Collection of arrangements for soloist and piano

Available for flute(AG026.fl), oboe(AG026.ob), clarinete(AG026.cl), bassoon(AG026.bsn),
Bb sax(AG026.tsax), Eb sax(AG026.asax), F horn(AG026.hn), trumpet(AG026.tpt),
trombone/tuba(AG026.tbn), violin(AG026.vln), viola(AG026.vla), cello(AG026.vcl),
double bass(AG026.db) and marimba/vibes(AG026.mall).

      Repertoire:
             Apanhei-te, cavaquinho!    Brejeiro    Confidências       Correcta
                           Eponina         Escorregando         Nenê        Odeon

“An innovative project contemplates the Brazilian music starting from this collection of Ernesto Nazareth's pieces especially arranged for piano and… the choice is the soloist's. The renditions are varied: strings, woodwinds, brass and percussion. Even more: string quartet or orchestra. It meets both the individual and the collective interests. And it can be inserted in the universe of Music Schools and Conservatories, bands, professional and amateur musicians.
The project is a joint creation of Francisca Aquino (pianist/arranger) and Ricardo Vasconcellos (bassist and arranger). It aims at making the Brazilian music well-known and interpreted by the most diverse national and international musicians, allowing for the recording and dissemination of pieces by our composers.
Ernesto Julio de Nazareth, born in Rio de Janeiro on March 20th, 1863, came to this world with the mission of making music...”

Vicente Salles, musicologist

The arrangements of famous Nazareth pieces, performed by Francisca Aquino, meet a pressing need. The music of Ernesto Nazareth has a universal appeal, with CD, video and DVD renditions and recordings in many cultural centers, mainly in North America. The lack of availability of quality arrangements leads, at times, to renditions which are not compatible with the Brazilian tradition.
Francisca Aquino is a connoisseur of our repertoire, which she plays expertly. She has extensive experience in arrangement, that being evident in her many productions. I have had the opportunity of examining several of her pieces. In this work, she proceeds, successfully, along the extremely developed polyphonic line characteristic of the Brazilian counter-melody, and she “seasons” the harmony with fantasy and innovation. This brilliant version, of excellent effect for public performance, deserves international dissemination.

Luiz de Moura Castro, pianist
Hartt School - University of Hartford - CT - USA