Madrigal Pavane / Timburibá

Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15^th, 1868, he began his musical studies at the “Asilo dos Meninos Desvalidos”, in 1876. In 1883, he enrolled at the “Imperial Conservatório de Música” where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: “Sonho de Dante” (1885), “Dolce far niente” (1886), the first “Valse Romantique” for piano (1886), among others.

In 1887, he premiered his first symphonic work, “Fantasia-Abertura”. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, “Paysage”, “Cauchemar”, “Episódio Sinfônico”, and “Marabá” (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera “Jupyra” is considered one of the greatest Brazilian compositions of that genre.

Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the “Instituto Nacional de Música”, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.

Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is “Hino à Bandeira” (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in “Variações sobre um Tema Brasileiro” and in the Trio for violin, cello and piano, whose third movement is based on a “lundu” (a musical genre and dance of Afro-Brazilian origin).

In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: “Instituto Nacional de Música”, “Sociedade de Concertos Sinfônicos”, and “Theatro Municipal”. Braga conducted the Brazilian premiere of major symphonic works such as “La Mer” (Debussy), “Pacific 231” (Honegger) besides other numerous Brazilian compositions.

In 1938, he retired from “Instituto Nacional de Música”. He passed away on March 14^th, 1945, in Rio de Janeiro.

Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: “Gavota e Minuete” (from the melodrama “Contratador de Diamantes”), in 1919, in São Paulo, and the waltz-caprice “Corrupio”, in 1921, in Rio de Janeiro.

The piano score of “Madrigal Pavane” was dedicated to Alexina Leitão and published by “Casa Vieira Machado”, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, “Timburibá” (the name of a Brazilian tree) is a tango for piano from 1886, published by “Narciso & Arthur Napoleão”.