was established at the same address after taking over the extinct business it continued publishing Brejeiro. closed down and Casa Vieira Machado & Cia. In 1894, or sometime during the previous year (according to some publications), Fontes & Cia. The manuscript reads: “To his nephew Gilberto Nazareth.” Nazareth’s first tango to be published, Brejeiro was dedicated to his nephew “Gigi." However, the exact year when this score was composed has not been identified - only that of its first publication by Fontes & Cia., an establishment located at Rua dos Ourives (currently Rua Miguel Couto), 51. And one of the most recorded compositions among all Brazilian works exclusively written for the piano with a particularly classical style, since it has already been included in more than 30 LPs and CDs.īREJEIRO (Coquettish) - Tango, 1st Ed. Thirty-fifth tango composed by Ernesto Nazareth to be printed, Batuque can be ranked as one of his finest works. But until its publication, in 1913, by Casa Arthur Napoleão (Sampaio, Araújo & Cia.), it still underwent some modifications, like for example the addition of the cadence forming the introduction. According to Professor Eulina de Nazareth (the composer’s daughter), and to pianist Maria Alice Saraiva (one of his most accurate interpreters), this composition would have been released around 1901. 1913ĭedicated to the eminent pianist and composer Henrique Oswald. Enthusiastic about the success of Bambino, the writer and poet Catullo, as he had previously done with Nenê, Bicyclette-club and Brejeiro, also decides to write lyrics for this composition and comes up with another title for it: “Você não me dá!” (“You won’t give it to me!).īATUQUE (Generic designation of Afro-Brazilian Negro dances) - Characteristic Tango, Composed in 1901. As to the title, it was taken from the artistic name of the then famous caricaturist Arthur Lucas, responsible, by the way, for some of the composer’s album covers. The dedication in the manuscript reads “Dedicated to my good friend Cezar d’Araújo.” After over a decade of not having works published by Casa Arthur Napoleão (the last had been the waltz Genial (Brilliant), in 1900), Nazareth has his twenty-sixth tango printed – Bambino - dedicated to one of the then owners of that traditional establishment. However, as confirmed by the original score, the name printed in the dedication is Juracy Nazareth, which in spite of the last name was not related to the author, at least not closely.īAMBINO (Little Boy) - Tango, 1st Ed. Since then, three versions have been trying to explain the meaning of its title: (1) an expression of the time (“Apanhei-te” or I’ve got you), which used to be applied to someone caught in an embarrassing situation (2) how the composer would have tried to “represent” on the piano two significant instruments of the Choro ensemble: the flute (in the right hand) and the cavaquinho (in the left) and finally (3) the false explanation (already repeated in other publications) that the musician would have dedicated this polka to a certain “Mario Cavaquinho … the greatest cavaquinho player in Brazil…" The first print of Apanhei-te, cavaquinho! - the composer’s twenty-seventh polka – was released by Casa Mozart with the indication “very proper for serenades." 1914ĭedicated to the eminent Juracy Nazareth de Araújo, one of Nazareth’s close friends.
The composer’s twenty-sixth polka to be printed was first published by Casa Arthur Napoleão with the title Ameno Resedá, dedicated to a carnival parade group of the same name, as requested by one of its directors, the postman Napoleão de Oliveira.ĪPANHEI-TE, CAVAQUINHO! (I’ve got you, Cavaquinho!) - Polka, 1st Ed. You are here: Home page » Catalog » Composers » Ernesto Nazareth » Meaning behind the song titles