FRANCISCO MIGNONE, Francisco Mignone was born near ‘Campinas, State of Sao Paulo, in 1897, and died in Rio de Janeiroin 1986. One of the foremost Brazilian composers in this century, Migone took a strong nationalistic approach, joining Villa Lobos in the effort to give a definite Brazilian identity to new music by incorporating elements and influences from folkloric and popular music. Mignone lived in Italy during the 1920s, and after graduating from the Milan Conservatory he returned to Brazil to settle in Rio de Janeiro in 1931, where he lived for the-rest of his life. Mignone taught composition and conducting at the Escola Nacional de Mésica in Rio, leading an active musical life as a composer, pianist, and conductor. He wrote operas, symphonic and | chamber works, as well as solo works for various instruments, especially the piano. Arturo - Toscanini and Eugene Ormandy conducted some of his orchestral works, ‘ From the early days of his youth, however, Mignone had an affinity for the guitar. On the poetic, quiet nights of a Brazil still relatively undeveloped, there were the serenatas—musicians , playing for their loved ones—and Mignone would occasionally join them, playing a bit on the guitar or on his flute. The romantic nature of his music reflected his appreciation of the guitar as the Brazilian national instrument, 59%, It was 1970 when I met Mignone in Porto Alegre where both of us were participating at the Seminario Intemacional do Violao, produced by the Liceu Musical Palestrina and its dynamic director, Antonio Crivellaro. Mignone became enthusiastic about my suggestion to write for the guitar, Isaias Savio, who was also at Porto Alegre, reinforced the idea, After that meeting, Mignone wroteaseries of works for guitar, most of them dedicated tome: Twelve Etudes (1970); Twelve Brazilian Waltzes (1970); and Concerto for Guitar and Orchestra (1977). Mignone and I had begun what was to be an enduring friendship. ‘The Valsas de Esquina were composed for piano between 1938 and 1944, and became a very popular part of the Brazilian piano literature, They were written at the suggestion of Brazilian musicologist Mario de Andrade, who greatly admired Mignone. According to Mignone, the form of the Brazilian waltz was already well defined by the turn of the century, with composers such as Ernesto Nazareth writing with refined taste and style. They reflect the spirit of serenatas—imbued with the popular influence. Esquina means “street comer,” where the chores would wait until going to serenade a beautiful lady from the street under her window. Mignone often stated in his piano editions that the Valsas de Esquina echoed the sound of the guitar, and he more than once suggested to me that several of them could be effectively transcribed for guitar. I remember him showing me his ideas for arranging in a guitaristic way. During many of those visits he would play them for me, sometimes improvising a variation or two, here and there. He played for me even when his health became frail. [last saw him in Rio in 1985, just a few months before he died. Each Valsa de Esquina has its own identity: some are more reflective, others have a lively pulse. All of them reflect the best of the Brazilian musical tradition: romanticism and sensuality. Carlos Barbosa-Lima February, 1994Valsa de Esquina, No. 1 ‘Arranged for guitar by Carlos Barbosa-Lima (1992) Francisco Mignone Seresteiro (Lento) (rubata, but with a pulse) 9199 LS, Mangione (©1982 fitorlal Mangione, S.A ©1968 Mangione & Flos Adrninisteved by Gultar Solo Pubteations (ASCAF) International Copyright Secured. ALL Rights Reserved Photovopying this music is legal, Printed in USA, GSP-114Piu Lento = a tempo paca rit, zim o® crese, 3 -38 : = = Se f ae # fa tempo) fquast rit.J ~~ ~~ iz Bes ee Be os “ty —— . a M0 a 4. 4, 4, aU Sy ea SA 0 r GSP-1142 Eee eo eS tempo D. 8, al Coda Code (confortably) ® GSP-114Cin tempo, gradeallydiseppearing) a — + HI! Ae (always in tempo until the end, very soft) GSP-114Valsa de Esquina, No. 4 Atranged for guitar by Carlos Barbosa-Lima (1994) Vagaroso e Seresteira ( d = 72) (lowly ina serenade mood) Francisco Mignone —— ae po —_e on "8 —— i ” ONG - = fate 7 epee = ae mite ft ig 1 £5 A Py — r ©1938 ES, Mangione ©1952 Editorial Mangione, S.A, 91968 Mangione & Tilhos Administered by Guitar Solo Publications (ASCAP) Intemational Copyright Secured, All Rights Reserved Photocopying this music Mega, Printed irs USA. GsP-114mf poco accel. : is 4 (es: 22 a is 0 » 2 = x == z ; a aT eo a eee ‘on ile ® 2B [33 Poco Piu Moss (J = 88) @ 9 ®@@ 6 oe 0 aff (legato) et 4 : a ee T fs @ evn, «vay _ ° D ® jad + — Ce GsP-114Ba tempo mp delicato poco erese: 0 @0® qv irae pe, ot te poce rot @® o ¥ io Ca Pacers = mf =p GSP-414n Valsa de Esquina, No. 5 Carlos Barbosa-Lira (1994) Cantando & com naturalidade (Singing with naturality) — (d= 92) Reais MeriOne: @=v ® o— 0 0 pace erese dim, fi. @ ® ® ® m din, Pp £1998 FS. Mangione £61952 Eaton Mangione, S.A (91968 Mangione & Hlhos ‘dininistered by Gultar Slo Publications (ASCAP) International Copyright Secured, All Rights Reserved Photocopying this music isiMiegal, Printed in USA, GSP-114GSP-114mf crese o —==—— yf dim, ET) piss. 2 dim. aiampo a wo, 4 i Ty SS 0 | f 0 aim, GSP.i4Valsa de Esquina, No. 7 Carlos Barbosa-Lima (1994) Moderato (J = 92) Francisco Mignone fF B (singing bass tine) erese. poco a paca 1 poco affres, a tempo —a poco affret. sens ® 0, wer atempo poco nit affret mT gy mf 2 dolee im, ©1940 Faitorial Mangione, S.A. Administered by Guitar Solo Publications (ASCAP) Intemational Copyright Secuted, AIl Rights Reserved Photocopying this music is illegal, Printed tn USA, GSP-114motte rit, Wiese eee to Coda & - ® 2 i a a] ee ae ee ia % ten) a BY teasto) a stowly (4 = 76) (singing luminously) Dery expressive o crese mp r FO Beer Were as fs 1 2 o — | a). rie T ry ZB. ; a aro a (2B) GSP-114ay & a tog ag 2). 4. —- je = oe gar F poco rath f= Aa tempo ato) ple (d.)- throughout this seetion) ody GSP-114.7 Yo be al Coda D 80, peesrii Hees eee ES 4 a 0 oy ees ee ere —, = = SUL f= af y Pre © rs SS - eel _- [ tt tT a aT \| \ a | { 5 SH al 2B dim, sempre (PP) @ GSP-114,Valsa de Esquina, No. 8 Arranged for guitar by Carlos Barbosa-Lima (1994) Francisco Mignone 6 Tempe dea capia (#182) @~D sisee foninote) an 2 = vi) ‘itl —— @ crest © mf povo eit, O---4 ds. a tempo quasi it, qu a Fempo ‘@1940 Editorial Mangione, S.A, ‘Administered by Guitar Sola Publications (ASCAP) International Copyright Secured, — All Rights iteserveel Photocopying this sic Illegal. Printed in USA. Gsp-1i4vr 1, {ea a a a - [33] Piu Lento, Rubato {igh plzz ~~ = light pize, ~~~ - 3 @ 9 0® a= yp @----4 @ fy ae A D5) z SS = * ® 4 0 @ 6 ® =a os hs oo yee # 2 t GSP-114 ight pice.Bo seece® @eoee Dc atcodg — Oot PUR YG, *Valsa Calpira Is a waltz danced in rural areas of the state of Sdo Paulo. “Caipira” is like a cowboy— simple and humble—a half-breed of Portuguese and native Indian ancestries. GsP-114Valsa de Esquina, No. 10 Arranged for yuitar by Carlos Barbosa-Lima (1994) Francisco Mignone Lento (d= 76) Reintiere cantante o| ® motvo ete ten @=0 |. |- ay pod t a * - a oe ote 0 ® —————~h Ao crese: mf —>p molto rit. a tempo a fpret. molto rit. a tempo @ Oo erese, sempre r ©1944 Baltorlak Mangione, S.A, Administered by Guitar Solo Publications (ASCAF) International Copyright Secured. All Rights Reserves Photocopying (his musi Is illegal. Printed in USA GSP-114indeo rit a remipo 0 poco ri, ‘molto cantate - geese = a wc @@®@ Oo mi p we Se 2" nt tps mirc Frmoleo tegato) ®@ 4 3 = al if ° == art a ae i = = # @@®8 oo 6? avin ——— wm —___, eu — a ded a i J did | poco erese. dir. crese, subleo GSP-11423 fproco ten.) > ‘| @--- i a @ «vIll) i =. deg dd ty (poco meno} == GeGO8 © SS (Piy 19 fra) (eh) iu Mosso: (J. = 126) Ri ix (vty poco rit. PY oe 19080 4 @@ Sale) 3 ge Ww, je ay" maf (ote) subito GSP-114moltorit. yen, a tempo odio rit, oo © & BS a tempo 8 aa ; 1 aftret ey 2 @ o et a) 4 os arempo Fr 1e raft { GSP-114 cr rectir SCLLLT —— my" eresemolto rit Qo Ss S . Te S ae ee Sane Seem ps 1 Lente ® o @ SSS = SE et apr ep at = i = | sostercuto GsP-l1426 Valsa de Esquina, No. 11 Arranged for guitar by Carlos Barbosa-Lima (1994) Moderato (g,= 66) aap con spirito cedendo (©1946 Eattorlal Mangione, SA Administered by Gultar Sofo Publications (ASCP) international Copyright Secured. All Rights Reserved s Mhotocopying this msc i legal, Printed in USA. Gsp-t14os FivMosso d= 76) (pocy rit.) tar et (at repeat pitz2. bass, melody light e fluent? > on va —___, ooo” = {1 r © cresc Piu Vivo (e).= 88) § sta (BP) fa qu @21 @--5 ota ya Bae (Pod of er fponticelto) — P (7P) #0, (quast pies.) GSP-114lo Coda @ @ [59] Tempo t (d= 76) poco stace, ® ® piss, base= == = GSP-114Dv plex (nae) ere, poco 4 poco ¢x ——_____ tix (vin 1 va ~ as) Sl = f vivo fires, sempre queis rit 7 ae Sempre Vive (0-= 76) iia arm 19 0. = poco rit. [a 18 i 2 i SP maito tegato = z > GSP-114Piu Vivo (d= 84-88) oD qu) — ni, ‘hii. = = @. 19,9 © @ wil ° P i P (always very light, o ® rneur “pontieello”) poco rit. a tempo (pace, GX @ @---@ @--, B--1 © 1 pose rle Fis free ev ® 0@ 7 * bo! pis ® @ pieces 9 rasg. [Fine ms Pa s GsPi4d