Emílio Terraza, Argentinean from Bahía Blanca, has lived in Brazil since 1959, became a Brazilian citizen, and received his musican training in piano, composition, and conducting, having studied in Buenos Aires, Rio de Janeiro, and Paris.  He has acted extensively in diverse fields.  He conducted the Symphonic Orchestra of the University of Rio de Janeiro (1959-1964), Advisor for the Union of Musicians (1962-1968), he developed a curriculum structure and coordinated the course for training professors of the Villa-Lobos Institue in Rio de Janeiro (1966-1969), professor of music at the University of Brasília (1969-1972 and 1975-1993) organizer and coordinated of the Department of Arts at the University of Piauí (1973/1975).  The Music Workshop, of his own making in the interest of musical approaches and discipline, is one of his activities that rouses interest in Brazil and internationally, and the cause of frequent invitations to give talks on the matter.  His compositions receive the demonication of M(usic) instead of the traditional op.  His musics have been presented at the 8^th through 12^th Rio de Janeiro Contemporary Music Biennials.  Since 1968 he participated in practically all meetings of composers and seminaries on arts education, both national and international.  He has also performed as a pianist, especially interpreting his own compositions.  His catalogue of works has been edited by Itamarty (Ministry of Foreign Affairs).  He retired from his teaching activities in 1993.

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Tango M.45 for bassoon and piano*

Tango M.46 for solo bassoon*

As a colleague of Hary Schweizer at the University of Brazil, Emílio Terraza was enthusiastic about the idea that a bassoon professor could construct his own instrument.  Thus, in 1991, he dedicated Tango M.45 to his first bassoon.  At the piece’s premiere, the ink on the score was still fresh, and the piano part was still incomplete, which forced the accompanying pianist (on that occasion it was also Elza Kazuko Gushikem) to improvise entire sections of the composition.  The second bassoon closely followed the first (1992) and deserved a ne Tango M.46, this time for solo bassoon…after that Emílio Terraza surrendered and no longer composed pieces for each new bassoon!

* first recordings of works