Prece / Valsa

A precursor of Brazilian musical nationalism, Alberto Nepomuceno (1864-1920) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Francisco Braga (1868-1945), Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), and Glauco Velásquez (1884-1914). Nepomuceno is often called the “father of Brazilian chamber song,” as he advocated the use of Portuguese language in lyrics, which purists considered inappropriate for the “bel canto”.

Born in Fortaleza (capital of the state of Ceará, in Northeastern Brazil), on July 6th, 1864, Nepomuceno began his musical education with piano and violin lessons from his father. In 1885, he moved to Rio de Janeiro, working as a pianist and teacher at “Clube Beethoven.” His first compositions date from this period, more precisely from 1887: “Prece,” “Mazurka Op. 1 n. 2,” “Une fleur,” and “Dança de Negros” (which later became “Batuque,” the fourth movement of “Série Brasileira,” for orchestra).

In order to further his musical studies, in 1888 Nepomuceno went to Europe where he studied harmony with Eugenio Terziani, Cesare de Sanctis, and piano with Giovanni Sgambati at Accademia Nazionale di Santa Cecilia, in Rome. In 1890, as a recognition for achieving the third place in a competition to choose the new Brazilian national anthem, Nepomuceno was awarded a government grant that allowed him to extend his stay in Europe. This way, he proceeded to Germany to study composition with Heinrich von Herzogenberg and Max Bruch, at Akademie der Künste, and also with Arno Kleffel, at Stern’sche Konservatorium der Musik, in Berlin. Later, in Viena, Nepomuceno enrolled the piano class of Theodor Leschetizky, where he met Norwegian pianist Walborg Bang, whom he ended up marrying in 1893. She was a pupil and friend of composer Edvard Grieg, a supporter of nationalism in composition, who was instrumental in convincing Nepomuceno to explore the elements of Brazilian culture. He concluded his journey in Europe studying organ with Alexandre Guilmant, in Paris. 

Upon his return to Brazil in 1895, he took up his post as director of “Instituto Nacional de Música,” where he also taught organ and composition. Nepomuceno wrote five operas, three symphonic suites, a symphony, four string quartets, works for piano, chamber music and nearly a hundred “lieder,” outlining a project of a Brazilian style for the chamber song, probably the genre he best identified with as an artist.  

In addition to his activities as a composer, Nepomuceno conducted the Brazilian premiere of major symphonic works such as “Prélude à l’après-midi d’un Faune” (Debussy), “Introduction et allegro” (Ravel), “Symphonie de chambre n. 1” (Milhaud) besides works by Rimsky-Korsakov, Saint-Saëns, and numerous Brazilian compositions, including Villa-Lobos’s Concerto for cello and orchestra.

It is significant that his last composition was a song for voice and piano, “Jangada,” with lyrics by Brazilian writer Juvenal Galeno whose last verse is: “my sail raft, it is time to rest!”. Nepomuceno passed away on October 16th, 1920.

Composed in 1887, in Rio de Janeiro, “Prece” (Prière) is regarded as Nepomuceno’s first composition. In his catalogue, there are two versions of this piece, still in manuscript: piano; violoncello and piano. A third version for orchestra has unfortunately been lost. The present transcription was based on the arrangement for solo piano by Brazilian composer Barrozo Netto. “Valsa” is the second movement of “Quatro Peças Líricas” Op. 13 written for piano in 1894, in Paris.