TRILHA, MárioPÁSCOA, MárcioMONTEIRO, Guilherme2023-09-132024-10-022023-09-132023-09-132023-09-01978-65-00-64836-2https://ri.uea.edu.br/handle/riuea/6856Musical circles flourished in eigteenth century Brazil, most of the music was supplied by Afro-Brazilian musicians, they were Chapel Masters and organists. The Portuguese Court departed to Brazil in November 1807, just before the arrival in Lisbon of Junot’s troops. The 12 years presence of the portuguese royal family in Rio de Janeiro radically improves the musical life in Brazil, with a new production of keyboard music mainly for the aristocratic and bourgeois young pupils. The main composers for keyboard music in the tropical court were: José Maurício Nunes Garcia and Marcos Portugal José Maurício Nunes Garcia (b Rio de Janeiro, 1767; d there, 1830). He was priest and mestre de capela of Rio´s Cathedral from 1798 and of the royal chapel from 1808. In 1821, he composed the first brazilian pianoforte method: first and second parts with a set of 12 lessons, and a third part with six Fantasias. Marcos Portugal, or Marco Portogallo (b Lisbon,1762; d Rio de Janeiro, 1830). He was the most famous Luso-Brazilian composer ever. In 1811, he was urgently called by the Prince Regent to go and serve Him in Rio’s Court. The Portuguese Monarch reserved to Marcos Portugal the post of music master to his son and daughters. As Master of Their Royal Highness, he composed, between 1811-17, solo keyboard pieces for his royal pupils. In 1824, he became a Brazilian citizen.Acesso AbertoJosé Maurício Nunes GarciaMarcos PortugalMúsica para teclaPianoCravoÓrgãoLivro