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23.02.2015

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29.11.2014

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01.10.2014

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18.07.2014

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23.06.2014

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19.06.2014

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08.06.2014

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08.05.2014

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Erick Conrado do Carmo Silva

Rio de Janeiro/ RJ, 27.04.2014

Eu tenho só 14 anos e comecei a ouvir músicas de Nazareth ainda no ano passado, quando meu professor de música explicou sobre a música nos séc. XIX e XX, e sobre o choro. Deveríamos fazer pesquisas e o tema que meu grupo sorteou foi Ernesto Nazareth. De lá pra cá ouço sempre as músicas do mestre, são tão extremamente divertidas!!!

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delson muniz

rio de janeiro, 22.04.2014

Congratulo-me com a divulgação das músicas levadas pelo gênio do Nazareth ao público que se tornou o mais acolhedor de sua obra, através do seu zelo que o enalteceu no cenário das composições que o sufragaram pela comunhão das letras e as músicas inesquecíveis por toda a vida, deixando-nos uma eterna e doida saudade.

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Diego Aquino da Silva

Rio de Janeiro, 20.04.2014

Comecei a ouvir Ernesto Nazareth a pouco tempo e já estou impressionado com a genialidade de suas composições.

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Mara Lucia Ferreira Dias

Montreal, Canadá, 27.03.2014

Parabens ao SITE, à coordenadora Bia Paes Leme, ao Instituto Moreira Salles e a Alexandre Dias Montreal, 19 de marco de 2014 Prezados responsaveis pela elaboracao do site, coordenadora Bia, Instituto Moreira Salles, e Alexandre. Ha pelo menos 18 anos ouço, ao piano, ao vivo, as lindas músicas de Nazareth e sinto um enorme prazer em entender que os limites do conhecimento de todas as suas composições estejam sendo aqui expandidas para músicos, professores e, enfim, leigos intelectuais que as admiram. Aqui se discorre um pouco da estória, história, filosofia e contexto sócio-cultural da música de tão importante compositor. As concepções do site se aplicam em diferentes caminhos... que muito me enriquecem... partituras, inúmeras composições inéditas que ainda não haviam sido conhecidas pelo publico brasileiro. E, mais recentemente o livro de LUIZ ANTONIO DE ALMEIDA que há 18 anos espero ser publicado, e com grande alegria amanhã sera lançado. Parabéns !!!!!!!! E, hoje, os manuscritos de Nazareth tornam-se PATRIMÔNIO CULTURAL DA HUMANIDADE!!!!! JUNTO AOS ARQUIVOS DA BIBLIOTECA NACIONAL.

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miriam hanna daher

belém - pará, 24.03.2014

Sou escritora de livros infantis e escrevi um denominado "Ernesto, o Fantasminha", no ano passado, quando ele completou 150 anos. A história fala de um menino que tocava piano numa casa do século 19, abandonada. As crianças do bairro já cheio de edifícios, ficam curiosas e resolvem num domingo, entrar na casa. Era o menino Ernesto que tocava e indagado porque aparecia, respondeu que só iria descansar quando gravassem todas as partituras que faltavam. As crianças, que também estudavam música e tocavam alguns instrumentos, prometeram-lhe que quando crescessem iriam tocar essas obras que faltavam. Os meninos eram: Marcelo Bratke e sua Camerata, Eudóxia de Barros, Arthur Moreira Lima, Alexandre Dias, Yuka Shimizu, Jacob do Bandolim. No final do livro escrevi uma pequena biografia do Ernesto. O fantasminha não mais apareceu.

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Lilia Ferreira Lobo

Rio de Janeiro, RJ, 23.03.2014

Conheci parte da obra de Ernesto Nazareth por intermédio de meu pai que tocava ao piano o Brejeiro e me desafiou a tocá-lo também, achando que eu não conseguiria porque era talvez um dos mais difíceis de execução por causa do ritmo amaxixado. Eu teimosa aos 14 anos coloquei a partitura e comecei a tirá-la no piano. Levei algum tempo treinando até exibir orgulhosa para ele a conquista do desafio. Meu pai, como fã ardoroso de Nazareth, tinha uma coleção de discos 78 rotações com a obra de Ernesto Nazareth: muitas valsas e muitos chorinhos. Aliás das partituras antigas dos chorinhos constava que se tratava de tango brasileiro, e não maxixe ou samba. Talvez fosse uma maneira de amenizar o escândalo que o ritmo do maxixe causava para a elite burguesa da época que se orgulhava do seu bom gosto europeu, estilo belle époque.

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David H. Finke

Columbia, Missouri, USA, 14.03.2014

My wife and I were attending the Rocky Mountain Ragtime Festival in Boulder, Colorado, USA in 2002, a two-day trip westward from our home in Central Missouri (home to the John William "Blind" Boone Ragtime Festival.) We were delighted at that time to hear several musicians — performers and composers — playing not only Ragtime (which emerged from Black folk culture in the Midwest) but also various pieces with distinctive Latin rhythms. We didn't at that point know those individuals whom we have since come to love and treasure. One of them was Frank French, who with Scott Kirby had been the Musical Directors of that festival for a number of years. Besides performing, Frank also gave a seminar on the music of Cuba, to which I believe he had traveled, collecting some of their older music. He may have also mentioned other Latin American countries and their contributions to music which gradually influenced folk and popular genres for North America (perhaps he could add his own testimonial.) Frank has done presentations on the mid-19th-century American composer Louis Moreau Gottschalk, and his 2-way influence of NorthAmerican and LatinAmerican themes, starting when as a youth he would listen to the music of Blacks in "Congo Square," New Orleans, which already had been affected by music from the Caribbean basin. Soon thereafter we purchased his CD, "Odeon — Tango Brasileiro!!! Frank French Plays the Tangos of Ernesto Julio de Nazareth." It was self published, and the only reference (minus a date) that I can see on the Album Cover was a link to www.frankfrench.info. The notes featured details of the life and work and philosophy of French on an inside panel, and the back panel was given to describing Nazareth (including his birth and death dates): "Pianist, the greatest Brazilian Tango composer and Trendsetter of the Choro, Ernesto Nazareth was born in Rio...." [I could copy the rest of the description on request for scholars.] That was, I believe, our first introduction. At that same festival we met and heard a remarkable older gentleman, Hal Isbitz, for which a Google search will provide more information, particularly around the album of his compost ions "Blue Gardenia," (1998) as performed by John Arpin. One review from a customer through Amazon said: "Hal Izbitz is one of the most talented composers writing today! Izbitz begins where the great Brazilian Ernesto Nazareth left off. John Arpin is Canada's finest pianist." He spoke about composing tangoes on his own, and then being delighted to discover the works of Nazareth, which he quickly shared with others. More about Hal's development is contained here: Rose Leaf Ragtime Club Interview— Hal Isbitz www.roseleafragtimeclub.com/f/interviews/isbitz.php It is hard for me to recall whether it was from Isbitz or French that we first heard the name of Nazareth or the description of the genre, "Choro." But as the years have gone by, a distinctive school of mostly younger composers (Isbitz and Rummel being senior in this circle) has emerged under the banner of "Terre Verde Music." They have an album named with that phrase, and the Russian/Swedish Ragtime collector Oleg Mezjuev (http://www.ragtime.nu/) has maintained a fine compendium of the works under that concept. (http://www.ragtime.nu/terraverde/terra.htm) In my own words, I would say that the Terra Verde people have started with classic Ragtime but moved it ahead to include contemporary compositions in that form ("New Ragtime"), and then more modern and experimental expressions as well. David Thomas Roberts and Scott Kirby, close collaborators, I believe first developed the phrase to show that our "Green Earth" is benefiting from the interchange and cross-fertilization of music from North, Central, and South America. Several of them have an intense sense of connection with The Land, a mystical devotion which elicits religious fervor (again, my own words.) A Google search on this phrase and also the Wikipedia article can expand on my own understanding, and I commend attention to several of the seminal interpretive written essays. This is all connected to the growing awareness and performance of works of Nazareth, and every festival we attend seems to have his name as more of a household word; More fans are learning to recognize several of Nazareth's most well-known pieces. Just this past November, at the West Coast Ragtime Festival (http://www.westcoastragtime.com/festivals_2013.htm) after several years away Scott Kirby thrilled the attenders with a "Pan-American Set: A sampling of Latin-American-influenced ragtime and related styles that shows the connections between ragtime, early jazz, creole music, and other traditions from the Americas, including new compositions. " Most of these have been posted under Scott's name on YouTube, and include some articulate and sensitive (Scott ALWAYS embodies these virtues!) renditions of Nazareth, extending the education and exposure. Coming up to the present, I am aware of a collaboration between two esteemed performers of Nazareth: Alexandre Dias and David Thomas Roberts, for a new work in honor of Nazareth, and I'll let them describe it in due course. In the last several years, after an introduction by Alexandre, we have become ardent fans of all the performances by Choro das Trés, who bring particularly vibrant life to Nazareth's pieces, and illustrate to us that older and younger generations can continue to inspire each other, and that the music not only lives but also grows -- it thrives, it flourishes, it animates! Suffice it to say that in the dozen years since we first heard Nazareth's name (back then, not everyone knew how to pronounce it!) his work has seeped into our souls and we hear those treasures night and day, waking and sleeping. Obrigado, —DHF

COMENTÁRIOS (1)

David H. Finke - 15.03.2014

Something I neglected to mention in my comments above, again with credit to Frank French, an early and continuing ambassador/interpreter of the works of Nazareth: There was another CD which we were eager to acquire and which we played a great deal even before linking up with contemporary Brasilian exponents of Nazareth: It was entitled "Tango Brasileiro: Piano Works of Ernesto Nazareth, played by Frank French." It was recorded in 1998 at the University of Colorado in Boulder, CO, USA. The auspices for the production was "Viridiana Productions, L.L.C." with a New Orleans post office box that I suspect is no longer operative. But I believe it is still available at "CD Baby" which does mail-order, and provides little samples of the individual pieces for most of the albums they sell. Viridiana published many works of Frank and also Scott Kirby, including some powerful duo-piano numbers which we never tire of hearing. I think it was a "family affair" because the cover art was by Frank's wife Carolyn, and the typesetting and layout was by Scott's wife Marie-Dominique Verdier. The latter family has now moved to Boulder, Colorado, making it a little easier for Scott to perform in our part of the midwest, where we'll hear him twice in the next month (Kansas City and St. Louis) —and I strongly suspect that Nazareth pieces will be in the repertoire! This second all-Nazareth album that I'm mentioning has a much fuller exposition of Nazareth's biography and description of the 14 pieces, some of which I've never heard recorded elsewhere (though Alexandre no doubt has!). It was in this essay that I learned of Louis Moreau Gottschalk's time spent toward the end of his life in Brasil (he died in 1869) where he "helped organize various ensembles to play the national music, everything from small groups to monster assemblages of 800 musicians or more" ! So, THANKS Frank for being an early bridge for us to this remarkable offering of music to the world, which you folks at IMS are helping to preserve and propagate. Parabéns!, —DHF

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Maria de Fátima Glante

São Paulo, 05.03.2014

Conheci Ernesto Nazareth quando estudava no Instituto Musical de São Paulo, nos anos 70! Minha professora perguntou-me se gostava de tango brasileiro, e deu-me Odeon. Foi uma paixão, uma alegria! Comecei então a estudar Escorregando, Brejeiro, Favorito, Apanhei-te Cavaquinho. A valsa Coração que sente veio depois. Caro Alexandre, você está de parabéns por resgatar e valorizar a obra deste grande compositor! Meus alunos gostam demais, Ernesto Nazareth está no nosso cotidiano! Continue a divulgar este grande compositor brasileiro!

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Virgilio Miranda Neto

Corumbá MS, 05.03.2014

Conheci Nazareth na infância nas musicas de mini-séries de época da Globo. Mas um dia, já musico, violonista e Cantor, fui a um recital de piano que era dedicado as peças de Nazareth. Eu sai dali tão satisfeito com o repertorio do recital que decidi aprender a tocar piano. A partir dai, a Obra de Nazareth foi a porta de entrada que me levou a Chopin, Liszt, Rachmaninoff, Brahms, Mozart, Beethoven e todos os grandes gênios da musica Clássica.

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Eugênio Fernandes

São Paulo / SP, 05.03.2014

Conheci Nazareth com uns 10 anos, ouvindo um colega tocar Escorregando, dizendo que era um tango brasileiro. Intrigado, comecei a estudar e a comprar discos, iniciando pelo Ouro Sobre Azul, disco pioneiro da Eudóxia de Barros. O meu colega ficou nesse, enquanto eu colecionei vários no meu piano. Valeu a dica. Lembro-me da surpresa do meu pai, ao saber que estava incorreto no nome do clássico: não era Apanhei DE Cavaquinho. Nazareth foi o primeiro autor que estudei a fundo, foi a base do meu piano e do meu gosto para chorinhos. Fon-fon, Batuque, Tenebroso, Brejeiro, Odeon, Ameno Resedá, Sustenta... A Nota sempre estiveram nos meus dedos. Um dos meus grandes prazeres é ouvir releituras. E descobrir 'novas' peças suas. Alexandre, o seu maravilhoso site é um achado na MPB. Obrigado por esta.

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