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Maria Teresa Madeira
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--INSTRUMENTS--
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ALTO
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Crtitères actifs :
Maria Teresa Madeira
Partitions à imprimer
9 partitions trouvées
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1
Lua Branca - by Chiquinha Gonzaga - For Piano
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Idalmo Santos
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Idalmo Santos
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Lua Branca - by Chiquinha Gonz
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Idalmo Santos
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1083332 By Idalmo Santos. By Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. Latin,Multicultu...
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Piano Solo - Level 4 - SKU: A0.1083332 By Idalmo Santos. By Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. Latin,Multicultural,World. Score. 4 pages. Idalmo Santos #687534. Published by Idalmo Santos (A0.1083332). One of the most famous Brazilian songs and one of the best known compositions by Chiquinha Gonzaga, the modinha Lua branca has a history surrounded by mystery. It was written for the burleta Forrodobó, performed at Teatro São José in June 1912, as a modinha for the characters Sá Zeferina and Escandanhas, whose original verses maintain the caricature spirit of the play. In 1929, this romantic version appeared with the title Lua branca (White Moon), recorded by the singer Gastão Formenti, without the authorship of the verses and the new title being known to this day. Between the two versions, there was an arrangement on disc with the title Lua de fulgores by the singer R. Ricciardi, pseudonym of the paulista Paraguassu, but it was the version recorded by Gastão Formenti, accompanied on the piano by professor J. Otaviano, and the Irmãos Vitale edition with harmonization by the pianist that became famous. Chiquinha Gonzaga had to claim authorship of the modinha, denouncing plagiarism and obtaining victory through Sbat, an entity she founded. The original version was recorded as a comic scene by Pinto Filho and Maria Vidal, in 1930, with the title Sá Zeferina. Also the original melody with verses by Paulo César Pinheiro, entitled Serenata de uma mulher (A Woman's Serenade), was recorded by OlÃvia Hime in 1998. The version canonized as Lua branca has numerous phonograph records by singers and instrumentalists such as Paulo Tapajós, Paulo Fortes, Rosemary, Vânia Carvalho, Maria Bethânia, Verônica Sabino, Leila Pinheiro, Joana, Alessandra Maestrini, Antonio Adolfo, Eudóxia de Barros, Rosária Gatti, Marcus Vianna, Maria Teresa Madeira, and Leandro Braga.
$1.99
A FLOR DE MEUS SONHOS
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Piano seul
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AVANCÉ
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Maria Teresa Madeira
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Luiz C Teixeira
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A FLOR DE MEUS SONHOS
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Luiz C Teixeira
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1463813 By Maria Teresa Madeira. By Ernesto Nazareth. Arranged by Luiz C Teixeira. 19th Century,20th Century,21st Century...
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Piano Solo - Level 5 - SKU: A0.1463813 By Maria Teresa Madeira. By Ernesto Nazareth. Arranged by Luiz C Teixeira. 19th Century,20th Century,21st Century,Classical,Multicultural,World. Score. 5 pages. Luiz C Teixeira #1042522. Published by Luiz C Teixeira (A0.1463813). A Flor de Meus Sonhos (The Flower of My Dreams) by Ernesto Nazareth is a charming piano piece that exemplifies his ability to blend classical music elements with Brazilian popular music, particularly the choro. Composed in 1917, it stands as one of Nazareth's many contributions to Brazilian music, displaying his melodic inventiveness and rhythmic sophistication.
$5.99
A FLORISTA
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Piano seul
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AVANCÉ
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Maria Teresa Madeira
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Luiz C Teixeira
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A FLORISTA
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Luiz C Teixeira
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1463827 By Maria Teresa Madeira. By Ernesto Nazareth. Arranged by Luiz C Teixeira. 19th Century,20th Century,21st Century...
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Piano Solo - Level 5 - SKU: A0.1463827 By Maria Teresa Madeira. By Ernesto Nazareth. Arranged by Luiz C Teixeira. 19th Century,20th Century,21st Century,Classical,Latin. Score. 3 pages. Luiz C Teixeira #1042537. Published by Luiz C Teixeira (A0.1463827). A Florista by Ernesto Nazareth is a beautiful example of his ability to blend classical forms with Brazilian popular music, creating pieces that are both technically engaging and emotionally resonant. Dedicated to his daughter, Marietta, this piece stands out for its tender and affectionate character.
$5.99
A FONTE DO LAMBARY
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Piano seul
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AVANCÉ
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Maria Teresa Madeira
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Luiz C Teixeira
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A FONTE DO LAMBARY
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Luiz C Teixeira
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1464201 By Maria Teresa Madeira. By Ernesto Nazareth. Arranged by Luiz C Teixeira. 19th Century,20th Century,21st Century...
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Piano Solo - Level 5 - SKU: A0.1464201 By Maria Teresa Madeira. By Ernesto Nazareth. Arranged by Luiz C Teixeira. 19th Century,20th Century,21st Century,Classical,Latin. Score. 3 pages. Luiz C Teixeira #1042922. Published by Luiz C Teixeira (A0.1464201). A Fonte do Lambari by Ernesto Nazareth is a piano piece that showcases his characteristic blend of classical music forms with Brazilian popular music elements, particularly the choro, which Nazareth always called polka. This is a transcription I made of this beautiful melody.
$5.99
TRAVESSO
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Piano seul
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AVANCÉ
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Maria Teresa Madeira
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Luiz C Teixeira
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TRAVESSO
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Luiz C Teixeira
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1431309 By Maria Teresa Madeira. By Ernesto Nazareth. Arranged by Luiz C Teixeira. 19th Century,20th Century,21st Century...
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Piano Solo - Level 5 - SKU: A0.1431309 By Maria Teresa Madeira. By Ernesto Nazareth. Arranged by Luiz C Teixeira. 19th Century,20th Century,21st Century,Classical,Latin. Score. 4 pages. Luiz C Teixeira #1011778. Published by Luiz C Teixeira (A0.1431309). This beautiful Ernesto Nazareth choro, titled Travesso has an infectious rhythm, with syncopated patterns, and rhythmic accents that create a dynamic groove.
$9.00
Atraente - Chiquinha Gonzaga - for Piano
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Piano seul
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AVANCÉ
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Idalmo Santos
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Idalmo Santos
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Atraente - Chiquinha Gonzaga -
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Idalmo Santos
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1086225 By Idalmo Santos. By Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. Latin,Pop. Score...
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Piano Solo - Level 5 - SKU: A0.1086225 By Idalmo Santos. By Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. Latin,Pop. Score. 4 pages. Idalmo Santos #690420. Published by Idalmo Santos (A0.1086225). Chiquinha Gonzaga's first composition, in 1877, born out of improvisation in a choro circle at the home of composer Henrique Alves de Mesquita, the polka received the name Atraente (attractive) for dragging the instruments present. It was a resounding success (15 editions in 1877) and projected the name of Chiquinha Gonzaga to fame - at first uncomfortable - in the patriarchal society of the Second Reign. The sudden popularity of the author was seen as a provocation by her family, who began to destroy the sheet music sold on the streets by slave boys. It became a classic of Brazilian instrumental music and became part of the great choro repertoire. It was published in 1932 as No. 11 of the 2nd series of Alma Brasileira, choros for flute. Atraente was recorded by musicians such as Antonio Adolfo, Altamiro Carrilho, Benedito Lacerda, Clara Sverner, Eudóxia de Barros, Henrique Cazes, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Muraro, Paulo Moura, Pixinguinha, Rosária Gatti, Talitha Peres, TurÃbio Santos, in addition to orchestras and bands. At the end of the 1970s, HermÃnio Bello de Carvalho wrote the lyrics, in records made by Leci Brandão, OlÃvia Hime and Edison Cordeiro.
$1.99
Gaúcho - Corta-Jaca By Chiquinha Gonzaga for flute
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Flûte traversière
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INTERMÉDIAIRE
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Idalmo Santos
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Idalmo Santos
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Gaúcho - Corta-Jaca By
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Idalmo Santos
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SheetMusicPlus
Flute Solo - Level 3 - SKU: A0.1083310 By Idalmo Santos. By Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. Latin,Multicultu...
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Flute Solo - Level 3 - SKU: A0.1083310 By Idalmo Santos. By Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. Latin,Multicultural,World. Individual part. 2 pages. Idalmo Santos #687512. Published by Idalmo Santos (A0.1083310). The famous Corta-jaca, the name with which the tango Gaúcho became popular, is one of Chiquinha Gonzaga's most recorded and best-known songs, along with Ó abre alas, Lua branca, and Atraente. It was born on the stages of musical theaters, where it was danced in the final scene of the burlesque operetta of national costumes Zizinha Maxixe, imitated from French by an anonymous author, performed at the Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa), the anonymous author of the play, ended up putting verses to the music of Corta-jaca, helping to popularize it, especially after his version was recorded on disc by the duo Os Geraldos. Throughout history, Corta-jaca frequented other stages and repertoires: café-cantante, chope-berrante, rodas de choro... But it was at the Palácio do Catete, in 1914, that it achieved its glory. Performed on the guitar by first lady Nair de Teffé, it caused political scandal and ended up nicknaming the administration of Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa made from the rostrum. When asked what was the corta-jaca he had heard so much about, he concluded: The lowest, the most vulgar, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions the corta-jaca is performed with all the honors of Wagner's music, and one does not want the conscience of this country to revolt, our faces to blush and the youth to laugh! Never before in the history of Brazil had eminently popular music been performed at the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca has become a classic of the great repertoire of Brazilian instrumental music, meriting recordings by, among others, Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, TurÃbio Santos, countless bands, and some sung versions. It was written by the maestro also for singing and piano and small orchestra: oboe, viola, timpani, horns (bass), bassoon.
$1.99
Gaúcho - Corta Jaca (Brazilian Music)
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Quatuor à cordes: 2 violons, alto, violoncelle
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Chiquinha Gonzaga
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Renato Esteves
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Gaúcho - Corta Jaca
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Renato Esteves
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SheetMusicPlus
String Quartet String Quartet - SKU: A0.508952 Composed by Chiquinha Gonzaga. Arranged by Renato Esteves. Multicultural,World. Score and parts. 16 pages...
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String Quartet String Quartet - SKU: A0.508952 Composed by Chiquinha Gonzaga. Arranged by Renato Esteves. Multicultural,World. Score and parts. 16 pages. Published by Renato Esteves (A0.508952). The famous Corta-jaca, the name with which the Gaucho tango became popular, is one of the most recorded and known songs by Chiquinha Gonzaga, alongside Ó abre alas, Lua Branca and Atraente. He was born on the stages of musical theaters, where he was danced in the final scene of the burlesque operetta of national customs Zizinha Maxixe, imitated from French by an anonymous author, performed at Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa ), anonymous author of the play, ended up putting verses in Corta-jaca's music, helping to popularize it, especially after its version was recorded on disk by the duo Os Geraldos. Throughout history, Corta-jaca attended other stages and repertoires: coffee-singers, beer-beauties, choro circles… But it was at the Palácio do Catete, in 1914, that it reached its glory. Performed on the guitar by First Lady Nair de Teffé, it caused political scandal and ended up calling the administration Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa delivered from the gallery. When inquiring what the cut-jaca that he had heard so much about is, he concludes: “The lowest, the most foul, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions, the cut-jaca is performed with all the honors of Wagner's music, and we don't want the conscience of this country to revolt, our faces redden and the youth to laugh!†Never before in the history of Brazil has eminently popular music been performed in the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca became a classic of the great repertoire of Brazilian instrumental music, deserving recordings, among others, by Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, TurÃbio Santos, numerous bands and some sung versions. It was also written by the conductor for singing and piano and for a small orchestra: oboe, viola, timpani, horns (fá), bassoon. Edinha Diniz, 2011.
$20.00
Gaúcho - Corta-Jaca By Chiquinha Gonzaga for band
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Orchestre d'harmonie
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FACILE
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Francisca Gonzaga
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Idalmo Santos
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Gaúcho - Corta-Jaca By
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Idalmo Santos
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.978107 Composed by Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. 20th Century,Latin,World...
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Concert Band - Level 2 - SKU: A0.978107 Composed by Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. 20th Century,Latin,World. Score and parts. 23 pages. Idalmo Santos #6679863. Published by Idalmo Santos (A0.978107). The famous Corta-jaca, the name with which the tango Gaúcho became popular, is one of Chiquinha Gonzaga's most recorded and best-known songs, along with Ó abre alas, Lua branca, and Atraente. It was born on the stages of musical theaters, where it was danced in the final scene of the burlesque operetta of national costumes Zizinha Maxixe, imitated from French by an anonymous author, performed at the Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa), the anonymous author of the play, ended up putting verses to the music of Corta-jaca, helping to popularize it, especially after his version was recorded on disc by the duo Os Geraldos. Throughout history, Corta-jaca frequented other stages and repertoires: café-cantante, chope-berrante, rodas de choro... But it was at the Palácio do Catete, in 1914, that it achieved its glory. Performed on the guitar by first lady Nair de Teffé, it caused political scandal and ended up nicknaming the administration of Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa made from the rostrum. When asked what was the corta-jaca he had heard so much about, he concluded: The lowest, the most vulgar, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions the corta-jaca is performed with all the honors of Wagner's music, and one does not want the conscience of this country to revolt, our faces to blush and the youth to laugh! Never before in the history of Brazil had eminently popular music been performed at the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca has become a classic of the great repertoire of Brazilian instrumental music, meriting recordings by, among others, Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, TurÃbio Santos, countless bands, and some sung versions. It was written by the maestro also for singing and piano and small orchestra: oboe, viola, timpani, horns (bass), bassoon.
$13.33
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Maria Teresa Madeira