64:", but contains only this one work. The manuscript is damaged and incomplete, missing the piano part in many places (as it happens in Bomtempo's manuscripts: he presumably improvised some passages instead of playing them from the score), especially in the middle section.
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The composition date of the quintet is unknown. It was reconstructed by
Portuguese composer Filipe Pires (1934–2015) and received its first contemporary performance in 1992, on the 150th anniversary of Bomtempo's death. The musicians were
117:). The development section (beginning in F major) is the longest part of the quintet and is made up of several episodes of different character and in different keys. At the end, some chords introduce the next movement.
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Like his other quintets, Bomtempo arranged this one for piano sextet (with double bass), of which version only one sheet survived (the first movement of the double bass part; P-Ln C.I.C. 50).
139:, is actually the continuation (reprise and coda) of the first: the introduction is omitted, and the music begins right with the main theme (D minor), then goes on to the secondary theme (
143:). Both are significantly shortened (it may sound more reminiscent of the opening movement than like a proper reprise); the composer proceeds to the D major coda, which closes the work.
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132:). The closing section is a slightly altered variation of the opening with some piano passages added. It is followed by a portion of music transitioning to the finale.
197:/ Instituto da Biblioteca Nacional e do Livro ; coord. João Pedro d'Alvarenga. - Lisboa : Instituto da Biblioteca Nacional e do Livro, 1993. P. 139.
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156:— piano, António Anjos — violin I, Bin Chau — violin II, Massimo Mazzeo — viola, Varoujan Bartikian — cello / João Domingos Bomtempo.
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128:) is a three-part structure. While the piano is almost silent in the opening section, it has a prominent role in the middle (
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The quintet is in three movements, united by musical themes and proceeding without pauses (attacca):
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109:) with an important figure in the bass, the gloomy serious principal theme (also D minor) of the
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is stated. It is followed by an even more intense section, which leads to the secondary theme (
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remained the only published piece of this genre by
Bomtempo. The only manuscript of the
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Trois
Quintetti pour forte piano, deux violons, alto et violoncelle
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for piano, two violins, viola and cello, is a chamber work by
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Although he composed some ten works for piano quintet, the
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Vanda de Sá. Booklet notes for MOVIEPLAY MOV 3-11055
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58:(P-Ln C.I.C. 39). It is inscribed thus: "
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226:Compositions by João Domingos Bomtempo
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171:The Movieplay Canavilhas recording
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195:João Domingos Bomtempo, 1775-1842
97:III. Allegro (D minor — D major)
56:Biblioteca Nacional de Portugal
231:Compositions for piano quintet
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91:I. Largo — Allegro (D minor)
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236:Compositions in D minor
52:Quintet in D minor, B74
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30:João Domingos Bomtempo
94:II. Andante (G major)
74:Lisbon String Quartet
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135:The last movement,
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101:After the
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137:Allegro
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107:D minor
36:History
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103:Largo
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