Paulo Castagna
Paulo Castagna is professor and researcher at Institute of Arts, São Paulo State University (UNESP) since 1994, collaborator at Music Museum of Mariana since 2001, researcher at National Council for Scientific and Technological Development (CNPq) since 2007, member of the Advisory Council at CEREM Foundation (São João del-Rei - MG) since 2013 and the coordinator of the agreement between UNESP and Fundação Theatro Municipal de São Paulo to the cataloging of the Musicographic Collection of the Dramatic and Musical Conservatory of São Paulo, since 2022. Castagna holds bachelor’s, master’s and doctorate degrees from the University of São Paulo (USP) and received research scholarships from National Council for Scientific and Technological Development (CNPq), National Foundation of Arts (FUNARTE), São Paulo Research Foundation (FAPESP) and VITAE Foundation. He coordinated musicological projects in São Paulo and Minas Gerais states, and organized musicology meetings in several Brazilian cities, producing musical scores, books and articles on historical musicology, as well as courses, conferences, radio and television programs, and musicological research for the recording of CDs. More information: https://paulocastagna.com
Paulo Castagna es profesor e investigador en el Instituto de Artes de la Universidad Estatal de São Paulo (UNESP) desde 1994, colaborador en el Museo de Música de Mariana desde 2001, investigador en el Consejo Nacional para el Desarrollo Científico y Tecnológico (CNPq) desde 2007, miembro del Consejo Asesor en la Fundación CEREM (São João del-Rei - MG) desde 2013 y el coordinador del convenio entre la UNESP y la Fundação Theatro Municipal de São Paulo para la catalogación del Fondo Musicográfico del Conservatorio Dramático y Musical de São Paulo, desde 2022. Castagna tiene títulos de licenciatura, maestría y doctorado de la Universidad de São Paulo (USP) y recibió becas de investigación del Consejo Nacional para el Desarrollo Científico y Tecnológico (CNPq), Fundación Nacional de Arte (FUNARTE), Fundación de Investigación de São Paulo (FAPESP) y Fundación VITAE. Coordinó proyectos musicológicos en los estados de São Paulo y Minas Gerais, y organizó reuniones de musicología en varias ciudades brasileñas, produciendo partituras, libros y artículos sobre musicología histórica, así como cursos, conferencias, programas de radio y televisión, e investigación musicológica para la grabación de CDs. Más información: https://paulocastagna.com
Paulo Castagna é graduado e mestre pela Escola de Comunicações e Artes da Universidade de São Paulo (Brasil) e Doutor pela Faculdade de Filosofia e Ciências Humanas da mesma universidade, além de graduado em Biologia no Instituto de Biociências da USP. É professor e pesquisador do Instituto de Artes da UNESP desde 1994, produzindo partituras, livros, artigos, cursos, conferências, programas de rádio e televisão na área de musicologia histórica, e coordenando a pesquisa musicológica para a gravação de CDs. É colaborador do Museu da Música de Mariana desde 2001, pesquisador do CNPq (bolsista PQ) desde 2007, membro do Conselho Consultivo da Fundação CEREM (Centro de Referência Musicológica José Maria Neves) desde 2013 e coordenador do convênio entre a UNESP e a Fundação Theatro Municipal de São Paulo para a catalogação da Coleção Musicográfica do antigo Conservatório Dramático e Musical de São Paulo, a partir de 2022. Participa de encontros de musicologia na América Latina, Europa e Estados Unidos desde 1987, tendo coordenado vários deles no Brasil. Dedica-se à musicologia histórica, tendo produzido partituras, livros, capítulos e artigos, cursos e conferências, coordenando a pesquisa musicológica para a gravação de CDs e participando da elaboração de programas de rádio e televisão. Mais informações: https://paulocastagna.com
Supervisors: Google Scholar, IMSLP, Fapesp, Anppom, ORCID, Lattes, Researcher ID, VIAF, Travessa, Escavador, and Webblog
Phone: PABX: (55-11) 3393-8546
Address: Instituto de Artes da Unesp / Depto. de Música
Rua Dr. Bento Teobaldo Ferraz, 271
(Barra Funda)
01140-070 – São Paulo – SP
Brasil
http://www.ia.unesp.br/serv/fones.php
Paulo Castagna es profesor e investigador en el Instituto de Artes de la Universidad Estatal de São Paulo (UNESP) desde 1994, colaborador en el Museo de Música de Mariana desde 2001, investigador en el Consejo Nacional para el Desarrollo Científico y Tecnológico (CNPq) desde 2007, miembro del Consejo Asesor en la Fundación CEREM (São João del-Rei - MG) desde 2013 y el coordinador del convenio entre la UNESP y la Fundação Theatro Municipal de São Paulo para la catalogación del Fondo Musicográfico del Conservatorio Dramático y Musical de São Paulo, desde 2022. Castagna tiene títulos de licenciatura, maestría y doctorado de la Universidad de São Paulo (USP) y recibió becas de investigación del Consejo Nacional para el Desarrollo Científico y Tecnológico (CNPq), Fundación Nacional de Arte (FUNARTE), Fundación de Investigación de São Paulo (FAPESP) y Fundación VITAE. Coordinó proyectos musicológicos en los estados de São Paulo y Minas Gerais, y organizó reuniones de musicología en varias ciudades brasileñas, produciendo partituras, libros y artículos sobre musicología histórica, así como cursos, conferencias, programas de radio y televisión, e investigación musicológica para la grabación de CDs. Más información: https://paulocastagna.com
Paulo Castagna é graduado e mestre pela Escola de Comunicações e Artes da Universidade de São Paulo (Brasil) e Doutor pela Faculdade de Filosofia e Ciências Humanas da mesma universidade, além de graduado em Biologia no Instituto de Biociências da USP. É professor e pesquisador do Instituto de Artes da UNESP desde 1994, produzindo partituras, livros, artigos, cursos, conferências, programas de rádio e televisão na área de musicologia histórica, e coordenando a pesquisa musicológica para a gravação de CDs. É colaborador do Museu da Música de Mariana desde 2001, pesquisador do CNPq (bolsista PQ) desde 2007, membro do Conselho Consultivo da Fundação CEREM (Centro de Referência Musicológica José Maria Neves) desde 2013 e coordenador do convênio entre a UNESP e a Fundação Theatro Municipal de São Paulo para a catalogação da Coleção Musicográfica do antigo Conservatório Dramático e Musical de São Paulo, a partir de 2022. Participa de encontros de musicologia na América Latina, Europa e Estados Unidos desde 1987, tendo coordenado vários deles no Brasil. Dedica-se à musicologia histórica, tendo produzido partituras, livros, capítulos e artigos, cursos e conferências, coordenando a pesquisa musicológica para a gravação de CDs e participando da elaboração de programas de rádio e televisão. Mais informações: https://paulocastagna.com
Supervisors: Google Scholar, IMSLP, Fapesp, Anppom, ORCID, Lattes, Researcher ID, VIAF, Travessa, Escavador, and Webblog
Phone: PABX: (55-11) 3393-8546
Address: Instituto de Artes da Unesp / Depto. de Música
Rua Dr. Bento Teobaldo Ferraz, 271
(Barra Funda)
01140-070 – São Paulo – SP
Brasil
http://www.ia.unesp.br/serv/fones.php
less
InterestsView All (32)
Uploads
Books by Paulo Castagna
Key words: Sacred music; Musicographic sources; Manuscripts; Authorship; Cataloguing Rules.
Resumo. Adotando como problema da pesquisa a falta de trabalhos anteriores que tenham estabelecido com precisão quais foram as obras realmente escritas por João de Deus de Castro Lobo (Vila Rica, 08/03/1794 – Mariana, 26/01/1832), esta tese assumiu a tarefa de catalogar as possíveis composições remanescentes deste autor, localizadas em fontes musicográficas manuscritas pertencentes ao maior número possível de acervos históricos, o que envolveu a pesquisa em 90 acervos em vários estados brasileiros, a descrição e análise crítica das cerca de 950 fontes localizadas e a avaliação do nível de possibilidade de autoria de Castro Lobo para cada uma das obras catalogadas, uma vez que não foi indubitavelmente constatada a existência de autógrafos deste músico e nem localizada uma relação autografa, coeva ou autorizada de suas peças. A descrição das obras e documentos musicográficos foi realizada na forma de um catálogo crítico e temático, a partir da metodologia internacionalmente adotada para esse tipo de trabalho e fundamentada no estudo analítico de catálogos internacionais e brasileiros da obra de compositores. Além da aplicação das soluções mais eficazes que a bibliografia oferece para a solução de cada problema desta pesquisa, foi criado um sistema próprio de classificação do nível de possibilidade de autoria de cada composição catalogada, a partir da análise de evidências internas (das obras) e externas (das fontes), da pesquisa das informações históricas disponíveis e dos trabalhos já realizados sobre a música deste compositor. Considerando-se a impossibilidade de determinação das obras de autoria certa de João de Deus de Castro Lobo, em função da falta de documentos probatórios (especialmente os autógrafos musicográficos e relações autorizadas de suas obras), as conclusões técnicas do catálogo indicam a existência de 26 obras de autoria provável, 5 de autoria possível, 7 de autoria duvidosa, 14 de autoria improvável, duas obras resultantes de contrafação post- mortem e uma resultante de permutação post-mortem, tendo em vista que cada uma das obras catalogadas pode tratar-se de uma unidade cerimonial (a música para uma cerimônia completa) ou de uma unidade funcional (a música para cada uma das partes da cerimônia). As conclusões musicológicas, no entanto, são a menor existência de obras, documentos e evidências do que as expectativas que existiam na bibliografia a respeito, mas cujo estudo resultou na dissolução de falsas certezas e na primazia das informações verificáveis na documentação musicográfica e administrativa, em uma visão mais científica e realista, de aplicação mais eficaz no estudo das obras deste e de outros compositores brasileiros do passado.
Palavras-chave: Música sacra; Fontes musicográficas; Manuscritos; Autoria; Normas de catalogação.
Palavras-chave. Fernand Jouteux; Música; Coleção Documental; Tratamento arquivístico; Disponibilização.
A produção musical religiosa em São Paulo e Minas Gerais, nos séculos XVIII e XIX, tem sido estudada a partir da concepção de que foram empregados estilos únicos em determinadas épocas e regiões. Neste trabalho pretende-se demonstrar a existência, em acervos paulistas e mineiros de manuscritos musicais, de obras religiosas em estilo antigo, que exibem a manutenção de técnicas composicionais da música renascentista européia (século XVI), mas foram produzidas e/ou copiadas nos séculos XVIII e XIX: suas características são contrastantes com as das obras em estilo moderno do mesmo período, que utilizam técnicas originárias da ópera e da música instrumental profana. Após um levantamento em dez acervos, foram descritas e estudadas cento e quarenta e cinco composições em estilo antigo, procurando-se compreender suas principais características e sua função na prática musical religiosa paulista e mineira desse período. Além de terem sido detectados três sistemas de notação musical e vários tipos de composição para a mesma função cerimonial, concluiu-se que o estilo antigo concentra-se em cópias sem indicação de autoria, principalmente destinadas à Semana Santa, e que este não foi utilizado, em São Paulo e Minas Gerais, como mera alternativa estética, mas sim como uma forma conservadora de respeito às prescrições litúrgicas. Por ainda possuírem função nas cerimônias católicas, também foram copiadas, nessa época, composições em estilo antigo produzidas na Europa (especialmente em Portugal), em período anterior ao século XVIII."
A produção musical religiosa em São Paulo e Minas Gerais, nos séculos XVIII e XIX, tem sido estudada a partir da concepção de que foram empregados estilos únicos em determinadas épocas e regiões. Neste trabalho pretende-se demonstrar a existência, em acervos paulistas e mineiros de manuscritos musicais, de obras religiosas em estilo antigo, que exibem a manutenção de técnicas composicionais da música renascentista européia (século XVI), mas foram produzidas e/ou copiadas nos séculos XVIII e XIX: suas características são contrastantes com as das obras em estilo moderno do mesmo período, que utilizam técnicas originárias da ópera e da música instrumental profana. Após um levantamento em dez acervos, foram descritas e estudadas cento e quarenta e cinco composições em estilo antigo, procurando-se compreender suas principais características e sua função na prática musical religiosa paulista e mineira desse período. Além de terem sido detectados três sistemas de notação musical e vários tipos de composição para a mesma função cerimonial, concluiu-se que o estilo antigo concentra-se em cópias sem indicação de autoria, principalmente destinadas à Semana Santa, e que este não foi utilizado, em São Paulo e Minas Gerais, como mera alternativa estética, mas sim como uma forma conservadora de respeito às prescrições litúrgicas. Por ainda possuírem função nas cerimônias católicas, também foram copiadas, nessa época, composições em estilo antigo produzidas na Europa (especialmente em Portugal), em período anterior ao século XVIII.
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He worked for about twenty years in São João del-Rei (MG), but his place of birth or death is not known, despite a strong possibility that he was Portuguese. João de Deus de Castro Lobo (volume 5), in turn, was born, worked, and died in Minas Gerais, while Gabriel Fernandes da Trindade (volume 6) was born in Ouro Preto (MG) but spent most of his life in Rio de Janeiro (RJ), where he died.
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He worked for about twenty years in São João del-Rei (MG), but his place of birth or death is not known, despite a strong possibility that he was Portuguese. João de Deus de Castro Lobo (volume 5), in turn, was born, worked, and died in Minas Gerais, while Gabriel Fernandes da Trindade (volume 6) was born in Ouro Preto (MG) but spent most of his life in Rio de Janeiro (RJ), where he died.
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
Papers by Paulo Castagna
Palavras-chave: Compêndio teórico. Solfejo. Pernambuco. Francisco Januário Tenório (c. 1770-entre 1831-1835). Tomás da Cunha Lima Cantuária (1800-1878).
Title. The permanence of Luís Álvares Pinto’s (1719-ca. 1789) heptachordal solfeggio in two 19th century Pernambuco music “arts”
Abstract: This chapter is intended to understand the history, content and meaning of two small works on theoretical music written in Recife (Brazil) in the first half of the 19th century, which belong to the Archaeological, Historical and Geographical Institute of Pernambuco (IAHGP): “Arte de solfejar” (1820s), by Francisco Januário Tenório (ca. 1770-between 1831-1835), and “Arte de Música” (1837), possibly written by Tomás da Cunha Lima Cantuária (1800-1878), documents whose existence was revealed by Jaime Cavalcanti Diniz in the third volume of Músicos pernambucanos do passado (1979). Besides the clarifying of historical facts regarding the documents and the people involved in their production and preservation, comparisons were made between the content of these works, in addition to comparisons with other Brazilian musical compendia, considering the hypotheses by Jaime Diniz, according to which, the “Arte de Música” of 1837 would be a reduction of “Arte de solfejar” by Francisco Januário Tenório, and this work would have been constructed from information of the manuscript “Arte de solfejar” (1761) by Luís Álvares Pinto (1719-ca. 1789), manuscript of the National Library of Portugal (Lisbon), published by the same musicologist. The analyzes revealed that “Arte de solfejar” by Francisco Januário Tenório was actually based on “Músico e moderno sistema para solfejar sem confusão” (1776), also written by Luís Álvares Pinto (manuscript that belongs to the descendants of the Brazilian imperial family, Petrópolis-RJ, Brazil), a work that was not known by Jaime Diniz; and that “Arte de música” of 1837 may have been the first or second edition of “Arte de música” or “Pequena arte de música” by Tomás da Cunha Lima Cantuária, possibly launched in 1836, with reprints announced in Pernambuco newspapers from at least 1853 to 1916.
Keywords: Theoretical compendium. Solfeggio. Pernambuco (Brazil). Francisco Januário Tenório (circa 1770 - between 1831-1835). Tomás da Cunha Lima Cantuária (1800-1878).
Palavras-chave. Musicologia. Arquivos. Coleções. Musicotecas. Fontes musicográficas.
Title. Musical collections of the Southeast Region of Brazil
Abstract. Considering the need for primary sources, especially musicographic documents, for the research related to history of music, this chapter presents a basic list of the main collections with sources of this type in each of the states of Southeast Brazil, based on guides and works already carried out on this subject. In addition to this, the chapter presents some aspects related to the typology of institutions, collections, and sources of musical interest, and to the formation of musical collections in Brazil, as well as a brief history of the methods of reproduction and dissemination of information, auxiliary to historical and musicological research.
Keywords. Musicology. Archives. Collections. Music libraries. Musicographic sources.
Palavras-chave: Manuscrito. Dicionário. Léxico. Biografia. Efeméride.
Public availability of a century-old manuscript: Música e Musicistas (1922), by José de Athayde Marcondes (1863-1924)
Abstract: The objective of this article is to present the manuscript Música e Musicistas (1922) by José de Athayde Marcondes (1863-1924), reevaluate its relevance for musicological research in contemporary times, and understand its significance within the panorama of Brazilian and Portuguese works on music published during Marcondes lifetime. To achieve this, the manuscript was first physically examined and photographed at the custodial institution (the Centro de Memória Barão Homem de Mello in Pindamonhangaba – SP). This was followed by an investigation into its origins, using available historical information and comparing it with other works by the same author and similar books in the Portuguese language. The study concludes that Música e Musicistas was the most complete work on the subject written in Brazil up to that point, and it remains a significant source for the research of the musical activity in Brazil, especially in the State of São Paulo, due to the inclusion of entries on many composers and performers not considered in similar publications in the Portuguese language.
Keywords: Manuscript. Dictionary. Lexicon. Biography. Ephemeris.
Key words: Sacred music; Musicographic sources; Manuscripts; Authorship; Cataloguing Rules.
Resumo. Adotando como problema da pesquisa a falta de trabalhos anteriores que tenham estabelecido com precisão quais foram as obras realmente escritas por João de Deus de Castro Lobo (Vila Rica, 08/03/1794 – Mariana, 26/01/1832), esta tese assumiu a tarefa de catalogar as possíveis composições remanescentes deste autor, localizadas em fontes musicográficas manuscritas pertencentes ao maior número possível de acervos históricos, o que envolveu a pesquisa em 90 acervos em vários estados brasileiros, a descrição e análise crítica das cerca de 950 fontes localizadas e a avaliação do nível de possibilidade de autoria de Castro Lobo para cada uma das obras catalogadas, uma vez que não foi indubitavelmente constatada a existência de autógrafos deste músico e nem localizada uma relação autografa, coeva ou autorizada de suas peças. A descrição das obras e documentos musicográficos foi realizada na forma de um catálogo crítico e temático, a partir da metodologia internacionalmente adotada para esse tipo de trabalho e fundamentada no estudo analítico de catálogos internacionais e brasileiros da obra de compositores. Além da aplicação das soluções mais eficazes que a bibliografia oferece para a solução de cada problema desta pesquisa, foi criado um sistema próprio de classificação do nível de possibilidade de autoria de cada composição catalogada, a partir da análise de evidências internas (das obras) e externas (das fontes), da pesquisa das informações históricas disponíveis e dos trabalhos já realizados sobre a música deste compositor. Considerando-se a impossibilidade de determinação das obras de autoria certa de João de Deus de Castro Lobo, em função da falta de documentos probatórios (especialmente os autógrafos musicográficos e relações autorizadas de suas obras), as conclusões técnicas do catálogo indicam a existência de 26 obras de autoria provável, 5 de autoria possível, 7 de autoria duvidosa, 14 de autoria improvável, duas obras resultantes de contrafação post- mortem e uma resultante de permutação post-mortem, tendo em vista que cada uma das obras catalogadas pode tratar-se de uma unidade cerimonial (a música para uma cerimônia completa) ou de uma unidade funcional (a música para cada uma das partes da cerimônia). As conclusões musicológicas, no entanto, são a menor existência de obras, documentos e evidências do que as expectativas que existiam na bibliografia a respeito, mas cujo estudo resultou na dissolução de falsas certezas e na primazia das informações verificáveis na documentação musicográfica e administrativa, em uma visão mais científica e realista, de aplicação mais eficaz no estudo das obras deste e de outros compositores brasileiros do passado.
Palavras-chave: Música sacra; Fontes musicográficas; Manuscritos; Autoria; Normas de catalogação.
Palavras-chave. Fernand Jouteux; Música; Coleção Documental; Tratamento arquivístico; Disponibilização.
A produção musical religiosa em São Paulo e Minas Gerais, nos séculos XVIII e XIX, tem sido estudada a partir da concepção de que foram empregados estilos únicos em determinadas épocas e regiões. Neste trabalho pretende-se demonstrar a existência, em acervos paulistas e mineiros de manuscritos musicais, de obras religiosas em estilo antigo, que exibem a manutenção de técnicas composicionais da música renascentista européia (século XVI), mas foram produzidas e/ou copiadas nos séculos XVIII e XIX: suas características são contrastantes com as das obras em estilo moderno do mesmo período, que utilizam técnicas originárias da ópera e da música instrumental profana. Após um levantamento em dez acervos, foram descritas e estudadas cento e quarenta e cinco composições em estilo antigo, procurando-se compreender suas principais características e sua função na prática musical religiosa paulista e mineira desse período. Além de terem sido detectados três sistemas de notação musical e vários tipos de composição para a mesma função cerimonial, concluiu-se que o estilo antigo concentra-se em cópias sem indicação de autoria, principalmente destinadas à Semana Santa, e que este não foi utilizado, em São Paulo e Minas Gerais, como mera alternativa estética, mas sim como uma forma conservadora de respeito às prescrições litúrgicas. Por ainda possuírem função nas cerimônias católicas, também foram copiadas, nessa época, composições em estilo antigo produzidas na Europa (especialmente em Portugal), em período anterior ao século XVIII."
A produção musical religiosa em São Paulo e Minas Gerais, nos séculos XVIII e XIX, tem sido estudada a partir da concepção de que foram empregados estilos únicos em determinadas épocas e regiões. Neste trabalho pretende-se demonstrar a existência, em acervos paulistas e mineiros de manuscritos musicais, de obras religiosas em estilo antigo, que exibem a manutenção de técnicas composicionais da música renascentista européia (século XVI), mas foram produzidas e/ou copiadas nos séculos XVIII e XIX: suas características são contrastantes com as das obras em estilo moderno do mesmo período, que utilizam técnicas originárias da ópera e da música instrumental profana. Após um levantamento em dez acervos, foram descritas e estudadas cento e quarenta e cinco composições em estilo antigo, procurando-se compreender suas principais características e sua função na prática musical religiosa paulista e mineira desse período. Além de terem sido detectados três sistemas de notação musical e vários tipos de composição para a mesma função cerimonial, concluiu-se que o estilo antigo concentra-se em cópias sem indicação de autoria, principalmente destinadas à Semana Santa, e que este não foi utilizado, em São Paulo e Minas Gerais, como mera alternativa estética, mas sim como uma forma conservadora de respeito às prescrições litúrgicas. Por ainda possuírem função nas cerimônias católicas, também foram copiadas, nessa época, composições em estilo antigo produzidas na Europa (especialmente em Portugal), em período anterior ao século XVIII.
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He worked for about twenty years in São João del-Rei (MG), but his place of birth or death is not known, despite a strong possibility that he was Portuguese. João de Deus de Castro Lobo (volume 5), in turn, was born, worked, and died in Minas Gerais, while Gabriel Fernandes da Trindade (volume 6) was born in Ouro Preto (MG) but spent most of his life in Rio de Janeiro (RJ), where he died.
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He worked for about twenty years in São João del-Rei (MG), but his place of birth or death is not known, despite a strong possibility that he was Portuguese. João de Deus de Castro Lobo (volume 5), in turn, was born, worked, and died in Minas Gerais, while Gabriel Fernandes da Trindade (volume 6) was born in Ouro Preto (MG) but spent most of his life in Rio de Janeiro (RJ), where he died.
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
Palavras-chave: Compêndio teórico. Solfejo. Pernambuco. Francisco Januário Tenório (c. 1770-entre 1831-1835). Tomás da Cunha Lima Cantuária (1800-1878).
Title. The permanence of Luís Álvares Pinto’s (1719-ca. 1789) heptachordal solfeggio in two 19th century Pernambuco music “arts”
Abstract: This chapter is intended to understand the history, content and meaning of two small works on theoretical music written in Recife (Brazil) in the first half of the 19th century, which belong to the Archaeological, Historical and Geographical Institute of Pernambuco (IAHGP): “Arte de solfejar” (1820s), by Francisco Januário Tenório (ca. 1770-between 1831-1835), and “Arte de Música” (1837), possibly written by Tomás da Cunha Lima Cantuária (1800-1878), documents whose existence was revealed by Jaime Cavalcanti Diniz in the third volume of Músicos pernambucanos do passado (1979). Besides the clarifying of historical facts regarding the documents and the people involved in their production and preservation, comparisons were made between the content of these works, in addition to comparisons with other Brazilian musical compendia, considering the hypotheses by Jaime Diniz, according to which, the “Arte de Música” of 1837 would be a reduction of “Arte de solfejar” by Francisco Januário Tenório, and this work would have been constructed from information of the manuscript “Arte de solfejar” (1761) by Luís Álvares Pinto (1719-ca. 1789), manuscript of the National Library of Portugal (Lisbon), published by the same musicologist. The analyzes revealed that “Arte de solfejar” by Francisco Januário Tenório was actually based on “Músico e moderno sistema para solfejar sem confusão” (1776), also written by Luís Álvares Pinto (manuscript that belongs to the descendants of the Brazilian imperial family, Petrópolis-RJ, Brazil), a work that was not known by Jaime Diniz; and that “Arte de música” of 1837 may have been the first or second edition of “Arte de música” or “Pequena arte de música” by Tomás da Cunha Lima Cantuária, possibly launched in 1836, with reprints announced in Pernambuco newspapers from at least 1853 to 1916.
Keywords: Theoretical compendium. Solfeggio. Pernambuco (Brazil). Francisco Januário Tenório (circa 1770 - between 1831-1835). Tomás da Cunha Lima Cantuária (1800-1878).
Palavras-chave. Musicologia. Arquivos. Coleções. Musicotecas. Fontes musicográficas.
Title. Musical collections of the Southeast Region of Brazil
Abstract. Considering the need for primary sources, especially musicographic documents, for the research related to history of music, this chapter presents a basic list of the main collections with sources of this type in each of the states of Southeast Brazil, based on guides and works already carried out on this subject. In addition to this, the chapter presents some aspects related to the typology of institutions, collections, and sources of musical interest, and to the formation of musical collections in Brazil, as well as a brief history of the methods of reproduction and dissemination of information, auxiliary to historical and musicological research.
Keywords. Musicology. Archives. Collections. Music libraries. Musicographic sources.
Palavras-chave: Manuscrito. Dicionário. Léxico. Biografia. Efeméride.
Public availability of a century-old manuscript: Música e Musicistas (1922), by José de Athayde Marcondes (1863-1924)
Abstract: The objective of this article is to present the manuscript Música e Musicistas (1922) by José de Athayde Marcondes (1863-1924), reevaluate its relevance for musicological research in contemporary times, and understand its significance within the panorama of Brazilian and Portuguese works on music published during Marcondes lifetime. To achieve this, the manuscript was first physically examined and photographed at the custodial institution (the Centro de Memória Barão Homem de Mello in Pindamonhangaba – SP). This was followed by an investigation into its origins, using available historical information and comparing it with other works by the same author and similar books in the Portuguese language. The study concludes that Música e Musicistas was the most complete work on the subject written in Brazil up to that point, and it remains a significant source for the research of the musical activity in Brazil, especially in the State of São Paulo, due to the inclusion of entries on many composers and performers not considered in similar publications in the Portuguese language.
Keywords: Manuscript. Dictionary. Lexicon. Biography. Ephemeris.
Palavras-chave. Patrimônio musical histórico. Acervo musicográfico. Processamento arquivístico.
Abstract. This work presents a brief history and the current situation of the musicographic collection of the extinct Dramatic and Musical Conservatory of São Paulo (1906-2006), declared of public utility through the Decree of the Municipality of São Paulo n. 47,080, of March 14, 2006, and made official property of São Paulo Municipal Theater Foundation, through Municipal Law n. 15,380, of May 27, 2011, as well as the current project for the organization, coding and emergency inventory of Section A, already sanitized and provisionally conditioned in 506 file boxes and 66 packages, in the Documentation and Memory Center of the Municipal Theater of São Paulo, at Praça das Artes (Avenida São João, 281). It will be also presented the situation of Section B, transferred to the same Memory Center through a document of April 9, 2015 and provisionally arranged in 328 large-format boxes and 198 packages of different measures, still under negotiation for future processing. The relevance of the project lies in the great significance of the collection for the historical-musical heritage of São Paulo and Brazil, considering not only the accumulation of printed musicographic documents, intended for current use by students, but also the numerous donations of printed documents or manuscripts and entire collections, by bands, alumni, composers or their families. For the planned actions, an agreement was signed between São Paulo State University (UNESP), São Paulo Municipal Theater Foundation, and Sustenidos Social Organization of Culture, which currently manages the educational and artistic activities of the mentioned Foundation.
Key words. Historical musical heritage. Musicographic collection. Archival processing.
Abstract. This article studies the meaning of the concept of musical heritage, and its relationship with the official concepts of historical, artistic and cultural heritage (material or immaterial) established in Brazilian law, and the concept of documental or archival heritage, implicit in the Brazilian law for public and private archives. For this purpose, the three major types of musical heritage are analyzed, according to the three dimensions of musical knowledge (1 - musical phenomenon; 2 - notation, recording or programming; 3 - physical musical document), corresponding to the three dimensions of knowledge (1 - ontic; 2 - epistemic; 3 - documentary), established by Claudio Gnoli (2012), also supported by the concepts of corpus mysticum and corpus mechanicum. The conclusions leads to the artificiality of separating musical heritage into material and immaterial, and to the need for more integrated actions in relation to its three types, aiming at broader results for the knowledge, protection and dissemination of this kind of heritage.
Este trabalho apresenta os resultados de algumas reflexões sobre a atual crise brasileira no ensino de história da música nas universidades, com a enumeração de três principais hipóteses de pesquisa, para tentar compreender suas razões e formular propostas de ensino mais eficazes e de maior significado para a realidade atual. Além da permanente adoção de inovações didáticas e tecnológicas, apresento reflexões sobre a conveniência de mudanças na concepção das disciplinas de história da música, que considerem tanto as necessidades reais quanto a diversidade social e cultural dos estudantes, em lugar de transmitir, de forma automática e acrítica, o conteúdo dos compêndios internacionais sobre o assunto.
Palavras-chave: Música sacra; Catálogo crítico e temático; Descrição de fontes musicográficas; Estabelecimento de autoria; Composições remanescentes; Níveis de possibilidade de autoria.
Abstract. The musical archive of João Antônio Romão (1878 or 1880 - 1972), under technical processing at Institute of Arts, UNESP, for accrual to the Historical Archive of Pindamonhangaba (SP), was arranged in 23 series, the first one constituted of sources related to three distinct phases of Catholic music: 1) Tridentine repertoire from the late eighteenth century to the early twentieth century; 2) restored repertoire of the first half of the 20th century; 3) conciliar repertoire of the 1960s and 1970s. This work is intended to present a brief report on the processing of the archive, as well as the results of the first investigations on its forms of accumulation, the repertoire, and some of the musical practices related to the three phases represented in this archive, based on the contributions of Josefa Montero García (2008) and Jon Bagüés (2008).
Resumo. O Arquivo musical de João Antônio Romão (1878 ou 1880 - 1972), em processamento técnico no Instituto de Artes da UNESP, para incorporação ao Arquivo Municipal e Histórico Athayde Marcondes de Pindamonhangaba (SP), foi arranjado em 23 séries, das quais a primeira é constituída de fontes relacionadas a três fases distintas da música católica: 1) repertório tridentino de fins do século XVIII ao início do século XX; 2) repertório restaurista da primeira metade do século XX; 3) repertório conciliar das décadas de 1960 e 1970. O presente trabalho está destinado a apresentar um breve relato sobre o processamento do arquivo, bem como o resultado das primeiras investigações sobre suas formas de acumulação, sobre o repertório e sobre algumas das práticas musicais relacionadas às três fases nele representadas, com base principalmente nas contribuições de Josefa Montero García (2008) e Jon Bagüés (2008).
A série também discute a utilização atual da música feita para a unificação cultural do Novo Mundo: entre as possibilidades extremas e mais frequentes – a visão museológica, com a mera apresentação das obras em concertos, e a visão anticolonialista, com seu total esquecimento, por simbolizar as crueldades daquela época – Alma Latina procura uma nova maneira de ouvir e de se relacionar com esse patrimônio histórico-musical da humanidade.
Download completo e audição de Alma Latina no IADL:
http://archive.org/details/AlmaLatina
Alma Latina: download completo dos roteiros dos 13 programas
http://archive.org/details/AlmaLatina-RoteirosCompletos
Alma Latina: audição online no Portal da Rádio Cultura de São Paulo:
http://culturafm.cmais.com.br/alma-latina-musica-das-americas-sob-dominio-europeu
Embora as investigações apontem para a adaptação das melodias para aquelas presentes nos livros tridentinos, em especial o Theatro Ecclesiastico de Frei Domingos do Rosário, os dois volumes de cantorais paraenses apresentam repertórios para cerimônias de santos mercedários que não faziam parte do martirológio romano, e cujo repertório, portanto, não é encontrado em livros tridentinos. Tudo indica que tais melodias podem ter origem espanhola, pois estão presentes nos cantorais mercedários ali impressos.