Brasílio Itiberê da Cunha

He lived in cities across Europe and South America without abandoning music. He performed at concerts and private gatherings, published scores, and sought to create opportunities for Brazilian musicians, writers, and artists in the countries where he served. His name became closely associated with A Sertaneja, a fantasy for piano published in 1869 while he was still a student. In the piece, Itiberê took fragments of "Balaio, meu bem, balaio" and incorporated them into the virtuosic idiom of Romantic piano music. The Brazilian folk melody emerges amid chords, hand crossings, and rapid passages across the keyboard. The work circulated in Brazil and Europe and brought his name into early discussions of Brazilian musical nationalism. He worked in Germany, Italy, Belgium, Bolivia, Peru, Paraguay, and Portugal. He observed political crises and trade negotiations, as well as debates concerning technical education, immigration, and military relations. In Asunción, he participated in negotiations during the Revolution of 1904. In Brussels and Berlin, he wrote about economics, literature, painting, and Brazilian music. After his death, much of his sheet music remained scattered, while A Sertaneja continued to be performed and studied. Recordings, new editions, and scholarship recovered other compositions and correspondence involving Antônio Carlos Gomes, Franz Liszt, and Anton Rubinstein. In Paraná, a concert society and a public school, among other institutions, were named for him. He also became the patron of seats in the Paraná Academy of Letters and the Brazilian Academy of Music.

• Name — Brasílio Itiberê da Cunha • Office — Brazilian Envoy Extraordinary and Minister Plenipotentiary to Germany • Term Start — May 26, 1908 • Term End — August 11, 1913 • Office2 — Brazilian Envoy Extraordinary and Minister Plenipotentiary to Portugal • Term Start2 — December 3, 1907 • Term End2 — May 25, 1908 • Office3 — Brazilian Envoy Extraordinary and Minister Plenipotentiary to Paraguay • Term Start3 — March 16, 1896 • Term End3 — April 17, 1905 • Office4 — Brazilian Envoy Extraordinary and Minister Plenipotentiary to Bolivia • Term Start4 — March 15, 1892 • Term End4 — December 27, 1894 • Born — 1 August 1846 • Birthplace — Paranaguá, São Paulo Province, Empire of Brazil • Died — 11 August 1913 • Place of death — Berlin, German Empire • Education — São Paulo Law School • Spouse — Leopoldina Bárbara Heyn Denis • Children — 3 • Occupation — * Composer • Pianist • Diplomat • Writer

Brasílio Itiberê da Cunha was born on August 1, 1846, in Paranaguá, which was then part of São Paulo Province. He was the son of João Manoel da Cunha and Maria Lourenço Munhoz. He first studied in Paranaguá and then in Curitiba, where he completed his secondary education before moving to São Paulo. • Illustration — Plaque on the house in Paranaguá where Brasílio Itiberê and his brother Celso lived. The family lived near Paranaguá's former mother church in a colonial house where Brasílio and his brother Celso Itiberê da Cunha were born and spent part of their childhood. Built in the late 18th century, the property was transferred to the municipality and listed as a Paraná state heritage site in 1972. His father was an amateur musician, Latinist, and director of public instruction in Paraná. Other members of the family were also involved in music and literature. Brasílio's brother João Itiberê da Cunha was a poet, journalist, composer, and music critic. His nephew Brasílio Itiberê da Cunha Luz, known as Brasílio Itiberê II, was a composer, writer, and folklore researcher. Itiberê began his musical studies on the violin but soon made the piano his principal instrument. He received his first lessons at home from his sister Maria Lourença and began performing while still young. He appeared in concerts in Paraná and later in São Paulo while writing his earliest compositions.

• Illustration — The Law School at Largo de São Francisco in 1862, a few years before Itiberê enrolled Itiberê arrived in São Paulo around 1864 to complete the preparatory studies required for higher education. At age 20, he entered the São Paulo Law School, where he studied from 1866 to 1870. Ruy Barbosa, Rodrigues Alves, Afonso Pena, Joaquim Nabuco, and Castro Alves were fellow students during this period, although there is no solid evidence of Itiberê's relationship with each of them. Music enlivened many student gatherings. Students organized soirées and concerts, performed in private homes, and composed waltzes, polkas, quadrilles, modinhas, and fantasies. Itiberê took part as a pianist and composer. His scores were advertised and sold by Henrique Luís Levy's music shop, one of the establishments frequented by musicians and students in São Paulo. Carlos Penteado de Rezende listed Itiberê among the pianists present at an 1868 soirée where Castro Alves is said to have recited a still-unpublished passage from Os escravos. During his university years, Itiberê published the work that would become most closely associated with his name. In 1869, Casa Levy issued A Sertaneja, a piano fantasy incorporating elements of the folk song "Balaio, meu bem, balaio". The score was advertised that year by Casa Levy and Madame Fertin's shop. Itiberê treated the Brazilian theme with devices from European Romantic piano music, including bravura passages, hand crossings, and wide changes of register. The piece would later figure in early scholarship on Brazilian musical nationalism. An Academic Hymn, whose score has been lost, has also been attributed to him. Itiberê continued to perform and compose until the end of his degree. Some performances were benefits connected with student campaigns against slavery.

Itiberê's participation in the abolitionist movement is best documented in 1870, his final year at the law school. José Maria Neves stated that he obtained manumission papers for three Black children about two months before graduation. The newspaper Correio Paulistano reportedly praised the initiative. According to the Diário de S. Paulo, on August 20 Itiberê performed at a concert organized by Chilean musician Thomaz Rodenas for the benefit of the Sociedade Redemptora, which raised money to purchase the freedom of enslaved children. Itiberê and Rodenas opened the concert with a duo for two pianos based on the opera Lucia di Lammermoor. Itiberê then played his A supplica do escravo (The Slave's Supplication), billed as a "meditation". He also took part in Franz Schubert's Serenade and concluded his portion of the program with the Segundo grande galope de concerto (Second Grand Concert Galop). The choice of Súplica do escravo for a concert that financed manumissions connected his music to the emancipation campaign in which he participated during his final months at the law school.

• Illustration — Brasílio Itiberê da Cunha After completing his law degree in 1870, Itiberê moved to Rio de Janeiro and sought support to continue his musical studies in Europe. His entry into diplomacy is said to have followed a performance before the imperial family in early 1871. Vasti de Sousa Almeida wrote that Pedro II awarded him a scholarship and offered him a post as first-class attaché at the Brazilian legation in Berlin. The rank of first-class attaché formed part of the Empire's diplomatic career. Attachés assisted secretaries and heads of legation with correspondence, document preparation, and the mission's administrative work. Itiberê left Brazil in the final days of July 1871. He traveled through Lisbon, Madrid, Paris, London, and Brussels before arriving in Berlin, capital of the newly established German Empire. He began work at the Brazilian legation on September 7. His first stay in Berlin was brief. In November 1872, the head of the legation informed the minister of foreign affairs that Itiberê's health had deteriorated during the winter and requested his urgent transfer to Rome. A decree dated October 2, 1873, authorized him to serve at the Brazilian mission to the Kingdom of Italy. By December, he was already working in the Italian capital. The transfer to Rome took place in 1873, but his final removal from the Berlin legation was not formalized until November 1875. That year, the Baron of Javari, head of the Brazilian mission in Italy, allowed him to undergo treatment at the thermal springs of Vichy, France. When informed of Itiberê's permanent transfer, Javari praised his work and said that he wished to keep him at the legation. Itiberê remained in Rome until 1882. He worked at the legation, studied music, attended concerts, and associated with Brazilian and European musicians, writers, and artists. He maintained contact with Carlos Gomes and helped circulate information about Gomes's operas. He also presented his own compositions and works by other Brazilian musicians in the circles he frequented. His personal archive contains a letter dated December 13, 1873, attributed to the director of the Berlin Opera, concerning possible German performances of Il Guarany and Fosca. It also contains a letter sent by Gomes on April 5, 1879, a few days after the premiere of Maria Tudor at La Scala in Milan. Itiberê used his contacts to connect Brazilian artists with European musicians and institutions. José Maria Neves compared this work with that of 20th-century cultural attachés, although Itiberê never held a post bearing that title. In Rome, Itiberê moved in circles that brought him into contact with Giovanni Sgambati, Franz Liszt, and Anton Rubinstein, as well as aristocratic salons and the studios of Brazilian artists. On February 1, 1882, he was admitted to the Accademia Nazionale di Santa Cecilia as a pianist member.

After a leave of absence and a visit to Brazil, Itiberê returned to Europe and took up his duties at the Brazilian legation in Brussels on January 3, 1883. He served as secretary, substituted for the head of mission at times, and was promoted to first secretary in 1890. In 1886, the legation was headed by Júlio Constâncio de Villeneuve, Count of Villeneuve. Itiberê served as secretary and Carlos Dias Delgado de Carvalho as attaché. Itiberê headed the legation as chargé d'affaires from December 14, 1889, to March 15, 1891. During this interval, the proclamation of the Republic ended the regime with which Villeneuve had been associated. The count left the diplomatic service, and Itiberê was responsible for the mission during part of the change in government. Belgium conducted business in Brazil through banks, companies, engineers, and investors. Belgian capital was invested in railways, urban services, and industry during the second half of the 19th century. Eddy Stols included Itiberê among the diplomats who worked to maintain those ties in the late 19th century. Itiberê closely studied Belgian technical education. He advocated overseas scholarships for young people involved in agriculture, commerce, and industry, modeled on those already awarded to arts and science students. He also proposed that mathematically trained Brazilian officers study electricity at the University of Liège. Two naval officers took the course. He wrote a monograph on agricultural education in Belgium and sent it to the Ministry of Agriculture. In 1889, he prepared the study A indústria do açúcar na Bélgica (The Sugar Industry in Belgium). He also organized a Brazilian section at the Brussels Commercial Museum, displaying products and commercial information and providing a reading room. He further advocated creating commercial and technical attaché posts at Brazilian legations and consulates. Itiberê continued to perform in recitals and concerts during his years in Brussels. He published compositions through Schott Frères and wrote about Brazilian literature and art for the Revue générale. He remained in Belgium until 1892.

Promoted to second-class envoy extraordinary and minister plenipotentiary, Itiberê assumed leadership of the Brazilian legation in Bolivia on March 15, 1892. The appointment ended roughly 20 years of service in Europe. He officially remained in the post until December 27, 1894. After a long journey, he reached Oruro on December 5, 1892, and continued to La Paz. During his first months there, he attended diplomatic receptions and performed at musical gatherings. In January 1893, he was received by the Chilean representative, dean of the diplomatic corps. The newspapers El Comercio and El Nacional reported on performances in which he played his own works and pieces by other composers. The legation's work also involved conflicts along the Amazonian frontier and difficult communications with Brazilian territory. In 1893, Itiberê handled incidents in the regions of Beni and Madre de Dios, where Brazilians had been attacked. A few years later, disputes over land and rubber extraction in the same region would lead to the Acre War. On December 27, 1894, Itiberê was transferred to the Brazilian legation in Peru, where he remained until March 29, 1895. His departure from Bolivia, however, was accompanied by a dispute with customs authorities. Itiberê refused to have his baggage inspected because he considered the measure discriminatory and protested to Bolivian foreign minister Emeterio Cano. Other diplomats supported his complaint, but the episode contributed to his dismissal from the post in Peru.

Itiberê headed the Brazilian legation in Paraguay from March 16, 1896, to April 17, 1905. He was on leave in 1897 and again from 1901 to 1902. It was his longest tenure as head of mission. Paraguay was experiencing political and financial crises while Brazil and Argentina competed for influence with its government. Paraguay was still suffering the effects of the Paraguayan War. Its currency had lost value, an extended drought affected crops, and clouds of locusts destroyed part of the harvest. Itiberê sent the Brazilian government reports on poverty in the countryside and on the Paraguayan government's difficulty in paying its debts. The legation monitored navigation between Paraguay and Mato Grosso. Before permanent overland routes opened, the Paraguay and Paraná rivers carried passengers, goods, and mail between the region and the rest of Brazil. The Brazilian government sought to keep that passage open. Itiberê also dealt with the interests of the Companhia Matte Larangeira, a yerba mate producer in southern Mato Grosso. Part of its product crossed Paraguay on the way to the Río de la Plata. During Paraguay's 1898 presidential contest, he was concerned about the candidacy of Agustín Cañete, a shareholder in La Industrial Paraguaya. He feared that Cañete's election would hinder the Brazilian company's shipments and benefit a Paraguayan competitor. The debt left by the war returned to negotiations in 1898 and 1899. The Paraguayan government asked Brazil to forgive the amount owed and proposed a new trade treaty. Foreign minister Olinto de Magalhães replied that forgiveness of the debt required approval by the National Congress. Itiberê conveyed the response to the government of Emilio Aceval and took part in the initial talks, which did not produce an agreement. In Asunción, Itiberê became an honorary member of the Instituto Paraguayo, wrote a monograph that discussed, among other subjects, the country's hydroelectric potential, and presided over the Asunción School of Painting. From July 1901 to June 1902, he was away from the legation and visited Brazil and Europe. • Illustration — Leopoldina Itiberê da Cunha, the diplomat's wife, in a portrait published by O Occidente in 1908 In Asunción, Itiberê married Leopoldina Bárbara Heyn Denis, a member of a family established in the Paraguayan capital. The couple had three daughters: Maria Leopoldina, Maria Brasília, and Maria Adelaide. Leopoldina accompanied her husband during part of his diplomatic career. The political crisis worsened with the Revolution of 1904, led by sectors of the Liberal Party against President Juan Antonio Escurra. As dean of the diplomatic corps in Asunción, Itiberê maintained contact with the government, the rebels, and foreign missions. The Baron of Rio Branco instructed him to seek an agreement without committing Brazil to either faction. On September 12, Itiberê, the Argentine minister, and other diplomats boarded the Brazilian vessel Carioca with Paraguayan foreign minister Antolín Irala. The group traveled to Villeta, where they presented government peace proposals to rebel commander Benigno Ferreira. Ferreira rejected them, and the fighting continued. The Brazilian legation sheltered people threatened by the violence. By early October, 14 Paraguayans were staying at Itiberê's residence and another 24 at the mission's headquarters. They included former president Emilio Aceval, Liberal leader Antonio Taboada, intellectual Juan Silvano Godoi, members of Congress, judges, and government opponents. Itiberê said that he had removed some of them from prison. The asylum prompted protests from Paraguayan authorities and fueled accusations that the Brazilian minister favored the rebels. Itiberê replied that he was seeking to protect those granted asylum without abandoning neutrality. The revolution also affected Brazilian merchant vessels. After ships were intercepted, Itiberê requested authorization for warships to escort them. Rio Branco approved the request. The measure was not used because Benigno Ferreira promised to allow Brazilian ships to proceed. On December 12, 1904, representatives of the government and the revolutionaries signed the Pact of Pilcomayo aboard the Argentine monitor El Plata, accompanied by Argentine and Brazilian vessels. Itiberê initially received the public text as a conciliatory proposal. He later informed the Brazilian government that a secret record modified part of the agreement in the revolutionaries' favor. His conduct during the revolution was criticized in Rio de Janeiro, where he was accused of sympathizing with the Liberals. Francisco Doratioto acknowledges the possibility that Itiberê's years in Paraguay had affected his detachment as a diplomat, but does not present the hypothesis as a conclusion. Itiberê left Asunción on April 17, 1905. Augusto Cochrane de Alencar took temporary charge of the legation. President Juan Bautista Gaona gave him a farewell banquet and praised his fairness and impartiality. Cochrane wrote that the honor was unusual because the Paraguayan government did not normally hold such receptions for departing heads of mission.

After leaving Asunción, Itiberê represented the Brazilian government at congresses on economic expansion. He attended the meeting held in Rio de Janeiro in 1905 and the congresses in Mons and Liège, Belgium, in 1906 and 1907. He collected the notes and proposals discussed at those meetings in Economia social: expansão econômica mundial (segundo os congressos de Mons e do Rio de Janeiro) (Social Economy: Worldwide Economic Expansion (According to the Mons and Rio de Janeiro Congresses)), published in two volumes by the Imprensa Nacional in 1907 and 1908. In the two volumes, he compared European education systems and wrote about popular education, business schools, the organization of labor, and technical training. For Itiberê, fertile land, raw materials, and a favorable climate were not enough to make a country wealthy. These resources had to be developed through knowledge, technology, thrift, and organization. Part of his argument drew on ideas by Juan Bautista Alberdi, who criticized the tendency of South American elites to mistake available resources for wealth already produced. Itiberê also criticized the emphasis placed on legal education in training Brazilian leaders. He advocated more technical, scientific, and commercial schools. He also wanted consuls and diplomats to gather market information, publicize Brazilian products, and connect merchants with producers. He proposed credit institutions and vocational courses to support these activities. Paulo Roberto de Almeida placed these writings among the earliest comparative analyses by a Brazilian diplomat of education, productivity, and economic underdevelopment.

Itiberê took charge of the Brazilian legation in Portugal on December 3, 1907, as envoy extraordinary and minister plenipotentiary. He remained in Lisbon until May 25, 1908. His tenure coincided with the final months of the reign of Carlos I and the accession of Manuel II following the Lisbon Regicide. In July 1908, the Lisbon magazine O Occidente reported that Itiberê had been promoted to minister first class and received by Manuel II. When Itiberê presented his credentials, the king and the diplomat spoke about relations between Portugal and Brazil. Itiberê also participated in celebrations marking the centenary of the opening of Brazilian ports to friendly nations. At a banquet in the Avenida Palace, he received the commander and officers of the Portuguese cruiser Rainha D. Amélia, which had been sent to Rio de Janeiro for the celebrations. In his speech, he discussed the reception that the crew would receive in Brazil and relations between the two countries. At the end of May, Itiberê was transferred to Berlin, where he had begun his diplomatic career in 1871. He headed the Brazilian mission in Germany from May 26, 1908, until his death on August 11, 1913. His official title was envoy extraordinary and minister plenipotentiary, then used for heads of legation and equivalent to the modern rank of ambassador. Itiberê presented his credentials to Emperor Wilhelm II on December 8, 1908. Chancellor Bernhard von Bülow attended the ceremony. In his report to the Brazilian government, Itiberê wrote that the emperor knew episodes from his career and had received him cordially. José Pinto da Fonseca Guimarães headed the legation during two of Itiberê's absences, from October 17 to November 25, 1908, and from August 9 to 23, 1910. In 1910, Itiberê accompanied Hermes da Fonseca during his visit to Germany and France. One subject under discussion was the hiring of a German mission to assist in reforming the Brazilian Army. In letters to Rio Branco, Itiberê sought to clarify Hermes's position and prevent friction arising from competition between the German and French military models. Brazil did not hire the German mission at that time, and the debate over army reform continued between groups favoring Germany and France. In July 1910, Itiberê signed a general arbitration convention between Brazil and Greece in Berlin. He also responded to reports in the German press about the treatment of immigrants in Brazil. He supplied information and sought to publish responses in the Berliner Tageblatt, Morgenpost, Lokal-Anzeiger, and Tägliche Rundschau. At the 1911 Dresden International Hygiene Exhibition, the Brazilian pavilion presented work on tropical diseases, sanitation, and medical research. The material came from the Instituto Oswaldo Cruz, the Instituto Butantan, and Brazilian public health agencies. Itiberê took part in the pavilion's opening on June 14 and spoke alongside exhibition president Karl August Lingner and officials from Saxony. Itiberê wrote about Brazilian music, literature, and art for German periodicals, including Der Musiksalon and Illustrirte Zeitung. He also hosted evenings of Brazilian music at the legation. He remained in office until his death in Berlin on August 11, 1913.

Diplomacy was Itiberê's profession, but he continued to perform, compose, and present Brazilian music throughout most of his career. Before leaving for Europe, he had already performed in Paraná, São Paulo, and Rio de Janeiro. In Rome, where he lived from 1873 to 1882, he began attending concerts, aristocratic salons, academies, and artists' studios. At these gatherings, he played his own works and pieces by Beethoven, Anton Rubinstein, and other composers. His repertoire included Ballade des tropiques, Soirées à Venise, Poème d'amour, and Étude de concert. A daughter of sculptor Adamo Tadolini arranged Poème d'amour for harp. In March 1882, pianist Alfredo de Lucca played Barcarolle Vénitienne and Étude de concert at the Sala Ducci in Rome. Itiberê associated with Carlos Gomes, who lived in Italy. He attended the premiere of Maria Tudor at La Scala in March 1879 and visited Gomes after the opera's opening. Gomes wrote to him on April 5, a few days after the premiere. The letter, preserved in Itiberê's archive, indicates their familiarity. Another letter, dated December 13, 1873, and attributed to the director of the Berlin Opera, concerns possible German performances of Il Guarany and Fosca. Itiberê used his contacts to bring news and works by Brazilian musicians to European theaters and salons. In Rome, he met Giovanni Sgambati, Franz Liszt, and Anton Rubinstein. His archive preserves a letter from Sgambati and an authenticated copy of a note from Liszt. In the note, Liszt thanked him for a package and offered him two compositions in return. The Étude de concert d'après E. Bach, Op. 33, is dedicated to Rubinstein. "A thousand thanks for your magnificent package." — Franz Liszt, in a note addressed to Brasílio Itiberê. The first meeting with Liszt is said to have followed a benefit concert at which the Hungarian composer and Sgambati played Les Préludes. Itiberê met them again at concerts and private gatherings in the Italian capital. In later writings, Itiberê recounted that Liszt visited his apartment on the Via del Corso, commented on Soirées à Venise and Nuits orientales, and recommended some of his pieces to students. In February 1880, Itiberê played the Étude de concert at a reception held by Princess Charlotte Primoli Bonaparte and reportedly received public praise from Liszt. Another story repeated in his biographies holds that Liszt played A Sertaneja at Itiberê's apartment in the presence of Sgambati and Rubinstein. On February 1, 1882, Itiberê was admitted to the Accademia Nazionale di Santa Cecilia as a pianist member. On July 10, while on leave in Brazil, he performed at the Teatro São Pedro de Alcântara in Rio de Janeiro with French singer Alina Alhaiza. He played a Gavotte, a Barcarolle, and a study in A-flat of his own composition. In Brussels, he continued to perform at concerts, private gatherings, and churches, including the Cathedral of St. Michael and St. Gudula. He frequented the musical circle of the Prince of Chimay, Belgium's foreign minister, and attended Liszt performances in London and Antwerp in 1886. He also published compositions in Europe and promoted Brazilian musicians at receptions and gatherings held at the legations. José Maria Neves compared this work with that of 20th-century cultural attachés, although Itiberê never officially held such a post.

Most of Itiberê's known catalog was written for piano. The surviving scores include waltzes, mazurkas, polkas, barcarolles, nocturnes, meditations, gavottes, berceuses, caprices, fantasies, and concert études. Many titles are in French, including Poème d'amour, Ballade des tropiques, Nuits orientales, Soirées à Venise, and Sur les rives du Plata. Some pieces are short and lyrical or dance-like in character. Others were written for more technically accomplished pianists and use octaves, repeated chords, hand crossings, and bravura passages. The catalog encompasses both 19th-century salon music and works intended for concert performance. Few compositions have received detailed analysis. Almost all discussion of his musical writing begins with A Sertaneja. In that work, Borém and Marochi identified devices similar to those used by Franz Liszt in Sonetto 104 del Petrarca, including overlapping hands, parallel intervals, and the repetition of passages in different parts of the keyboard. These passages create effects resembling the tremolos and trills of a string orchestra. Other passages in A Sertaneja feature ornamented melodies over arpeggiated bass lines and chords in the middle register. The writing resembles the nocturnes of Frédéric Chopin, but may also recall the lyricism of the modinha, which had already absorbed elements of European Romanticism. Itiberê wrote within the international language of Romantic piano music, but at times used Brazilian or South American themes and references. The clearest example is A Sertaneja, built from fragments of "Balaio, meu bem, balaio". Titles such as Danse americaine, Ballade des tropiques, A Serrana, and Súplica do escravo also refer to Brazil or the Americas. Because these pieces remain little studied, their titles alone are not sufficient to classify them as nationalist works. The catalog therefore does not follow a single stylistic line. Some works belong to genres then common in European salons. In A Sertaneja, Itiberê combined that technical vocabulary with a Brazilian folk melody. For many years, his music was treated in two opposing ways. Itiberê appeared either as a precursor of Brazilian nationalism or as an amateur composer of light pieces. Borém and Marochi's analysis found a more carefully organized structure in A Sertaneja, based on the repetition and transformation of a small number of rhythmic and melodic motifs.

• Illustration — First page of an edition of A Sertaneja Itiberê published A Sertaneja, Op. 15, at the age of 23 in 1869, while still a student at the São Paulo Law School. The Correio Paulistano announced its release on June 17. Casa Levy offered the score as a "grand characteristic fantasy" written by the student Brasílio Itiberê. Madame Fertin's shop began selling it soon afterward. The work was written for solo piano, bore the subtitle Fantasia característica sobre temas brasileiros (Characteristic Fantasy on Brazilian Themes), and was dedicated to politician and abolitionist Saldanha Marinho. The Brazilian theme comes from "Balaio, meu bem, balaio", a folk song that circulated in several versions across the country. Helza Cameu identified in the work two melodic fragments among seven folk themes that Itiberê had collected for a publication by Frederico José de Santa-Anna Nery. Borém and Marochi called these passages "Balaio 1" and "Balaio 2". "A more sophisticated, structured, and unified compositional style." — Fausto Borém and Mario Luiz Marochi Junior, on Itiberê's writing in A Sertaneja. The first fragment occupies one of the fantasy's principal sections. The second appears later and returns in transformed form near the end. Itiberê also used their intervals and rhythms in transitions, accompaniments, and virtuosic passages. At times the song is readily recognizable; elsewhere, only a motif remains, displaced to another part of the keyboard or incorporated into a faster figuration. In the coda, the first fragment returns in chords and leads into a rapid ascending passage. The form of the piece has received different interpretations. Cameu called it an "imperfect rondo". José Maria Neves associated it with both the rhapsody and the freer form of the fantasy. Borém and Marochi divided the work into an introduction, first section, central section, modified return, and coda. Within that structure, they found ten thematic areas built from a small number of motifs that recur in an arch-like order. The writing combines the Brazilian melody with devices from European Romantic piano music. Some passages use hand crossings, parallel intervals, and repetitions in different parts of the keyboard. Borém and Marochi compared these procedures with those in Liszt's Sonetto 104 del Petrarca. The effect resembles the trills and tremolos of a string orchestra. Other passages feature ornamented melodies over arpeggiated basses and chords in the middle register. This writing recalls Chopin's nocturnes but also approaches the lyricism of the modinha. The references overlap because the modinha itself had already absorbed elements of European Romanticism. A Sertaneja was among the first works of Brazilian concert music explicitly to use a folk melody. It was not the first composition written in Brazil to use local material. Sigismund von Neukomm's O amor brazileiro had already used a lundu theme in 1819. Carlos Gomes published A Cayumba in 1857, adapting rhythms from Black dances to a salon polka. José Maria Neves called Itiberê the "patriarch" of Brazilian musical nationalism. Heitor Villa-Lobos placed him alongside Alexandre Levy and Alberto Nepomuceno among the composers who began that development. Some critics also treated Itiberê as an amateur composer of light music. Borém and Marochi's analysis found a more carefully constructed work, with motifs that return, change form, and hold the fantasy's different sections together. A Sertaneja became his most frequently performed, studied, and recorded work. The Música Brasilis project published a new typeset edition prepared by Simonne Fonseca and revised by Thadeu de Moraes Almeida. Historical editions can also be consulted in digital score repositories.

The exact number of works Itiberê wrote is unknown. The survey used by Borém and Marochi reaches about 60, but some scores have never been located. At the time of their study, the Casa da Memória Library of the Curitiba Cultural Foundation held approximately 30. A smaller group was held by the National Library of Brazil in Rio de Janeiro. Mercedes Reis Pequeno prepared a catalog for José Maria Neves's book. It lists 21 solo piano pieces with opus numbers, eleven without them, three arrangements for violin and piano, and five vocal works. Of the vocal pieces, three are religious, one was written for Christmas, and one is secular. They use voice, piano, and string instruments in various combinations. The numbering reaches Op. 41 but contains long gaps. Borém and Marochi estimated that at least 20 works may have been lost. Missing numbers, however, do not prove that all the corresponding pieces were completed or published. Two pieces without opus numbers are known only from newspaper advertisements and were not found in the archives consulted. The spelling of titles varies from one edition to another, and some scores bear no clear date. There is also a risk of confusing Itiberê with his nephew, composer Brasílio Itiberê da Cunha Luz. These problems make it difficult to determine when a work was composed, published, or reissued. In 1953, the family donated Itiberê's personal archive to the Sociedade de Cultura Artística Brasílio Itiberê (SCABI). The collection included scores, programs, letters, and other papers. The correspondence included material involving Carlos Gomes, Franz Liszt, and Giovanni Sgambati. This personal archive should not be confused with the records produced by the society itself. SCABI ended its activities in 1976 and transferred its archive to the Curitiba Cultural Foundation in 1983. Some material passed through the Alfredo Andersen Museum before returning to the foundation. The society's papers are held by the Documentation and Research Center at the Casa da Memória. Changes in address and custodial institution made the material difficult to organize. Alan Rafael de Medeiros raised the possibility that some of it was lost during these transfers. Música Brasilis published new typeset editions of seven piano pieces: A Sertaneja, Mazurka, Op. 12, Poème d'amour, Op. 22, Gavotte, Op. 30, 6th Mazurka, Op. 31, Étude de concert, and Serenade, Op. 34. IMSLP provides digital reproductions of some historical public-domain editions. Its list of works is preliminary and remains incomplete. A critical catalog comparing manuscripts, first editions, reprints, concert programs, and newspaper advertisements has yet to be produced. Without one, aspects of the chronology, authorship, and publication history of the works will remain uncertain.

Itiberê wrote primarily for piano. His catalog also includes arrangements for violin and piano and a small group of vocal pieces. About sixty works have been attributed to him. Approximately thirty scores were held by the Casa da Memória Library of the Curitiba Cultural Foundation, and a smaller group belonged to the National Library in Rio de Janeiro. The catalog prepared by Mercedes Reis Pequeno lists 21 pieces for solo piano with opus numbers, eleven without them, three arrangements for violin and piano, and five vocal works. His piano pieces include waltzes, mazurkas, caprices, meditations, barcarolles, gavottes, fantasies, and concert études. Titles such as Danse americaine, Ballade des tropiques, A Serrana, and Súplica do escravo evoke Brazil or the Americas, although few of these scores have received detailed analysis. His most frequently performed work is A Sertaneja, Op. 15, published in 1869 with the subtitle Fantasia característica sobre temas brasileiros ("Characteristic Fantasy on Brazilian Themes"). Written for solo piano and dedicated to Saldanha Marinho, the piece incorporates fragments of the folk song "Balaio, meu bem, balaio" into 19th-century Romantic piano writing. The Música Brasilis project has published new editions of A Sertaneja, Mazurka, Op. 12, Poème d'amour, Op. 22, Gavotte, Op. 30, Mazurka No. 6, Op. 31, Étude de concert, and Serenade, Op. 34. Older editions of part of the repertoire are also available through the IMSLP.

• Work — Date — Genre or form — Notes • Amizade — 1864 — Polka — Included among the works without an opus number. • Nocturne-Saudade — 1864 — Nocturne — Included among the works without an opus number. • O eco dos salões, Op. 3 — 1865 — Waltz — A valse de bravoure. • Os pífaros da esquadra, Op. 5 — 1867 — Polka — A polca brilhante ("brilliant polka"), indicating a lively and virtuosic character. • Valsa acadêmica, Op. 9 — Undated — Waltz — Dedicated to the students of São Paulo. • A graciosa, Op. 10 — Undated — Piano piece — Included among the works with opus numbers. • Stella maris, Op. 11 — Undated — Mazurka — A grande mazurka de salon ("grand salon mazurka"), an elaborate salon mazurka intended for social or domestic performance. • Mazurka, Op. 12 — Undated — Mazurka — A modern piano score is available from the Música Brasilis project. • Barcarolle, Op. 13 — Undated — Barcarolle — Included among the works with opus numbers. • Danse americaine, Op. 14 — Undated — Dance — One of the titles associated with Itiberê's interest in local or regional musical elements. • A Sertaneja, Op. 15 — 1869 — Piano fantasy — Published as Fantasia característica sobre temas brasileiros and based on elements from "Balaio, meu bem, balaio". • Valse-Caprice, Op. 16 — 1869 — Waltz — Also known as A misteriosa ("The Mysterious One"). • Sur les rives du Plata, Op. 18 — Undated — Meditation — Included among the works with opus numbers. • Une larme, Op. 19 — Undated — Meditation — Included among the works with opus numbers. • Ballade des tropiques, Op. 20 — Undated — Ballade — Cited together with Danse americaine, A Serrana, and Súplica do escravo as a work deserving greater attention beyond A Sertaneja. • Marcha fúnebre à memória de Louis Moreau Gottschalk, Op. 21 — 1870 — Funeral march — Written in memory of Louis Moreau Gottschalk, who died in Rio de Janeiro in December 1869. • Poème d'amour, Op. 22 — Undated — Fantasy — A modern piano score is available from the Música Brasilis project. • Gavotte sur l'air célèbre de Louis XIII, Op. 23 — Undated — Gavotte — Included among the works with opus numbers. • Soirées à Venise, Op. 24 — Undated — Three piano pieces — Classified as trois morceaux, French for "three pieces". • Nuits orientales, Op. 27 — Undated — Suite — Included among the works with opus numbers. • Le filleul, Op. 28 — Undated — Berceuse — Included among the works with opus numbers. • Gavotte, Op. 30 — Undated — Gavotte — A modern piano score is available from the Música Brasilis project. • Mazurka No. 6, Op. 31 — Undated — Mazurka — A modern piano score is available from the Música Brasilis project. • Caprice à la Mazurka No. 3, Op. 32 — Undated — Caprice — Included among the works with opus numbers. • Étude de concert, Op. 33 — Undated — Concert étude — Subtitled d'après E. Bach and dedicated to Anton Rubinstein. • Serenade, Op. 34 — Undated — Serenade — A modern piano score is available from the Música Brasilis project. • Grande Mazurca de Salão, Op. 41 — Undated — Mazurka — Included among the works with opus numbers. • Impromptu-Nocturne — 1903 — Impromptu-nocturne — Included among the works without an opus number. • A Serrana — Undated — Fantasy — Cited together with Danse americaine, Ballade des tropiques, and Súplica do escravo. • Súplica do escravo — 1870 — Meditation — Performed in São Paulo at a benefit concert for the Sociedade Redemptora.

On June 1, 1913, Itiberê attended a military parade in Berlin under intense sunlight. Celso de Tarso Pereira linked the episode to the illness that kept him bedridden for most of the next two months and away from the legation. Itiberê died on August 11, 1913, during an operation after undergoing trepanning. He was still heading the Brazilian legation in Germany as envoy extraordinary and minister plenipotentiary. His body was embalmed and sent to Brazil. His remains left Germany aboard a German warship. After passing through Rio de Janeiro, the coffin continued to Paranaguá aboard the Brazilian cruiser Tiradentes, which arrived at the port on September 25. In Paranaguá, the body was taken to the church of the Third Order, where it lay in state. On the morning of September 26, it continued by train to Curitiba. The coffin arrived draped in the Brazilian flag and was met at the station by officials, military personnel, and a crowd. The procession passed through the cathedral for a religious ceremony and ended at São Francisco de Paula Cemetery. Soldiers of the 13th Cavalry Regiment rendered funeral honors. "While the gravedigger performs his duty, let us also know how to perform ours, by following the example of Brasílio Itiberê da Cunha." — Claudino dos Santos, concluding Itiberê's funeral oration in 1913. Free translation The ceremony was conducted on the scale of a state funeral. Those present included the president of Paraná, civil and military officials, members of the Navy, and law-enforcement personnel. At the cemetery, politician and writer Claudino dos Santos delivered the funeral oration. On November 30, the Curitiba magazine A Bomba published a report with nine photographs of the landing, procession, and burial. The government of Paraná announced that it would build a mausoleum for Itiberê, but the project was never carried out. Years later, the family transferred his remains to his wife's grave at São João Batista Cemetery in Rio de Janeiro.

After Itiberê's death, interest in his music became almost entirely concentrated on A Sertaneja. The piece continued to be cited in books on Brazilian music and the origins of musical nationalism. Most of his other compositions remained unpublished, dispersed, or absent from concert programs. For decades, texts about Itiberê repeated his name more often than they examined his scores. In 1923, Luciano Gallet wrote Rapsódia sertaneja for solo piano and piano four hands. In a letter to Mário de Andrade, he explained that he intended to draw attention to Itiberê's music rather than write an entirely independent piece. The composition revisited A Sertaneja at a time when Brazilian musicians were seeking to establish a national repertoire. Assessments of Itiberê followed different paths. Vincenzo Cernicchiaro, in his history of music in Brazil published in 1926, placed him among amateur composers and characterized his music as light and modest. Andrade Muricy offered a more favorable reading. In his view, A Sertaneja stood above much of the Brazilian piano music written at the same time and contained one of the earliest concert-music uses of harmonic procedures derived from popular music. In 1970, Helza Cameu published Importância histórica de Brasílio Itiberê da Cunha e da sua fantasia característica A Sertaneja. Cameu investigated the origin of the folk theme used in the work, compared versions of "Balaio, meu bem, balaio", and proposed an initial formal division of the fantasy. The study moved the discussion inside the score, beyond the earlier dispute over who had initiated Brazilian musical nationalism. José Maria Neves published Brasílio Itiberê: vida e obra in 1996. It was the first full-length book devoted to the composer. Neves assembled biographical information, reproductions of sources, and analyses of scores. The volume also included a catalog prepared by musicologist and librarian Mercedes Reis Pequeno. Later research corrected or reformulated some of the biographical information and musical interpretations presented in the book. Fausto Borém and Mario Luiz Marochi Junior reexamined A Sertaneja in detail. They compared the divisions proposed by Cameu and Neves with the repetition and transformation of rhythmic and intervallic motifs. They found a more cohesive and carefully constructed work than earlier assessments had suggested. They also rejected two oversimplified interpretations: Itiberê as the sole inventor of Brazilian nationalism and as an amateur devoted only to light music. "The most important composer born in Paraná in the 19th century." — Osvaldo Colarusso, in an assessment published by Gazeta do Povo in 2017. A Sertaneja was not the first composition written in Brazil to use a local theme or genre. It circulated more widely, however, than some earlier examples, and composers of later generations returned to it. Heitor Villa-Lobos placed Itiberê alongside Alexandre Levy and Alberto Nepomuceno among the first figures in Brazilian musical nationalism. The position attributed to the composer came to depend less on the idea that he had been the first and more on the subsequent use of his work. In 2004, letters thought to have been lost were rediscovered at Curitiba's Casa da Memória. They included correspondence from Carlos Gomes, Sgambati, and Liszt, as well as a letter concerning the Berlin Opera. Fernando Menon and Álvaro Carlini examined the material. Since the 1990s, recordings by Arthur Moreira Lima, Giséle Rizental, and other pianists, together with new editions and digitized scores, have made part of the repertoire more accessible. Interest remains focused on the works for solo piano, especially A Sertaneja. The vocal pieces, arrangements for small ensembles, and some of the other compositions have received few studies and recordings.

Itiberê wrote about education, commerce, economics, literature, visual art, and music. Some of these writings grew out of his diplomatic work, travel, and contact with foreign schools, museums, businesses, and artists. "Above all, in your work, passionately and disinterestedly seek Beauty as you desire it." — Brasílio Itiberê da Cunha, in La Littérature et les Beaux-Arts au Brésil (1912), freely translated from French. In Belgium, he became interested in the country's technical education and economic organization. He wrote a monograph on Belgian agricultural education and sent it to the Ministry of Agriculture. In 1889, he published A indústria do açúcar na Bélgica. He advocated training farmers, merchants, workers, and industrialists while criticizing the emphasis placed on law degrees in educating Brazilian elites. "When we assert that Brazil is an extremely wealthy country, we confuse wealth with an instrument or factor of wealth." — Brasílio Itiberê da Cunha, in Economia social: expansão econômica mundial (1907–1908). He also organized a Brazilian section at the Brussels Commercial Museum. It displayed national products, provided information about Brazil, and maintained a reading room. Itiberê further proposed commercial and technical attaché positions at legations and consulates. These officials would study foreign markets, publicize Brazilian products, and connect producers, merchants, and vocational schools. After attending the economic expansion congresses in Rio de Janeiro in 1905, Mons in 1906, and Liège in 1907, he assembled his ideas in Economia social: expansão econômica mundial (segundo os congressos de Mons e do Rio de Janeiro). The Imprensa Nacional published the work in two volumes in 1907 and 1908. Itiberê compared models of education, labor organization, and commerce adopted in European countries. In his view, fertile land, a favorable climate, and raw materials were not sufficient to produce wealth. They had to be combined with labor, education, thrift, organization, and technology. Part of his argument drew on the ideas of Juan Bautista Alberdi. Itiberê criticized South American elites for mistaking available resources for wealth already produced. He advocated popular, agricultural, industrial, and commercial schools capable of training workers and increasing productivity. He also sought to expand the economic work of Brazilian missions abroad. Diplomats and consuls were to study markets, publicize goods, monitor new techniques, and put Brazilian businesses in contact with foreign buyers. Itiberê also proposed credit banks and vocational schools serving agriculture, industry, and commerce. Paulo Roberto de Almeida included these writings among the first comparative analyses by a Brazilian diplomat of education, productivity, and economic underdevelopment. Itiberê also wrote about Brazilian artists. In Rome, he published a favorable article in Rio de Janeiro's Jornal do Commercio about João Zeferino da Costa's painting A oferta da viúva. The work later entered the collection of the Imperial Academy of Fine Arts. In Brussels, he contributed to the Revue générale and wrote about Brazilian literature. One of his articles discussed Inocência, by Alfredo d'Escragnolle Taunay. His brother João Itiberê da Cunha also lived in Belgium and was associated with the circle around La Jeune Belgique. From 1910 to 1912, Itiberê published the French-language series La Littérature et les Beaux-Arts au Brésil in the Berlin magazine Der Musiksalon. The editor invited him to write it after an evening of music held at the Brazilian legation. The articles discussed Brazilian writers, painters, sculptors, architects, and composers. Excerpts from the series were reprinted in Rio de Janeiro by the French-language periodical L'Étoile du Sud in 1911 and 1912. Itiberê wrote about the transfer of the Portuguese court to Rio de Janeiro, the French Artistic Mission, and the establishment of the country's first institutions of art education. He also discussed artists he had known in Rome, including João Zeferino da Costa, Rodolfo Amoedo, Henrique Bernardelli, and Rodolfo Bernardelli. He further commented on scholarships that allowed prizewinning students from the Imperial Academy of Fine Arts to study in Europe. In the articles, he discussed the French formula l'art pour l'art ("art for art's sake"). He did not reject it outright, but criticized interpretations that reduced art to materialism. He defended the artist's freedom from schools and systems and argued that each author should develop an individual voice. Itiberê sent scores, introduced musicians, wrote about exhibitions, and sought opportunities for Brazilian artists in European theaters and newspapers. In Asunción, he became an honorary member of the Instituto Paraguayo and presided over the School of Painting. In Berlin, he organized musical evenings at the legation and wrote for German periodicals. Celso de Tarso Pereira wrote that Itiberê traveled to Egypt and composed part of the suite Nuits orientales there. One of the pieces, Le Jardin des Tropiques, was reportedly written aboard the dahabieh Stella during a voyage on the Nile. Anaïs Fléchet wrote that initiatives of this kind depended at the time on the education and personal contacts of each diplomat. The Ministry of Foreign Affairs did not yet maintain a permanent policy for promoting Brazilian music and art.

After Itiberê's death, the circulation of his music became uneven. A Sertaneja remained present in histories of Brazilian music, piano anthologies, and discussions of musical nationalism, while much of the rest of his catalog remained little known. Borém and Marochi observed that his output was for a long time cited more often than it was analyzed, in part because many works had not been located, edited, or recorded. One of the earliest known phonographic recordings of his music is Arnaldo Estrella's recording of A Sertaneja for the album Antologia da Música Erudita Brasileira na interpretação de Arnaldo Estrella — Vol. 1: Sinopse, released by the Festa label in 1958. The work shared the program with compositions by Sigismund von Neukomm, Leopoldo Miguez, Henrique Oswald, Alexandre Levy, Alberto Nepomuceno, Barrozo Netto, and Heitor Villa-Lobos. In 1965, pianist Eny da Rocha again included A Sertaneja in an anthology of Brazilian composers released by RGE. The album, which received the APCA Award in the Brazilian music category, also featured works by Miguez, Levy, Villa-Lobos, Oscar Lorenzo Fernández, Osvaldo Lacerda, Camargo Guarnieri, Theodoro Nogueira, Sérgio de Vasconcellos-Corrêa, and João de Souza Lima. These early recordings focused on the composition that already occupied the central place in Itiberê's historical reception. A change in scale came in 1995, when Arthur Moreira Lima recorded a program substantially devoted to the composer. Produced by the Curitiba Cultural Foundation and Paraná Clínicas, the album brought together eight works by Itiberê, including pieces rarely recorded up to that point, and concluded with Louis Moreau Gottschalk's Grande fantasia triunfal sobre o Hino Nacional Brasileiro. The release expanded the composer's phonographic representation beyond A Sertaneja, including fantasies, mazurkas, meditations, études, and a piece from the suite Nuits orientales. Pianist Giséle Rizental subsequently undertook the most extensive recording project devoted exclusively to Itiberê's piano works. The first volume of her series was released by Gramofone in 2013, and two more followed in 2018. Together, the three albums comprise 27 tracks and include works from his formative years, pieces associated with his travels and diplomatic life, salon dances, concert études, and the three known movements of Nuits orientales. Also in 2018, pianist Sonia Rubinsky released The Itiberês: 80 Years of Brazilian Music on Arabesque Recordings. Rather than present Brasílio in isolation, the album brought together works by him, his brother João Itiberê da Cunha, and his nephew Brasílio Itiberê da Cunha Luz. This organization placed the three composers within a family musical tradition while distinguishing repertoires that have often been confused in catalogs and discographies. Alongside the recordings, new editions helped make the scores usable again by performers and researchers. In 1996, Norton Dudeque prepared an edition of A Sertaneja for the Federal University of Paraná; it later served as the basis for the musical examples in Borém and Marochi's analysis. The Música Brasilis project began offering new editions of seven piano works: A Sertaneja, Mazurka, Op. 12, Poème d'amour, Op. 22, Gavotte, Op. 30, Mazurka No. 6, Op. 31, Étude de concert, and Serenade, Op. 34. The individual pages provide International Standard Music Numbers and information on the new engraving and musical revision, and make the scores available under a free license. In the editions of A Sertaneja and Étude de concert, for example, Simonne Fonseca prepared the engraving and Thadeu de Moraes Almeida undertook the musical revision. The IMSLP holds digital reproductions of public-domain editions of works such as Ballade des tropiques, Étude de concert, Gavotte, Mazurka, Nuits orientales, Poème d'amour, Sérénade, and A Sertaneja. The repository itself warns of the risk of confusing Itiberê with his nephew of the same name. Unlike the new Música Brasilis engravings, these files are mainly reproductions of historical scores and do not, taken together, constitute a critical edition of the catalog. The known discography and modern editions remain concentrated almost entirely on music for solo piano. The vocal works and arrangements for violin and piano listed in Mercedes Reis Pequeno's catalog have not received comparable attention. Despite this gap, releases issued since the 1990s, digital scores, and analytical studies have considerably expanded the body of sources available for performing and researching Itiberê's music. • Year — Recording — Performer — Label or production — Works by Itiberê included • 1958 — Antologia da Música Erudita Brasileira na interpretação de Arnaldo Estrella — Vol. 1: Sinopse — Arnaldo Estrella, piano — Festa, LDR-5004 — A Sertaneja, Op. 15. • 1965 — Antologia de autores nacionais — Eny da Rocha, piano — RGE, XRLP-100-013 — A Sertaneja, Op. 15. • 1995 — Arthur Moreira Lima interpreta Brazílio Itiberê — Arthur Moreira Lima, piano — Curitiba Cultural Foundation and Paraná Clínicas, NM-18095 — A Sertaneja, Op. 15; Poème d'amour, Op. 22; Étude de concert; Caprices à la mazurka, Op. 32, No. 3; Une larme, Op. 19; Grande mazurka de salão, Op. 41; A Serrana; and La Dahabieh (La Gondole du Nil), from Nuits orientales, Op. 27. The program concludes with Gottschalk's Grande fantasia triunfal sobre o Hino Nacional Brasileiro. • 2013 — Giséle Rizental interpreta Brasílio Itiberê da Cunha, vol. 01 — Giséle Rizental, piano — Gramofone — Gavotte, Op. 30; Berceuse, Op. 28; Une larme, Op. 19; 5ª Mazurka; Sérénade; the three movements of Nuits orientales, Op. 27; 6ª Mazurka, Op. 31; and A Sertaneja, Op. 15. Sérénade is identified as Op. 54 in the release metadata, but appears as Op. 34 on Música Brasilis and the IMSLP. • 2018 — Giséle Rizental interpreta Brasílio Itiberê da Cunha, vol. 02 — Giséle Rizental, piano — Gramofone — Echo de salões; Valsa acadêmica; Marcha fúnebre; Barcarolle; Soirées à Venise; Gavotte; Estella Maris; and A Mysterioza. • 2018 — Giséle Rizental interpreta Brasílio Itiberê da Cunha, vol. 03 — Giséle Rizental, piano — Gramofone — A Serrana: fantasia característica; Polka Amizade; Ballade des tropiques; A Gracioza; Noturno: Saudade; Caprices à la mazurka; Poème d'amour; Mazurka em lá maior; and Étude de concert. • 2018 — The Itiberês: 80 Years of Brazilian Music — Sonia Rubinsky, piano — Arabesque Recordings — A Sertaneja, Op. 15; Le Jardin des Tropiques, Op. 27, No. 3; La Dahabieh, Op. 27, No. 2; Mazurka; and Étude de concert d'après C. P. E. Bach, Op. 33. The album also contains works by João Itiberê da Cunha and Brasílio Itiberê da Cunha Luz.