http://www.flickr.com/photos/77864251@N03/?saved=1
Monday, March 12, 2012
Sunday, March 11, 2012
Brazil Music Timeline
·
Jose Jaoquim Emerico Lobo de Mesquita born
October 12, 1746
·
Andre da Silva Gomes born December 15, 1752
·
Jose Mauricio Nunes Garcia born September 20,
1767
·
Francisco Manuel da Silva born February 21, 1795
·
Jose Jaoquim Emerico Lobo de Mesquita dies in
April 1805
·
Classical Period Begins 1808 and ends in 1821
·
Brazil Gains its Independence September 7, 1822
·
Jose Mauricio Nunes Garcia dies April 18, 1830
·
Romantic Period 1830
·
Henrique Alves de Mesquita born March 15, 1836
·
Andre da Silva Gomes dies June 16, 1844
·
Alberto Nepomuceno born July 6, 1864
·
Francisco Manuel da Silva dies December 18, 1865
·
Heitor Villa-Lobos born March 5, 1887
·
Pixinguinha born April 23, 1897
·
Nationalism Period Begins 1900
·
Henrique Alves de Mesquita dies July 12, 1906
·
Noel Rosa born December 11, 1910
·
Alberto Nepomuceno dies October 16, 1920
·
National Period Ends 1922
·
João Gilberto born June 10, 1931
·
Noel Rosa dies May 4, 1937
·
Avant-Garde Movement Begins 1939
·
Heitor Villa-Lobos dies November 17, 1959
·
Avant-Garde Movement Ends 1960
·
Pixinguinha dies February 7, 1973
Brazil’s Art Music History
Brazil’s Art
Music History
Brazil
was a colony of Portugal from the time Pedro Alvares Cabral landed there in
1500 until 1815. It was then elevated to the rank of kingdom and the united
kingdom of Portugal was formed. After Napoleon invaded Portugal, in 1822,
Brazil gained independence.
Brazilian music incorporates various music styles. These styles were influenced by many other cultures including African, European and Amerindian. Unique Brazilian music styles have since developed including samba, lambada, choro, bossa nova, frevo and many others. Worldwide, Brazil is best known for Samba, especially because of the country’s carnival.
Brazilian music incorporates various music styles. These styles were influenced by many other cultures including African, European and Amerindian. Unique Brazilian music styles have since developed including samba, lambada, choro, bossa nova, frevo and many others. Worldwide, Brazil is best known for Samba, especially because of the country’s carnival.
The
music Brazil is extremely diverse. Cities such as Rio De Janero and others provide
opportunities for hearing many kinds of Brazilian music including Brazilian
popular music that have become well known all over the world. Much of the music
and tradition originates from immigrants who came to Brazil in the 1800s and
after, particularly in 1888 when slavery was abolished in the country.
Brazil is a unique country in Latin America because it was an empire ruled by a European king, and Portuguese influence was strong. The royal bloodline lasted well into the period of the country’s independence.
During the Gold Era (1750-1800) artistic activity such as music flourished. The most outstanding composer of that time was Jose Jaoquim Emerico Lobo de Mesquita (1746-1805); he composed more than three hundred pieces.
Outside the mining areas, in Rio de Janeiro, musical life was centered on the monastery of Sao Bento and the cathedral of Saint Sebastian. In 1763 Rio became the capital of the colony and was Brazil’s cultural center. The new musical trends and fashions that emerged from Rio radiated to other parts of the country.
In 1808, the Portuguese court moved to Rio to escape Napoleonic threat. King Dom Joao remained on the colony for thirteen years and his love of the arts gave new musical vitality to the capital. When the king returned to Portugal, he left the kingdom to his son Dom Pedro I, who declared its independence in 1822.
Brazil is a unique country in Latin America because it was an empire ruled by a European king, and Portuguese influence was strong. The royal bloodline lasted well into the period of the country’s independence.
During the Gold Era (1750-1800) artistic activity such as music flourished. The most outstanding composer of that time was Jose Jaoquim Emerico Lobo de Mesquita (1746-1805); he composed more than three hundred pieces.
Outside the mining areas, in Rio de Janeiro, musical life was centered on the monastery of Sao Bento and the cathedral of Saint Sebastian. In 1763 Rio became the capital of the colony and was Brazil’s cultural center. The new musical trends and fashions that emerged from Rio radiated to other parts of the country.
In 1808, the Portuguese court moved to Rio to escape Napoleonic threat. King Dom Joao remained on the colony for thirteen years and his love of the arts gave new musical vitality to the capital. When the king returned to Portugal, he left the kingdom to his son Dom Pedro I, who declared its independence in 1822.
The 18th century:
In the more developed regions of Brazil there was powerful musical activity because of there educational structures. In the first half of the century the most notable works were composed by Luis Alvares Pinto, Caetano de Mello Jesus and Antonio Jose da Silva. In the second part of the century, the population had increased in size due to the success of gold mining; notable composers during this time were Lobo de Mesquita, Manuel Dias de Oliveira and Francisco Gomes da Rocha.
The classical period: 1808-1821
During this period King John VI of Portugal brought his musical library with him to Brazil, it was one of the best in Europe at the time, he ordered the construction of the Royal Theater of Sao Joao. Marcos Portugal was the designated composer of the household and brought not only his own work, but the works of Wolfgang Amadeus Mozart. Nunes Garcia was the most well known composer of this time, He composed the first opera written in Brazil.
The Romantic period: 1830
Francisco Manuel da Silva was a student of Nunes Garcia, and founded the Musical Conservatory of Rio de Janeiro, he also authored the Brazilian national Anthem’s melody.
Nationalism: 1900-1922
The beginning of the 20th century was a time for creating music that was authentically Brazilian. The music of this time was influenced less by European culture. Composers drew their inspiration from folklore.
The avant-garde movement: 1939- 1960
In 1939 the Movemento Musica Viva (Living Music Movement) erupted led by Hans Joachim Koellreutter. It was a reaction against nationalist style and integrated an international approach. After 1960 the Brazilian Avante-garde movement focused on different styles including serial music, electronic music, concrete music and microtonal music.
Contemporary:
Contemporary Brazilian music is a mixture of traditional and experimental. Brazil has several orchestras that are recognized internationally. The Brazilian music industry has several famous conductors such as Roberto Minczuk and John Neschling, and numerous instrumentalists and singers.
In the more developed regions of Brazil there was powerful musical activity because of there educational structures. In the first half of the century the most notable works were composed by Luis Alvares Pinto, Caetano de Mello Jesus and Antonio Jose da Silva. In the second part of the century, the population had increased in size due to the success of gold mining; notable composers during this time were Lobo de Mesquita, Manuel Dias de Oliveira and Francisco Gomes da Rocha.
The classical period: 1808-1821
During this period King John VI of Portugal brought his musical library with him to Brazil, it was one of the best in Europe at the time, he ordered the construction of the Royal Theater of Sao Joao. Marcos Portugal was the designated composer of the household and brought not only his own work, but the works of Wolfgang Amadeus Mozart. Nunes Garcia was the most well known composer of this time, He composed the first opera written in Brazil.
The Romantic period: 1830
Francisco Manuel da Silva was a student of Nunes Garcia, and founded the Musical Conservatory of Rio de Janeiro, he also authored the Brazilian national Anthem’s melody.
Nationalism: 1900-1922
The beginning of the 20th century was a time for creating music that was authentically Brazilian. The music of this time was influenced less by European culture. Composers drew their inspiration from folklore.
The avant-garde movement: 1939- 1960
In 1939 the Movemento Musica Viva (Living Music Movement) erupted led by Hans Joachim Koellreutter. It was a reaction against nationalist style and integrated an international approach. After 1960 the Brazilian Avante-garde movement focused on different styles including serial music, electronic music, concrete music and microtonal music.
Contemporary:
Contemporary Brazilian music is a mixture of traditional and experimental. Brazil has several orchestras that are recognized internationally. The Brazilian music industry has several famous conductors such as Roberto Minczuk and John Neschling, and numerous instrumentalists and singers.
Jose Jaoquim Emerico Lobo de Mesquita
Jose Jaoquim Emerico Lobo de Mesquita (1746-1805)
Jose
Jaoquim Emerico Lobo de Mesquita was born in 1746 and died in 1805. He was a
Brazilian composer and organist. In 1788 he became a part of the brotherhood of
Nossa Senhora das Merces dos Homens Crioulos. He was also a mulatto. In Vila
Rica he was a composer, conductor and organist.
He
was one of the most creative composers of the “Brazilian captaincy”. He was so
important that in the Brazilian Academy of Music he was chosen patron of Chair
no.4. He stayed in Rio de Janeiro where he played the organ at a church.
Bibliography:
http://en.wikipedia.org/wiki/Emerico_Lobo_de_Mesquita
Gerard Béhague.
"Lobo de Mesquita, José Joaquim Emerico." Grove Music Online. Oxford
Music Online. 11 Mar. 2012
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/18488>.
Discography:
Sacred Music:
Autograph score
of the Salve Regina
- Mass for Ash Wednesday, for soloists, mixed chorus, cello and organ (1778)
- Regina Caeli laetare (1779)
- Mass No. 2 in F for 4 voices and strings (1780)
- Mass in E flat 1, for soloists, mixed chorus and strings (1782)
- Kyrie eleison
- Christe eleison
- Et in terra pax
- Laudamus you
- Gratias
- God Master
- Thu Tollis
- Suscipe
- Fri headquarters
- Quoniam
- Cum Sancto Spiritu
- Palmis in Dominica (1782)
- Office and Mass for Palm Sunday (1782)
- Tercio for four voices and strings (1783)
- Tractus for Holy Saturday (1783)
- Cantemus Domino
- Vinea FACTA est
- Caelum Attende
- Sicut cervus
- Vespers of Holy Saturday (1783)
- Antiphona of Our Lady (1787)
- Salve Regina (1787)
- Antiphons for Sunday and Holy Thursday
- Antiphons for Wednesday, Thursday and Holy Friday
- Aria the Preacher - Ave Regina
- Ave Regina coelorum
- Beata Mater
- Creed in C, for 4 voices and strings
- Credo in F
- Factus Christus est and Offertory
- Diffusa est gratia concerto soloists, mixed choir and strings
- Easter Sunday
- Heu Lord, for the procession of the Burial of the Lord
- Heus, for the Burial Procession of the Lord
- In honorem Beatae Mariae (Litany)
- In pacem in idipsum
- Litany alternating
- Litany of Our Lady of Mount Carmel
- Litany of the Good Jesus of Matosinhos
- Laudate Dominum, for Holy Saturday
- Matins of Christmas
- Magnificat
- Magnificat switched
- Memento four in G minor
- Mass concerted and Creed
- Holy Saturday Mass and Magnificat
- Mass of St. Cecilia
- Requiem mass
- Novena of Mercy
- Novena of Our Lady of Conception
- Novena of Our Lady of the Rosary
- Novena of St. Francis of Assisi
- Novena to St. Joseph
- Office of violets
- Officium defunctorum
- Office and Mass of the Dead
- Office of Holy Week, for 4 voices and strings
- Requiem ("Office of violets"), for 4 voices and strings
- Requiem 2, for soloists, mixed chorus, cello and organ
- Passion, Bradados and Adoration of the Cross for Good Friday
- Procession of Palms - Cum appropinquaret
- Responsory of St. Anthony - Si quaeris miracula
- Psalm No. 112 - Laudate Pueri
- Septenary of Our Lady of Sorrows
- Sequence Stabat Mater
- Te Deum, for 4 voices and strings
- Te Deum in A minor
- Te Deum in D
Music for the
organ:
- Fuzzy est Gratia Tertius
- Domine, tu mihi lavas ask
Information
found at: Wikipedia via Google Search.
Retrieved from http://translate.google.com/translate?hl=en&sl=pt&u=http://pt.wikipedia.org/wiki/Lobo_de_Mesquita&ei=JN1cT83EKKrE0QHf1KSdDw&sa=X&oi=translate&ct=result&resnum=1&ved=0CCwQ7gEwAA&prev=/search%3Fq%3DJose%2BJoaquim%2BEmerico%2BLobo%2Bde%2BMesquita%26hl%3Den%26client%3Dfirefox-a%26hs%3DpmS%26pwst%3D1%26rls%3Dorg.mozilla:en-US:official%26prmd%3Dimvns
Andre da Silva Gomes
Andre da Silva Gomes (1752-1844)
Andre
da Silva Gomes was born in 1752 and was a Brazilian composer who was also from
Portuguese ancestry. When he was 21 he moved to Sao Paulo. He was chosen to be
“mestre de capela of the cathedral.” He stayed there until 1822. He wrote music
for brotherhoods and special events nearby. You can find some of his works in
the Metropolitan Curia as well as the Sao Paulo Conservatory library.
One
of his works called “Miss a Cinco Vozes”, has been said to be between the
styles of Baroque and Classicism.
He taught Latin in 1797. He then retired in 1828 and died in Sao Paulo
living for 92 years.
Bibliography:
http://en.wikipedia.org/wiki/Andr%C3%A9_da_Silva_Gomes
Gerard Béhague. "Gomes, André da
Silva." Grove Music Online. Oxford Music Online. 11 Mar. 2012
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/11422>.
Discography:
Gomes most famous masterpiece was “Mass in C”
which was recently recorded on CD
“Mass of Five Voices” (~1775-1800)
“Treaty Of Counterpoint” (1774)
Information Found at: Oxford Music Online
(2012) and Wikipedia via Google search and translation. Information Retrieved from http://translate.google.com/translate?hl=en&sl=pt&u=http://pt.wikipedia.org/wiki/Andr%25C3%25A9_da_Silva_Gomes&ei=oqpbT83LAaHV0QHkmcSWDw&sa=X&oi=translate&ct=result&resnum=2&ved=0CDYQ7gEwAQ&prev=/search%3Fq%3DAndre%2Bda%2BSilva%2BGomes%26hl%3Den%26client%3Dfirefox-a%26hs%3D9M8%26rls%3Dorg.mozilla:en-US:official%26prmd%3Dimvnso
Jose Mauricio Nunes Garcia
Jose Mauricio Nunes Garcia (1767-1830)
Jose Mauricio Nunes Garcia
was born on 1767 and died in 1830. He was a “famous mulatto chapel master”
(332). He was also considered one of the most important composers of his time.
His father was a lieutenant and his mother a black woman.
He was involved in a musical organization that was also important at his time.
It was called Brotherhood of St Cecilia. Being mulatto did not affect his
career because people looked at his intelligence and skills.
In 1798 he was chosen to be
the “mestre de capela of Rio de Janeiro Cathedral” (Oxford Music Online). It is
a very important music position in Rio. Before this occurred he opened a free
music class for the public, which he maintained for 28 years. In 1809 he wrote
39 works for the royal chapel where he was chosen as the “mestre de capela.”
Everything started slowly changing when his health started deteriorating in
1816. In the year of 1822 “artistic development” was not considered important
anymore. In Mr. Garcia’s last years he died in poverty.
Listen to a song by this composer:
Bibliography:
Gerard Béhague. "Garcia, José
Maurício Nunes." Grove Music Online. Oxford Music Online. 11
Mar. 2012
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/10643>.
Discography:
Tota pulchra
es (1783)
Opera piece Le due gemelle, produced at the Teatro Régio in 1809
Missa de N
Sra da Conceição (1810)
Missa
pastoril para a noite de Natal (1811)
The Requiem Mass of 1816
Missa de
Santa Cecilia (1826)
Numbers
refer to Person de Mattos catalogue, 1970
Sacred:
19
masses, 102–20, most for SATB, orch, several with org, 12 dated 1801–26; 3
Laudamus te, 157–9, 1–2 S, orch, 1 dated 1821; Qui sedes, 162, only orch pts
extant, 1808; Qui sedes – Quoniam, 163, 2 T, orch, 1818; Quoniam, pts extant
for B, 2 cl, hn; 9 Credo, 121–9, most for SATB, 6 with orch, 3 with org, 2
dated 1808, 1820
|
Grads:
Dies sanctificatus, 130, SATB, orch, 1793; Oculi omnium, 131, SATB, orch,
1793; Tecum principium, 132, SATB, orch, 1793; Dilexisti justitiam, 133,
SATB, orch, 1794; Alleluia, alleluia, 134, SATB, insts, 1795; Alleluia specie
tua, 135, SATB, insts, 1795; Constitues eos principes, 136, SATB, orch, 1795;
Virgo Dei genitrix, 137, SATB, orch, 1795; Benedicite Dominum omnes, 138,
SATB, orch, 1798; Discite filiae Sion, 139, SATB, orch, 1798; Alleluia,
angelus Domini, 140, SATB, orch, 1799; Alleluia ascendit Deus, 141, SATB,
orch, 1799; Benedictus es Domine, 142, SATB, orch, 1799
|
Justus
cum ceciderit, 143, SATB, orch, 1799; Ad Dominum cum tribularer, 144, SATB,
orch, 1800; Jacta cocitatum tuum, 145, SATB, orch, 1800; Omnes de Saba
venient, 146, SATB, orch, 1800; Alleluia, emitte spiritum tuum, 147, SATB;
Dilexisti justitiam, 148, SATB, orch; Dolorosa et lacrimabilis, 149, SATB,
orch; Ego sum panis vitae, 150, SATB, orch; Emitte spiritum tuum, 151, SATB,
insts; Gradual para o Espíritu Santo, 152, orch pts extant; Hodie nobis
coelorum rex, 153, ATB, insts extant; Os justi meditabitur, 154, SATB, orch;
Probasti Domine cor meum, 155, SATB, orch; Veni Sancte Spiritus, 156, SATB,
insts
|
Seqs:
Lauda Sion, 165, SATB, orch, 1809; 3 Stabat mater: 166, ATB, orch, 1809, 167,
SATB, orch, 168, SATB, orch; Veni Sancte Spiritus, 169, SATB
|
Offs:
Stetit angelus juxta aram, 160, SATB, org, 1798; Confirma hoc Deus, 161, SATB
|
Funeral
music: 4 Requiem, 182, 184–5, 190, SATB, insts, 3 dated 1799, 1809, 1816; 2
Libera me, 181, 188, SATB, orch, 1 dated 1799; 2 Ofício de defuntos, 183,
186, SATB, orch, 1799, 1816; Ofício fúnebre, 191, 2 choirs SATB, 2 org;
Responsórios fúnebres, 192, SATB, orch; Regem cui omnia vivunt, invitatory,
187, SATB, vc pt extant; Memento Dei Deus, 189, SATB, orch
|
Music
for Holy Week: Aleluia Confitemini Domino, 197, SATB, insts, 1799; Aleluia
(para a Missa de Sábado de Aleluia), 201, SATB, orch; Bajulans, 202, SATB,
org; 3 Christus factus est, 193, SATB, org, 1798, 203–4, SATB, orch; Crux
fidelis, 205, SATB; Dextera Domini, 206, SATB, insts; Domine Jesu, 207, SATB,
insts; Domine Jesu (para a Procissão dos Passos), 208, SATB, b; Domini tu
mihi lavas pedes, 198, SATB, ?1799; 2 Haec dies, 200–10, SATB, orch; Heu,
Domine, 211, SAT; Jesu, Jesu clamans, 212, SATB, orch; Judas mercator, 199,
SSATBB, 1809; Ky, Cr for Palm Sunday, 213, SATB
|
Matinas
da quarta feira de Trevas, 214, SATB, orch; Matinas da Ressurreição, 200,
SATB, orch, 1809; 3 Miserere, 194–5, SATB, insts, both 1798, 215, SATB, org;
Motetos para a Procissão dos Passos, 216, SATB, orch; 2 Ofício of Palm
Sunday, 217, SATB, orch, 218, SATB, vc, db; 3 Paixão, 219, SATB, 220, SATB,
vc, db, 221, SATB, orch; Popule meus, 222, SATB, insts; Posuerunt (antifona
para Benedictus), 196, SATB, org, 1798; Sepulto Domino, 223, SATB; Surrexit
Dominus, 224, SATB; Vexilla regis, 225, SATB
|
Matins:
2, de Natal, 170, SATB, vc, org, 1799, 170 bis, orch pts extant, 1799–1801;
2, de S Pedro, 171, SATB, org, 1809, 173, SSAATB, bn, org, 1815; de
Assunc’ão, 172, SATB, orch, 1813; da Conceição, 174, SATB, orch; de N Sra do
Carmo, 175, SATB, orch; de Cecilia, 176, SATB, orch
|
Vespers:
das dores da N Sra, 177, SATB, orch, 1794; de N Sra, 178, SATB, insts, 1797;
do Espírito Santo, 179, SATB, orch, 1820; dos Apóstolos, 180, SATB, insts
|
Ants:
Ave regina caelorum, 6, SATB, org; 3 Ecce Sacerdos, 3, SATB, orch, 1798, 5,
SSAATTBB, insts, 1810, 7, T, b (inc.); 2 Flos carmeli, 8, SATB, without no.,
SATB, orch [pt. of 72]; In honorem, 4, SATB, orch, 1807; O sacrum convivium,
9, SATB, orch; 2 Regina caeli laetare, 10–11, SATB, org; Sub tuum praesidium,
2, SATB, orch, 1795; Tota pulchra es, 1, SATB, orch, 1783
|
Hymns
(SATB, org, unless otherwise stated): Aeterna Christi munera, 18; A solis
ortus cardine, 19; 2 Ave maris stella, 20–21, 1 with orch; Beata nobis
gaudia, 22; Beate pastor Petre, 23; Crudelis Herodes, 24; Decora lux
aeternitatis, 25; Deus tuorum militum, 26; Domare cordis, 27; Exultet orbis
gaudiis, 28; Invicto martyr, 29, unacc.; Iste confessor, 30; Jam Christus
astra ascenderat, 31; Jam sol recedit, 32; Jesu redemptor omnium, 33; O
gloriosa Virginum, 34; O sola magnarum urbium, 35; 2 Pange lingua, 36–7, 1
unacc.; Placare Christe, 38; Quem terra pontus sidera, 39; Quid Lusitanos
deserens, 40; Salutis humanae sator, 41; Te Joseph celebrent, 42; Ut queant
laxis, 43; 2 Veni Creator Spiritus, 44–5, 1 with insts
|
Lits:
da Novena da N Sra da Conceição, 46, 1798; de N Sra do Carmo, 47, SATB, orch,
1811; da Novena de N Sra do Carmo, 48, SATB, orch, 1818; da Novena do
Sacramento, 49, SATB, orch, 1822; do Coração de Jesus, 50, SATB, org, 1824;
da Novena de S Joaquim, 51, SATB; da Novena de S Tereza, 51a
|
Novenas:
da Conceição de N Sra, 64, SATB, orch, 1798; de S Bárbara, 65, SATB, org,
1810; do Apóstolo Pedro, 66, SATB, orch, 1814; 2 de N Sra do Carmo, 67, SATB,
orch, 1818, 72, b pt extant; do Sacramento, 68, SATB, orch, 1822; 2, da
Conceição, 69–70, SATB, orch; de N Sra Mãe dos Homens, 71, SATB, orch; de S
Joaquim, 73, SATB; de S Tereza, 73a, inst pts extant; Setenário para N Sra
das Dores, 74, SATB, insts; Trezena de S Francisco de Paula, 75, SATB, orch,
1817
|
Motets:
Te Christe solum novimus, 52, S, orch, 1800; Ascendens Christus, 53, S, A,
org, 1809; Felix namque, 54, T, T, B, org, 1809; Praecursor Domini, 55, SATB,
orch, 1810; Tamquam auram, 56, SATB, orch, 1812; Isti sunt qui viventes, 57,
SATB, orch, 1818; Media nocte, 58, S, orch, 1818; Creator alme siderum, 59,
S, insts; Ego sum panis vitae, 60, SATB, orch; Immutemur habitu, 61, SATB,
org; Inter vestibulum, 62, SATB, org; Moteto para S João Batista, 63, orch
pts extant
|
Canticles,
psalms etc: 2 Bendito e Louvado seja, 12–13, SATB, orch, 1814, 1815; Cantico benedictus,
14, SATB, org, 1798; Cantico de Zacarias, 15, SATB; 2 Mag, 16–17, SATB,
insts, 1797, 1810; 3 Laudate Dominum: 76, SATB, orch, 1813, 78, SATB, orch,
1821, 80, vn pt extant; 2 Laudate pueri, 77, 79, SATB, orch, 1813, 1821; 11
Tantum ergo, 81–90, vv, insts, 2 unacc., 4 dated 1798–1822; 7 Te Deum, 91–7,
vv, insts, 4 dated ?1799–1811
|
Secular:
Vocal:
Beijo a mão que me condena, 226, S, pf (1837); Côro para o entremês, 227,
SSATB, orch, 1808; O triunfo da América, 228, S, SATB, orch, 1809; Ulissea
(drama heróico), 229, SSATB, orch, 1809
|
Inst:
Sinfonía fúnebre, 230, orch, 1790; Zemira, ov., 231, orch, 1803; Ov., 232, D,
orch; Sinfonía tempestade, 233, orch; Str Qt, 234, ?1801; Pf Piece, 235, E
 |
Didactic:
Compêndio de música, 236, 1821
|
Information found at: Naxos Music
Library Online (2012) and Oxford Music Online (2012). Retrieved from http://www.oxfordmusiconline.com.ezproxy.lib.umb.edu/subscriber/article_works/grove/music/10643#S10643.3
Francisco Manuel da Silva
Francisco Manuel da Silva (1795-1865)
Francisco Manuel da Silva was born
in 1795 and died in 1865. He was a conductor and a composer. He also became a music teacher and
songwriter. He was born the Rio de Janeiro. He later picked up the cello. It is
said that he is one of the founders for the National Imperial Music and Opera
Academy.
For the patriotic march he was the
one to write the Brazil National Anthem. It was called “Hino ao 7 de Abril.”
Jose Mauricio Nunes Garcia gave Silva his first lessons. Silva was a part of
the “orchestra of the royal.” In 1834 he was the conductor for the “Sociedade
Filarmonica.”
Listen
to the National Anthem: http://uboston.naxosmusiclibrary.com.ezproxy.lib.umb.edu/mediaplayer/flash/http-fplayer.asp?br=64&tl=153824
Bibliography:
Gerard Béhague. "Silva,
Francisco Manuel da." Grove Music Online. Oxford Music Online. 11 Mar.
2012
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/25781>.
http://en.wikipedia.org/wiki/Francisco_Manuel_da_Silva
Discography:
Da
Silva’s most notable composition is the “Hino Nacional do Brasil (Nation Anthem
of Brazil)” composed in 1831, originally called Hino ao 7 de Abril.
Information
Found at: Oxford Library Online (2012) and Naxos Music Library Online
(2012). Retrieved from http://www.oxfordmusiconline.com.ezproxy.lib.umb.edu/subscriber/article/grove/music/25781?q=Francisco+Manuel+da+Silva&search=quick&source=omo_gmo&pos=1&_start=1#firsthit
and http://uboston.naxosmusiclibrary.com.ezproxy.lib.umb.edu/catalogue/item.asp?cid=8.225320
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