The Brazilian Music Museum


This presentation describes some of the main items that are on display separated by sections, in the sequence of the current visitation. The exhibition intend to cover what is most relevant in the musical production of the theme in question, in terms of the main songs, main albums, main singers and composers. Our technical collection still holds a huge collection that is not on permanent display, including vinyl records, 78 RPM records, and other media formats.


The visit to the museum begins with the sculpture of the timeline of Brazilian music in the 20th century, where the years of birth of the main composers and performers are marked (in bold characters) or years of death (in open characters), to contextualize the best known names, times of performance, etc.

It displays the main names in Brazilian music highlighted in their birth years, along the two flights of stairs. From 1900 to 2000, year by year, the great artists.


This exhibition, quite complete, of the work of the genius singer and composer from Bahia, intends to show his dialogue with the Bahian imagination, the move to Rio de Janeiro, the influence on Carmen Miranda's career and her move to Hollywood, Caymmi as a precursor of Bossa Nova and later as an influence on all Brazilian music, the connections beyond Brazil, and also his work as a visual artist.

Some highlighted items in this section are: Original oil painting and watercolors, manuscript about Ary Barroso where he talks about Carmen Miranda telling him about Ary talking about the creation of “Aquarela do Brasil”; the original 1942 program of the Municipal Theater of Rio de Janeiro, of “Joujoux et Balangandans”, a benefit show promoted by the first lady Darcy, wife of Getúlio Vargas, for which Caymmi collaborates with the song “O Mar”; the collection of all his phonograms, on several rare discs, highlighting the most comprehensive discography on 78 RPM discs; or the film “Wild Pack”, a 1971 North American production based on “Capitães de Areia”, by Jorge Amado, in which Dorival Caymmi also acts.


A theme of enormous scope, and in this case, our collection brings a very wide range of composers. Unique pieces, such as a huge number of handwritten scores by Henrique Oswald for the various parts of his composition, or the bronze plaque in honor of Carlos Gomes, coined in Paris by P.F. Berthoud in 1913. In addition to an extravagant collection of several others original handwritten pieces, or autographed prints, by composers ranging from Villa-Lobos to Francisco Mignone, by virtuosos such as Guiomar Novaes to Magda Tagliaferro. We also exhibit the libretto of the allegorical scene presented by Francisco Muniz Barreto (which curiously gives the official name of Rua das Laranjeiras, where we are located) in honor of Emperor Pedro II, presented in 1865 at Theatro Sao João, in Castro Alves square, signed by the author .


In this small incursion into the connections between Brazilian music languages ​​and the fine arts, our collection brings pieces such as the beautiful and rare painting by Monsueto, two paintings by João da Baiana, Heitor dos Prazeres and others.


Starting  a comprehensive tour of the panorama of Brazilian music, we start with rare records from Casa Edison, from which we also present a document issued by the same, as it is a landmark in the beginning of the phonographic industry in Brazil, and other items from the beginning of the last century, including rare sheet music from the early 20th century.


Departing from the beginnings, with Catulo da Paixao Cearense, passing through Aurora Miranda and Vicente Celestino, we arrived at the era of Radio, where the national songbook gained voices and interpreters of various styles, consolidating a unique style in the world. In this section we bring some items related to the performances of Radio, Theater, the effervescence of Rio de Janeiro, then capital of Brazil. Several photographs autographed by the Radio Queens, the most successful singers of the 50s.


The genius of these three composers is visited in detail and precious items. Photographs and sheet music by Ary Barroso present the composer of “Na Baixa do Sapateiro”, which is the popular name of the street at the end of this street where we are. By Noel Rosa, albums with three albums of sambas by Noel and cover art by Di Cavalcanti are the beginning of a new stage of the album in Brazil, the first to bring illustrated covers. And from the brilliant Pixinguinha, we are proud to have in our collection some original handwritten scores, as well as the extravagant records of the “Velha Guarda”, a musical group with which Pixinguinha toured Europe in 1955 and 1956, items that are in themselves a rarity , even more because they are autographed by ten of the most important names in that group, including Pixinguinha himself, Joao da Baiana, Bide, Almirante, Donga, etc.


The section of the Brazilian musical genre that has conquered the world begins with its inaugural work: the album “Canção do Amor Demais” by Elizeth Cardoso, produced by Tom Jobim, which brings Joao Gilberto to the guitar playing the bossa nova beat for the first time. Through items such as Joao Gilberto's first three LPs, each of them a masterpiece, from Marcel Camus' film “Black Orpheus” or original texts by Vinicius de Moraes and autographs by several big names in the genre, our collection walks through Bossa Nova.


Naturally visiting composers such as Chiquinha Gonzaga and Zequinha de Abreu (whose Tico-tico no Fubá is one of the best known Brazilian songs abroad, and here it appears in sheet music with a drawing by Walt Disney for the film it was the subject of) through sheet music and records 78 RPM, we bring rarities such as a copyright sales document signed by Ernesto Nazareth.


Instrumental music from the most diverse genres is also visited, with emphasis on the manuscript arrangement by Moacir Santos for the song “A Noite do Meu Bem”, written by Dolores Duran, and a manuscript concert sketch by Artur Moreira Lima and others.


The most effusive genre of national expression is also present in rarities such as several autographs by great samba names, with an emphasis on the original program of the show “Rosa de Ouro”, autographed by Clementina de Jesus and Aracy Cortes, or in painting by Heitor dos Prazeres , also a composer, as in the partnership with Noel Rosa, of the samba “Pierrot Apaixonado”.


Here, a panoramic tour of the great songs, great composers, great interpreters, sheltered by the acronym of Música Popular Brasileira. Documents related to festivals, connections between music and soccer, the most popular singers, the great universe of Brazilian music as a whole.


The fusion of global influences with the search for regional themes gives the main color to Tropicália, which also sought visual aesthetic references, dialoguing with the avant-garde, also, of the fine arts. We present rare and fundamental items for understanding the movement that appeared in the late 60s in Southeastern Brazil, but whose main articulators are from Bahia, such as Caetano Veloso, Gilberto Gil, Tom Zé and Gal Costa. We bring a little of this visual language, through Helio Oiticica's controversial serigraphy, which was the backdrop for the movement's TV program that provoked even more tension in the harder years of the military dictatorship, slogans that were part of the object-albums, of the time, or of the work by Rubens Gerschman, who also influenced Tropicália.


From Renato and his Blue Caps, Roberto Carlos and Raul Seixas, through Tim Maia, from the explosion of Blitz and its urban language in the post-repression 80s, here represented on an autographed record by all its members, through Cazuza and Legião Urbana , reaching recent years, international influences and modern trends always dialoguing with our music.


Northeastern music conquered Brazil in several moments and important names, but the brilliant Luiz Gonzaga stands out, the ultimate reference, represented here in autographed photography, passing by Joao do Vale, or by the anthem “Asa Branca”, on a 78 RPM record .


Here, we visit the portion of Bahian music that had a strong impact on the local scene, without transcending borders leaving the regional character label (and whether or not it transcended these borders). Particularly relevant is the explosion of Samba-reggae in the 1980s, which also contributed to the dissolution of remains of racial prejudice, further integrating the Bahian identity. His most important moments are represented here, through the singles by Djalma Oliveira featuring Margareth Menezes, by Gerônimo in “Eu sou Negão”, in Lazzo Matumbi's “Do Jeito que seu Nego Gosto”, or fundamental albums by Olodum and Daniela Mercury.


Some names from Bahia shine brightly on the national scene, and in this section we look particularly at them. From the inaugural album by Caetano Veloso, Gilberto Gil or Maria Bethânia, or in the rare program of the show “Barra 69”, held at Teatro Castro Alves, on July 20 and 21, 1969 (the first date coinciding with the man stepping on the Moon) , made by Caetano and Gil, to raise money, going into exile, and autographed by the entire show team, in addition to the singers, our collection walks through various themes associated with these four artists from Bahia who have been stirring up the Brazilian cultural scene for decades. .


Here is a selection of books from our collection that were incorporated into the museum's collection due to their relevance to the theme. This selection is made up of four themes: rare books, foreign publications on Brazilian music, autographed books and important reference works that deal with themes of Brazilian music that are part of our collection.