Herivelto Martins (September 15 1905 – October 14 1992) was a Brazilian composer, singer, and lyricist, notable for his contributions to popular music in Brazil during the mid‑20th century. He is best known as a founding member of the vocal group Trio de Ouro, which achieved widespread popularity on radio and in recordings throughout the 1940s and 1950s.
Early life and education
Herivelto Martins was born in Rio de Janeiro, Brazil. Information regarding his formal musical education is not extensively documented; however, his early involvement in Rio’s burgeoning music scene suggests he acquired his skills through practical experience and participation in local musical ensembles.
Career
-
Songwriting: Martins composed numerous songs that became standards of Brazilian popular music (MPB). Among his most enduring works are “Ave‑Maria do Morro,” “Jogo de Amor,” and “Branca de Neve.” His compositions often combined lyrical romance with elements of samba and bolero, reflecting the musical trends of his era.
-
Trio de Ouro: In 1937, Martins co‑founded the vocal trio Trio de Ouro with Nilo Chagas and later joined by a series of female vocalists, most prominently Dalva de Oliveira. The group’s harmonized performances and radio appearances contributed significantly to the popularization of Brazilian popular song (Música Popular Brasileira) domestically and abroad.
-
Recordings and performances: Throughout the 1940s and 1950s, Martins recorded for major Brazilian labels such as RCA Victor and Columbia. He also performed extensively on Brazilian radio programs, which were the principal medium for popular music dissemination at the time.
-
Later years: After the decline of the trio’s popularity in the late 1950s, Martins continued to write and occasionally performed as a solo artist. He remained active in the Brazilian music industry until his death in 1992.
Legacy
Herivelto Martins is recognized as an influential figure in the development of mid‑century Brazilian popular music. His songs have been covered by subsequent generations of Brazilian artists, and his role in establishing the successful vocal trio format contributed to the evolution of group vocal performance in Brazil. Scholarly works on Brazilian music history frequently cite his contributions to the repertoire of the era.