Francisco Mignone and the Sixteen Waltzes for Solo Bassoon
Benjamin Coelho
Iowa City, Iowa
Introduction
The Mignone waltzes have become a
standard part of the bassoon repertoire with many performances and recordings
around the world. To my knowledge there are four different complete recordings
of the Waltzes by bassoonists Nol Devos (Brazil, 1981), Andris Arnicans
(Russia, 1986), Barrick Stees (U.S.A., 1993) and Arthur Grossman (U.S.A.,
1994). A few other bassoonists have recorded some of the waltzes and many
others have included them on their recitals.
I became familiar with the
existence of the waltzes in 1985 when I was a student at the Sarasota Music
Festival. In Sarasota, Sol Schoenbach asked me to help him translate the titles
of the waltzes and some interpretive markings in Portuguese. Needless to say, I
was thrilled to find out about these waltzes since I am from Brazil as Mignone
was also. As I was translating the
titles for Mr. Schoenbach, I could see how Mignone was a person with a witty
sense of humor since many of the titles were parodies, jokes or simply homage
to musicians and friends. Some of
the titles I came to find out later were not as simple to understand as I had
initially thought. When I returned to Brazil and lived in Rio de Janeiro and
studied with Devos I learned a great deal more about Mignone and his
waltzes.
In my travels around the world,
people often inquire about the Portuguese and the markings in these waltzes. I
hope that in this article I can assist a larger portion of the bassoon world to
become more familiar with the style of Mignones waltzes.
Francisco Mignone
Francisco Paulo Mignone was born
in So Paulo, Brazil, on September 3rd, 1897, the year after his parents
Alfrio and Virginia Mignone arrived in So Paulo from Italy. The father was a virtuoso flutist who
also played the violin, clarinet, cello, piano, and French horn. His five children; Francisco, Filomena,
Guilherme, Domingos, and Renato were all musically trained, but only the boys
pursued it professionally.[1]
In a letter from Francisco Mignone
to Bruno Kiefer, written on March 21st, 1981, he talks about his first musical
lessons: My father was really the one that put me in front of an old upright
piano, either rented or borrowed. I should have been only about five or six
years of age. In another section
of the same letter: Early I started to learn flute with my father, and
sometimes I had cello lessons. On
the flute I graduated in 1917, a course taught by my father at Conservatrio
Dramtico e Musical de So Paulo . I also
graduated in 1917 with degrees in piano and composition.[2]
Other important teachers of
Mignone were: Agostino Cantm, counterpoint, composition and piano; Slvio
Motto, piano; Savino de Benedictis, theory and harmony. It is worth mentioning that all of
Mignones teachers were Italians.
At that time in the early 1900s, the Italian immigrants dominated the
music scene in Brazil, particularly in So Paulo.
At the age of thirteen Mignone was
earning his own money playing the piano and conducting small dance orchestras
and soon after by playing flute in larger orchestras in So Paulo.[3]
As a young flutist Mignone loved to improvise and play serestas/serenatas[4]
in the
streets of So Paulo with Grupos
de Chro.[5] This
experience developed rapidly into composing. At that time he composed strictly popular music under the
pseudonym Chico Boror (after a Brazilian Indian tribe). One might ask: Why use
the pseudonym? Mignone himself
answers that question, It is because at the beginning of the century, to write
popular music was something disqualifying and vile. He didnt start to use his real name until he
graduated from the Conservatrio .[6]
Together, Mignone and his father
decided to prepare a concert where Mignone would show off his qualities as a
pianist, conductor and especially as a composer. On September 16th of 1918 the
concert was performed at the Teatro Municipal de So Paulo. This was
Francisco Mignones formal debut and the concert was decisive to his
career. He was awarded a
scholarship by the So Paulo government to study in Europe. Senator Jos Freitas Vale was the main
figure that helped Francisco to obtain that governmental scholarship.[7] At the age of 23 Francisco Mignone
departed to Europe where he lived for nine years. He made sporadic trips to Paris and Vienna and lived in
Spain for an extended period of time.
Mignone returned definitively to
Brazil in 1929. He was still to
encounter the biggest of his challenges, and it was an important time for deep
reflections about the direction his composing was headed. Nationalism was in
fashion at that time, and the main leader of the movement was Mrio de Andrade
(1893-1945). Andrade was a
contemporary of Mignone and they both studied at the Conservatrio at the same time.
Mignone and Andrade were very good friends and had a mutual respect for
each other.
Andrade didnt sacrifice his
strong beliefs about nationalism for their friendship and he criticized
Mignones style vehemently. In one
of his chronicles in 1928 titled Campaign against the Lyrical Seasons he
writes: ...they will justify that the opera guild presented The Innocent by
Francisco Mignone in its repertoire and dont only promote Italian operas. That was true. However, if the Sociedade de Cultura
Artstica movement was not well led, we
would not be able to recognize that this composer was already able to compose
operas like hundreds of other international musicians... Andrade continues ...I have to admit
that todays situation about Francisco Mignone is distressing, and we are to
the point of losing him, a useful Brazilian talent. An essentially dramatic musician, endowed virtually with a
European culture, and completely influenced by Italian prototypes, Francisco
Mignone faces a pathetic situation.
He does not find librettists who can provide national subjects. If he finds them, there will be another
problem to solve before the work may be staged: the libretto shall be
translated into Italian because nobody sings in Brazilian......The Innocent belongs to Italy.
Brazilian music remains the same before and after this opera. That is why I consider Francisco
Mignones case so sorrowful.[8]
Mignone decided to redefine his
style of composition after Andrades honest and frank criticism. He believed he needed to search for a
new style of composing and be true to the Brazilian spirit. He then went on to
become one of the most important figures of musical nationalism in Brazil. Some of his earlier works in the
nationalistic style relevant to bassoonists are the Sexteto for woodwind quintet and piano (1935) and the Quatro
peas brasileiras written originally for
piano in 1930 which he transcribed for bassoon quartet in 1983.
Even though Mignone earnestly
composed music with nationalistic themes, in the 1960s he experimented with
other styles of composition like serialism and atonalism. As Mignone himself described his first
contact with atonal music: It was
not until 1960, after having finished the composition of my single concerto for
piano and orchestra, and also having rehearsed and conducted the St. Marks
Mass by Stravinsky, that I felt it
necessary to improve my compositional technique through approaching other
styles. I began analyzing
Stravinskys works. Then I read and
studied all the information available about dodecaphonism and serialism.[9]
Again we bassoonists were very
fortunate that Mignone wrote some works for the bassoon in this style including
the Sonatina for solo bassoon (1961) and the Second Sonata for two bassoons (1967).
Mignone didnt feel his incursions
into serialism contributed much, so he decided to return to nationalism. From that point on until the end of his
life, the composer reinstated his interest in national idioms, cultivating a
repertoire that includes mostly Brazilian characteristic pieces such as chros,
valsas, valsas-chro, modinhas, and toadas,
among others.[10]
Once again we bassoonists were
blessed with works that include the set of sixteen waltzes and the concertino
for clarinet and bassoon (1980) among others. For a more complete list of works for solo bassoon and
chamber music see appendix.
Jos N. Valle categorized
Mignones work into five distinct periods: the popular (1910-1920), the
European (1920-1930), the nationalistic (1930-1960), the experimental
(1960-1970), and the neo-nationalistic (1970-1986).
Francisco Mignone was not only a
great composer but he also excelled as a pianist, teacher and conductor. As a pianist he constantly performed
with pianist Josephina Mignone (his second wife), as a duo, concertizing
throughout Brazil. As a teacher of
composition and conducting at the Instituto Nacional de Msica (today
called Music School of the Federal University of Rio de Janeiro), he taught
some of the most important musicians in Brazil such as: Eleazar de Carvalho,
Roberto Duarte, Mrio Tavares, Henrique Morelembaum, and Ricardo
Tacuchian. As a guest conductor he
conducted the Berlin Philharmonic, Germany; the NBC and the CBS Symphony orchestras,
U.S.A.; Accademia de Santa Cecilia , Italy;
and the most important Brazilian orchestras. As the principal conductor he led the Jornal do Brasil
Radio Station Orchestra, Globo Radio Station Orchestra, Orquestra Sinfnica do
Teatro Municipal do Rio de Janeiro, and
the Orquestra Sinfnica Nacional da Rdio MEC.
Unfortunately, most of Mignones
works are not published or are out of print. Fortunately we are seeing a rise in interest about his music
with new recordings and dissertations about him and his works. This will
certainly produce a positive change and make his music more available to the
world. As he stated once:
A
vida de todo artista criador um compromisso com a posteridade. (The life of every creative artist is a commitment with
posterity).[11]
Francisco
Mignone died on February 19, 1986, leaving over 1000 works to posterity.
Sixteen Waltzes for Solo
Bassoon
Francisco Mignone was given the
nickname Rei da valsa (King of the
waltz) by the writer and poet Manuel Bandeira. It is a perfect nickname; Mignone wrote five different sets
of waltzes in his life. It is curious to notice these waltzes
were written in sets. Three out of the five sets have 12
pieces, one 6 pieces, and the last one has 16 pieces. Three sets of this genre were written for piano, one for
guitar and the last one for the bassoon.
There is no question that Mignone was influenced by his early life as a
popular musician.
Why did Mignone become so
interested in the Brazilian waltz? In some of his discussions with
Mrio de Andrade, Mignone concluded that the waltz was not influenced commercially like the other genres. Mignone said: ...at one time, in a discussion, always with Mrio de
Andrade, the person that most helped me with aesthetic concerns, we denoted
from all of the Brazilian music, the one that had suffered the least amount of
commercialization by the United States was the waltz. The
waltz stayed genuinely Brazilian...[12]
These waltzes clearly
use elements of Brazilian popular music.
These elements are presented to the bassoonist in forms of expression
markings, as for example, in the 6 Valsa brasileira, imitando violo (like a guitar, m. 38). This interpretative mark does not clarify to the interpreter
what the composer really meant. If the interpreter is not familiar with the serenata
guitar style of Brazilian urban music at
the turn of the 20th Century, it would be unlikely that he or she would
understand Mignones interpretation markings.
One visible characteristic of
these pieces is the mode. Most European waltzes are in major keys, Brazilian waltzes are
usually in minor keys and in simple binary form or variations of that, with
some exceptions. The mood is essentially sentimental sometimes sounding
overemotional as in the popular Brazilian waltzes.
The waltz went through cultural transformations in
Brazil. The most important
difference between the traditional waltz and the Brazilian waltz is the
Brazilian one was not meant to be danced to but instead to be played in the
traditional street strolling serenade style of Rio de Janeiros nightlife. The improvised solo part, rubatos, and
interpretative markings were always evoking a sentiment or emotion.
The Sixteen Waltzes for Solo
Bassoon were written in 1979 and 1981. Mignone wrote the first two waltzes on
October 10th and 11th of 1979 and the other fourteen in 1981. The month of April was the most
productive one for him. Eleven
waltzes were written between the 7th to
the 23rd of April of 1981, one was written in January of 1981 and the two
others only have the year 1981 printed in the manuscript.
The reason for the lapse between
the first two and the rest is a simple and funny one. Elione de Medeiros tells us in his dissertation how the
waltzes for solo bassoon came to life. In 1979 the pianist and professor of
the Music School of Federal University of Rio de Janeiro, Irany Leme, created a
project for a cycle of recitals entitled Em Tempo de Valsa (In Waltz
Beat). This traditional musical
gender was very much appreciated and well suited for an artistic-didactic
occasion. In this cycle of six
recitals, all of them regarded waltzes in their many different aspects, both in
the classical and/or popular style.
Various performers and composers were invited for the occasion,
including Francisco Mignone and Nol Devos. Devos was honored by the invitation but had to decline. He did not have or he could not find,
in his repertoire, such a style of composition in the bassoon literature. Promptly, Irany Leme called Mignone
urging him to write some waltzes for Devos. [13]
Mignone gladly wrote the first two waltzes in October of 1979. Bassoonists around the world are
indebted to Irany Leme for these wonderful Brazilian waltzes that are a
landmark in the bassoon repertoire.
It is imperative to mention the
great teacher and virtuosi bassoonist Nol Devos. Devos was born in France and went to Brazil in 1952 to be
the principal bassoon soloist with the Orquestra Sinfnica Brasileira in Rio de Janeiro by
invitation of the maestro Eleazar de
Carvalho. In 1952 Francisco Mignone and Nol Devos met at the time that Mignone
was the director of the Teatro Municipal do Rio de Janeiro. Up
to that point, Mignone had not written any solo pieces for the bassoon. The first work that emerged from this
relationship was the Concertino for solo bassoon and orchestra written in 1957.
It was premiered in the same year, more specifically on July 6th
with Nol Devos as the soloist and Mignone conducting the Orquestra
Sinfnica Brasileira. The concert was
performed at the Teatro Municipal do Rio de Janeiro.[14] Devos was the catalyst that inspired Mignone to write so
many works for the bassoon. Their relationship was based on mutual respect and
admiration for each other.
Description and Translation of Titles and Portuguese Terms
1.
Macunama
(Valsa sem carater)
Macunama (Waltz with no Character)
This waltz was composed in October 10 of 1979 and is the first one of the set. The title is definitely an homage to Mrio de Andrade. Macunama is perhaps the most representative literary work by him. Macunama is a prodigious creature of Amazon mythology, a hero of woeful and curious character. As in many of the waltzes by Mignone, Macunama also has a strong improvisational feeling like the novel by Andrade, and presents the happiness, spontaneity, and customs of Brazil.
Cantando (m. 1) - singing
Sem precipitar (m. 18) - without anticipation
Cedendo um pouco (m. 75) giving in a little
2.
Valsa-Chro
Chro-Waltz
This was the second waltz that Mignone wrote. It is a classic example of a traditional Brazilian style waltz. This waltz shows Mignone reminiscent of his days as Chico Boror. Valsa-Chro is a style of a Brazilian waltz that is to be played in a moderately slow tempo.
Sem repetio (m. 31) without repetition
A ltima vez bem rall. (m. 24) the last time a lot of ritardando
As the title suggests this waltz should give us the impression of improvising in an introverted and intimate way. The loudest dynamic marking is a p with some occasional crescendo decrescendo markings.
Moderadamente - moderately
Devagar (m. 31) slow
4.
Valsa ingnua
Naive Waltz
This is a very happy sounding waltz. As the title and tempo markings suggest we witness an interior simplicity and grace. The piece is flirtatious and playful yet depicts a sense of purity.
Deciso (m. 17) - decisively
Cantando (m. 34) - singing
Calmo (m. 52) calmly
5.
Apanhei-te meu fagotinho (Valsa pardia)
I Got You, My Little Bassoon (Parody Waltz)
This is a parody of a chro by Ernesto Nazareth entitled Apanhei-te meu cavaquinho. This particular piece is well known among popular musicians because of its virtuosic character with the tempo always very fast to demonstrate the performers technical abilities. It is the only waltz in the set in a major key. See examples below.
Bem rpido (tempo marking) - very fast
Devagar (m. 49) - slow
6.
6 valsa brasileira
This waltz was originally written for the piano. Mignone wrote a set of Valsa
Brasileiras (Brazilian Waltzes) for
piano solo. Each waltz is dedicated to different people. Mignone literally took the right hand
of the piano and transcribed it for the bassoon with some occasional octave
displacement. When there are
interjections of the left hand, Mignone simply changed dynamics to give the
impression of a different voice. There are some differences between the piano
and the bassoon version, as can been seen in the examples below. The piano version was dedicated to
Irany Leme the key figure responsible for the birth of the sixteen waltzes for
the bassoon.
After the eight bar introduction the tempo marking is Bem seresteiro meaning "Very Seresteiro. Seresteiro comes from the word Seresta that translates as Serenade. Seresta is a type of musical activity that happened in the evenings using small ensembles that included guitars, mandolin, flute, clarinet, saxophone, and bandeiro (tambourine).
The term seresta is derived from the word sereno, meaning after dark until dawn. It became very popular in Brazil at the turn of the 20th Century where popular musicians would gather together to perform in the streets after dark to serenade their loved ones. They played different types of music such as waltzes, modinhas, chros, and other styles of music.
Seresteiro also describes the composer or interpreter in the seresta group.[15] Fast arppegios emulating the strumming of a guitar are heard on the descending staccato notes (measure 38) where Mignone indicates imitando violo (like a guitar). It is common for the chro groups to utilize a seven-string guitar usually played as the bass instrument of the group. The extra low C string was often used to make the connection between parts of the composition, Mignone uses a similar technique here. In measure 73, the indication in French trs agile comme une flute (agile as a flute) Mignone depicts the very common flute improvisation style of 16th note ascending arpeggios of the serestas.
Com muito entusiasmo (tempo marking) - very enthusiastically
Marcado (m. 1) - accented
Bem seresteiro (m. 9) - genuinely like a person that plays serenades
Imitando violo (m. 38) - imitating a guitar
Dramatizando (m. 46) - dramatizing
Mais devagar (m. 68) - slower
Desaparecendo (m. 69) - disappearing
Violo (m. 70) - see imitando violo
Forte e dramtico (m. 79) - strong and dramatic
Tempo seresteiro (m. 85) - tempo of seresta
Suplicante (m. 82) - to beg; to supplicate
Cantando (m. 93) - singing
Mignone, 6 valsa brasileira for solo bassoon, FUNARTE. Rio de Janeiro. 1981.
7.
Valsa em si bemol menor (Dolorosa)
Waltz in B flat Minor
(Painfully)
Nol Devos described this waltz as spectacular because of the expressiveness of the piece. Mignone used the whole range of the bassoon with large leaps to symbolize the sentiment of pain. In measure three, five, seven, and ten the grace notes are clearly notated before the beat by Mignone. These grace notes give us the impression of a sigh, thus adding a sense of drama to the music.
Valsa lenta (tempo marking) - slow waltz
Doloroso (m. 2) painfully
8.
A escrava que no era Isaura (Valsa sem
quadratura)
The Slave who wasnt Isaura
(Waltz without form)
A
escrava que no era Isaura best
characterizes Mignones style of the valsa seresteira. This work is
dedicated to the memory of Mrio de Andrade. The title of this waltz was taken from an essay written by
Andrade in 1922 about the tendencies of the modernistic poetry in Brazil. The
Mignone waltz is not a variation nor should be confused with the novel written
by Bernardo Guimares entitled The Slave Isaura, which was a very popular soap opera in Brazil in the
1970s.
Valsa sem quadratura (sub-title) waltz without form
Valsa Lenta (tempo marking) - slow waltz
Cedendo um pouco (m. 36) - giving in a little
Cantando (m. 40) - singing
Calmo (m. 92) calmly
9.
Valsa da outra esquina
Valsa de esquina are waltzes that were played on the street corners. The street corners were considered neutral territory, that is, not in front of a particular persons house. The seresta groups strolled from house to house serenading their loved ones.
The music that was played on the street corners was often performed in a faster tempo as well as in major keys. Although this waltz is in the key of E minor the piece has an uplifting sound with its ascending sixteenth note pick-up followed by staccato notes. This type of writing, again, emulates the improvising character of the serestas. The title of this waltz is a good example of Mignones acute sense of humor at play. This waltz is not from this corner but from that corner.
Valsa viva (tempo marking) lively waltz
Seco (m. 27) - dry
Expressivo
(m. 63) expressive
10. Pattapiada (Homage to the flutist Patpio Silva)
This piece is homage to the virtuosi flutist Pattapio Silva. On the cover of the manuscript Mignone writes a note about Pattapio. Pattapio da Silva, flutist carioca (a person from the state of Rio de Janeiro), mulatto, celebrated by his distinguished virtuosity in his instrument. Lived in the first decades of this century (1900). Was one of the pioneers of popular music recording in Rio de Janeiro. He had a short life due to tuberculosis.
Mignone uses a very famous waltz written by Pattapio called Primeiro Amor (First Love) as a model. Each of the sections of this waltz resembles Silvas work. Again, this waltz allows the musician the opportunity to show off their technical abilities and talents. Pattapio Silva was always challenging other flute players with this piece and could never find a flute player that could play this piece faster than him. Mignone indicates in parenthesis and in French the tempo marking le plus vite possible (as fast as possible). See the beginning measures of each section of Pattapios piece and compare to those of Mignones valsa.
Um pouco calmo (m. 35) - a little calmer
Deciso (m. 67) firm and decisive
11.
Aquela modinha que o Villa no escreveu
That Modinha that Villa Didnt Write
This waltz not only honors Heitor Villa-Lobos, it also demonstrates Mignones sense of humor. Modinha is a lyrical and sentimental song derived from the Portuguese moda. At the end of the 18th Century in Portugal, the word moda was generically used to define any Aria, Song or ballroom song.[16] Mrio de Andrade defines the origin of the word Modinha as the way that Portuguese and Brazilians love to loosely designate the diminutive to words for things that are delicate or small.[17]
The Modinhas of the 18th Century were usually in 4/4 or 2/4 time signature. At that time, the Modinhas were only played and sung as part of the royal court and aristocracy and were known as Modinhas Imperiais. Italian opera arias and the waltzes influenced Modinhas, which became part of the popular culture and Modinhas started to appear in the 3/4 meter.[18] Aspects of the opera aria were retained in the popularization of the modinha. This style of music leaves the closed ballrooms and goes out onto the streets, in the moonlit nights always accompanied by the guitar, an instrument that became an inseparable companheiro.
Villa (title) - That is short for Villa-Lobos
Implorante, saudoso e triste (tempo marking) imploring, longing and sad
Delicado (m. 32) - delicate; tender
Mais devagar (m. 37) -slower
Bem devagar e completo abandono (m. 41) - very slow and with complete abandon
12.
Mistrio (Quanto
amei-a!)
Mystery (How Much I loved Her!)
There is speculation that this waltz along with Valsa Declamada (O vivo), are about Mignones own personal loss. His first wife Liddy Chiafirelli disappeared in an airplane accident in 1961. Neither the airplane nor any of its occupants were ever found.
Tempo de Valsa sentimental e doentia (tempo marking) - in time of a sentimental and feeble waltz
Conclusivo (m. 29) - conclusive
Preludiando (m. 33) as if improvising, like a prelude
Apaixonado (m. 54) - passionately
13.
A boa Pscoa para voc, Devos! 軐Happy Easter to You, Devos!
The waltz A boa Pscoa para voc, Devos! (Happy Easter to You, Devos!) was written on April 16, 1981 during Easter week. The melodic line, along with Mignones expression markings, alternations of animandos, ritenutos, a tempo, vivo, etc., depicts a rhythmic freedom with the impression of improvisation. This is very much like the seresta style.
Com serenidade (m. 47) with serenity
14.
Valsa quase modinheira (A implorante)
Almost a Modinheira (Modinha style) Waltz (The imploring woman)
The title, sub-title, and tempo marking of this waltz are very important to help the interpreter decide what the character of this piece will be. The upward motion in the beginning gives the impression of someone trying to attain something with great difficulty.
Valsa quase modinheira (title) Waltz in an almost modinha like style
A implorante (sub-title) A woman imploring or begging.
como saudosa cano suspirada (tempo marking) like a sighing yearning song
Insistente (m. 33) insistent
Largamente (m. 47 and 67) - broad
15.
Valsa declamada (O vivo)
Recited Waltz (The Widower)
This waltz is in the key of A-flat
minor with constant repeated notes. Mignone indicates as a tempo marking the
expression quase falando (almost
speaking, parlando) suggesting to
the interpreter the manner in which these repeated notes should be played. In
this monologue-like waltz Mignone is perhaps implying his own grief as a
widower as mentioned in the waltz Mistrio.
Moderadamente [quase falando] (tempo marking) - moderately [almost speaking, parlando]
Acalmando (m. 8) - to calm down
Calmo (m. 41) - calmly
16.
+1 3/4
(One more in 3/4 meter)
Once again Mignones sense of humor is apparent. The piece itself is very challenging technically. This piece was written on the day that the Brazilian people celebrate the initial uprising of the colony of the Brazil. This subsequently failed. At the bottom of Mignones manuscript he reminds us of this event by signing the name Tiradentes who was the martyr of this battle.
Com alegria interior (tempo marking) - with inner joy
Como cadncia virtuosstica (m. 45) - like a virtuosic cadenza
Selective Bibliography
Andrade,
Mrio. Dicionrio musical
brasileiro. Belo Horizonte: Editora Itatiaia, 1989.
Kiefer, Bruno. Mignone, Vida e Obra. Porto
Alegre, Brasil: Editora Movimento,
1983.
Marcondes ,Marcos Antnio, editor.Enciclopdia da Msica
Brasileira, popular, eurudita e folclorica. So Paulo, SP : Art Editora :
Publifolha, 1998.
Mariz,
Vasco, editor. Francisco Mignone o homen e a obra. Funarte: Editora da Universidade do Estado do Rio de
Janeiro, 1997.
Medeiros, Elione de. Uma abordagem tcnica e
interpretativa das 16 valsas para fagote solo de Francisco Mignone. Master of
Music Dissertation: Universidade Federal do Rio de Janeiro, 1995.
Mignone, Francisco, et al. A parte do Anjo. So Paulo:
Editora Mangione, 1947.
________. Catlogo de obras.
Ministrio das Relaes Exteriores. Braslia, 1978.
Valle, Jos Nilo. The Operatic Works of Francisco Mignone:
An Analytical and Textual Guide with Reference to his Contribution to Brazilian
National Opera. Doctoral of Musical Arts Dissertation: University of
Washington, Seattle, 1992.
Verhaalen, Sister Marion. The
Solo Piano Music of Francisco Mignone and Camargo Guarnieri. Doctor of Education Dissertation: Teachers College,
Columbia University, New York, 1971.
APPENDIX
The list below includes works
that were originally composed for the bassoon and works that were Mignones own
transcriptions.
BASSOON SOLO
- Concertino para fagote e
pequena orquestra (1957)
- Sonatina para fagote solo
(1961)
- Sonata para fagote solo
(1971)[19]
- Concertino para clarineta,
fagote e orquestra (1980)
- 16 Valsas para fagote solo
(1979/1981)
TWO, THREE AND FOUR BASSOONS
- Sonata n 1 para dois fagotes
(1961)
- Sonata n 2 para dois fagotes
(1966-67)
- Tetrafnia e variaes em
busca de um tema para quarteto de fagotes (1967)
- Cinco peas para canto e
fagote (1976)
- Sonata a tre para trs
fagotes (1978)
- Mais uma lenda para quarteto
de fagotes (1983)
- Minueto para quarteto de
fagotes (1983)
- Quatro peas brasileiras para
quarteto de fagotes (1983)
- Serenada bem acabada para
quarteto de fagotes (1983)
- Serenada humorstica para
quarteto de fagotes (1983)
DUOS
- Inveno para flauta e fagote
(1961)
- Inveno para clarineta e
fagote (1961)
- Passacaglia para clarineta e
fagote
- Valsa brasileira n 2, 5 e 8
para clarineta e fagote
TRIOS
- Sonata a tre para oboe,
clarineta e fagote (1964)
- Quatro Sinfonias para oboe,
clarineta e fagote (1968)
- Inveno para oboe, clarineta
e fagote
WOODWIND QUARTET
- Quarteto de sopros
- Baianinha para quarteto de
madeiras
- Seresta n 3 para quarteto de
madeiras
QUINTET/SEXTET
- Sexteto n 1 para quinteto de
sopros e piano (1935)
- Quinteto n 1 para quinteto
de sopros (1961)
- Quinteto n 2 para quinteto
de sopros (1961)
- Aria para quinteto de sopros
(1961)
- Sexteto n 2 para quinteto de
sopros e piano (1974)
- Sexteto n 3 para quinteto de
sopros e piano (1977)
- Uruta, o pssaro fantstico
para piccolo, flauta, clarineta, fagote e 2 pianos (1977)
- Gavotta para flauta, oboe,
fagote e quarteto de cordas