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ein dokumentationsprojekt



im Zentenarjahr von Heitor Villa-Lobos (1887-1959)

São Paulo, 27.Januar - 1. Februar 1987


Brasilianische Gesellschaft für Musikwissenschaft – Sociedade Brasileira de Musicologia

Konzept und wissenschaftliche Leitung

Antonio Alexandre Bispo

Historische Musikwissenschaft
- Stand der Forschung -

31. Januar 

Universität des Staats São Paulo UNESP

Institut der Künste

Auditorium J. Baptista Julião

Ehrenvorsitz: Prof. Cleofe Person de Mattos
Bundesuniversität von Rio de Janeiro
ehem. Präsident der Brasilianischen Gesellschaft für Musikwissenschaft (SBM)
Vorsitzende der Brasilianischen Gesellschaft des Chorgesanges (ABCC)

Gerônimo de Souza Queiroz e a Missa a 4 Vozes para coro e órgão de 1826

Prof. Harry Crowl Jr.
Institut der Künste und Kultur, Bundesuniversität von Ouro Preto

This report is part of a research undertaken by the Institute of Arts and Culture of the Federal University of Ouro Preto. The archives of the region were consulted, principally those of the Metropolitan Bishopric of Mariana and Francisco Curt Lange’s collection to be found in the museum of the „Inconfidência“ in Ouro Preto. After having been compared with the Credo for orchestra by Gerônimo de Souza, the work in question brings to light problems referring to the identification of the author (possibly by father and son) in different parts. (Übers. Eleanor Florence Dewey)

Berichte über musikhistorische Forschungen in Goiás
Prof. Dr. Maria Augusta Calado Rodrigues
Institut der Künste,  Bundesuniversität von Goiás

The State of Goiás has been taken into very little consideration as yet in musicological studies. The State of Goiás presents two distinct regions from a cultural point of view, the North, influenced by Maranhão and PErnambuco, and the South by Minas Gerais. The principle archive in the town of Goiás is beeing organized. The oldest document is a litany written bei Frei Manoel Elias, who was Portuguese, B. Serra Dourada (1804-1874) is the author of the „Moteto dos Passos“ and of the „Moteto das Dores“, a traditional composition in the region and in which individual characteristics can be found. In the middle of the XIX century, Antonio da Costa Nascimento, from Pirenópolis, wrote a curious „Frog-Concert“ in which he uses onomatomusical effects. The traditional music of Goiás is characterized by the use of the flute, the „modinha“ and, more especially, by the importance of the religious spirit that it reveals, for instance, in the Christmas customs. The Samba has no traditional signification in Goiás. (EFD)

Verdi und Carlos Gomes
Einige rezente Daten zu Carlos Gomes
Prof. Dr. José Almeida Penalva

Päpstliche Katholische Universität von Paraná

Hochschule für Musik und Schöne Künste von Paraná

The 150th aniversary of Carlos Gomes’birth was celebrated in 1986. The composer, who lived in Italy during the Verdi period from 1864 to 1896, must be taken into consideration in the history of the Italian Opera. Four of his operas had their first performance at the Scala of Milan. One speaks of the friendship and admiration that Verdi had for Carlos Gomes to the extent that Verdi saw in him his successor. What is the truthß The author based his research on the testimony of Italian musicians and musicologists in an attempt to solve the problem. (EFD)

Lorenzo Fernandez: Trio Brasileiro

Prof. Bruno Kiefer

Institut der Schönen Künsten, Bundesuniversität von Rio Grande do Sul

Lorenzo Fernandez did not leave many peaces of chamber music; among them the most remarkable is his second work of this kind, the Brazilian Trio for violin, cello and piano, op. 32. This work won a prize in a competition which took place in Rioi de Janeiro in 1924 and was published in Milan in 1927. The period of the composition is characterized by a „nationalism of intention“. Asthetically, the trio shows evidence of the influence of French music. If in his composition for piano and voice Lorenzo Fernandez manifests himself as a miniaturist, the first movement of the Brazilian Trio sureprises the listener by the way in which the composer shows his capacity to produce larger musical structures, whre the polyphony conditions the texture. (EFD)

Musikerziehung: Das offene Werk von Villa-Lobos

Prof. Dr. Kleide Ferreira do Amaral Pereira

Musikhochschule der Bundesuniversität von Rio de Janeiro

It is impossible to dissociate Heitor Villa-Lobos’creative work from educational action. The bases of both is the material on folklore collected all over Brazil, in which he reaches the expressive determinants of the Brazilian musical atmosphere. From this primary material he extracts the material of educational objectives presented in the „Guia Prático“ published in 1932. Whereas Villa-Lobos’education action was deprived of its characteristics by popsterior developments and branded because it flourished during a determined political moment in the country, his musical creation remains in high consideration. When he compiled the method of musical education through choir work his principal object was to awaken in people a taste for music in its most natural function, - which is singing. Among the many methods used by him to awaken the creative imagination of the pupil, one should mention the process named „Melody of the Mountain“. May there be a deepening of the research on Villa-Lobos and his two objects considered here and into which he put all his genius - his work on education and composition. (EFD)


Ehrenvorsitz: Botschafter Vasco Mariz
Außenministerium Brasiliens
Vorsitz ad hoc: Dr. José da Veiga Oliveira
ehem. Professor der Fakultät des Musikinstituts von São Paulo

Bewahrung des italienischen Musikgedächtnisses in Vale Vêneto
Prof. Maria del Carmen Macchi
Prof. Krishna Salinas
Bundesuniversität von Santa Maria, RS

This work explains briefly what is being done by a group of the „Centro de Artes e Letras“ of the Federal Univeersity of Santa Maria. The project of the research arose during the „prima Setimana Culturale Italiana“ in Vale Veneto, in July 1986. Vale Vêneto is situatd at 40 km from Santa Maria, in the municipality of Faxinal do Soturno. The Italian immigration in the south of the country began in 1875. The first inhabitants of Vale Vêneto arrived there in 1878. The history of choir activities reflects the process of integration of the immigrants to the new country and the action of the directives of the Church. The first phase of the history of music in the region was not only marked by the culture of sacred music in Latin and Italian for the big choirs, but also by the flourishing of music for bands. The second phase shows a crisis in the local musical life by the prohibition of Italian during the War and by the transformations which took place in sacred music after Vatican Council II. Since 1975 there has been a growing interest in the tradition of the Italian immigrants. (EFD)

Die Spielzeit in Rio de Janeiro der italienischen Opernkompagnie von Ducci und Ciacchi 1882
(Teatro Lírico von Rio de Janeiro, 30. Juli bis 30. Oktober 1892)
Dr. João Bosco Assis de Luca

Rio de Janeiro was one of the largest operatic centres of America. However, there is neither a complete documentation nor detailed studies as regards this event. As a centre of operatic culture, Rio de Janeiro shows divers characteristics of the other large centres. While the activities of theaters like the Metropolitan in New York 81883), the Colon in Buenos Aires (1908) and the Municipal in São Paulo (1911) flourished from the political and economical strengthening of the bourgeoisie and the presence of ITalian immigrants, in Rio de Janeiro, the interest shown for lyrical art is related to an ancient tradition of an aristocratic character. The role of the Imperial Theatre D. Pedro II, which later was named „Theatro Lírico do Rio de Janeiro“ was important. A consultation of the collection of „Jornal do Comércio“ to be found in the National Library in Rio de Janeiro, throws light on many points, specially those relating to the première of „Colombo“ by Carlos Gomes. (EFD)

Die Schule von Luigi Chiaffarelli
Prof. Dr. Maria Francisca Paes Junqueira
Institüt der Künste der staatlichen Universität Júlio de Mesquita Filho, UNESP

This communication summarizes a graduation thesis which puts in evidence Luigi Chiaffarelli’s contribution to music and the didactic proceeding that he used. L. Chiaffarelli (Isernia 1856- São Paulo 1923) graduated in Bologne and in Stuttgart and having lectured in Switzerland, possessed a humanistic culture. He immigrated to Rio Claro in the interior of the State of São Paulo in 1883. There, Chiaffarelli tried to modify his usual programmes of teaching the piano, starting a renovation of his repertoire and the bases of a school of piano from whence came very many Brazilian pianists. He gave lectures, published works on music and took part in the foundation of „Conservatório Dramático e Musical de São Paulo“. (EFD)

Für eine universelle Nomenklatur alter Musikinstrumenten

Alba Rosa Lijó
Gesellschaft Pró-Música Antiga, São Paulo

As head of the „Sociedade Pró-Música Antiga“ in São Paulo, the authoress makes an appeal that more attention should be given to the complex problems of the translation of musical terms into Portuguese. She suggests a commission of specialists should be formed to consider the terminology and conceptual difficulties which are necessary for the development of systematic studies. (EFD)

Das Konzept von Modo bei Luys Milan

Paulo Augusto Castagna

Stipendiat der Stiftung für Unterstützung der Forschung des Staates São Paulo

This article is a study on the concept of mode of the vihuelist and Spanish composer Luys Milan (c1550-after 1561) through the analysis of the contents of the „Libro de mvsica de vihela de mano. Intitulado El maestro“ (Book of music of „vihuela de mano“. Entitled The master). A paleographic transcription of „Intelligencia y declaracion delos tonos que en la musica de canto figurado de vsan“ (Comprehension and definition of the modes which are used on the figural music), on fol. R5v and R6, was made beside other textual passages of the book, with their posterior translation into Portuguese. Subsequently, the information was compared with data collected from theoretical treatisis of the age and confronted with the results of the analysis of his music. (EFD)

Musik für Klavier zu vier Händen im 19. Jahrhundert Brasiliens
Sylvia Maltese Moysés und Clélia Ognibene

The object of this project has already been published in n°3 of the Brazilian Society of Musicology. The text given here, only refers to the pieces performed at the Recital-Conference given during the Brazilian Congress of Musicology. In the choice of the programme, priority was given to pieces originally written for piano duets on one piano. Works of the following composers were interpreted: Antonio Carlos Gomes, the most famous Brazilian composer of the last century; H. Eulálio Gurjão, the great instigator of music in Pará; Visconde de Taunay, one of the most famous personalities in the XIX century; Arthur Napoleão, a renowned Portuguese pianist; Leopoldo Miguez, one of the principal representatives of the Germanic influence in Brazil; Alberto Nepomuceno; Carlos de Mesquita who widely spread Brazilian music in France; Ernani Braga, founder of the Conservatory of Music in Pernambuco. (EFD)

30. Januar
Kirche des seligen José de Anchieta des Museums des Pátio do Colégio

20:00 Uhr

Vortrag und Konzert

Sylvia Maltese Moysés und Clélia Ognibene

Antonio Carlos Gomes (1836-1896) - Marcha nupcial

Henrique Eulálio Gurjão (1834-1885) - Hilariedade

Alfredo d’Escragnolle Taunay, Visconde de Taunay (1843-1889) - Bonheur de Vivre

Arthur Napoleão (1843-1925) - Teus lindos olhos (Polka Brilhante)

Leopoldo Miguez (1850-1902) - Prelúdio em Si b Maior (à antiga)

Alexandre Levy (1864-1892) - Tarantelle

Alberto Nepomuceno (1844-1920) - A sesta na rêde

Carlos de Mesquita (1864-1953) - Valses Romantiques op. 62 nr. 4, op. 61 nr. 5

Ernani Braga (1888-1948) - Suíte zoológica

31. Januar

Kirche des seligen José de Anchieta des Museums des Pátio do Colégio

20: 00 Uhr
Vortrag und Konzert

Chor Vochalis und Orchester

Leitung: Victor Gabriel de Araújo

Tractus para as profecias de Sexta fra da Payxam/a 4/ de Fausto do Prado Xer.

Bradados a 4 para Domingo de / Ramos e sexta fra da / Payxão / de Faustino do Prado Xavier

Matais de incendios (cantiga ou moda)


Regierung des Staates São Paulo

Kultursekretariat des Staates São Paulo

Stadt São Paulo

FUNARTE - Nationalstiftung für Kunst

Villa-Lobos Museum, Rio de Janeiro

Internationaler Musikrat/UNESCO

Consociatio Internationalis Musicae Sacrae, CIMS

Staatsuniversität Júlio de Mesquita Filho

Instituto de Artes do Planalto

Universität von São Paulo

Universität von Rio de Janeiro

Universität von Ouro Preto

Bundesuniversität von Rio de Janeiro

Bundesuniversität von Minas Gerais

Bundesuniversität von Goiás

Bundesuniversität von Paraná

Bundesuniversität von Santa Catarina

Bundesuniversität von Rio Grande do Sul

Bundesuniversität von Bahia

Bundesuniversität von Santa Maria, RS

Päpstliche Universität von Paraná

Brasilianische Gesellschaft für Volkskunde

Brasilianische Gesellschaft für Akustik

Gesellschaft Pró-Música Antiga

Brasilianische Gesellschaft für zeitgenössischer Musik

Institut Technologischer Forschung, São Paulo

Brasilianisches Institut für Geographie und Statistik

Bibliothek der Schule für Kommunikation und Künste der Universität São Paulo, ECA

Institut für hymnologische und musikethnologische Studien, Maria Laach

Studienzentrum für Kunstsoziologie der Philosophischen Fakultät der Universität São Paulo

Musikfakultät Carlos Gomes

Museum der Universität São Paulo (Ipiranga-Museum)

Museum für Volkskunde São Paulo

Musikkonservatorium von Niterói

Musikabteilung des Methodistischen Instituts  für Hochschulstudien, São Bernardo do Campo

Gesellschaft für Gesang des Mittelsalters, São Paulo

Basilika Unsere Frau von Karmel

Symphonie Orchester der Universität São Paulo

Musikkonservatorium Brooklin Paulista
Chor Camargo Guarnieri, Poços de Caldas
Gregorianischer Chor Pius X, São Paulo