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Sérgio Charrinho


Sérgio Charrinho


Sergio Charrinho Born in Lisbon, he began his musical studies with his father at the Banda da Sociedade Musical Nisense. He studied trumpet with José Pereira at the Portalegre Regional Conservatory, at the Beira Interior Professional School of Arts with Fernando Jorge Ribeiro, and the Hector Berlioz Conservatory, in Paris, with Bruno Nouvion. He completed his Master’s degree at Universidade Lusíada in 2015 and the Title of Specialist in the field of music – trumpet in 2019 at Academia Nacional Superior de Orquestra. He is a doctoral student at FCSH at Universidade Nova de Lisboa. He won the Young Musicians Prize competition in the Chamber Music category with the Harmon Brass brass quintet. He is a founding member of the trumpet quintet Almost6, with which he edited the CD Sopros em Laboratório and organizes the Almost6 International Trumpet Festival. He was a teacher at the Professional School of Arts in Beira Interior, at the Professional School of Music in Espinho. He has conducted several trumpet masterclasses in Portugal and participated in several national and international competition juries. He guided teacher training in 2021 and 2022 at the Portuguese Association of Musical Education on Strategies for Teaching Brass Instruments. He has played the role of 1st trumpet in the Orquestra Metropolitana de Lisboa since January 2003 and is a professor at the Academia Nacional Superior de Orquestra. He is a Yamaha artist, collaborating in several performative and academic actions for the brand.


Orientador – Manuel Pedro Ferreira; co-orientador Rui Magno Pinto


The Cornet in Portugal: between 1842 and 1904. This investigation aims to identify the changes that occurred in Portuguese musical society, in the course of the 19th century, through the cornet. The history of the cornet in Portugal is divided into three aspects: the repertoire, identifying and analyzing the forms of writing for a new solo instrument and its integration within the different groupings, characterizing musical practice; of teaching, contextualizing its emergence and identifying possible methodologies; and national construction, relating the emergence of construction with the increase in interest and demand for the cornet. The work is divided into four chapters:

Chapter I – Cornet, the new solo instrument (1842 – 1904), which will have four sub-chapters: New musical milieu in Lisbon, Soloist repertoire, Portuguese cornetists and the importance of Jean Baptiste Arban’s visit to Portugal.

Chapter II – The teaching of the cornet in Portugal; Teachers and Methodology.

Chapter III – The construction of the cornet in Portugal; the role of the cornet in the evolution of construction and the new paradigm of instrument construction.

Chapter IV – Compositional differential associated with the cornet, divided into Band, Orchestra and Chamber Music.