I - O que a Bula pede aos fieis. Jombart; "Esclarecimentos complementares sobre o Jubileu" por E. Jombart; "Vinho do Porto e vinho de missa" por J. Palmeira; "Idiossincrasia Wagneriana" por L. Jombart; "Vinho do Altar" por J. Gavazzo Perry Vi. More information about this seller Contact this seller Director: Mariano Pin.
Large 8vo. Photographs, illustrations, folding map; Vol. I title-page ink notation. Folding printed wrappers; extremities rubbed, spine ends torn. Burndy Library bookplates gift of Thomas F. Glick, a professor of history at Boston University. Very good. Condition: Good. Imprensa Nacional.
Nacional, Ibi, na mesma imp. Redactor Francisco de Almeida. De 31,5x24,5 cm. Ilustrado no texto impresso a duas colunas. Bernard, Guillemin, M. Salgado, Ferreira Lapa, Dr. Seller Inventory PG Encadernados em amador de carneira natural com cantos e ferros a ouro, mantendo as capas de brochura. From: Richard C. Printed in green on front cover, with black and white vignette of a sailing ship.
Title page in red and black, with small floral vignette. Headpiece and tailpiece vignettes. Small hole on pp. In very good condition. The Grande Teatro, which had opened in , was considered the most important building devoted to culture in northern Brazil.
This may be the first appearance of the Portuguese "argument" as opposed to the libretto, but we really cannot be certain. Francisco Pacheco is probably one and the same as Francisco de Assis Pacheco , who wrote music, alone or in collaboration, for a number of comedies by Artur Azevedo.
The opera's premiere in May at the La Scala in Milan was an enormous success. Even the most strict musical critics compared the Brazilian musician to Rossini, Verdi, and other great European composers. There l Guarany achieved as much success as it had in Italy. For the centenary of American independence, Gomes wrote the hymn Il saluto del Brasile, which was performed in Philadelphia on July 19, In the maestro traveled to Brazil, receiving homages in every city he visited. When he returned to Italy, he dedicated himself to the composition of an opera eventually titled Lo Schiavo with an anti-slavery theme that was inspired by the liberation struggle of black slaves in Brazil.
Besides eight operas, he composed songs three books , choruses, and piano pieces. This edition not located in Porbase, which cites a Lisbon, Italian-Portuguese bilingual libretto three copies, all in the Biblioteca Nacional , apparently without the "Proemio" by Pacheco. This edition not located in Copac or KVK 44 databases searched. Obra em12 volumes encadernados em 3 volumes de 17x12cm.
Ribeiro nas folhas de rosto e etiquetas da respectiva biblioteca nas folhas de guarda. Luis Fernandes de Vasconcellos. Tiago, e itinerario da gente que d ella se salvou 9. Paulo de Lima Pereira.
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Volume II: Tiago com os hollandezes na ilha de S. Bernardo Gomes de Brito Lisboa -?
Seller Inventory JC Muito ilustrados a cores. Woodcut vignette of the Virgin and Child on title page, woodcut initials and tailpiece. Typographical headpiece. Some light dampstaining. Overall in good to very good condition. The imprint date of "M.
Homenagem: Amos Gitai
Although Monteverde calls for 46 pp. Monteverde giving imprint date of and calling for iv, 46 pp. Not in Welsh or Greenlee Catalogue.
follow link Porbase locates a single copy, in the Biblioteca Nacional de Portugal with the same collation as ours. Not located in Copac. Small folio As new. Endnotes, extensive bibliographies in each volume, ample indexes in final volume. All volumes with many illustrations, mostly in color. Indispensable reference work, out-of-print for some time. Jorge, Ana Maria S. Ilustrado com 2 gravuras: 1. Skip to content Free download. Book file PDF easily for everyone and every device. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats.
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Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences.
The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound. Nomade Orquestra are some the most accomplished musicians in their city.
They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener 'Jardim de Zaira' - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab's funkiest late '90s output.
The album's wildest moment comes from the roaring off-road, big-band joy-ride 'Rinoceronte Blues' with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra's endless span of influences. With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector and Songlines, last year, Nomade Orquestra's self-titled debut album launched them from humble beginnings to international recognition. They also embarked on their first tour outside of Brazil.
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The highly anticipated follow up to Arthur's eponymous debut album from , Encore saw Arthur joining the dots over 35 years to createa modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was. To celebrate the album's 10th anniversary, Far Out Recordings announces the first ever vinyl edition of Arthur Verocai's masterpiece Encore.
Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from , Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
In the mid's, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of 'Encore' of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity.
Fast forward to winter and Joe's at the studio of Far Out Recording artists Harmonic - aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth - playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, 'As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds'. Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become 'Encore' were being laid down.
Produced by Dave, 'Encore' sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the conductor's baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.
In the s he was hired by Brazil's biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In , following the success Arthur had with the production of Ivan Lins album "Agora", Arthur recorded his self-titled debut album on Continental Records. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy.