Brazilian Music Mp3 Free Download

Samba has become the most known form of Brazilian music worldwide, especially because of the country's carnival, although bossa nova, which had Antnio Carlos Jobim as one of its most acclaimed composers and performers, have received much attention abroad since the 1950s, when the song "Desafinado", interpreted by Joo Gilberto, was first released.

The first four winners of the Shell Brazilian Music prize[1] have each left a legacy on Brazilian music and are among the representatives of Brazilian popular music: Pixinguinha (choro), Antnio Carlos Jobim (bossa nova), Dorival Caymmi (samba and samba-cano).

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Instrumental music is also largely practiced in Brazil, with styles ranging from classical to popular and jazz influenced forms. Among the later, Nan Vasconcelos, Pixinguinha, Hermeto Pascoal and Egberto Gismonti are significant figures. Notable classical composers include Heitor Villa-Lobos, Carlos Gomes and Cludio Santoro. The country also has a growing community of modern/experimental composition, including electroacoustic music.

Little is known of the music of Brazil before the area's first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse. Some information is available in writings left by such travellers as Jean de Lry, who lived in Brazil from 1557 to 1558 and produced the first known transcriptions of native American music: two chants of the Tupinamb, near Rio de Janeiro.[2]

Further registration of musical activity in Brazil came from the activities of two Jesuit priests in 1549. Ten years later, they had already founded settlements for indigenous people (the Redues), with a musical-educational structure.

One century later, the Redues of the southern Brazil, which were founded by Spaniard Jesuits, had a strong cultural development, where some music schools were founded. Some of the reports of that time show the fascination of the indigenous people for European music.[3] The indigenous people also took part in the music, with both the construction of musical instruments and practice of vocal and instrumental performance.

In the 18th century, there was intense musical activity in all the more developed regions of Brazil, with their moderately stable institutional and educational structures. The previously few private orchestras became more common and the churches presented a great variety of music.

In the first half of this century, the most outstanding works were composed by Lus lvares Pinto, Caetano de Mello de Jesus and Antnio Jos da Silva ("the Jew"), who became successful in Lisbon writing librettos for comedies, which were performed also in Brazil with music by Antnio Teixeira.

In the second part of the 18th century, there was a great flourishing in Minas Gerais, mostly in the regions of Vila Rica (currently Ouro Preto), Mariana and Arraial do Tejuco (currently Diamantina), where the mining of gold and diamonds for the Portuguese metropolis attracted a sizable population. At this time, the first outstanding Brazilian composers were revealed, most of them mulattoes. The musical pieces were mostly sacred music. Some of the noteworthy composers of this period were Lobo de Mesquita, Manoel Dias de Oliveira, Francisco Gomes da Rocha, Marcos Coelho Neto and Marcos Coelho Neto Filho. All of them were very active, but in many cases few pieces have survived until the present day. Some of the most famous pieces of this period are the Magnificat by Manoel Dias de Oliveira and the Our Lady's Antiphon by Lobo de Mesquita. In the city of Arraial do Tejuco, nowadays Diamantina, there were ten conductors in activity. In Ouro Preto about 250 musicians were active, and in all of the territory of Minas Gerais almost a thousand musicians were active.[4]

With the impoverishment of the mines at the end of the century, the focus of the musical activity changed to other centers, specially Rio de Janeiro and So Paulo, where Andr da Silva Gomes, a composer of Portuguese origin, released a great number of works and dynamized the musical life of the city.

A crucial factor for the changes in the musical life was the arrival of the Portuguese Royal family to Rio de Janeiro in 1808. Until then, Rio de Janeiro was musically similar to other cultural centers of Brazil but was even less important than Minas Gerais. The presence of the Portuguese Royal family, in exile, radically changed this situation, as the Capela Real of Rio de Janeiro was established.

The king John VI of Portugal brought with him to Brazil the great musical library from the House of Bragana, one of the best of Europe at that time, and ordered the arrival of musicians from Lisbon and the castrati from Italy, re-ordering the Royal Chapel. Later, John VI ordered the construction of a sumptuous theater, called the Royal Theater of So Joo. The secular music had the presence of Marcos Portugal, who was designated as the official composer of the household, and of Sigismund von Neukomm, who contributed with his own work and brought the works of the Austrian composers Wolfgang Amadeus Mozart and Joseph Haydn. The works of these composers strongly influenced the Brazilian music of this time.

Other important composers of this period are Gabriel Fernandes da Trindade, who composed the only Brazilian chamber music from the 19th century which has survived to the present times,[5] and Joo de Deus de Castro Lobo, who lived in the cities of Mariana and Ouro Preto, which were decadent at this time.

The only composer who had a relevant work in this period was Francisco Manuel da Silva, disciple of Nunes Garcia, who succeeded him as kapellmeister. In spite of his few resources, he founded the Musical Conservatory of Rio de Janeiro. He was the author of the Brazilian National Anthem's melody. His work reflected the musical transition for the Romanticism, when the interest of the national composers was focused in the opera. The most outstanding Brazilian composer of this period was Antnio Carlos Gomes, who composed Italian-styled operas with national themes, such as Il Guarany (based on Jos de Alencar's novel O Guarani) and Lo Schiavo. These operas were very successful in European theaters, like the Teatro alla Scala, in Milan. Other important composer of this time is Elias lvares Lobo, who wrote the opera A Noite de So Joo, the first Brazilian opera with text in Portuguese.

At the end of the 19th century, the greatest composers for the symphonic music were revealed. One of the most outstanding name of this period was Leopoldo Miguez, who followed the Wagnerian style and Henrique Oswald, who incorporated elements of the French Impressionism.

In the beginning of the 20th century, there was a movement for creating an authentically Brazilian music, with less influences of the European culture. In this sense, the folklore was the major font of inspiration for the composers. Some composers like Braslio Itiber da Cunha, Luciano Gallet and Alexandre Levy, despite having a European formation, included some typically Brazilian elements in their works. This trend reached the highest point with Alberto Nepomuceno, who used largely the rhythms and melodies from the Brazilian folklore. There were local cultural movements to consolidate regional identities through music as for example, Jos Brazilcio de Souza, who wrote the state anthem of Santa Catarina and his son lvaro Sousa, who was a noticeable musician, music educator, and composer there.[6]

Villa-Lobos did researches about the musical folklore of Brazil, and mixed elements both from classical and popular music. He explored many musical genres such as concertos, symphonies, modinhas, Fados, and other symphonic, vocal and chamber music. Some of his masterworks are the ballet Uirapuru and the two series of Chros and Bachianas Brasileiras.

As a reaction against the nationalist school, who was identified as "servile" to the centralizing politics of Getlio Vargas, in 1939 the Movimento Msica Viva (Living Music Movement) appeared, led by Hans Joachim Koellreutter and by Egdio de Castro e Silva, defending the adoption of an international style, derived from the dodecaphonism of Arnold Schoenberg. This group was integrated by composers like Cludio Santoro, Csar Guerra-Peixe, Eunice Catunda and Edino Krieger. Koellreutter adopted revolutionary methodes, in respect to the individuality of each student and giving to the students the freedom of creativity before the knowledge of the traditional rules for composition. The movement edited a magazine and presented a series of radio programs showing their fundaments and works of contemporary music. Later, Guerra-Peixe and Santoro followed an independent way, centered in the regional music. Other composers, who used freely the previous styles were Marlos Nobre, Almeida Prado, and Armando Albuquerque, who created their own styles.

After 1960, the Brazilian avant-garde movement received a new wave, focusing on serial music, microtonal music, concrete music and electronic music, employing a completely new language. This movement was called Msica Nova (New Music) and was led by Gilberto Mendes and Willy Corra de Oliveira. An important fact was the introduction of electronic music in Brazil, with the pioneering works of the carioca Jorge Antunes in 1961.

Carlos Gomes was the first composer on non-European origin to achieve wide recognition in the classical music environment of the Golden age of Opera in Italy. Bossa Nova was created as anti-opera in a time when opera seemed to represent the art-form of the elite. [5] In recent years the style has been revived with works by Jorge Antunes, Flo Menezes, and others.

Nowadays, Brazilian music follows the guidelines of both experimentalism and traditional music. Some of the contemporary Brazilian composers are Amaral Vieira, Slvio Ferraz, Nestor de Hollanda Cavalcanti, Flo Menezes, Marcos Balter, Alexandre Lunsqui, Rodolfo Caesar, Felipe Lara, Edson Zampronha, Marcus Siqueira, Rodrigo Lima, Jorge Antunes, Roberto Victorio and Joo MacDowell. From the new generation of Brazilian composers, Caio Fac has achieved international recognition for his work. e24fc04721