Jobim, Antonio Carlos ["Tom"] .

the full orchestral score, together with the separate harp part, notated for "Canto, Guitarra, Flautas, Trompas, Tromb[ones], Clarone, Harpa, Violino (1-2 and 3-4), Violas, Cell[os], [and] Bassa", notated in pencil on fourteen staves per page, with the detailed orchestration annotated throughout including indications for Bat[eria, i.e. percussion] and piano, the tuning for the harp, the pizzicato in the bass, with deletions and revisions ("nâo executem êstes 4 compassos"), the voice (without words) and guitar parts written on paper affixed to the top margin, the singer's name inscribed by the composer at the reprise ("Elizete [Cardoso]"), and the name of the poet faintly at the head of the manuscript ("Vinícius de Moraes"), and the harp part inscribed by Jobim "Chega de saudade"



20 pages, mainly large folio (c.38 x 23cms), on 12-stave paper extended to 14 stave with strips of manuscript paper glued to the top margin, [Rio de Janeiro, 1958], foxing and staining, some repairs with translucent adhesive tape

Elizete Cardoso, the soprano who recorded the song in 1958:  her ink inscription on the first page "Propriedade de Elizete Cardoso"

Ruy Castro, Bossa Nova. The Story of The Brazilian Music That Seduced the World. (Chicago, 1990), 'One Minute and Fifty-Nine Seconds That Changed Everything', pp.126-144.

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This song is a classic of twentieth-century popular music. 

Composers' autograph scores of popular music are of the greatest rarity.  They rarely survive even in libraries and are almost never offered for public sale. We have no record of a manuscript of similar historical and musical importance in the field of popular music being offered for sale at auction.  

Generally, full scores of  popular music were written by anonymous arrangers. Even the melodies of such repertory were usually  transcribed by someone other than the artist and all that survives in the hand of the "star" is the lyrics (or words).  This however is the complete orchestral full score in the hand of the composer Tom Jobim (1927-1994), and its appearance at auction represents a remarkable opportunity to acquire a piece of musical history.  Tom Jobim was also the composer of "Garota de Ipanema" ("The Girl from Ipanema") (1962), the most famous of all bossa nova songs.

"Chega de saudade" is considered to be the first bossa nova song. Like "Outra vez", it was composed by Tom Jobim for the album "Cançâo do amor demais"  ("Song of excessive love"), designed and produced by the poet Vinícius de Moraes and recorded in April 1958.  This was the pair's first album and started the "Bossa Nova" sound. The singer was Elizete Cardoso, from whose estate this manuscript derives. The bossa nova style was characterized by the equal prominence given to the voice and the complex and subtle accompaniment.  This song also features the alternation of minor and major modes which is another characteristic of the bossa nova.

This song and "Outra Vez", were the only pieces on the album to feature the  distinctive guitar playing by Joâo Gilberto, whose remarkable rhythms became a characteristic of the "Bossa Nova" sound. The present manuscript records Jobim's guitar harmonies but not  Gilberto's rhythms, which were evidently contributed ad libitum, and which also marked his subsequent solo 78rpm disk entitled "Chega de saudade" (1959).  This however is the complete vocal and orchestral arrangement as heard on the original album, which has been recently re-issued. The music was published in vocal score in 1962, but not with the full instrumentation found here.