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eISSN 2317-6377
A linha de baixo nos ritmos do sul do Brasil: proposi es
pr ticas, te ricas e suas aplica es no contrabaixo
ac stico
The ba li e i he h hm f S he B a il: ac ical a d he e ical
al a d i a lica i he d bleba
Ma he Me i a Pa ali1
matheuspasquali89@gmail.com
Leona do Pie ma i i1
1U i e idade d E ad de Sa a Ca a i a, CEART, Fl ia li , Sa a Ca a i a, B a i
ARTIGO CIENT FICO
Editor de Se o: Fe a d Chaib
Editor de Layout: Fe a d Chaib
Licen a: "CC b 4.0"
Data de submissão: 10 set 2024
Data final de aprovação: 27 out 2024
Data de publicação: 02 jan 2025
DOI: https:/ / doi.org/ 10.35699/ 2317- 6377.2025.54497
RESUMO: E e a ig e ma a li e da li ha de bai g e da mil ga e em i m imila e ,
ca ac e ic da egi l d B a il, a lica d - a c abai . C ide a- e a e a a ec ic
a a a b e de ma idade a iada, ma amb m a ec c cei al de e g e , e
dial gam c m c cei de cla e e mica adi i a. F i fei a ma a li e b e a cla e ada e e g e ,
e e a ame e a me ma e c ada em e il , ge i d ma el igem af ica a c m m.
E e m abalh i f mad ela ica, de m d a e a ici c m m ic c idad em
e f ma ce c m g Q a e C a de P , g e eciali ad e e i li , ediad em Lage -
SC. F i eali ada ma e e i a c m m ic J Gab iel R a, e amb m c m a ilh a e ce e e
ica . Ne e a ig e i cl da a c i e e a li e de ech de b a de e e e i a a c b a
a c cl e le a ada .
PALAVRAS-CHAVE: Ri m li ; R mica adi i a; M ica; C abai .
ABSTRACT: Thi a icle e a a al i f ba li e i he mil ga ge e a d imila h hm , cha ac e i ic
f he he egi f B a il, a l i g hem he c aba . N l he ac ical a ec f b ai i g a
a ia e d i c ide ed, b al he c ce al a ec behi d he e ge e , hich dial g e i h he
c ce f cla e a d addi i e h hm. A h hmic a al i a made f he claff f h e ge e , hich a e e ac l
he ame a h e f d i he le , gge i g a ible c mm Af ica igi . Thi i a k i f med b
ac ice, he e e f he a h a ici a ed a a g e m icia i e f ma ce i h he g Q a e
C a de P , a g eciali ed i he e e i e, ba ed i Lage -SC. A i e ie a ca ied i h
m icia J Gab iel R a, h al ha ed hi e ce i . Thi a icle i cl de a c i i a d a al e f
e ce f m k f m hi e e i e c b a e he c cl i ai ed.
KEYWORDS: S he h hm ; Addi i e h hmic; M ic; D bleba .
Per Musi | Belo Horizonte | v.26 | Gene al To ic |e252602 | 2025
Último retrato by Dinorá de Carvalho and Maria Antonia:
contextualization, musical edition, and general characteristics of the song
in its chamber and orchestral versions
Último retrato, de Dinorá de Carvalho e Maria Antonia: contextualização, edição musical e
características gerais da canção em suas versões de câmara e orquestral
Tadeu Moraes Taffarello1 Raquel Juliana Prado Leite de Sousa1 Lucas Zewe Uriarte2
tadeumt@unicamp.br
Flávio Cardoso de Carvalho3 Caio Csizmar Soares Lourenço4 Vitor Alves de Mello Lopes4
Elias Aparecido Corrêa4
1 Universidade Estadual de Campinas, CIDDIC/CMDC, Campinas – SP, Brasil
2 Universidade Estadual de Maringá, Departamento de Música e Artes Cênicas, Maringá – PR, Brasil
3 Universidade Federal de Uberlândia, Instituto de Artes, Uberlândia – MG, Brasil
4 Universidade Estadual de Campinas, Instituto de Artes, Campinas – SP, Brasil
SCIENTIFIC ARTICLE
Section Editor: Fernando Chaib
Layout Editor: Fernando Chaib
License: "CC by 4.0"
Submitted date: 28 aug 2025
Final approval date: 01 jan 2026
Publication date: 12 fev 2026
DOI: https://doi.org/10.35699/2317-6377.2026.61246
ABSTRACT: Último retrato is a song composed by Dinorá de Carvalho with lyrics by Maria Antonia whose documentary sources
had not been located until 2023. The specific objectives of this article are: (i) to provide context about the creation of this song in
its chamber and orchestral versions; (ii) to report the process of locating the musical documentary sources and transcribing the
handwritten scores; (iii) to comment on the compositional strategy employed; and (iv) to publish the edition of the score in its
chamber version. The methodology employed for the analysis of the song's creation context was the Documentary Analysis. The
musical editing methodology undertaken was the Copy-text. As a result, the first complete musical edition of Último retrato in its
chamber and orchestral versions was created. We hope to contribute to the dissemination of this artistic production by authors
who are not often the subject of academic study in Brazil.
KEYWORDS: Dinorá de Carvalho; Maria Antonia; Brazilian music; Brazilian art song; Score editing.
RESUMO: Último retrato é uma canção com música de Dinorá de Carvalho e poesia de Maria Antonia cujas fontes documentais
musicais não haviam sido localizadas até 2023. Os objetivos específicos deste artigo são: contextualizar a criação desta canção em
suas versões camerística e orquestral; relatar a localização das fontes documentais musicais e o processo de transcrição da
partitura manuscrita; comentar a estratégia composicional empregada; e publicar a edição da partitura em sua versão camerística.
A metodologia empregada para a análise da criação da canção foi a Análise Documental. A edição crítica da partitura utilizou a
metodologia do Texto Base. Como resultado do trabalho, a primeira edição musical completa de Último retrato em suas versões
camerística e orquestral foi criada. Espera-se contribuir com a disseminação desta produção artística realizada por autoras ainda
pouco estudadas no meio acadêmico brasileiro.
PALAVRAS-CHAVE: Dinorá de Carvalho; Maria Antonia; Música brasileira; Canção brasileira; Edição de partituras.
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1. Introduction
Último retrato (Last portrait) is a song for voice and piano, composed by Dinorá de Carvalho (1895-1980)
and lyrics by Maria Antonia (1918 or 1919
1
-1973). Dinorá de Carvalho was a composer, pianist, teacher and
music critic who was particularly active in the city of São Paulo, SP, throughout the 20th century. Among her
musical works, her chamber songs, composed between 1933 and 1980, stand out. Maria Antonia is the
pseudonym of Maria Aparecida de Campos Salles Franchini-Netto. She was a journalist and writer, author of
poems and short stories, who dedicated herself to promoting women's work in the field of literature.
The date on which the song Último retrato was created is uncertain, with sources suggesting either 1950 or
1954. A complete score was also missing. Until 2023, documentary sources concerning the piece were
limited to instrumental parts, excluding the melody and lyrics, and did not allow for its reconstruction. It was
only after the discovery of a phonogram featuring the chamber version (piano and voice) that it became
possible to create a musical edition of the piece, including chamber and orchestral versions.
In 2017, when the book Canções de Dinorá de Carvalho para voz e piano (Songs by Dinorá de Carvalho for
Voice and Piano) was published, researcher Flávio Cardoso de Carvalho indicated that, of the forty songs
listed in Dinorá de Carvalho's catalog of works (Ferreira 1977), thirty-three had already been located until
that moment (Carvalho F. 2017, 8). Although this number is relatively high, representing 82.5% of the total,
this data also indicates that another seven songs for voice and piano listed in the catalog were missing until
2017. Among them is the song presented in this article, Último retrato. This song, in its orchestral version,
was included by the composer in the cycle 7 Canções (7 Songs)
2
(Carvalho and Taffarello 2020).
The disappearance of some of Dinorá’s work, including the song Último retrato, can be partially explained
by the fact that the composer herself, during her lifetime, seems not to have had an effective and systematic
approach concerning the organization of her own musical materials. This ultimately resulted in a
fragmentation of her collection, which is found in various public institutions or in private collections
scattered throughout Brazil.
The search for Dinorá de Carvalho’s unlocated compositions has become an urgent and ongoing scholarly
task, aiming to address gaps in her compositional output and to promote broader dissemination of her work
within both artistic and academic contexts. As part of this effort, extensive documentary research led to the
identification of sources related to the song Último retrato across a range of institutions and collections.
These include the Dinorá de Carvalho Collection at the Center for Documentation of Contemporary Music
(CDMC) at the University of Campinas (Unicamp); the archives of Empresa Brasil de Comunicação (EBC); the
José de Andrade Muricy Collection at the National Library of Brazil (BN); the Digital Newspaper Library of the
National Library of Brazil (BN); the archives of the newspaper O Estado de São Paulo; the FamilySearch
genealogical website; the Institute of Brazilian Studies (IEB) at the University of São Paulo (USP); and the
Casa Rui Barbosa Foundation.
1
The exact year of Maria Antonia's birth has not yet been identified.
2
In August 2023, the Unicamp Symphony Orchestra (OSU) performed the cycle 7 Canções, featuring soprano
Rafaela Duria (born 2000) and conducted by Cinthia Alireti (born 1973). However, Último retrato was not
included in the recital as it had not yet been located and reconstructed at that time.
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The main objective of this work is to raise awareness of the work of Dinorá de Carvalho and Maria Antonia,
and to make their song Último retrato accessible to academic and artistic communities. The specific
objectives are: (i) to provide information about the authors, the creation of the song and its context, and the
premieres of the song in its chamber and orchestral versions; (ii) to report the process of locating the musical
documentary sources, the transcription of the phonogram and in the music editing; (iii) to offer analytical
comments on the song, including also some thoughts on the orchestration of the song; and finally (iv) to
publish the edition of the score of this song in its version for voice and piano
3
. The score is published in the
scores section of this journal.
The primary justification for this study lies in its effort to shed light on the compositional legacy of a
composer who, despite her significant presence in Brazil’s artistic community during her lifetime, has had
portions of her work rendered inaccessible to the public after her death. This particular composition was
created in collaboration with Maria Antonia, a journalist, poet, and short story writer who worked to
promote the appreciation of women in the arts—especially in literature—yet who herself has not often been
the subject of academic research in Brazil.
The contexts of creation and premieres of the song Último retrato are addressed using the methodology of
Documentary Analysis. This procedure involves the examination and interpretation of the contents found in
various types of documents that have not yet undergone analytical treatment, or that warrant re-
examination. (Lima Junior et al. 2021). For the case of the proposed investigation, it was chosen to undertake
documentary analysis from a qualitative perspective.
The musical edition methodology used to create the final scores was critical editing. For Grier, the purpose
of this type of edition is "[...] to transmit the text that best represents the historical evidence of the sources
[...]" (Grier 1996, 156). In this way, it becomes relevant to seek biographical context concerning the authors
and the creation of the song. The musical sources used for the critical edition are scores manuscripts and a
recording of the piece, in its voice and piano version, in which the composer herself plays the piano.
2. Biographical Contextualization of the Authors
The following topic presents biographical information about the authors, focusing on the period they joined
to compose the song Último retrato. The biography of Dinorá de Carvalho will be approached with an
emphasis on the 1940’s and 1950’s, also including some of the compositional characteristics of her songs
that are pertinent to Último retrato. The life of Maria Antonia will be approached based on the documents
located, aiming to outline some of her biographical information.
2.1. Dinorá de Carvalho
Starting from the late 1930’s, several significant events in Dinorá de Carvalho's life helped her to emerge as
a well-known artist in the following decades. The main significant event concerns Dinorá's appointment in
1939 to the position of Inspector of Higher Education at the Dramatic and Musical Conservatory of São Paulo,
the institution from which she had graduated as a pianist in 1916. This provided her with the resources to
maintain a financially stable life, which was also increased with the establishment, already in the 1940’s, of
a piano school in her own house. This school was quite successful and attracted students who achieved
3
The orchestral version will be published soon, alongside the other songs that constitute the cycle 7 Canções.
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4
notable prestige, such as José Antônio Rezende de Almeida Prado (1943-2010), Maria Regina Luponi (1942-
2022), and Flávio Varani, among others (Carvalho F. 2001, 24).
Another significant event was her marriage, in August 1938, to Mr. José Joaquim Bittencourt Muricy (1902–
1978). This fact in itself might not seem so relevant, as it is a personal matter that should not interfere with
a biography, in principle. However, the dynamic assumed by the couple favored Dinorá in having more time
to dedicate to her art, given that Mr. José Mauricy took care of various household tasks (Carvalho F. 2001,
24).
Between the 1940’s and 1950’s, the period of creation of Último retrato, Dinorá de Carvalho was able to
dedicate herself even more to creating new compositions and participating in pioneering musical groups,
such as the São Paulo Women's Orchestra. As a result, she received several awards and official invitations.
The São Paulo Women's Orchestra was an initiative by Dinorá de Carvalho to promote the artistic
participation of women in music. She conceived and directed this orchestra, in a pioneering initiative in Latin
America. The earliest located record of a performance occurred on August 26, 1940, in the city of Campinas,
SP (Correio Paulistano 1940). This orchestra, however, unfortunately did not have a very long lifespan, having
ended its activities in 1942. This occurred due to difficulties such as lack of support, a shortage of female
musicians for certain instrumental sections, and the scarcity of a defined place for rehearsals (Jornal da
Manhã 1942).
Dinorá de Carvalho's work as a composer, performer, and educator earned her several awards and official
invitations. In 1954 she received the Gold Medal of the IV Centenary of the Founding of São Paulo, for her
efforts in promoting the musical education of children. As a composer, she received a total of 9 awards,
including the Best Chamber Work awards given by the São Paulo Association of Art Critics (APCA). She also
received an invitation from the Ministry of Culture and, in 1960, went on a cultural mission to Europe,
presenting works by Brazilian authors, including her own.
Regarding the composition of songs, Dinorá de Carvalho composed them specially between the 1930’s and
1950’s. Based on the works of Ferreira (1977) and Carvalho F. (2022), a list of these compositions is presented
here, also including some information about the premieres.
• 1933: O pipoqueiro (pregão) [The Popcorn Vendor (Street Cry)], a song premiered by Maria do Carmo
and Cândido de Arruda Botelho in a concert at the Municipal Theater of São Paulo, SP, which took
place on January 9th, 1936
4
;
• 1934: Acalanto (Lullaby) and Uma saudade que ficou (A Lingering Longing), presented in 1934 in the
city of Uberaba-MG, with Branca Caldeira de Barros as the singer and Alberto Frateschi on the piano;
• 1936: The play Noite de São Paulo (Night of São Paulo), for which Dinorá composed 5 songs;
• 1937: Canção da saudade (Song of Longing) and Vem ver a noite
5
(Come See the Night), premiered
4
Concert program available in the Mário de Andrade Collection of the Institute of Brazilian Studies (IEB) of
the University of São Paulo (USP) under catalog number MA-PMB-0510.
5
The song Vem ver a noite is an integral part of the incidental music composed by Dinorá for the play Noite
de São Paulo by Alfredo Mesquita. From the text of the play (Mesquita 1936), it is known that, in the
theatrical performances, this song was presented with the instrumental formation of voices and guitar. Thus,
the presentation listed by Flávio Carvalho appears to be the premiere of the version for voice and piano, this
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at the Clube Piratininga in São Paulo, SP, in 1937, with the singer Nair Duarte Nunes and Dinorá de
Carvalho on piano (Carvalho F. 2022, 112).
• 1948: Pau-piá; Pobre cego (Poor Blind Man); Ê bango bango-ê; Quem sofre (Who Suffers); Banzo
(Homesickness/Melancholy); Coqueiro Coqueiro-irá (Coconut Tree, Coconut Tree-will); Mosaico
(Mosaic); Menino mandu (Mandu Boy);
• 1949: Quibungo Tê-rê-ré; Sinal de terra (Sign of Land); Velas no mar (Sails at Sea)
• 1950 or 1954: Último retrato (Last Portrait);
• 1955: Ausência (Absence).
Analyzing Dinorá de Carvalho's chamber songs, Flávio Carvalho identifies characteristics in some of them
that are pertinent to Último retrato. These characteristics are present in the songs classified by the author
as "tonal or possessing a tonal center", whose technique is termed "open tonality" (Carvalho F. 2001, 95-
97). They are the predominance of the use of ostinato by the piano; the use of prominent bass lines; the
utilization of contrapuntal texture; and the employment of notes foreign to the tonality of the piece or to
the tonality of a chord.
One clear example of ostinato and prominent bass lines can be observed in the song Pobre cego (Poor Blind
Man), composed in 1948. In the initial measures of the song, Dinorá creates a bass line in F minor that is
maintained throughout the entire piece with some chromatic alterations, as the B flat and natural (Figure 1).
Figure 1 – Initial measures of the piano part of the song Pobre cego by Dinorá de Carvalho.
Reference: Prepared by the authors.
The use of a contrapuntal texture is flagrant in Menino Mandú (Mandu Boy), also from 1948. In this song, at
times, the piano imitates the melody sung by the voice, characterizing an imitative contrapuntal texture. The
imitation that occurs between measures 35 and 37 is exemplified below (Figure 2). For this example, the
texture has been simplified, and only the notes important for what is intended to be demonstrated have
been retained.
being the formation available in the album of songs created by Dinorá for Noite de São Paulo (Carvalho D.
[n.d])
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Figure 2 – Measures 35 to 37 of "Menino Mandú" by Dinorá de Carvalho.
Caption: The piano texture has been simplified to highlight the use of imitative contrapuntal texture.
Reference: Prepared by the authors.
The use of notes foreign to the tonality of the piece or to the tonality of a chord can be observed in the song
O pipoqueiro (pregão) [The Popcorn Vendor (Street Cry)], from 1933. The tonal center is F Major, however,
between measures 22 and 30, there is a sequence of tremolos in the piano, which occur with the overlapping
of distinct chords in both hands. In measure 24, for example, the right hand presents a chord with the
superposition of two perfect fourth intervals (C natural-F / G-C natural), together with an A major chord in
the left hand (A-C#-E - Figure 3).
Figure 3 – Measure 24 of "O pipoqueiro (pregão)" by Dinorá de Carvalho.
Reference: Prepared by the authors.
2.2. Maria Antonia
Maria Antonia is the pseudonym of Maria Aparecida de Campos Salles Franchini-Netto
6
. She was married to
Miguel Franchini-Netto. A search on the FamilySearch website
7
located a copy of the marriage record of the
couple's daughter, which occurred in 1971 (São Paulo 1971). This record informs that, in that year, Maria
Antonia was 52 years old, which leads us to believe that she was born in 1918 or 1919.
Maria Antonia worked in the Women's Page of the Gazeta de São Paulo newspaper. This section of the
periodical was founded in 1929 and aimed to publish topics on tailoring, sewing, cooking, and children. The
6
In some researched documents, the poet and journalist's full name appears as Maria Antonia de Campos
Salles Franchini-Netto, also showing orthographic variations in her surnames. However, the name Maria
Aparecida instead of Maria Antonia appears both on her daughter's marriage certificate, located on the
FamilySearch website, and in her obituary, reported by the newspaper O Estado de S. Paulo, which leads us
to believe that it is, in fact, the correct one.
7
The search term used was "Franchini-Netto".
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year Maria Antonia began her activities with the periodical has not yet been determined
8
, but it is believed
to have possibly been between the 1930’s and 1940’s.
Maria Antonia became a mother in 1942 with the birth of her only daughter.
At the end of the 1940’s and during the 1950’s, Maria Antonia promoted and organized some women’s
literary competitions, including women’s short story and poetry competitions (Ramos [n.d]a). In 1949, due
to the awards ceremony of the 1st Women's Short Story Competition, promoted by the newspaper Gazeta
de São Paulo and organized by Maria Antonia, a commemorative event was held at which Dinorá de Carvalho
was present. Journalist Afonso Schmidt (1890-1964), in the Jornal de Notícias newspaper of October 9th,
1949, reported this participation as follows:
Last month [September 1949], the writer Maria Antonia gathered numerous artists to
attend the awards ceremony for the short story contest she organized on her esteemed
women's page. Among the leading figures in literature, painting, sculpture, and music of
our land, Dinorá de Carvalho was there
9
(Schmidt A. 1949, 8, our emphasis and
translation).
The presence of Dinorá de Carvalho at the awards ceremony for the winners of the 1st Women's Short Story
Competition suggests that the composer and Maria Antonia already knew each other and were possibly
friends, at least since that year.
Researcher Miriane da Costa Peregrino reported the existence, in the collection of the Casa Rui Barbosa
Foundation, of a letter
10
written by Maria Antonia to the renowned poet Jorge de Lima (1893-1953), in which
the intention to promote female artistic production is reported. According to Peregrino,
The situation of women in literature is also expressed in a letter from Maria Antonia [sic]
de Campos Salles Franchini Netto (June 19th, 1953), when she talks about the organization
of the Women's Poetry Competition and her effort to elevate the literary column she writes
for a newspaper in São Paulo above the domestic level in which the sections reserved for
women usually remain
11
(Peregrino 2017, 9, our translation).
It is therefore interesting to note Maria Antonia's concern in raising the level of promotion and dissemination
of female literary production above what normally occurred in the press of the time. This concern is
8
A possible in-depth study for this biographical research could be carried out in the future by searching the
archives of the Fundação Cásper Líbero, the owner of the newspaper A Gazeta de S. Paulo.
9
Original text: “No mês passado [setembro de 1949], a escritora Maria Antonia reuniu numerosos artistas
para assistirem à entrega de prêmios do concurso de contos por ela organizado em sua apreciada página
feminina. Entre as figuras de primeira grandeza nas letras, na pintura, na escultura e na música de nossa
terra, lá se encontrava Dinorá de Carvalho” (Schmidt A. 1949, 8).
10
Metadata of the letter available at:
http://acervos.casaruibarbosa.gov.br/index.asp?codigo_sophia=221346. Accessed on: March 6th, 2025.
11
Original text: “A situação da mulher na literatura também fica expressa em carta de Maria Antonia [sic]
de Campos Salles Franchini Netto (19 de junho de 1953), quando ela fala da organização do Concurso
Feminino de Poesia e de seu esforço em colocar a coluna literária que escreve para um jornal em São Paulo
acima do nível doméstico em que, geralmente, ficam as seções reservadas para as mulheres” (Peregrino
2017, 9).
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addressed, or, at least, aimed for, by the creation of women's literary competitions, finding a possible parallel
with Dinorá de Carvalho's initiative in creating a women's orchestra to encourage the artistic production of
women in music, as presented earlier.
In December 1953, Miguel Franchini-Netto, the poet's husband, was appointed Minister for Economic Affairs
at the Brazilian embassy in Argentina (Gazeta de Notícias 1953). As a result, Maria Antonia left her position
on the women's page where she worked and moved with the family, in 1954, to Buenos Aires, Argentina
(Ramos [n.d]b).
In 1959, already back to São Paulo, SP, Maria Antonia held two events to promote her book As ilhas habitadas
(The Inhabited Islands). On September 12th, an autograph session was organized at the Teixeira bookstore.
On that occasion, Maria Antonia was promoting her newly released book of short stories together with Jorge
de Lima, who was launching his book Roteiro de uma contradição (Itinerary of a Contradiction) (Mattos
Pacheco and Girardi 1959).
On October 31st, 1959, a luncheon was organized at the Hotel Jaraguá, in São Paulo, SP. The Women's
Supplement of the newspaper O Estado de São Paulo, on November 5th of that year, reported this event as
follows:
The journalist Maria Antonia [sic] Campos Salles Franchine [sic] Netto, on the occasion of
the publication of her recent book As Ilhas Habitadas (The Inhabited Islands), was the
honouree of the social columnists at their last Friday of the month luncheon held at the
Hotel Jaraguá. Maria Antonia, who makes an auspicious debut in the short story genre,
possesses a pleasant and personal style. Many friends were gathered around Maria
Antonia in this demonstration of sympathy. Among the guests, we noted the presence of
[...] Mrs. Dinorah de Carvalho [...]
12
(O Estado de São Paulo 1959a, 69, our emphasis and
translation).
It's interesting to note, from the news reported, the presence of composer Dinorá de Carvalho at the book
launch for Maria Antonia, indicating that the authors continued to meet socially even 10 years after the
awards ceremony for the women's short story contest, which took place in 1949.
In 1973, Maria Antonia's passing was reported by the newspaper O Estado de São Paulo. It occurred on a
Sunday, February 4th of that year. According to the news, the poet, short story writer, and journalist was
buried in the Araçá Cemetery, in São Paulo, SP (O Estado de São Paulo, 1973). Maria Antonia passed away at
54 years of age.
12
Original text: “A jornalista Maria Antonia [sic] Campos Salles Franchine [sic] Netto, por motivo da
publicação de seu recente livro “As Ilhas Habitadas”, foi a homenageada dos cronistas sociais em seu almoço
das últimas sexta-feiras do mês realizado no Hotel Jaraguá. Maria Antonia, que estreia auspiciosamente no
gênero de contista, é portadora de um estilo agradável e pessoal. Muitos foram os amigos que se
encontravam à volta de Maria Antonia nessa demonstração de simpatia. Entre os convivas, anotamos a
presença de [...] d. Dinorah de Carvalho [...]”(O Estado de São Paulo 1959a, 69).
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3. Último retrato (Last Portrait)
Between 1975 and 1980, the Department of Cultural, Scientific, and Technological Cooperation of the
Brazilian Ministry of Foreign Affairs published catalogs of works by Brazilian composers (both male and
female). Organized by the pianist and professor at the University of Brasília (UnB), Paulo Affonso de Moura
Ferreira (born in 1940), these catalogs had the primary objective of promoting Brazilian music and culture in
Brazil and abroad. Dinorá de Carvalho's catalog of works was published in March 1977, the year in which the
composer turned 82 years old. In this catalog, there is information that the song Último retrato was
composed in 1950, with lyrics by Maria Antonia, and that there is also a transcription for solo voice and
orchestra (Ferreira 1977). Notably, 1950 is just one year after the awards ceremony of the women's short
story contest organized by Maria Antonia, in which Dinorá was present.
According to the catalog, the premiere of the chamber version of Último retrato only occurred in 1960, ten
years after its creation, at a concert in the Theatro Municipal of São Paulo, SP, featuring the singer
Mariangela Réa and the pianist Fritz Jank (1910-1960). We found no other documents confirming this
concert, so it is most likely that it did take place but was not reported, or that the consulted databases did
not cover this information
13
.
Another important document for our analysis regarding the creation date of the song Último retrato is found
in the José de Andrade Muricy Collection of the National Library (BN). In June 1961, Dinorá de Carvalho and
her husband wrote a letter addressed to the Rio de Janeiro critic Andrade Muricy (1895-1984), which
included a biography and a list of her works (Carvalho D. 1961). In this list, the song Último retrato is
presented, but showing the year 1954 as its creation dates. This is the same year that Maria Antonia moved
with her family to Argentina, as mentioned previously.
The discrepancy between the creation date provided in the catalog of works, 1950, and the date stated in
the list created by the composer herself, 1954, makes it impossible to determine with certainty the creation
date. However, what is known for sure is that by 1959, the song was already complete, as it was recorded
and possibly performed in the city of Rio de Janeiro, RJ. In yet another coincidence of dates between the
authors and the creation of the song, 1959 was the year in which Maria Antonia held the launch of her short
story collection As ilhas habitadas (The Inhabited Islands) in São Paulo, SP, at a social event attended by
Dinorá de Carvalho, as demonstrated earlier.
Information regarding the organization for a concert that would take place in July 1959, in the city of Rio de
Janeiro, RJ, was located in the newspaper O Estado de São Paulo from April 30th, 1959.
DINORÁ DE CARVALHO RECITALS - The pianist and composer Dinorá de Carvalho was
invited by the Rio de Janeiro critic Andrade Muricy and the director of Rádio Ministério
da Educação e Cultura (Radio Ministry of Education and Culture), Mr. Mozart Araújo, to
present in July [1959], a recital of her works in Rio [de Janeiro, RJ], which will be recorded
by Festa. The program will include the Suite for cello and piano, performed by Iberê Gomes
Grosso and Alceu Bochino; several excerpts from the Onze Prelúdios da Saudade (Eleven
13
The databases consulted were the Hemeroteca Digital da Biblioteca Nacional, the Acervo Folha, from the
Folha de S. Paulo newspaper, and the Acervo Estadão, from the O Estado de S. Paulo newspaper. The search
terms used were "Dinorá de Carvalho", “Último retrato”, "Mariangela Réa", and "Fritz Jank".
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10
Preludes of Longing) performed solo on piano by the author; Cirandas (Children's Rounds),
Canção do Boiadeiro (Cowboy Song), Ninho de Abelhas (Beehive), and Estudo nº 1 (Study
No. 1) performed solo on violin by Carmela Saghy; and the following songs performed by
soprano Mary Gazzi: Ausência (Absence), Coqueiro, coqueiro-irá (Coconut Tree, coconut
tree-will), Sum-sum, Ê bango-bango-ê, Último retrato (Last Portrait), and Quibungo-te-rê-
rê
14
(O Estado de São Paulo 1959b, 11, our emphasis).
The newspaper article published by the periodical O Estado de São Paulo brings several interesting pieces of
information to be noted. The first is the confirmation of the existing friendship between Dinorá de Carvalho
and the critic Andrade Muricy, to whom the composer sent, in 1961, a biography and a letter containing a
list of her works. The second important piece of information is about the invitation made for a trip to Rio de
Janeiro, RJ, for the presentation of her own musical pieces, including the song Último retrato (Last Portrait),
with the anticipated participation of the soprano Mary Gazzi. Andrade Muricy is the one who invites the
composer to hold the presentation of her works in what was then the Federal Capital. Unfortunately,
however, we could not find documents proving that this concert was indeed held.
Also relevant is the news about the invitation made by Mozart Araújo (1904-1988) for the recording of the
composer's works at the Rádio do Ministério da Educação e Cultura (Radio MEC), the radio station of the
Ministry of Education and Culture. This recording actually took place and has been confirmed by other
located documents, as will be demonstrated later in the text. In the phonogram containing the recording,
the vocal soloist was the soprano Maria de Lourdes Cruz Lopes, and the pianist was the composer Dinorá
Carvalho herself.
An interesting question to raise is why the concert, possibly held in Rio de Janeiro, RJ, in 1959, and the
recording made at Rádio MEC in the same year, were not considered as the premiere of the song Último
retrato in its chamber version by the composer's catalog of works (Ferreira, 1977). This performance and
recording occurred at least one year before the concert held at the Theatro Municipal of São Paulo, SP, with
the participation of Mariangela Réa and Fritz Jank. Although, this concert being the one presented in the
catalog (Ferreira, 1977) as the premiere of the piece.
The orchestral version of the song Último retrato, on the other hand, was premiered at the Symphonic
Concert of the Dinorá de Carvalho Festival, held on May 26th, 1960, at the Theatro Municipal of São Paulo,
SP, with the participation of soloist Maria Lucia Godoy (1924-2025) and the Municipal Symphony Orchestra,
conducted by Souza Lima (1898-1982), as stated in the concert program presented below (Figure 4):
14
Original text: “RECITAIS DE DINORÁ DE CARVALHO - A pianista e compositora Dinorá de Carvalho foi
convidada pelo crítico carioca Andrade Muricy e pelo diretor da Rádio Ministério da Educação e Cultura, sr.
Mozart Araújo, para apresentar no mês de julho [de 1959], um recital de suas obras, no Rio [de Janeiro, RJ],
que será gravado pela “Festa”. Serão executados a “Suíte”, para violoncelo e piano, na interpretação de Iberê
Gomes Grosso e Alceu Bochino; em solo de piano pela autora, vários trechos dos “Onze Prelúdios da Saudade;
em solo de violino por Carmela Saghy: “Cirandas, “Canção do Boiadeiro”, “Ninho de Abelhas” e “Estudo nº
1”; na interpretação do soprano Mary Gazzi: “Ausência”, “Coqueiro, coqueiro-irá”, “Sum-sum”, “Ê bango-
bango-ê”, Último retrato, e “Quibungo-te-rê-rê” (O Estado de São Paulo 1959b, 11).
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11
Figure 4 – Program of the symphonic concert of the Dinorá de Carvalho Festival held on May 26th, 1960, at the Theatro Municipal of São
Paulo, SP.
Reference: CDMC/Unicamp collection.
4. The Edition
Initially, the documents located for the song Último retrato were some instrumental parts of the orchestral
version. These are preserved in the Dinorá de Carvalho Collection of CDMC/Unicamp, under catalog number
DC 00032. The instruments available in this documentary set are: English Horn, Clarinet in C 1, Bassoons 1
and 2, Horns in F 1 and 2, Trumpets in Bb 1 and 2, Violin I, Cello, and Double Bass. The Clarinet in C 2 part
was also located, but it indicated silence (tacet) for this song.
As it did not contain the vocal part, this set of documents, by itself, did not enable the complete
reconstruction of the work. Subsequently, a phonogram containing the 1959 recording made at Rádio MEC
of the chamber version of Último retrato was located, which ensured the reconstruction of the song. This
phonogram is the only source located and available for both the vocal solo melody and the text of the poem
written by Maria Antonia. It is also the only source concerning the piano part. Thus, the copy-text used for
the edition of the voice and piano version was the phonogram of the recording made at Rádio MEC, worked
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12
from its transcription. The copy-text for the edition of the orchestral version was the instrumental parts
available in the Dinorá de Carvalho Collection of the CDMC. The consolidation of the literary text of the song
occurred exclusively based on the phonogram.
A comparison between the transcribed phonogram (voice and piano) and the available instrumental parts
was carried out to refine both the chamber and orchestral versions, resolving some doubts that arose
throughout the process of creation the final editions. This comparison also inspired the addition of some
instruments in the orchestral version, namely a flute and the sections of violins II and violas.
4.1. Location and Recovery of the Phonogram Containing the Song Último retrato
The search
15
for the solo piano works of composer Dinorá de Carvalho involved the evaluation of various
scores from the Dinorá de Carvalho collection at the CDMC. During these analyses, a reference to a recital
of the author's works, broadcasted by Rádio MEC in December 1959, was found handwritten in the score of
the work Manhã radiosa (Radiant Morning) for solo piano (catalog DC 00059).
This reference was written by one of Dinorá's former students, the composer Siegfried Schmidt (1953-1989),
who was also one of the first researchers of Dinorá’s work. Throughout the scores copied by him and
available in the collection, there are several annotations and comments. Regarding the comment in the
aforementioned document, Siegfried stated:
Several measures [of Manhã radiosa - Radiant Morning] were altered by the author after
the publication of this piece. These alterations were made on lined paper and then "glued"
directly onto the already composed music (as performed by the author - including on
records). It was presented by the author on February 6th, 1947, at the Salão do Clube
Concórdia in Curitiba, PR (the author's piano recital). There is an orchestral transcription;
and a simplified version for beginners: Lá vae a barquinha carregada de?... [There goes the
little boat loaded with?...], Ed. Ricordi. It was also presented and recorded on Rádio MEC
in Rio de Janeiro in December 1959; piano by the author.
16
(Schmidt S. [n.d], 1, our
emphasis and translation).
The discovery of this comment motivated the search for more information regarding this recording.
Following this, a news article about a radio show dedicated to the works of Dinorá de Carvalho was found in
the Digital Newspaper Archive of the National Library (BN). The Jornal do Comércio of Rio de Janeiro, RJ,
published, on December 13th, 1959, the program schedule for the radio show Músicas e Músicos do Brasil
15
This refers to the Scientific Initiation research project titled "Solo Piano Pieces by Dinorá de Carvalho:
Search, Collection, Revision, and Organization for the Creation of a Database" (Fapesp Process nº: 22/08602-
9). This research was conducted by the researcher Vitor Alves de Mello Lopes, under the guidance of Dr.
Tadeu Moraes Taffarello.
16
Original text: “Nota: Vários compassos [de Manhã radiosa] alterados, pela autora, posterior à edição desta
peça, desta forma as alterações foram efetuadas em papel pautado, e depois "colados" diretamente sobre a
música já composta. (Conforme executava a autora - inclusive em discos). Apresentada pela autora em 6-2-
1947 no “Salão do Clube Concórdia”, em Curitiba (Recital de piano da autora). Há transcrição para orquestra;
e uma versão facilitada, para principiantes: "Lá vae a barquinha carregada de?...", Ed. Ricordi. Foi também
apresentada e gravada, na Rádio MEC, do Rio de Janeiro, em Dezembro de 1959; piano pela autora.”
(Schmidt S. [n.d], 1).
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(Music and Musicians of Brazil), to be broadcast by Rádio MEC the following day, Monday, December 14th,
1959. The news article is transcribed below:
CLASSICAL MUSIC ON THE RADIO - Radio Ministério da Educação (Ministry of Education
Radio) will broadcast the following programs, among others, next week: (...) Monday, 14th
[December 1959] - 9 pm - "Musicians and Music of Brazil (Dinorá de Carvalho Festival)"
with the following performers: Dinorá de Carvalho (piano); soprano Maria de Lourdes Cruz
Lopes; cellist Eugen Ranevsky; and pianist Alceu Bocchino. Producer: Adhemar Nóbrega
17
(Jornal do Commercio 1959, our translation).
In search of this recording, field research was conducted, during which the Empresa Brasileira de
Comunicação (EBC) (Brazilian Communication Company) was visited, and the recording mentioned by
Schmidt was found. The EBC is the current owner of the Rádio MEC (Ministry of Education Radio) archive.
Although the endeavor was to find the composer's solo piano recordings, unpublished records were found,
such as the phonogram of the recording made for the song Último retrato (Last Portrait).
The EBC saved the recording, originally broadcast in 1959 on the program Músicos e músicas do Brasil (Music
and Musicians of Brazil), and retransmitted it partially on the program Museu da Voz - Arquivo de Raridades
(Museum of the Voice - Archive of Rarities) on October 3rd, 1969, almost 10 years after the original broadcast.
However, in this retransmission, the initial part, featuring the composer performing solo piano works, was
removed. Despite this excerpt, the chamber songs performed by soprano Maria de Lourdes Cruz Lopes, with
the composer herself at the piano, and the pieces for cello and piano performed by Eugen Ranevsky (1923-
2012) and Alceu Bocchino (1918-2013) were still preserved.
For this recording, Dinorá de Carvalho herself was playing the piano, thus, it is possible to assume that the
recording process had a high degree of authorial influence. It remains to be discovered whether the
recording was made "live" or "in studio", as these characteristics can influence the correction of errors in
the musical text or structure. To us, it seems more likely that it was a live recording, therefore the phonogram
would be less reliable in terms of fidelity to the score, because live recordings are more likely to contain
errors, while studio recordings allow the correction of erroneous passages, as Figueiredo (2014, 28) warns
us.
The phonogram for Último retrato formed the basis for creating the voice and piano version of the song.
However, several comparisons were made between the transcription of the phonogram and the
instrumental parts for the final editions of both the piano and orchestral versions. These comparisons were
crucial in resolving some uncertainties.
4.2. Methodology of the Phonogram Transcription and Editing Process
The digitized phonogram provided by the EBC presented some deficiencies, especially a very low intensity
(volume), which hindered the comprehension of the sung text as well as the piano part. Therefore, it became
17
Original text: “MÚSICA ERUDITA NO RÁDIO - A Rádio Ministério da Educação transmitirá na próxima
semana, entre outros, os seguintes programas: (...) Segunda-feira, 14 [de dezembro de 1959] - 21 hs. -
“Músicos e músicas do Brasil (Festival Dinorá de Carvalho) com os seguintes intérpretes: Dinorá de Carvalho
(piano); soprano Maria de Lourdes Cruz Lopes; violoncelista Eugen Ranevsky e pianista Alceu Bocchino.
Produtor: Adhemar Nóbrega (Jornal do Commercio 1959).”
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14
necessary to manipulate the audio, a procedure carried out in the audio editing software “Reaper”, a Digital
Audio Workstation (DAW). The first manipulation technique used was gain increase, aiming to raise the
sound intensity. The gain implemented to the audio was +15 decibels (dB). However, due to the presence of
noise and hissing resulting from the material's degradation and state of conservation, the increase in gain
caused distortion in the audio (clipping). Thus, the first applied technique did not yet result in significant
improvements in the intelligibility of the voice and the piano.
To clean up the noise, it was necessary to apply a second technique, commonly known as “De-noise”, widely
used by the phonographic industry precisely for audio cleaning. For this purpose, the Spectral De-noise plug-
in, part of the “RX 9 software” package developed by “iZotope”, was used. The plug-in analyzes the spectral
profile of selected audio segments containing noise, processing the isolated segment, and allowing for its
cleaning without affecting other sounds or frequencies. In this process, some parameters within the plug-in
itself must be directly controlled by the user, such as smoothing levels and the gating level, which controls
how much of the original audio signal (with the noise) will permeate the obtained result. The applied
parameters were: Quality: D (Best); FFT size: 50; Multi-resolution on; Algorithm: extreme; Artifact control:
7.4; Smoothing: 10; Knee: 1.5; Whitening: 5; Enhancement: 5; Masking: 10; Threshold: 0; and Reduction: 12.
After the two audio treatment techniques, the enhanced phonogram was then ready for aural transcription,
which began with the transcription of the poem's text, now intelligible. In a second step, through internal
solfeggio, the rhythmic and intervallic relationships of the piece were noted down by hand, occasionally
using the piano to confirm the chords. Subsequently, the handwritten notes were transcribed into a score
editing software, generating a first version of the transcription.
From the beginning of the phonogram transcription process, the instrumental parts for the orchestral
version were used for verification purposes. This verification was especially important to complete the
transcription of the piano part (chamber version), which features very low and sustained notes, as well as
chords composed of very close notes, elements that hinder the precise definition of each note.
The first version of the transcription underwent a detailed revision, revealing some differences between the
phonogram and the transcription, especially in the piano part. The differences found were always subtle and
difficult to treat with precision. For this reason, a specialized technological resource was used to separate
the voice and piano audios into two distinct tracks, in the hope that this could aid the perception of the
details of each part individually.
This procedure was carried out using the software “StemRoller” (version 2.0.3), which can isolate vocal parts
from instrumental parts. As only a piano and a voice were involved, the procedure was simple: the track was
loaded into the software without any additional configuration being necessary. Two audio tracks were
created: one containing only the voice, and the other containing only the piano. The result was quite
satisfactory, as it was possible to hear the details of each part more clearly from these tracks.
The next step was to compare all the available materials: the enhanced phonogram with piano and voice
together, the first version of the transcription, and the piano and voice separated tracks. This procedure
boosted a second version of the transcription.
The first adjustments proposed to this second version are in measures 3 and 10, where it was possible to
identify, especially in the separated piano track, a high register musical line played on the instrument, which
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15
was not present in the first transcription. This line appeared quite subtly on the second beat of each measure
of the passage, throughout the exposition and the varied re-exposition of the first musical phrase presented
by the voice (measures 3 to 10 and 32 to 34). In the revision of the transcription, this higher line was written
for the left hand, crossing over the right hand, an option that seemed more idiomatic and logical to us, since,
in the same passage, the right hand is occupied with chords and counter-melody lines.
Figure 5 presents measures 3 to 6 of the first version of the transcription, while Figure 6 presents the same
measures after the revision, adding the perceived high register line. Additionally, the bass was altered on
the first beat, with the note C0
18
remaining and the note G0 being removed from the first version of the
transcription.
Figure 5: Measures 3 to 6 of the first version of the transcription for Último retrato by Dinorá de Carvalho. In this version, there is no higher
register in the left hand of the piano on the second beat of each measure, and the bass has the notes C0 and G0.
Reference: Prepared by the authors.
Figure 6: Measures 3 to 6 after the revision of the transcription for Último retrato by Dinorá de Carvalho. In this version, a high register line
in the left hand of the piano appears on the second beat of each measure, and the G0 note in the bass is suppressed.
Reference: Prepared by the authors.
The separated track also allowed us to perceive, more clearly, some structures of the piano writing, such as
the separation between chords and countermelodies. An example occurs between measures 16 and 17,
where a countermelody was perceived in the highest voice of the right hand of the piano, which in the first
version was amidst the chords and notated in a way that gave it less prominence. The post-revision version
made this structure clearer, as can be seen in Figures 7 and 8 below.
18
For reference, Middle C is C3.
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16
Figure 7: Measures 16 and 17 in the first transcription version for Último retrato by Dinorá de Carvalho. In this version, the countermelody
is not well-defined.
Reference: Prepared by the authors.
Figure 8: Measures 16 and 17 in the version after the revision of the transcription for Último retrato by Dinorá de Carvalho. In this version,
the countermelody is better defined.
Reference: Prepared by the authors.
Even using the separated tracks, some details of the piano part (chamber version) remained uncertain.
Therefore, we returned once again to the instrumental parts available in the orchestral version, comparing
the piano's note choices with the instruments that sound in the equivalent passages. This stage proved to
be quite important for the consolidation of the final versions of both the piano and voice and the orchestral
version, as will be shown next.
Observing the instrumental parts of the orchestral version, between measures 3 and 6, it was possible to
perceive, in the English horn and Clarinet 1 parts, a pattern similar to that perceived in the second version
of the transcription (Figure 6). Figure 9 shows the melodic lines of the two instruments, transposed to
concert pitch (without transposition). In this passage, a repetitive pattern of two notes can be observed in
each of the instruments: F and G on the Clarinet 1 and G and B on the English horn. All the notes are preceded
by an appoggiatura a major second above.
Comparing Figures 6 and 9, that is, the second version of the transcription and the instrumental parts, it is
possible to perceive that the notes attacked on the second beat only partially correspond to each other. The
Eb4 and C4 notes, perceived in the phonogram of the chamber version, do not appear in the orchestral score,
while the F3 and B3 notes, present in the instrumental parts of the clarinet and English horn, do not appear
in the transcription. Therefore, it was decided to include, in the chamber version, the notes presented in the
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17
orchestral version, also adopting the alternation between two chords, one in each measure. Figure 10 shows
the final version of the edition for voice and piano, which considers both the notes perceived in the aural
transcription and the notes added from the comparison of the transcription with the instrumental parts.
Figure 9: Measures 3 to 6 of the instrumental parts for English horn (above) and clarinet 1 (below), showing the melodic patterns, preceded
by appoggiaturas in Último retrato by Dinorá de Carvalho.
Reference: Prepared by the authors.
Figure 10: Measures 3 to 6 in the final edited version for voice and piano of Último retrato by Dinorá de Carvalho. This version considers
both the notes perceived in the aural transcription and the notes from the instrumental parts.
Reference: Prepared by the authors.
Regarding the same passage in the orchestral version, it was decided to add a flute part playing the higher
notes perceived in the piano part: C4 and Eb4. These notes were not originally present for any of the
instruments whose parts were available. This addition aimed for a standardization of the passage in both
versions.
The lowest notes of the piano could also only be confirmed through comparison with the instrumental parts,
since even with the treatments performed on the recording (gain increase, cleaning, and track separation),
their exact definitions were not possible. In this regard, one passage in particular draws attention: the change
from the note C0 to D0 between measures 18 and 19.
In this passage, in the first version of the transcription, there is no change in the lowest note, with the bass
remaining on C0 (Figure 11). From the separated piano track, it was possible to perceive a change from C0
to D0 that occurs in measure 19 (Figure 12). Comparing this change with the orchestral parts of the cello and
double bass, it was noted that in these, the change to D0 coincided with the re-entry of the voice and with
the climax of the song, occurring, therefore, one measure earlier, in measure 18.
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18
Although in the phonogram the change is quite noticeable in measure 19, it was decided to correct and
maintain the change in measure 18 (Figure 13), a choice that seemed more logical due to the structure of
the music, leading to the standardization of the orchestral and chamber versions. It was considered, for this,
that the divergence of the alteration may have been a small deviation in interpretation perceived in the
recording of the song, since "live" recordings – as the available phonogram is believed to be – offer a lower
degree of reliability regarding the musical text (Figueiredo 2014, 28).
Figure 11: Measures 18 to 20 of the first transcription of Último retrato by Dinorá de Carvalho. In the first transcription version, there is no
change in the lowest notes (C0-G0).
Reference: Prepared by the authors.
Figure 12: Measures 18 to 20 of the post-revision transcription for Último retrato by Dinorá de Carvalho. In this version, the low G0 is
removed, and the C0 is changed to D0 starting from measure 19.
Reference: Prepared by the authors.
Figure 13: Measures 18 to 20 of the edition of Último retrato by Dinorá de Carvalho. After comparison with the instrumental parts, the low
note was changed to D0 starting from measure 18.
Reference: Prepared by the authors.
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19
Furthermore, the tempo and character indication presented in the instrumental parts, Tempo de marcha
fúnebre (Funeral march tempo), was added to the transcription of the chamber version. The tempo
indication, BPM = 46, was determined from the phonogram. In the final version for voice and piano, both
pieces of information are present above the first measure.
5. Text of the Song Último retrato (Last Portrait)
As explained previously, the perception of the song's lyrics was only possible through the transcription of
the phonogram provided by the EBC. Before beginning the analysis of the text written by Maria Antonia for
the song Último retrato, it is important to note that it has not yet been possible to locate this text in the way
the poet herself wrote it. Therefore, the analysis undertaken is based exclusively on the poem as it was
perceived from the phonogram, which follows (Board 1).
Board. 1 – Text of Último retrato as perceived from the phonogram. Portuguese on the left, showing also the repetitions used by Dinorá in
the song. English translation on the right.
ÚLTIMO RETRATO – LYRICS BY MARIA ANTONIA
Versification as used in the song by Dinorá de Carvalho
Numa flor tombada (x2)
Quase arroxeada arroxeada (x2)
De orquídea (x3)
Minha mão (x2)
On a fallen flower
Almost purplish purplish
Of orchid
My Hand
In the way it is presented in the song, verses 1, 3, and 4 are repeated in their entirety. The doubt that lingers
is about verse 2, in which the word arroxeada (purplish) is repeated: is this really just a repeated word from
verse 2, or does this repetition form part of the poem's structure? If the latter is the case, perhaps the poem's
structure denotes a connection between the "fallen flower" and the "hand," both being purplish. In this way,
another possible versification for the poem could be (Board 2):
Board. 2 – Text of Último retrato – second interpretation
Numa flor tombada
Quase arroxeada
Arroxeada de orquídea
Minha mão
On a fallen flower
Almost purplish
Purplish of orchid
My hand
Maria Antonia's text could also be influenced by the structure and common themes of a Haikai. Nakas
Nakasato (2001, 1, our translation) states that "Haikai is a poetic form of Japanese origin with a fixed
structure: three verses, the first with five syllables, the second with seven, and the third with five."
19
Nunes
presents the Haikai as "a concise poem that addresses simple themes, often linked to nature, with verbal
economy and objectivity."(2019, 124)
20
19
Original text: “Haikai é uma modalidade poética de origem japonesa com forma fixa: três versos, sendo o
primeiro de cinco sílabas, o segundo de sete e o terceiro de cinco”.
20
Original text: “um poema conciso, que aborda temas simples, frequentemente ligados à natureza, com
economia verbal e objetividade”.
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20
In her text, Nunes also states that in Brazil, the Haikai structure was used since the beginning of the 20th
century, especially by poets linked to the modernist movement, such as Luís Aranha, Oswald de Andrade,
and Guilherme de Almeida (Nunes 2019), the latter being the author of the lyrics for the songs composed by
Dinorá de Carvalho for the play Noite de São Paulo (São Paulo Night). Also in Brazil, Haikai gained freer forms
in their metrics but maintained the synthetic character that seeks simplicity and economy of words.
The poem created by Maria Antonia is a short text that uses elements of nature, such as the "flower" and
the “orchid”, inducing us, in a very synthetic way, to a visual image. Considering that this is the last portrait
(Último retrato), as the title suggests, a possible interpretation of the text is that it is evoking an image of
someone on their deathbed, with a flower lying in their hands. This interpretation is reinforced by the tempo
indication – Tempo de marcha fúnebre (Funeral march tempo) – that appears in the orchestral score.
Going further on the association to the Haikai form, one can think of Maria Antonia’s poem in a Haikai
structure, subtracting the repeated word arroxeada. While the metric is not as strict as in traditional
Japanese Haikai, it is freer, as is characteristic of some Brazilian Haikais (Board 3):
Board. 3 – Text of Último retrato in a Haikai form
Numa flor tombada
Quase arroxeada de orquídea
Minha mão
On a fallen flower
Almost purplish of orchid
My hand
As we said before, it has not yet been possible to locate the text in the form it was written by Maria Antonia,
in order to confirm the structure conceived by the poet herself. It is also impossible to know whether the
text used by Dinorá in the song corresponds to the entire poem or if only a part of it was extracted, but it is
possible to say that one can find a unit on the text as it is used, and a total integration to the musical
elements, that will be further explored in the next chapter.
6. General Characteristics of the Song in its Chamber and Orchestral Versions
A study of the chamber version elaborated from the final edited score revealed that the song Último retrato
presents some musical characteristics also perceived in other songs by the composer. These were presented
previously, in the introduction, and will be revisited in the presentation of the general characteristics of the
song in its chamber version. The study of the song's orchestration demonstrated a concern for a detailed
search regarding specific sonorities, based mainly on very precise indications for the instrumental realization
of certain timbres. These aspects will be demonstrated below.
6.1 Chamber Version
The music composed by Dinorá de Carvalho for the song Último retrato presents a rather dark sonority,
disposing the piano and the vocal melody in low or medium-low registers, and in low intensity. Although it
is possible to classify this song as being in the key of C minor, it can be characterized by an "open tonality,"
as proposed by Flávio Carvalho (2001, 97) in his analysis of the composer's chamber songs.
It is remarkable the use of some compositional resources, such as: melodic ostinatos; an imitative
contrapuntal texture; the use of variations in the minor scales, such as the minor harmonic or the Phrygian
mode in C; the bass lines outlining the tonal centricity in C; the use of extended chords or chords built on
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specific intervals overlapping; and a voice melody that, initially, reinforces the centricity on C and then
presents, for the most part, a descending chromatic melodic contour.
The tonal centricity in Último retrato is guided, from a macro-structural perspective, mainly by the bass lines,
in a pattern of half-notes occurring in the lowest notes of the piano accompaniment, played by the cellos
and double basses in the orchestral version, from the beginning to the end of the piece. By creating the
reduction of this melodic line (figure 14), one can observe that the line is based on relevant notes for
establishing centricity:
• C, equivalent to the first degree of the C minor tonality, occurring in measures 1 to 17;
• D, the second degree, occurring between measures 18 to 23;
• G, the fifth degree, occurring in measures 24 to 28;
• E natural, the major third degree, occurring in measures 29 to 31;
• C again, in measures 32 to 37.
Figure 14: Reduction of the melodic line of the bass lines for the song Último retrato by Dinorá de Carvalho.
Reference: Prepared by the authors.
The bass lines are often accompanied by melodic ostinatos. The ostinato is formed by a line in the middle
register, characterized by a stepwise melodic contour and the use of a lower neighbor tone, which brings a
certain pendular sensation to the music. Considering C as the first degree, in the initial measures, the melody
of the ostinato articulates the minor third, Eb, its initial note, characterizing the minor mode in C (Figure 15).
The ostinato also presents a rhythmic variation in its last portion, which occurs, for example, in measure 6
and uses the minor second degree, Db, characterizing the use of a Phrygian mode in C.
Figure 15: Melodic ostinato, rhythmic variation, and use of the minor second degree in the initial measures of Último retrato by Dinorá de
Carvalho.
Reference: Prepared by the authors.
The melody of the ostinato is presented throughout the song, also occurring with its beginning on other
degrees of the C minor scale:
• F, in measures 12 to 14, IV degree;
• Bb, in measures 18 to 22, VII degree;
• A, in measures 23 to 27, major VI degree;
• F again, in measures 29 to 32,
• Eb, in measures 32 to 37, just as in the initial measures.
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The melodic ostinato will be played, in the orchestration, by the first violin and trumpet sections. The
rhythmic variation of the ostinato will appear in the orchestration in the horn and trumpet sections, as will
be demonstrated later.
Regarding the harmony, it can be interpreted in two ways: the use of extended chords (addition of notes
beyond the seventh and the basic triad), or the creation of chords from the overlapping of specific intervals.
In measures 3 to 6, for example (Figure 10), one might consider that the resulting chord for each measure
would be a C minor with the addition of a major seventh (B natural), characterizing the harmonic minor
scale; a major ninth (D); and an eleventh (F).
On the other hand, if the beats of each measure are separated, it would be possible to perceive the existence
of a chord formed by the superposition of fourth intervals (C-F-B-Eb) on the first beat and another chord
with the use of superimposed seconds (F-G) on the second beat of each measure. It is also interesting to
note the use of arpeggios in the right hand for the articulation of the chords on the first beats of measures
1-11 and 17. These arpeggios will be orchestrated in the cello section, as will be demonstrated later.
The voice melody, in measures 3 to 10, outlines the C minor triad and reinforces the centricity in C. The first
two phrases (measures 3 and 7) begin on the note G, the fifth degree, and end on the note C, the tonic (see
also Figure 10). However, from measure 12 onwards, the melody is mainly made up of descending chromatic
notes. From measure 18 onwards, for example, except for some small intermediate leaps, the melodic line
of the voice presents a descending chromatic melodic contour with an interval span of a minor tenth (Eb4 to
C3) (Figure 16).
Figure 16: Melody of the vocal part between measures 18 and 36 of Último retrato by Dinorá de Carvalho, highlighting the chromatic
melodic contour of the passage.
Reference: Prepared by the authors.
It is also interesting to remark that the measure 18 presents an articulation point in the musical structure,
corresponding to the climax of the piece. In this measure, the bass note changes from C to D (Figure 13), and
the voice reaches the highest note, Eb4.
From measure 24 to 28, one can observe an imitative contrapuntal texture comprising the vocal melody and
the piano. The melody sung by the voice on the second beat of measure 24 and on the second beat of
measure 26, is imitated by the piano respectively on the second beat of measure 25 and on the second beat
of measure 27, as indicated by arrows in Figure 17.
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Figure 17: Free imitation in the piano of the vocal melody between measures 24 and 27 of Último retrato by Dinorá de Carvalho.
Reference: Prepared by the authors.
To better visualize the musical structure of the piece, we present a table (Table 1) organized by specific
categories discussed until now.
Tab. 1: The musical structure of Último retrato by Dinorá de Carvalho, organized by discussed elements
ÚLTIMO RETRATO BY DINORÁ DE CARVALHO - VERSION FOR VOICE AND PIANO
General
Characteristics
Dark sonority;
Dynamics of low intensity;
Open tonality - centricity on C.
Measures
1-10
11-17
18-23
24-28
29-31
32-37
Bass lines
C (i)
C (i)
D (ii)
G (V)
E (III)
C (i)
Beginning of
the ostinatos
Eb (iii)
F (iv)
Bb (vii)
A (VI)
F (iv)
Eb (iii)
Vocal Melody
Tonal Center:
C
Chromatic
descending
Chromatic
descending
Chromatic
descending
Chromatic
descending
Chromatic
descending –
ending in C
Spoken text
Numa flor
tombada (x2)
On a fallen
flower (x2)
Quase
arroxeada
arroxeada
Almost
purplish
purplish
Quase
arroxeada
arroxeada
Almost
purplish
purplish
De orquídea
(x2)
Of orchid
(x2)
Minha mão
My hand
Minha mão
My hand
Particular
Characteristics
Free use of the harmonic minor
scale and the Phrygian mode in
C;
Chords with added notes or
overlapping of specific intervals
Climax
Piano accompaniment –
imitation of the vocal melody
Return to the
beginning
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6.2 Orchestral Version
Dinorá de Carvalho's orchestration for the song Último retrato aims for specific instrumental and harmonic
sonorities, demonstrating the composer's great sonic control over the orchestral timbre. Right at the
beginning, for example, the melody of the ostinato is presented in the first violins with the specification of
using mutes (con sord.) and a tremolo bow articulation over the bridge (sul pont.) (Figure 18).
Figure 18: Ostinato presented by the first violins in the initial measures of the orchestral version of Último retrato by Dinorá de Carvalho.
Reference: Prepared by the authors.
Comparing the melodic line of the ostinato presented by the first violin section (Figure 18) with the result of
the transcription made from the song's phonogram (Figure 10), it was noticed that the middle harmonic
notes in the passage were lacking, notably notes F and B in the first beat, and notes F and G in the second
beat of each measure. Based on this observation, the second violin section was added to the orchestral
version, playing the notes B (first beat) and G (second beat), with the same articulations and timbre
specifications found in the first violin section. The note F, present on beats 1 and 2 of the ostinato, was added
with the introduction of the viola section, with the request to be played pizzicato, just as occurs with the
cello and double bass sections in the corresponding passage.
The rhythmic variation of the ostinato is presented in the horns in the orchestration, with the request to
close the instrument's bell, in what is known as a bouché sound (stopped sound). This closure is normally
achieved using the player's right hand and indicated by a sign equivalent to the mathematical symbol for
addition (+). This occurs, for example, between measures 10-11 (Figure 19).
Figure 19: Rhythmic variation of the ostinato presented by the horn section in the orchestral version of Último retrato by Dinorá de
Carvalho.
Reference: Prepared by the authors.
A bass line, like that of the left hand on the piano in the chamber version, is created using the cellos and
double basses, in pizzicato with the specification of using mutes (Figure 20). In the cellos, there is also the
use of arpeggios, as occurs in the first beats of the right hand of the piano (Figure 10).
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Figure 20: Bass line played by the cello and double bass sections in the initial measures of the orchestral version of Último retrato by Dinorá
de Carvalho.
Reference: Prepared by the authors.
A specific orchestral sonority is achieved by an inversion of what would be a traditional distribution of the
harmony notes among the instruments of the orchestra. Observing the clarinet and English horn between
measures 3-11, the English horn plays the highest notes of the harmony, leaving the lowest ones for the
clarinet (Figure 9). This inversion of the distribution between the instruments reinforces the dark sonority
intended by the composer, since the clarinet, in the low register, in addition to being able to perform
dynamics of low intensity, has a velvety and dark timbre. At the same time, the English horn, due to its own
characteristics, would have more difficulty articulating the notes in dynamics of low intensity if it were in the
low register. To this passage, as argued previously, a flute was added to the orchestration so that the highest
notes perceived from the transcription, notably Eb4 and C4, could be played (Figure 10).
Another specific sonority requested by the composer is the use of mutes in the trumpets, which occurs, for
example, between measures 12-15 (Figure 21). In this passage, the muted trumpets play a melodic fragment
from the ostinato, starting on the note F, which evokes a distant and feeble tune that fits perfectly the mood
of the piece.
Figure 21: Use of mutes in the trumpet section between measures 12 to 15 of the orchestral version of Último retrato by Dinorá de
Carvalho.
Reference: Prepared by the authors.
7. Final Considerations
The lack of musical sources for the full reconstruction of Dinorá de Carvalho’s song, Último retrato, prompted
the search for further information on this artistic work in various collections. During our investigation, a
phonogram containing a recording of this piece, dated from 1959, was located at EBC. This recording was
essential for the recovery work, since the only written material found were orchestral parts, which don’t
present the vocal melody or lyrics.
The composer herself participated as a pianist in this recording and arguably had a high degree of the
author's involvement in the entire process. It seems to us that the recording was made "live", in which case
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it is possible that the pianist (and composer) or the singer took some freedom in interpreting the score or
even made some minor mistakes during the performance. That being so, in the consolidation of the musical
edition, a methodology was implemented in which the result of the transcription was compared to the
instrumental parts available in the Dinorá de Carvalho Collection of the CDMC/Unicamp. This methodology
enabled both the consolidation of passages for which there were doubts in the chamber version, and the
conjectural introduction of instruments that were not available in the consulted sources for the orchestral
version, notably a flute and the second violin and viola sections.
Our further research revealed valuable information about the context in which the piece was composed and
about the relationship between the two authors. Dinorá de Carvalho knew and met Maria Antonia at least
at two events separated by ten years: in 1949, at the awards ceremony of the 1st Short Story Contest,
organized by the women's page of the newspaper A Gazeta de S. Paulo, Maria Antonia's workplace; and in
1959, at the launch of the book As ilhas habitadas (The Inhabited Islands), written by Maria Antonia.
Documentary sources show that both artists were deeply concerned about the role of women in the arts
during their lifetime. Their contributions undoubtedly paved the way for other women.
Maria Antonia's poem evokes the image of a person on their deathbed in a very succinct way. In terms of its
structure, imagery and theme, it is possible to relate this poem to a Haikai. Dinorá emphasised the dark
nature of the text and the stillness of the evoked image in her musical composition by using minor
harmonies, a very low register and chromatic melodies.
The compositional procedures observed in Último retrato maintain certain similarities with other works by
the composer that are classified as “tonal” or “having a tonal center”. These works use a technique known
as “open tonality” (Carvalho F. 2001, 95–97). In Último retrato the tonal center in C is flagrant, but it is
developed in a particular way, sometimes blurring the tonal center, or adding new colors to the tonality.
These procedures are:
● use of melodic ostinatos;
● the use of different minor scales, such as the harmonic minor or the Phrygian mode in C;
● use of bass line emphasizing important notes for the harmonic field of C;
● utilization of an imitative contrapuntal texture;
● use of extended chords, or chords built by overlapping specific intervals;
● a melody for the singing voice that initially reinforces the centricity on C and, subsequently, describes
a descending chromatic melodic contour.
Regarding the orchestration carried out by Dinorá de Carvalho, the search for specific instrumental and
harmonic sonorities was highlighted, demonstrating the composer's great sonic control over the orchestral
timbre. Among these sonorities, the following stand out:
● the use of mutes (sordine) and ponticello in the first violins during the ostinato melody;
● the bouché sound (stopped sound) for the horns in the rhythmic variation of the ostinato;
● the use of pizzicato, mutes and arpeggios in the cellos and double basses in the creation of the bass
lines;
● the specific and unusual register distribution, as in the case of the inversion between clarinet and
English horn, searching for specific timbres and dynamics control.
● the use of mutes (sordine) in the trumpets, evoking a distant and feeble melody.
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Regarding the objectives of the article, the musical edition of the song Último retrato was successfully
created in its chamber and orchestral versions, making this artistic production more accessible and
recognizable. The article also describes the process of locating the musical sources, transcribing the
phonogram and working on the musical edition, bringing to light some difficulties and constraints
researchers may face during the process of creating a critical edition of a score. It is hoped that this work will
lead to the artistic and academic diffusion of this compositional and poetic production by two authors who
are still little studied in the academic circles of Brazilian music and literature.
There are still some points for future in-depth studies and developments, concerning the song Último
retrato, as well as Dinorá de Carvalho and Maria Antonia’s life and production. One relevant topic would be
to find more information about the premiere of Último retrato, as it is not possible to confirm the date or
occasion based on the documents we currently have. Another relevant point would be to search for more
biographical and artistic information about Maria Antonia to better understand her life and literary work. A
better understanding of the poem used in the song could be achieved by locating the original versification
conceived by the writer. Finally, it would be interesting to locate the original score of the chamber version
and/or the complete orchestral score for verifying and correcting our critical edition.
8. Data Availability Statement
The entire dataset generated or analyzed during this study is included in the published article.
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