defined by this study and arenot included in the list of works.24 Two of his later trumpetworks were dedicated to and premiered by Paul Mitchell, anAmerican performing in São Paulo’s orchestras. Sérgio Vas-concellos-Corrêa’s Concertino para Trompete e Orquestra(1978) is also noteworthy as one of the few published worksand for its distinction of being awarded a governor’s prize inSão Paulo. The last movement of this concerto employs sever-al indigenous percussion instruments following one of thetenets outlined in Semana de Arte Moderna.

Edmundo Villani-Côrtes (b. 1930) contributed Ponteio paraas Alterosas (1998) that pays homage to a region in the com-poser’s home state of Minas Gerais. He later added two moremovements to what was eventually titled Concerto No. 1 paraTrompete (2004) written for Anor Luciano, professor of trum-pet at Universidade Federal de Minas Gerais. The second andthird movements (added later), titled Aquifero-Guarani andValsa Ranchera, depict Southern Brazil. Aquifero-Guaranirefers to the world’s largest aquifer located in Southern Brazil.This geographic area is famous for its ranchers known as gau-chos, and Valsa Ranchera literally means a rancher’s waltz.25

NNoorrtthheeaasstt BBrraazziill aanndd tthhee AArrmmoorriiaall MMoovveemmeennttDuring the 1960s and 70s, composers from northeast Brazil

began a movement that follows nationalist principles on aregional level. This cultural development known as Movi mentoArmorial (Armorial Movement) involved the conscious effortsof composers, artists, and writers to assimilate their indigenousfolk styles and genres into their artwork. Within the folk cul-ture, songs, and poems were printed on leaflets (illustratedwith woodcuts) and were hung for sale and placed on stringsstretched between market stalls.This literatura de cordel (literatureon a cord) was formed through aculmination of narrative poetry,pa int ings and etchings , andchants. In the creation of BrazilianArmorial Art, composers, authors,and artists embraced this popularculture, channeling its characteris-tics into unique works with uni-versal appeal. Armorial composers adopted several northeast-ern dance styles into their concert works, including baião,frevo, and maracatú. Additionally, lyrical movements entitledcanções (fisherman songs) and aboios (cattle rancher songs)were conceived with an indigenous modal system.26

Widely known by the penname “Duda,” José Ursicino daSilva was born in Goias, Pernambuco in 1935. Largely self-taught, he began his musical studies playing clarinet and saxo-phone in several bands including the highly regarded Academ-ic Jazz Band of Recife. This ensemble performed many of thepopular compositions by Glenn Miller and Tommy Dorsey,offering Silva the opportunity to study these masters’ scores.American military bases in Recife and Natal during WorldWar II made these arrangements accessible. In northeastBrazil, Maestro Duda became a household name due to thesuccess of his compositions during the northeastern Carnival.However, only recently has he become highly regarded amongacademic circles.27

Silva’s former son-in-law Nailson Simões was the first


“…Movimento Armorial (ArmorialMovement) involved the consciousefforts of composers, artists, and writ-ers to assimilate their indigenous folkstyles and genres into their artwork.”

L – R: Nailson Simões, unknown, andJosé Ursicino da Silva “Duda”

titled Jobiniando Nova Iorque portrays New York in the styleof Tom Jobim.35 This work and Raimundo’s Carambola wereboth written for trumpet and piano, contrasting the works forGould that were conceived with a more eclectic instrumenta-tion.

The diverse influences andvaried instrumentation ofPen aforte’s music in particularposes the question: What is aBrazilian solo trumpet work?Because popular and classical

idioms in Brazil are more closely related than in traditionalwestern thinking, the answer becomes even more difficult. Forthe purposes of this study, the following distinctions have beenmade. Unaccompanied works and pieces for trumpet and a

harmonic instrument (piano, organ, guitar)and percussion or ensemble (orchestra, band,brass quintet, etc.) are included. If a duo isfeatured such as trumpet and trombone withone of these instrumental combinations, thenthese pieces are also included. Works fortrumpet and only one other melodic instru-ment, for example flute and trumpet, areconsidered duets and excluded. The solotrumpet work genre is further defined asmusic specifically conceived for the trumpetby the composer and notated as such. Hence,music with only a lead sheet that may havefirst been performed on trumpet is omittedfrom the collected works. Noteworthy contri-butions by Brazilian artists in specificallypopular genres could not be included in thisstudy’s already large scope.

CCoonncclluussiioonnBrazilian solo trumpet works are quite var-

ied. These works include pieces conceived ina Romantic style, others demonstratingstrong nationalism, some modeling Europeangenres, and compositions based on universalexperiences. Recently, scholars began apprais-ing cultural riches from the northeast posi-tively, giving this music equal merit when

compared to Brazil’s better-known styles that have beenexported internationally. The evolution of mainstream artisticthought in Brazil during the twentieth century is representedin these compositions.

Progress toward the enrichment of the solo trumpet reper-toire involves increasing the literature available for the instru-ment through several methods. This development includesmaintaining a positive alliance with composers and encourag-ing them to write new works through commissions. In recentyears, the emergence of desktop publishing has made the dis-semination of a variety of music easy and increasingly afford-able. New works are constantly being released. While leadingEuropean scholars continue to locate lost or obscure manu-scripts of solo trumpet works from the past four centuries, thissource of historically significant literature has been largelyexhausted. New editions of this music rarely reveal composi-tions that are revolutionary; most are very similar to the abun-dance of literature already available. Furthermore, these works

as jazz and blues and other nation’s styles have been accultur-ated into Brazilian music. While many composers continue tolook abroad for inspiration, the primary catalyst continues tobe domestic styles; musicians are most familiar with their ownartistic forms.32 Several composers who consider their stylesurban-conceived pieces employparticular indigenous styles,confirming this hypothesis.Antonio Guerreiro (b. 1949)conceived Três Peças (ThreePieces) in 1998 with the outermovements set as a chôro and frevo respectively. Additionally,while the lyrical middle movement displays influences ofAmerican blues, the vocalise is marked canção. Although Guer-reiro considers this solo trumpet work to be in a universalstyle, his approach is inherentlynationalist because he chosedomestic influences for inspira-tion.33 In fact, he calls the finalmovement of his suite Frevo Cari-oca, combining the genre of Frevowith styles from Rio de Janeiro asthe word carioca suggests. Like-wise, Nestor de Hollanda Caval-canti (b. 1949) composed fourshort works for this author thatcan be performed individually oras a set: Um Gringo no Samba(1997), Um Gringo no Chôro(1998), Um Gringo no Frevo(1999), and Cissiparidade (1999).The first three of these composi-tions reflect the styles for whichthey are named: samba, choro, andfrevo. Cissiparidade displays influ-ences of both samba and canção.Again, although Cavalcanti citesforeign influences in most of hiscompositions, his works are alsoinnately nationalistic because ofthe recurring use of domesticstyles.

Born in the city of Recife innortheast Brazil, Raimundo Penaforte (b. 1961) studied atUniversidade Federal de Pernambuco and eventually the Juil-liard School. Many diverse accomplishments include perform-ances and recordings as a percussionist with Maynard Fergu-son, Chuck Mangione, and Richie Havens. While Penaforte’sworks are among the most recognizably Brazilian, his travelsabroad have led to urban and universal influences in his music.He refers to many of his works as “recompositions… changingoriginal melodies, harmonies, and form to the point where thepiece becomes a new [work] without losing its original charac-teristics.”34 One needs only to examine a few of Penaforte’sunique compositions written for Mark Gould to see this prin-ciple in effect: Samboresque , that includes Dvorak’sHumoresque set as a samba; and America Over Yonder, thatincludes the melody America the Beautiful. Additionally, hisuse of various styles is represented in his Sweet New York writ-ten for Fernando Dissenha, principal trumpet of OrquestraSinfônica do Estado de São Paulo. The fourth movement


“While many composers continue to lookabroad for inspiration, the primary cata-lyst continues to be domestic styles…”

Nestor de Hollanda Cavalcanti

School of Music from the Federal University of Rio deJaneiro) assumed many names in existence includingConservatório de Música and Instituto Nacional de Músi-ca. For the purpose of clarity in this article, this institutionis referred to only by its current name of Universidade doRio de Janeiro (UFRJ).

5 Enciclopédia da Música Brasileira, “Mesquita, HenriqueAlves de” (São Paulo: Art Editora, 1998), 7 – 8.

6 Enciclopédia da Música Brasileira, “Medeiros, Anacletode” (São Paulo: Art Editora, 1998), 496.

7 Enciclopédia da Música Brasileira, “Gomes, Santana” (SãoPaulo: Art Editora, 1998), 337 – 338.

8 Compositores Brasileiros: Camargo Guarnieri—Catálogo deObras (Rio de Janeiro: Ministério das Relações Exteriores;Departamento de Cooperação Cultural, Científica e Tec-nológica, 1977).

9 Vasco Mariz, Claudio Santoro (Rio de Janeiro: EditoraCivilação Brasileira, 1994).

10 Enciclopédia da Música Brasileira, “Guarnieri, Camargo”(São Paulo: Art Editora, 1998), 349 – 353.

11 Nailson de Almeida Simões, “Six Twentieth-CenturyCompositions for Trumpet Solo” (Manuscript fromD.M.A. Lecture Recital: Washington, DC, Catholic Uni-versity of America, 1990), 5.

12 Enciclopédia da Música Brasileira, “Santoro, Claudio” (SãoPaulo: Art Editora, 1998), 710 – 712.

13 José Maria Neves, Música Contemporânea Brasileira (SãoPaulo: Ricordi, 1977), 85.

14 Vasco Mariz, Claudio Santoro (Rio de Janeiro: EditoraCivilação Brasileira, 1994).

15 Gizele Santoro, interview by author, 15 August 1999, per-sonal notes, Rio de Janeiro.

16 Luis Engelke and Eva Mengelkoch, “Twentieth-CenturyBrazilian Trumpet Works,” recital program (Towson,MD: Towson University) March 28, 2000.

17 Mário de Andrade, Ensaio sobre a música brasileira (SãoPaulo: Livraria Martins, n.d.).

18 Arnaldo Daraya Contier, Música e ideologia no Brasil (SãoPaulo: Editora Novas Metas, 1985), 47 (liberally translat-ed).

19 Enciclopédia da Música Brasileira, “Siqueira, José” (SãoPaulo: Art Editora, 1998), 745 – 747.

20 Bruno Keifer, A modinha e o lundo, duas raízes da músicapopular brasileira (Porto Alegre, RS: Editora Movimento,1986), 8 – 9.

21 Baptista Siqueira was the younger brother of José Siqueira.22 Heinz Schwebel, EMail correspondence, 11 September

2006, Salvador, Bahia.23 Compositores Brasileiros: Osvaldo Lacerda—Catálogo de

Obras (Rio de Janeiro: Ministério das Relações Exteriores;Departamento de Cooperação Cultural, Científica e Tec-nológica, 1976); and Enciclopédia da Música Brasileira,“Lacerda, Osvaldo” (São Paulo: Art Editora, 1998), 428.

24 Bomfiglio de Oliveira, Solos de Piston—Álbum No. 1 (Riode Janeiro: Irmãos Vitale, n.d.).

25 Anor Luciano, interview by author, 2 June 2006, person-al notes, Baltimore, MD.

26 José Ursicino da Silva. Fantasia Brasileira, edition withcommentary by Luis Engelke (Oxford, OH: Triplo Press,2003), i – ii.

27 Luis Engelke(Ed.). A Brazilian Collection: Five works for

do not disclose any new artistic ideologies. The music fromSouth America includes the emergence of new musical formsand indigenous styles by merging two or more genres into anew art form of European styles with African music. In Brazilalone, nationalism was codified in Semana de Arte Moderna;Grupo Música Viva looked to Europe for counter-nationalistinspiration; Armorial composers championed their regionalartwork; and urban composers looked for universal influencesfor the creation of new music.

An examination of the list of works provided reveals a grow-ing momentum for solo performance in Brazil; more knownworks can be attributed to each succeeding decade with rough-ly one third being written during the 1990s. Furthermore,Brazilian trumpet soloists have produced an increasing num-ber of solo recordings: Nailson Simões, Fernando Dissenha,Paulo Mendonça, Heinz Schwebel, Paulo Ronqui, SilvérioPontes, and this author during the past decade. Most impor-tantly, Brazilian trumpet works represent a unique body of lit-erature that can significantly enhance the solo trumpet reper-toire. Many of these works have recently been published andare available to performers worldwide. A substantial number ofworks revealed in this study being unknown to the interna-tional trumpet community indicates there are likely other sub-stantial bodies of literature awaiting discovery. Scholars mustwork to preserve repertoire from the Latin American, African,Middle Eastern, and other cultures, or many unique anddiverse works will be lost.

About the author: Originally a native of Brazil, Luis Engelkeis currently professor of trumpet at Towson University in Bal-timore, MD. He performs more than 100 engagements annu-ally as a soloist and orchestral/chamber musician, serves asMusic Reviews Editor for the ITG Journal, and is a YamahaPerforming Artist. Engelke has performed as a soloist in NorthAmerica, South America, Asia, and Europe and has appearedon more than 20 commercially released recordings. Mostrecently, he was featured with a trumpet solo in the film Sto-ries of the Land (Aurora Films and Records) with Pennsylva-nia’s Lancaster and York Symphony Orchestras.

Engelke’s performances and research into Latin musicinclude a solo CD titled A Brazilian Collection and an anthol-ogy published by Balquhidder Music under the same title. Hiswork in Brazil consists of performances with several of thecountry’s leading orchestras including a tenure with OrquestraSinfônica Brasileira; collaborations with legendary artists suchas Paulo Moura, Ivan Lins, and Ze da Velha; instruction atUniversidade Federal do Rio de Janeiro and several other insti-tutions. The present article spans more than a decade ofresearch on Brazilian solo trumpet music.

EEnnddnnootteess

1 Norbert A. Carnovale and Paul F. Doerksen, Twentieth-Century Music for Trumpet and Orchestra, second ed.([United States]: The Brass Press, 1994).

2 Kevin Eisensmith (Editor), Trumpet and Brass Programs,United States: The International Trumpet Guild, 1994 –2005.

3 Museu Villa-Lobos, Villa-Lobos, Sua Obra, 2d ed. (Rio deJaneiro: [Ministério da Educação e Cultura]/[Departa-mento de Arquivo Cultural]/Museu Villa-Lobos, 1972).

4 Escola de Música da Universidade do Rio de Janeiro (The


31 José Ursicino da Silva, telephone interview by author, 6August 1999, personal notes, Rio de Janeiro.

32 Nestor de Hollanda Cavalcanti, interview by author, 19July 1999, personal notes, Rio de Janeiro.

33 Antonio Guerreiro, interview by author, 6 July 1999, per-sonal notes, Universidade do Rio de Janeiro, Rio deJaneiro.

34 Raimundo Penaforte, EMail correspondence, 12 Septem-ber 2006, New York, NY.

35 Fernando Dissenha, EMail correspondence, 5 September2006, Salvador, Bahia.

Trumpet & Piano by da Silva, Raymundo, Gomes, andGuer reiro (Montrose, CA: Balquhidder Music, 2006), 2 –3.

28 Nailson Simões, interview by author, 16 June 1999, per-sonal notes, Universidade do Rio de Janeiro, Rio deJaneiro.

29 Antonio Adolfo, Brazilian Music Workshop ([RottenbergN., Germany]: Advance Music, 1993), 127.

30 José Siqueira, O Sistema Modal na Música Folclórica doBrasil (João Pessoa, PE: Secretaria da Educação e Cultura,1981), 4.


CCoommppoosseerr//CCoommppoossiittiioonn IInnssttrruummeennttaattiioonn PPrreemmiieerree ((TTrruummppeett SSoollooiisstt)) DDaatteeGomes, Santana. Andante e bolero em ré Trumpet & Piano Candido Lima 1900Medeiros, Anacleto de. Bouquet Trumpet & Band Unavailable ca. 1900Mesquita, H. A. de. Pequena Fantasia

para Trompete Trumpet & Piano H. A. de Mesquita ca. 1900Naegele, Joaquim Antonio. Estrela de

Friburgo Trumpet & Band Unavailable ca. 1940Santoro, Cláudio. Sonata Trumpet & Piano Luis Engelke* 1946Guarnieri, Camargo. Estudo para

trompete em dó Unaccompanied Unavailable 1953Penalva, José. Cantilena e Fuga

para trompete e orgão Trumpet & Organ Unavailable 1956Guimarães, Djalma. Canto Andaluz Trumpet & Piano Djalma Guimarães 1960Raymundo, Domingos. Divagando Trumpet & Piano P. J. Terry 1960Siqueira, Baptista. Canto de Trompete Trumpet & Piano Rubens Brandão 1961Tacuchian, Ricardo. Subúrbio Carioca Trumpet & Piano Rubens Brandão 1962Raymundo, Domingos. Concertino Trumpet & Orchestra Rubens Brandão 1963Siqueira, José. Três Estudos Trumpet & Piano Valdomiro Alves 1963Vicente, José Guerra. Concerto Trumpet & Orchestra Heinz Karl Schwebel* 1963Siqueira, José. Concertino Trumpet & Piano Luis Engelke* 1966Nobre, Marlos. Desafio XIV para

Trompete e Piano Trumpet & Piano Unavailable 1968Lacerda, Osvaldo. Invocação e Ponto Trumpet & Orchestra Dino Pedini 1968Widmer, Ernest. Sonatina para

Trompete e Piano Trumpet & Piano Heinz Karl Schwebel* 1968Mignone, Francisco. Sonata para Trompete Trumpet & Piano Rubens Brandão 1970Pumar, Laura Maria. Valsa Trumpet & Piano Rubens Brandão 1970Schubert, Guilherme. Fantasia Miniatura Trumpet & Piano Rubens Brandão 1970Aguiar, Ernani. Três Peças Trumpet & Orchestra Grever Castro 1971Szpilman, Waldemar. Fantasia para

Dois Trompetes Two Trumpets & Orchestra Unavailable 1972Borges, Ruy Brasileiro. Fantasia em

R Bifurcado Trumpet & Orchestra Unavailable 1973Mahle, Ernst. Concertino para

Trompete (Pai Francisco) Trumpet & Orchestra Luiz Antonio 1973Lacerda, Osvaldo. Rondino Trumpet & Piano Unavailable 1974Fernandes, Flávio. Aton Unaccompanied Sérgio Cascapera 1976Mahle, Ernst. Concertino Trumpet & Orchestra Paul Mitchell 1976Mahle, Ernst. As Melodias da Cecília. Trumpet & Piano Unavailable 1976Simões, Nailson. Melodia para Marilian Trumpet & Piano Nailson Simões 1976Silva “Duda,” José Ursicino da. Marilian

no Frevo Trumpet & Piano Nailson Simões 1976Szpilman, Waldemar. Concerto Trumpet & Orchestra Rubens Brandão 1976

A COMPREHENSIVE LIST OF KNOWN TWENTIETH-CENTURY BRAZILIAN SOLO TRUMPET WORKS

COMPILED BY LUIS C. ENGELKE

Widmer, Ernest. Espera Unaccompanied Horst Schwebel 1976Bidart, Lycia de Biase. Solitude Trumpet & Piano Henrique Cesar 1977Bidart, Lycia de Biase. Concerto para

Piano e Trompete Trumpet & Piano Henrique Cesar 1977Dias, Alfredo. Concerto Trumpet & Orchestra José Maria Barrios 1978Fernandes, Flávio. Preludiando No. 3 Trumpet & Piano Nailson Simões 1978Priolli, Maria Luísa. Berceuse Trumpet & Piano Rubens Brandão 1978Vasconcellos-Corrêa, Sérgio. Concertino Trumpet & Orchestra Ermildo Luiz Vianna 1978Mahle, Ernest. Sonatina Trumpet & Piano Paul Mitchell 1979Sedícias, Dímas. Requiem para um

Novillero Trumpet & Guitar José Maria Pimental 1980Silva “Duda,” José Ursicino da. Tema

para um Trompetista Trumpet & Piano Nailson Simões 1980Silva “Duda,” José Ursicino da. Suite Recife Trumpet & Piano Nailson Simões 1981Hofman, Hubertus. Concerto para Dois

Trompetes e Orquestra Two Trumpets & Orchestra Unpremiered 1982Fernandes, Flávio. Criação No. 1 Trumpet & Piano Nailson Simões 1983Lacerda, Osvaldo. Pequena Suite Trumpet & Piano Unavailable 1983Mignone, Francisco. Cinco Cirandes Trumpet & Piano Unavailable 1983Santoro, Cláudio. Fantasia Sul América Trumpet & Orchestra Anor Luciano 1983Silvestre, Lourival. Verd’ e Amarelo Trumpet & Piano Rubens Brandão 1984Chassin, Ibaney. Piazzolando Trumpet & Piano Unavailable 1986Silva “Duda,” José Ursicino da. Zinzinho

nos States Trumpet & Piano Nailson Simões 1986Bidart, Lycia de Biase. Série Retratos Trumpet & Piano Paulo Reis 1987Kaplan, José Alberto. Sonata para

Trompete e Piano Trumpet & Piano Nailson Simões 1987Almeida, Carlos de. Sétima Seresta Trumpet & Piano Rubens Brandão 1988Nobre, Marlos. Concerto Trumpet & Orchestra Unavailable 1989Silva “Duda,” José Ursicino da. Música

para Metais No. 3 Trumpet, Trombone & Piano Nailson Simões 1989Silva “Duda,” José Ursicino da. Concertino Trumpet & Piano Nailson Simões 1991Gagliardi, Gilberto. Trompeta de Espanha Trumpet & Band Unavailable 1992Penaforte, Raimundo. Carambola. Trumpet & Piano Fernando Dissenha 1992Victoria, Roberto. Ens Unaccompanied Nelson Oliveira 1993Silva “Duda,” José Ursicino da. Toada Trumpet, Trombone & Brass Quintet Charles Schlueter 1994Silva “Duda,” José Ursicino da.

Suite Monette Trumpet & Brass Quintet Charles Schlueter 1994Freitas, Gizele. Lore Infantil do Folk Trumpet & Piano Unavailable 1994Lima, Paulo Costa. Oriki Trumpet & Piano Heinz Karl Schwebel 1995Penaforte, Raimundo. Sweet New York Trumpet & Piano Fernando Dissenha 1995Silva “Duda,” José Ursicino da. Fantasia Three Trumpets & Band Charles Schlueter, Nailson

Carnavalesca Simões, Anor Luciano 1995Gomes, Wellington. Policromo Trumpet & Piano Heinz Karl Schwebel 1996

Lacerda, Osvaldo. Sonata Trumpet & Piano Renato Misiuk 1996Linhares, João. Concertino para Trompete Trumpet & Guitar Anor Luciano 1996Penaforte, Raimundo. Nana Trumpet, Guitar & Percussion Mark Gould 1996Penaforte, Raimundo. Serenade Trumpet & Guitar Mark Gould 1996Cavalcanti, Nestor de Hollanda.

Um Gringo no Samba Trumpet & Piano Luis Engelke 1997Cerquiera, Fernando. Clipses Emotivos Trumpet & Piano Heinz Karl Schwebel 1997Escalante, Eduardo. Duo No. 14 Trumpet & Guitar Unavailable 1997Lima, Paulo Costa. Oriki II Unaccompanied Heinz Karl Schwebel 1997Magalhães, Alexandre Brasolim de.

Contradança Trumpet & Piano Fernando Dissenha 1997Nogueira, Hudson. Divertimento para

Trompete e Piano Trumpet & Piano Fernando Dissenha 1997Penaforte, Raimundo. America Over YonderTrumpet, Guitar, Bass Clarinet & Percussion Mark Gould 1997Penaforte, Raimundo. Picada de Abelha Trumpet & Percussion Mark Gould 1997Penaforte, Raimundo. Samboresque Trumpet, Guitar & Percussion Mark Gould 1997


Prado, Almeida. Nhá Euphrazina, bela cabocla, for-de-maracujá Trumpet & Piano Gilberto Reinheimer 1997

Villani-Côrtes, Edmundo. Ponteio para as Alterosas Trumpet & Piano Anor Luciano 1997

Cavalcanti, Nestor de Hollanda. Um Gringo no Chôro Trumpet & Piano Luis Engelke 1998

Gorni, Vitor Hugo. Pequena Suíte para Trompete Trumpet, Acoustic Bass, Piano & Percussion Arthur Fernandes 1998

Guerreiro, Antonio. Suite para Trompete e Piano Trumpet & Piano Nailson Simões 1998

Cavalcanti, Nestor de Hollanda. Um Gringo no Frevo Trumpet & Piano Luis Engelke 1999

Cavalcanti, Nestor de Hollanda. Cissiparidade Trumpet & Piano Luis Engelke 1999

Sedícias, Dímas. Corda e Caçamba Trumpet & Percussion Unavailable 1999

CCoommppoosseerrss,, pprrooggrraammss,, mmaannuussccrriippttss,, aanndd ootthheerr ssoouurrcceess wweerree uusseedd ttoo aasscceerrttaaiinn ssoollooiissttss pprreemmiieerriinngg wwoorrkkss.. SSoouurrcceess iinnddiiccaattee tthhaattiinn aa ffeeww ccaasseess cceerrttaaiinn wwoorrkkss wweerree nneevveerr pprreemmiieerreedd dduurriinngg ccoommppoosseerrss’’ lliiffeettiimmeess.. AAnn aasstteerriisskk mmaarrkkss tthheessee wwoorrkkss.. FFoorr sseevveerraallwwoorrkkss nnoott ddeeddiiccaatteedd ttoo aa ppaarrttiiccuullaarr ssoollooiisstt,, ddeetteerrmmiinniinngg tthhee ssoollooiisstt wwhhoo pprreemmiieerreedd tthhee wwoorrkk wwaass nnoott ppoossssiibbllee..

CCoommppoosseerr CCoommppoossiittiioonn IInnssttrruummeennttaattiioonn PPuubblliisshheerrCavalcanti, Nestor de Hollanda Urban Quintet No. 1 Brass Quintet Brazilian Music EnterprisesGagliardi, Gilberto Cantiga Brasileira Trumpet Quartet Brazilian Music EnterprisesGagliardi, Gilberto Cantos Nordestinos Brass Ensemble Brazilian Music EnterprisesGagliardi, Gilberto Melancolico Trumpet Quartet Brazilian Music EnterprisesGagliardi, Gilberto Modinha Trumpet Quartet Brazilian Music EnterprisesGomes, Santana Andante e bolero em ré Trumpet & Piano Balquhidder MusicGuerreiro, Antonio Suite para Trompete e Piano Trumpet & Piano Balquhidder MusicHavens, Daniel Cenarios Brass Ensemble Brazilian Music EnterprisesKaplan, José Alberto Brass Quintet Brass Quintet Brazilian Music EnterprisesMahle, Ernst As Melodias da Cecília. Trumpet & Piano Irmãos VitaleRaymundo, Domingos Divagando Trumpet & Piano Balquhidder MusicSantoro, Claudio Fantasia Sul Americana Unaccompanied Trumpet Editions SavartSantoro, Claudio Fantasia Sul Americana Trumpet & Orchestra Editions SavartSantoro, Claudio Sonata Trumpet & Piano Editions SavartSedicias, Dimas Burundunga Brass Quintet Brazilian Music EnterprisesSedicias, Dimas Trilogia Matuta Brass Quintet (w. opt. percussion) Brazilian Music EnterprisesSilva “Duda,” José Ursicino da Concertino Trumpet & Piano Balquhidder MusicSilva “Duda,” José Ursicino da Fantasia Brasileira Trumpet Quintet Triplo PressSilva “Duda,” José Ursicino da Suite Monette Solo Trumpet & Brass Quintet Alfia PublishingSilva “Duda,” José Ursicino da Suite Recife Trumpet & Piano Balquhidder MusicSilva “Duda,” José Ursicino da Suite Recife Brass Quintet (transcription by

the composer) Alfia PublishingSilva “Duda,” José Ursicino da Tema para um trompetista Trumpet & Piano Alfia PublishingSilva “Duda,” José Ursicino da Tema para um trompetista Brass Quintet (transcription by

the composer) Alfia PublishingSilva “Duda,” José Ursicino da Toada Trumpet, Trombone &

Brass Quintet Alfia Publishing

AAllll ooff tthheessee wwoorrkkss eexxcceepptt ffoorr EErrnnsstt MMaahhllee’’ss As Melodias de Cecília wweerree ffiirrsstt ppuubblliisshheedd bbeettwweeeenn 11999966 aanndd 22000066.. AAnnttoonniiooGGuueerrrreeiirroo’’ss Suite para Trompete e Piano,, SSaannttaannaa GGoommeess’’ss Andante e Bolero,, DDoommiinnggooss RRaayymmuunnddoo’’ss Divagando,, aanndd DDuuddaa’’ssConcertino aanndd Suite Recife wweerree aallll ppuubblliisshheedd bbyy BBaallqquuhhiiddddeerr MMuussiicc aass oonnee aanntthhoollooggyy ttiittlleedd A Brazilian Collection iinn 22000066..

A LIST OF RECOMMENDED PUBLISHED AND CURRENTLY AVAILABLE BRAZILIAN MUSIC FOR

TRUMPET (SOLO WORKS AND CHAMBER MUSIC) COMPILED BY LUIS C. ENGELKE


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