Nelson Jesus

Audio Available

Component

Delivery

Ensemble

Eprint Folders

Grade

Instrument

Instrument Family

Instrument Type

Item Sequence

Large Print Edition

Marketed Status

Minimum Sell Quantity

MINTS Data Available

Product Line

Prop65

Score Available

Video Available

For euphonium and brass quintet, piano reduction
Instrumentation: Euphonium and Piano 
Duration: 14'
Level: Advanced
Score and parts included
Program Note:
Quasi Concerto was commissioned by euphonium player Ricardo Daniel Silva.
It is a light, personal take on the concerto form, showcasing the euphonium’s expressive range through three contrasting movements: a rhythmic and harmonically rich ostinato, a nostalgic song inspired by childhood, and a vibrant finale drawing on Ribatejo folk rhythms and thematic fusion.

Quasi Concerto, Op.10

Euphonium Solo with Piano

This three-movement work was commissioned by the Tuba Quartet of the Porto Music Conservatory (class of Prof. Avelino Ramos). It draws inspiration from elements of Portuguese traditional music, exploring characteristic rhythms, melodic gestures, and contrasting moods.
The writing alternates between energetic, dance-like sections and more lyrical, sustained moments, emphasizing instrumental color and dialogue between voices. The piece exists in an original version for 3 Euphoniums and 1 Tuba, as well as an alternative version for 2 Euphoniums and 2 Tubas, and has become one of my most frequently performed works.

Quarteto para Pes de Chumbo, Op. 7

Euphonium Quartet

Format

Instrumentation: Band | Duration: 5’ | Level: Medium Easy | Year: 2023
Program Note:
Commissioned by the Cultural Association of Porto Judeu for the 10th Festival of Philharmonic Bands, this work portrays the first settlement of Terceira Island in the Azores and the strength of its early settlers. 
After fanfares of “land in sight,” a hopeful melody emerges and hardens with adversity. Between faith and endurance, the distant sound of the Charamba can be heard — 
a symbol of Azorean spirit. The piece closes with the calm of green pastures and the toil of those who turned the sea into their home.
Premiered under the direction of Maestro Artur Rouquina.

Porto Judeu,Op.71

Concert Band Score & Parts

Duration: 14’
Level: Medium Advanced 
Includes: Score and parts
Program Note:
The Concertino, Op. 37 was commissioned by SAMP. Although the trumpet is not my favorite instrument—nor my second or third choice—the true motivation behind this work was the deep admiration everyone shared for Bandmaster Joaquim Lopes.
The piece unfolds in three connected sections: it opens with the main melodic and rhythmic ideas, continues with a simple, song-like interlude, and concludes with lively, Balkan-inspired rhythms. Written for a trumpeter familiar with that style, the work explores the rich and often-overlooked lower register of the instrument.

Concertino, Op. 37

Trumpet Solo with Piano

Program Note:
This work was commissioned by the Orquestra Nacional de Sopros dos Templários for its return to activity in 2021.
When the commission was made, I was told that it would share the program with Fernando Lopes-Graça’s Suíte Rústica No. 3, which immediately sparked many ideas: should I write a new suite? A prelude or an epilogue to his piece?
Later, I learned that the work would also appear in other concerts including more of Lopes-Graça’s music — and everything became clearer.
The composition process flowed naturally. The inclusion of the chorale “Acordai!”, from Canções Heróicas, soon became inevitable. It stands as one of the most powerful and enduring works of Lopes-Graça, set to the words of José Gomes Ferreira, whose message remains strikingly relevant today.
Lopes-Graça drew deeply from Portuguese folk music, and this Acordai! captures his artistic and social ideals. In my own piece, I wanted the colors and energy of the band — the people’s orchestra — to awaken this sleeping nation, just as the composer himself once called us to rise.

Scherzo com Graca, Op. 54

For Band | Duration: 6’ |Level: Medium
Program Note:
Pecten Maximus was written as a tribute to Alberto dos Santos Vieira, clarinetist, conductor and teacher from São Pedro da Cova (Gondomar). Known in the Portuguese music community as Professor Vieira, he played a key role in the development of music education in Portugal, both as pedagogue and conductor, particularly in regional conservatories. He was a military musician, performed with the Porto Symphony Orchestra and was a full member of the Orquestra do Norte. For many years, he conducted the Banda Musical de Lousada, marking generations of musicians with his visionary approach to symphonic wind music. Since 2008, he has been the artistic director of the Banda Musical de Lagares, raising its artistic quality through his dedication and passion. The title Pecten Maximus — the scientific name of the scallop — refers to the honoree’s surname. The work was commissioned by conductor Luís Oliveira, his successor at Banda Musical de Lagares.

Pecten Maximus, Op. 33

Duets for Double Reeds 
Instrumentation: Oboe and Bassoon (Double Reeds version)
Duration: 9 minutes
Level: Easy to Intermediate
Score and parts included
Program Note:
These short duos are, in my opinion, a valuable addition to the chamber music repertoire for low instruments.
They are easy, contrasting pieces in which the dialogue between the two performers is clear and engaging.
Originally commissioned by and dedicated to my colleagues Pedro Henriques and Pedro Santos, who at the time were students at the Caldas da Rainha Conservatory in Professor Adélio Carneiro’s tuba class, the work was later adapted for double reeds and double bass duo, keeping the same musical spirit and balance between both voices.
This version was made for Duo Argon (Joel Vaz - oboe and Daniel Faria - Bassoon).

Duets for Double Reeds, Op. 3b

Oboe Duet

Small Flute Quartet
Instrumentation: 4 Flutes
Duration: 4 minutes
Level: Easy to Intermediate
Program Note:
This short piece marks the beginning of a series of works I intend to write for quartets or ensembles of identical instruments. It is ideal for young and developing chamber groups within a flute class, or as part of a larger ensemble, thanks to its simple and vertical writing.
The first movement, Poem, explores a soft and delicate sonority.
The following Danse evokes the sound of a small hand-cranked organ — a playful, continuous motion that never seems to stop turning.
This piece can be performed as part of a flute ensemble concert or used pedagogically in chamber music training contexts.

Poem and Dance, Op. 6

Flute

Instrumentation: Band
Duration: 8 min
Level: Intermediate 
Includes: Score and parts
Program Note:
Commissioned by the Filarmónica Instrução e Recreio de Abrunheira, this work celebrates the 50th anniversary of the band’s rebirth.
Originally founded in 1881, the ensemble experienced a period of silence before being revived after the Portuguese Revolution of April 1974 — a time of renewed cultural vitality.
The piece unfolds as a symbolic journey from darkness to light: an opening of introspection, an energetic fanfare of awakening, and a jubilant allegro representing the youthful spirit that ensures the band’s enduring legacy.

Fenix, Op. 96

Instrumentation: Band
Duration: 4' 
Level: Medium Easy
Year of Composition: 2020
Program Note:
After several works for large ensembles and even an opera, writing for a younger ensemble felt refreshing.
I wanted to apply the compositional techniques developed in my recent works, using an old theme from my sketchbooks, itself inspired by a poem by Sophia de Mello Breyner Andresen about the deep sea, reefs, and jellyfish — portrayed with pure, luminous words.
Rather than illustrating the poem, the music uses its rhythmic and structural essence, as if it were written for a choir.
Still, both players and listeners might sense the floating movement of jellyfish and other sea creatures, gliding playfully through the safety of coral reefs.

Corals&Jellyfish, Op. 50

Instrumentation: Tenor Saxophone and Piano
Duration: 12’
Level: Intermediate
Program Note:
Originally written for Duo Reencontros (Sofia Brito, oboe, and Ingrid Sotolarova, piano), this sonatina is a reimagining of my Trio Sonata, Op. 19, which featured an extended English horn solo.
It represents a turning point in my path—from a self-taught composer to a formally trained one—and was the work that earned me a composer residency with the Cascais and Oeiras Chamber Orchestra.
After the tragic passing of oboist Samuel Bastos, I revisited this solo with the intention of giving it a new life. This tenor saxophone version stands as both a tribute and a transformation—an elegy reborn through a different voice.
This version for tenor sax and piano

Sonatina for tenor sax and piano, Op. 46b

Tenor Sax Solo with Piano

Duets for Tuba or Euphonium and Tuba
Instrumentation: Tuba or Euphonium and Tuba
Duration: 9 minutes
Level: Easy to Intermediate
Score and parts included
Program Note:
These short duos are, in my opinion, a valuable addition to the chamber music repertoire for tuba.
They are easy, contrasting pieces in which the dialogue between the two performers is clear and engaging.
This work was commissioned by and dedicated to my colleagues Pedro Henriques and Pedro Santos, who at the time were students at the Caldas da Rainha Conservatory, in Professor Adélio Carneiro’s tuba class.

Duets for Three-Valve Bass or Tuba, Op. 3

Tuba/Euphonium Duet

For Tuba and Piano
Duration: 8’
Level: Advanced
Includes: Score and parts
Program Note:
A piece for (virtuoso) tuba and piano, in two movements — slow and fast.
In the summer of 2017, Portugal experienced an inferno of flames. The human and environmental tragedy was overwhelming, filling us with images of devastation and sorrow.
During that same time, I was invited to write a piece for tuba and piano by the great virtuoso Sérgio Carolino, one of the finest ambassadors of Portuguese music.
Combining Sérgio’s deeply human side with the imagery that haunted me, this sonatina was born — a musical reflection on destruction and renewal, where the tuba becomes a voice of resilience and humanity. PAX

Sonatina for tuba and piano, Op. 32

Tuba Solo with Piano

Duets for Double Bass
Instrumentation: Double Bass Duo 
Duration: 9 minutes
Level: Easy to Intermediate
Score and parts included
Program Note:
These short duos are, in my opinion, a valuable addition to the chamber music repertoire for low instruments.
They are easy, contrasting pieces in which the dialogue between the two performers is clear and engaging.
Originally commissioned by and dedicated to my colleagues Pedro Henriques and Pedro Santos, who at the time were students at the Caldas da Rainha Conservatory in Professor Adélio Carneiro’s tuba class, the work was later adapted for double reeds and double bass duo, keeping the same musical spirit and balance between both voices.

Duets  for   Double Bass, Op. 3c

Duet

Small Double Reed Quartet, score and parts.
4 minutes
This small piece of music is the very beginning of a serie of works I intend to write for identical instrument quartets/ensembles.
It’s ideal for fresh and young chamber music groups inside a chamber music class or to play in larger ensembles be-cause of its simple vertical writing.
The first part “Poem” suggests a very soft and delicate sonority.
The following “Danse” is a little bit like the music of a small and portable hand organ in which we constantly give the crank so that the music does not stop playing.
Original version for flute quartet.

Poem and Dance, Op. 6c

Double Reed Quartet

Although the pasodoble is often associated with Spanish culture, there are regions in Portugal — particularly Ribatejo — where this tradition is deeply rooted. As a native of Ribatejo myself, I recognize this affinity in the band of Coruche and in its conductor.
I was asked to write a simple and straightforward pasodoble de cortesía, without the customary trumpet solo, to mark their debut at the Praça Monumental do Sorraia — hence the title.
This piece was commissioned by the Sociedade Instrução Coruchense and its conductor, Carlos Silva.

Monumental do Sorraia, Op. 61

Suite for tenor sax and piano
Duration: 10 min in 6 movements | Year: 2022 | Commission: AIDuo (Artur Mendes &amp; Iryna Brazhnik)
Program Note:
Among my works, this is perhaps the one that changed most during its creation. The turning point came with the passing of composer João-Heitor Rigaud, whose memory inspired the opening Aria.
Structured as a modern Baroque suite in six movements, it reimagines dances for an instrument that didn’t yet exist in that era.
Commissioned by AIDuo to celebrate their 10th anniversary and featured on the album Meeting Point, the work is both a homage and an invitation for the saxophone and piano to “dance a little.”
Also for Tenor/Soprano Sax and string orchestra

Suite, Op. 58

Instrumentation: Band | Duration: 14’ | Level: Medium-Advanced | Year: 2018
Program Note:
This piece was commissioned by the Banda Marcial de Fermentelos on the occasion of its 150th anniversary.
Inspired by the spirit of opera overture transcriptions and symphonic movements that shaped the band repertoire of the Romantic period — precisely the time of the BMF’s founding — this work evokes the textures and orchestral colours of composers such as Rimsky-Korsakov, Liszt, Wagner, and Bruckner.
A reference to Tchaikovsky is inevitable, not only for his musical language but also for the idea behind the title, recalling the famous 1812 Overture, a regular presence in the archives of Northern Portuguese bands.

1868, Op. 31

Festive overture for Concert Band | Duration: 5’ | Level: Medium| Year: 2024
Program Note:
Commissioned by the Banda Musical e Recreativa de Penalva do Castelo to mark its 200th anniversary (1825–2025), this work musically portrays key moments from the ensemble’s long history.
The opening motif, based on the notes Bb–F–D–B, symbolically encodes the year of its founding, 1825. With bright orchestration reminiscent of Suppé’s Light Cavalry Overture, it nods to the band’s own repertoire traditions.
Sections of tension and reconciliation follow, representing times of division and unity, leading into a calm yet martial trio that alludes to the band’s historical connection with the Portuguese Legion.
The finale brings all themes together in a grand, jubilant conclusion — a fitting tribute to two centuries of music, resilience, and community.

Castendo, Op. 89

Global Sections - CORE [DO NOT TOUCH]*

Favicon

Need Help? Contact Us or call 1-800-345-6296    Live Chat

Header

Don't have a business account? Create one

Products