Brazilian Music, 1914
From “Arts, Science, and Hobbies” in Brazil and the Brazilians by George James Bruce, 1914.
From: 1914 C.E. To: 1914 C.E.
Location: Rio de Janeiro, Brazil
Note: This article has been excerpted from a larger work in the public domain and shared here due to its historical value. It may contain outdated ideas and language that do not reflect TOTA’s opinions and beliefs.
From “Arts, Science, and Hobbies” in Brazil and the Brazilians by George James Bruce, 1914.
Efforts have been made to cultivate a public taste for the highest class of music in Brazil, so far without conspicuous success. The maxixe, tango, and ragtime melodies are the national music. The Brazilian national anthem belongs to that school of inspiration.
All the musical races of Europe contributing to the production of the Brazileiro of to-day have failed to instil much musical genius into him. There is not, however, a total absence of musical ability in the nation. Brazil has produced musical composers, players, and singers of commanding genius; but they appear as pedestals in a wilderness. The national idea of music is far from high. Yet the people like band performances and musical entertainments. Having said that, let me point out it is all the more strange that Brazil's leading composers and musical artists should have shown a preference for the scholarly side of music.
Francisco Manoel, Jose Mauricio, and Carlos Gomes were three of the earliest notable composers. The first gave the country its national anthem, the second much of its sacred music, and the third a great deal of opera and dance music. Of the modern composers, Henrique Oswald is perhaps the greatest. Besides composing several operas, concertos, and symphonies, he has published many pieces for the piano and violin. His work is original in character and finished in style. Francisco Braga, an opera and song composer; Henrique Braga, whose piano pieces are known in Europe; Arthur Napoleon, pianist and composer for the piano; Paulo Faulhaber, dance music composer; Lima Coutinho, orchestral music ; Barrozo Netto, violin and piano pieces; Delegado de Carvalho, lyrics and dance music; Carlos de Mesquita, operas and fantasias, are men in the front rank. Assis Pacheco, a librettist and opera composer, is one of the most prolific stars of the musical world. Itibere da Cunha, Minister for Brazil in Germany, is a composer whose compositions find favour all over Europe. His "Rhapsodies Bresiliennes" is perhaps the best known. Joao Itibere da Cunha, a musical critic of Rio de Janeiro, has also composed some excellent song and piano music.
Few of the leading Brazilian musical artists have been heard in Europe, though most of Europe's leading artists have been heard in Brazil. The country has for many years been included in the tours of our great musical stars. Its magnificent opera-houses provide all that could be desired for musical performances. Singing is taught in all schools and colleges, and during many visits to these I have often been amused and pleased to hear the children's efforts to sing the British national anthem in my honour. I wonder how many English schools could sing the Brazilian national anthem if suddenly called on.
I noticed too that quite a number of schools and colleges produced a brass or reed band that invariably managed "God save the King," "Rule Britannia," or something appropriate in their minds to my entrance. I noticed on one occasion at least I was greeted with the "Marsellaise," which, considering how frequently it takes the place of the other selections at London gatherings nowadays, was perhaps a pardonable mistakefor the Brazilians. Elocution is taught to the smallest children in the schools, the teachers taking pains to see that the children use the right inflections of voice and dramatic gestures.
The stage possesses many able actors and actresses. Opera and musical comedies are most favoured, though drama and melodrama have considerable support.
Bruce, George James. Brazil and the Brazilians. Dodd, Mead and Company, 1914.
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