Highly proficient technically, Paulino do Sacramento wrote the tango brasileiro “Pierrô,” which remained simply because an ultimate test to get a trumpeter. Catulo da Paixão Cearense’s verses for his tune “O Marroeiro” had been later taken in to the questionable “Pelo Telefone,” allegedly the initial recorded samba. As well as Chiquinha Gonzaga, Paulino was the most energetic conductor from the musical movie theater of his period. His tango brasileiro “Vatapá,” that was a big strike, was documented through Columbia in the 10 years of 1900. He was modern, friend, and afterwards disciple of conductor Francisco Braga. They performed together on the band from the Lar dos Meninos Desvalidos and Paulino been successful Braga on the conduction of this music group. In 1898, Paulino had written the tracks for Artur Azevedo’s revue Jagunço. In the movie theater, he collaborated with well-known libretto authors like Bastos Tigre (O Maxixe), João Foca, Raul Pederneiras, Catulo da Paixão Cearense (O Marroeiro), amongst others, and constructed a popularity as composer and conductor. In 1904, he was conductor from the Companhia Silva Pinto e Colás; within the next season, he was the conductor of Companhia Segreto e Souza, and, in 1906, from the Companhia perform Teatro São José. In 1912, he had written the music for the revue O Rio Civiliza-se. In 1915, he had written the music for the revue O Samba (Álvaro Colás). He was the conductor from the Companhia Nacional de Operetas e Melodramas between 1920 and 1921 and, within the next season, from the Companhia de Revistas e Burletas F. Marzullo, also directing the choir from the Teatro Carlos Gomes.