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STRUCTURAL ISSUES IN THE THREE REQUIEM MASSES OF FATHER JOSE M AURICIO NUNES GARCIA (1767-1830),

AND THE REQUIEM MASS CT 190, BY DAMIAO BARBOSA DE ARAUJO, WITH EDITIONS OF CT 182, AND C T 184

BY

JETRO MEIRA DE OLIVEIRA

B.M., Andrews University, 1990 M.M., Andrews University, 1996

THESIS

Submitted in partial fulfillment o f the requirements for the degree o f Doctor o f Musical Arts in Music

in the Graduate College o f the University o f Illinois at Urbana-Champaign, 2002

Urbana, Illinois


UMI Number: 3044079

___ ®

UMIUMI Microform 3044079

Copyright 2002 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against

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UNIVERSITY OF ILLINOIS AT URBAN A-CHAMPAIGN

GRADUATE COLLEGE

April, 2002date

WE HEREBY RECOMMEND THAT THE THESIS BY

Jetro Meira de Oliveira

Structural Issues In The Three Requiem Masses OfENTITLED Father Jose Mauricio Nunes Garcia (1767-1830),________________

And The Requiem Mass CT 190, By Damiao Barbosa De Araujo, With Editions Of CT 182, And CT 184

BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR

THE DEGREE OF Doctor of Musical Arts

J A ADirector of Thesis Research

Head of Department

Committee on Final Examination^

Chairperson

tRequired for doctor’s degree but not for m aster’s.

0-517


Abstract

Jose Mauricio Nunes G arcia (1767-1830) is regarded as one o f the most important

composers o f the Americas during his time. In spite o f the fact that his name frequently appears

in the literature, there are few studies that describe and elucidate his style. The present study

focuses on the unique structural elements used by the composer in his three surviving Requiem

Masses, demonstrating some o f the com poser’s sophisticated architectural designs. The question

o f authorship o f the Requiem M ass in F M ajor (CT 190) formerly attributed to Jose M auricio

Nunes Garcia, but found to be by another Brazilian composer, Damiao Barbosa de Araujo (1778-

1856), is also discussed. The present study brings to print for the first time an edition o f G arcia's

1799 Requiem Mass (CT 182).

iii


Acknowledgements

Many have contributed to the completion o f this research project. Financial support for

my doctoral studies was provided by the University o f Illinois in the form o f three years o f

teaching assistantships and by the Centro Universitario Adventista de Sao Paulo in the form o f a

three-year stipend. To these two institutions I am most grateful.

To Dr. John W alter Hill, my research advisor, my deep gratitude for his support, expert

guidance and for helping me finish this project in a timely fashion. I would also like to thank my

committee members, Dr. Heidi Von Gunden and Dr. Barrington Coleman for their support. A

special thank you goes to Dr. Fred Stoltzfus who indicated my name for the assistantships

awarded by the University o f Illinois as well as acceptance into the DMA program.

I am indebted to the gracious help o f music scholars in Brazil who helped me to obtain

copies o f rare manuscripts and to gain insight into the world o f Brazilian colonial music.

Without their help this project could have not been completed in such timely fashion. Dr. Joel

Barbosa provided me with a photocopy o f the autograph score o f Damiao Barbosa de A raujo 's

Requiem Mass. Dr. Carlos Alberto Figueiredo provided me with photocopies o f the autograph

parts o f Garcia’s 1799 Requiem Mass and helped me to clarify several questions through e-mail

and telephone conversations. Mr. Claudio Antonio Esteves graciously provided me with a copy

o f his important m aster’s research on Jose Mauricio Nunes G arcia and engaged me in stimulating

dialogues about this composer. Maestro Emani Aguiar shared in a telephone conversation many

o f his precious insights about Brazilian colonial music.

To the tw o treasures o f my life, my wife Denise and my daughter Jessica, my greatest

thanks for providing me with companionship, joy and love. To the Author o f all Art my

gratitude for the gift o f music and the opportunity to intelligently study it.

iv


Table of Contents

List o f Tables............................................................................................................................................ vii

List o f Figures................................................................................................................................................. viii

List o f Musical E xam ples............................................................................................................................... ix

Key to Abbreviations, Analytical Symbols, and Conventions.............................................................. xi

Introduction...................................................................................................................................................... xiv

Chapter 1................................................................................................................................................................1Biographical sketch............................................................................................................................ !Relevance o f the present study.......................................................................................................... 3Training and influences.......................................................................................................................6Source m aterials................................................................................................................................ 14Introduction to the analytical and comparative study.............................................................. 16

Chapter I I ...........................................................................................................................................................23The 1799 Requiem Mass, CT 182 ............................................................................................................. 23

Sources..................................................................................................................................................23Sequence, differences in the sources..............................................................................................24Text concerns......................................................................................................................................26Analytical s tu d y ................................................................................................................................. 28Paradigm and motive sharing in the Offertory. Sanctus, Agnus Dei,

and C om m union................................................................................................................... 40Recurrence o f bass patterns and motives as structural e lem ents............................................42

Chapter III......................................................................................................................................................... 48The 1809 Requiem M ass, CT 18 4 ............................................................................................................. 48

Unison w ritin g ....................................................................................................................................52Recurrence o f bass patterns..............................................................................................................55H arm ony.............................................................................................................................................. 59Use o f chrom aticism ......................................................................................................................... 60Structural d es ig n ................................................................................................................................ 62Paradigm and bass pattern sharing in the Offertory, Sanctus, Agnus Dei,

and C om m union................................................................................................................... 73

Chapter IV..........................................................................................................................................................75The 1816 Requiem M ass, CT 186 ............................................................................................................. 75

Formal design...................................................................................................................................... 77Movement 4: Dies irae ......................................................................................................................82Movement 5: Ingem is c o .................................................................................................................. 86

v


Table of C onten ts (cont.)

Movement 6: Inter o v e s ................................................................................................................... 87

Chapter V .......................................................................................................................................................... 96Requiem Mass in F major, CT 190..............................................................................................................96

Damiao Barbosa de A raujo .......................................................................................................... 100The autograph score and the manuscript copy...........................................................................102

Chapter V I....................................................................................................................................................... 114Conclusion...................................................................................................................................................... 114

B ibliography................................................................................................................................................. 123

Appendix A ..................................................................................................................................................... 132Edition o f 1799 Requiem............................................................................................................................. 132

Editorial N otes................................................................................................................................ 133Introit and Kyrie................................................................................................................................135Gradual............................................................................................................................................... 142Sequence (According to autograph sources)............................................................................ 144Sequence (According to non-autograph sources)................................................................... 147O ffertory .......................................................................................................................................... 153Sanctus............................................................................................................................................... 162Agnus D e i........................................................................................................................................ 165Communion...................................................................................................................................... 168

Appendix B ................................................................................................................................................... 172Edition o f 1809 Requiem........................................................................................................................... 172

Editorial N otes................................................................................................................................ 173Introit and Kyrie................................................................................................................................175Gradual................................................................................................................................................184O ffertory .......................................................................................................................................... 186Sanctus............................................................................................................................................... 200Agnus D e i......................................................................................................................................... 207Communion....................................................................................................................................... 210

V IT A ................................................................................................................................................................ 217

vi


List o f Tables

Table Title Page

1 List o f European treatises referred to in Brazilian treatises........................................ xv2 List o f authors with probable works found in the treatise by Pinto..........................xvi3 List o f authors and works specifically cited by P into ................................................. xvi4 Portuguese composers listed in Faria’s inventory............................................................85 Italian composers listed in Faria’s inventory....................................................................86 Manuscript sources............................................................................................................ 167 Printed sources.................................................................................................................... 168 Portions o f Requiem text set to music in each work................................................... 189 Tonal design comparison o f Garcia 1799 Requiem and Araujo Requiem .......... 11210 Tonal designs chart............................................................................................................115

vii


List of Figures

Figure Title Page

1 Dies irae structural u n its ..................................................................................................... 832 Inter oves structural units....................................................................................................83

viii


List of Musical Examples

Example Title Page

1 Title page o f Sequence, copy by Bento das M erces and unidentified hand..............252 Sequence, alto voice, autograph p a r t .................................................................................253 Sequence, organ, autograph part.........................................................................................264 Kyrie, soprano voice, mm. 53-55...................................................................................... 275 Introit, motive statement, soprano voice, mm. 1-5 ....................................................... 296 Introit, motive statement, soprano voice, mm. 38 -41 ...................................................297 Kvrie, motive statement, soprano voice, mm. 52-55.................................................. 298 Kyrie, motive statement, soprano voice, mm. 76-80 .................................................. 299 Dies irae, continuo line o f Eb major segment, mm. 1-4 ...............................................3110 Dies irae, continuo line o fC minor segment, mm. 14-17.............................................3211 Dies irae, continuo line o f Eb major segment, 9 -1 3 ......................................................3212 Dies irae, continuo line o f C minor segment, mm.22-26............................................ 3213 Offertory, SATB mm. 48-55.............................................................................................. 3414 Offertory, SATB mm. 82-90.............................................................................................. 3415 Sanctus, SATB mm. 11-16..................................................................................................3616 Sanctus, SATB mm. 25-32 ................................................................................................ 3717 Sanctus, motive statement, soprano voice mm. 3-4 .......................................................3818 Agnus Dei, half-step sigh, bass voice mm. 6-8...............................................................3819 Introit, cadential bass gesture, mm. 7-9, 49-51, and 63-65.......................................... 4220 Introit, cadential bass gesture, mm. 12“-14 l, 25‘-27 ', and 67~-69‘.............................4221 Introit, original statement fo BPI mm. 25-27.................................................................. 4222 Gradual, statement o f BPI mm. 6 -8 ...................................................................................4323 Agnus Dei, statement of BPI retrogade and compressed mm. 1-2“............................4324 Communion, BPI statements mm. 13-15,36-38............................................................ 4325 Communion, tenor voice mm. 14-16,37-39................................................................... 4426 Introit, BPII mm. 4 1 -4 4 ....................................................................................................... 4427 Introit, opening bass line mm. 1-5 ..................................................................................... 4428 Introit, continuo mm. 19-26.................................................................................................4629 Communion, continuo mm. 24-282....................................................................................4630 Dies irae and Sequence inscriptions between Gradual and O ffertory....................... 5031 Introit, opening unison motive mm. 1-61......................................................................... 5232 Gradual, opening unison motive, soprano mm. 1-2.......................................................5233 Offertory, opening unison motive mm. 1-8 .....................................................................5234 Sanctus, opening unison motive mm. 1-3........................................................................ 5235 Agnus Dei, opening unison motive, alto, mm. 1-5........................................................5336 Communion, opening unison motive, alto, mm. 1 -2 .................................................... 5337 BPI, Introit, BC mm. 1-18...................................................................................................5638 BPI, Introit, BC mm. 19-36................................................................................................ 5639 BP2, Introit mm. 48-55 ....................................................................................................... 5640 BP3, Offertory, BC mm. 1-5............................................................................................... 5741 BP4, Offertory mm. 20-22, 24-28..................................................................................... 5742 BP4 as presented in the “Hosana,” mm. 24-27 ............................................................. 58

ix


List of Musical Examples (cont.)

Example Title Page

43 BP4 as presented in the Communion, mm. 24-27........................................................ 5844 Kyrie opening bass line mm. 96-97................................................................................. 6445 Subject and counter-subject, S and A mm. 70-81, 172-183 ......................................... 6646 Alto voice melodic sequence, mm. 24-27.......................................................................7047 Soprano and tenor melodic sequence, mm. 22-28....................................................... 7048 Unison head motive from Agnus Dei (mm. 1-2).......................................................... 7149 Unison head motive from Communion (mm. 1-2)....................................................... 7150 Garcia Introit choral incipit............................................................................................... 7851 Mozart Introit choral incipit.............................................................................................. 7952 Garcia Kyrie theme, bass voice.........................................................................................7953 Mozart Kyrie theme, bass voice........................................................................................7954 Communion violins I and II mm. 17-18.........................................................................9355 Communion violins I and II mm. 35-36 ....................................................................... 9356 Introit choral entrance mm. 3-4.........................................................................................9557 Communion, “Requiem” verse choral entrance mm. 21 -22 .........................................9558 Introit, incipit from autograph score provided by Diniz.............................................. 9959 Introit, incipit from manuscript copy catalogued as CT 190...................................... 9960 Kyrie, incipit from autograph score provided by Diniz............................................... 9961 Kyrie, incipit from manuscript copy catalogued as CT 190....................................... 9962 Missa de Requiem , title page, autograph score..........................................................10463 Dies irae, manuscript copy, TB and via. I mm. 14-16............................................. 10564 Dies irae, autograph score, TB and vln. I mm. 14-16............................................... 10565 Gradual, manuscript copy mm. 9-12............................................................................ 10666 Gradual, autograph score mm. 9-12...............................................................................10667 "Christe," manuscript copy, SATB mm. 87-90........................................................ 10868 “Christe,” autograph score, SATB mm. 87 -90 ......................................................... 10869 Araujo Introit, vocal bass line mm. 3 -9 ...................................................................... 10970 Araujo Gradual, vocal bass line mm. 1-8.................................................................... 10971 Garcia Introit, 1799 Requiem vocal bass line mm. 1-9............................................. 10972 Garcia Gradual, 1799 Requiem vocal bass line mm. 1-8 ......................................... 10973 Sanctus, SATB mm. 19-27............................................................................................. 11074 Motive similarity, Garcia Dies irae, 1799 Requiem

soprano voice mm. 1-13..........................................................................................11075 Motive similarity, Araujo Dies irae manuscript copy soprano mm. 1-12............. I l l76 Sequence, SATB mm. 1 -4 ...............................................................................................11377 Sequence, SATB last four measures............................................................................11378 Introit 1799 setting, SATB mm. 15-16......................................................................... 11679 Introit 1809 setting, SATB mm. 28-29....................................................................... 11780 Introit 1799 setting, BC mm. 19-26...............................................................................11781 Introit 1809 setting, BC mm. 24-31............................................................................. 117

x


Key to Abbreviations, Analytical Symbols, and Conventions

Abbreviations

CT = Catalogo tematico (thematic catalogue). CT is used with numbers in reference to entries

Garcia’s thematic catalogue (i.e.: CT 190).

m., mm. = measure(s); superscript numbers following a measure numbers represent specific

beats.

S = soprano

A = alto

T = tenor

B = bass

BC = basso continuo

Vln. = violin

Via. = viola

Vc. = violoncello

D.B. = double-bass

Cl. = clarinet

FI. = flute

Hn. = horn

BP = bass pattern


Pitch designation

M iddle C is identified as c ', C an octave lower is identified as c, and C an octave above middle C

is identified as c ”, and C two octaves bellow middle C is identified as C. Generic pitches, not

specific to a particular octave, are designated by their letter names, capitalized.

Harmonic notation

Main key areas are designated by upper-case letters for m ajor keys (C, D, G, etc.), and lower

case letters are used for minor keys (c, d, a, etc.). Functional harmony is represented by Roman

numerals, upper-case for m ajor triads, and lower-case for m inor triads, with a superscript 'v°”

indicating a diminished triad, as follows:

Mai or kev M inor kevI i Tonic triadii * * 0 11 Supertonic triadiii III Mediant triadIV iv Sub-dominant triadV V(v) Dominant triadvi VI Sub-mediant triadvii° vii°(VII) Leading-tone or sub-tonic triad

An arrow (—>) represents harmonic movement, as in a modulation. When the arrow is followed

by a letter (i.e.: -»Eb), it indicates a modulation to the key area represented by that particular

letter. When the arrow is followed by the Roman numeral five (i.e.: —»V/d), it indicates that the

particular section under discussion ended on the dominant chord o f the key represented by the

letter, without an actual modulation.

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Structural units

Upper-case letters (A, B, C, D, etc.) are used to designate major segments o f music. Lower-case

letters (a, b, c, etc.) designate sub-structures. Recurrence o f materials o f one section in another is

represented by s u p e r s c r i p t e t c . , accompanying the letter representing the structural unit.

General conventions

Throughout this study spellings are given in accordance to the source that is cited. As such,

various spellings o f the same name will be found.

Text quotations o f the Requiem Mass appear in quotation marks. Title o f liturgical text segments

appear in normal type.

Specific beat designation is by means o f a superscript number following a measure number

(i.e.: mm. 22-26“ = measures 22 to 26, second beat).

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Introduction

Early Brazilian history is divided between the Colonial Period (1500-1822) and the

Imperial Period (1822-1889). The Colonial period was characterized by what has been called

cycles o f extractivism, such as a precious stones cycle, a sugar cane cycle, or a coffee cycle. The

Portuguese maintained Brazil as a politically, economically, and culturally closed colony, as only

Portuguese ships were allowed to sail to Brazil. It was not until the stay o f the Portuguese court

in Rio de Janeiro (1808-1819?) that Brazilian harbors were opened to ships from other nations.

This long period o f isolation impacted Brazil, and must have influenced how European culture

was transmitted to this Portuguese colony.

Much o f early Brazilian History was recorded in personal diaries and official record

books. Printing presses were prohibited, and there were no newspapers in Brazil until this ban

was lifted in 1808, when the Royal Press was established, at the time when the Portuguese court

moved to Rio de Janeiro. Because o f this fact, a reconstruction o f Brazilian life previous to the

establishment o f the Royal Press proves to be rather difficult, as it is largely dependant on

manuscript sources. Brazilian music history remains very sketchy until the very late eighteenth

century. Large quantities o f manuscripts have been lost, though what has survived, as well as

contemporary accounts, suggests a rich musical life.

For the first two-hundred years o f colonization, the music used in Brazil was strictly

connected to the Catholic Church, and particularly to catechism, in the work o f the Franciscans

and Jesuits in their attempt to convert native Indians.1 One o f the effective ways found by the

Jesuits to convert the Indians was through the auto or auto sacramentale, which consisted o f a

1 Vasco Mariz, Histdria da musica no Brasil. 33.

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dram atic production w ith staging and costumes that often included music. Twenty-one o f such

productions have been recorded in sixteenth-century Brazil.2

Churches were immediately established as soon as new settlements were created, and this

generated the need for musicians. Mestres de capela (chapel masters) are recorded in Brazilian

history starting in the seventeenth century, and there are some studies describing the work o f

these mestres de capela in different regions o f Brazil.3 It is im portant to recognize that the

system o f estanco (stagnation) was established in most Brazilian churches. This system gave the

mestre de capela a com plete monopoly over musical activities, and no one else could be

involved with music without his express permission. Even though the system was widely

practiced, it was by no means supported by law, and it was most likely an imitation o f

Portuguese practices.4

By the end o f the seventeenth century a new institution was established in Brazil, the

confraternities (irmandades), modeled after their European counterparts. The confraternities

sponsored the great music production observed during the eighteenth century in Brazil. The

confraternities were organized according to racial strata. As such, there were confraternities o f

whites, blacks, and pardos (mixed). The confraternities made possible the establishment o f a

professional class o f m usicians, as these institutions commissioned the composition o f works for

their festivities and funded musical performances. Though it is difficult to ascertain the exact

musical training o f m ost o f the composers involved with the Confraternities, it is known that

some Portuguese theoretical methods were brought to Brazil, and these must be considered as a

possible primary source o f their training. The Arte de musica (1626) by Antonio Fernandes, Arte

2 L.H. Correa de Adevedo, 150 Anos de Musica no Brasil, 14.3 See Jaime C. Diniz, Mestres de Capela da Misericordia da Bahia 1647-1810, Francisco Curt Lange, A Organizagao Musical Durante o Periodo Colonial Brasileiro\ Ibid., Os Irmaos Musicos da Irmandade de Sao Jose dos Homens Pardos, de Vila Rica. Add Behague4 Nise Poggi Orbino and Regis Duprat, O Estanco da Musica no Brasil Colonial, 109.

XV


de canto chao (1618) by Pedro Talesio, the Arte minima (1685) by Manoel Nunes da Silva, and

the Artinha (eighteenth century) by Francisco Solano are some o f the Portuguese methods known

to have been used in Brazil.3

A more recent investigation by Binder and Castagna (1996) approaches the subject o f

European treatises possibly known in Brazil by examining references to European works and

authors found in treatises by Brazilian authors or written on Brazilian soil, thus expanding the

possible sources beyond Portuguese boundaries.6 Following is a reproduction o f the

chronological list compiled by these authors:

Table 1: List of European treatises referred to in Brazilian treatises

1. Podio, Guilhermo de. Commentariorum mas ices. Valencia, 1495.2. Gaffiirio, Franchino. Musice utnusque cantus practice. Brescia, 1497.3. Wollick, Nicolas. Opus aureum musicae. Koln, 1501.4. Faber, Gregorio. Musices practicae erotematum. Basel, 1553.5. Vicentino, Nicola. L ’antica musica ridotta alia moderna prattica. Rome, 1555.6. Cerone, Pedro. El m elopeoy maestro. Naples, 1613.7. Thalesio, Pedro. A arte de canto chao. Coimbra, 1618.8. Fernandes, Antonio. Arte de canto de orgdo e canto cham. Lisbon, 1626.9. Doni, Giovanni Battista. Compendia del trattato d e ' generi e d e ' modi. Rome, 1635.10. Kircher, Athanasius. Musurgia universalis sive ars magna consoni et dissoni in 4

libros digesta. Rome, 1650-1690, 2 vols.11. Lorente, Andres. El porque de la musica. Alcala de Henares, 1672.12. Silva, Manuel Nunes da. Arte minima. Lisbon, 1685.13. Villa-Lobos, Mathis de Sousa. Arte de cantochdo. Coimbra, 1688.14. Nasarre, Pablo. Escuela musica segun la prdtica moderna. Zaragoza, 1723-1724, 2

vols.7

Binder and Castagna carefully examined the Arte de solfejar (1761) by Luis Alvares Pinto (ca.

1719-1789), a Brazilian composer from Recife, Pernambuco. According to the authors, it is this

Brazilian treatise, dating from colonial times, that best reflects the assimilation o f information

5 Guilherme de Melo. A musica no Brasil, 243; Robert Stevenson. “Some Portuguese Sources for Early Brazilian Music History,” 16-17.6 Fernando Pereira Binder and Paulo Castagna, Teoria musical no Brasil: 1734-1854. http ://www.cce. ufpr. br/~rem/REMv 1.2/teoria. html.7 Ibid., n.p.

xvi


http://www.cce

found in European treatises, transcribing segments from the original languages and carefully

discussing them.8 Two tables are reproduced below, the first containing possible works to which

Pinto would have referred (he mentioned authors without titles), and a second table containing

specific works that Pinto referred to.

Table 2: List of authors with probable works found in the treatise by Pinto

1. Arezzo, Guido d \ Micrologus de disciplina artis musicae. Arezzo, XI cent.2. Montanos, Francisco de. Arte de canto llano y de canto de organo. Villadolid, 1592.3. Lobo, Duarte. Opuscula musica nunc primum edita. Antuerpia, 1602.4. Cerone, Pedro. El m elopeoy maestro. Naples, 1613.5. Thalesio, Pedro. A arte de canto chao. Coimbra, 1618.6. Fernandes, Antonio. Arte de canto de orgao e canto cham. Lisbon, 1626.7. Frouvo, Joao Alvares. Discursos sobre a perf 'eiqam do diathesaron. Lisbon, 1662.8. Lorente, Andres. El porque de la musica. Alcala de Henares, 1672.9. Silva, Manuel Nunes da. Arte minima. Lisbon, 1685.9

Table 3: List of authors and works specifically cited by Pinto

1. Arezzo, Guido d \ Micrologus de disciplina artis musicae. Arezzo, XI cent.2. Omithoparchus, Andreas. Musicae activae micrillogus. Leipzig, 1517.3. Tapia, Martin de. Vergel de musica spiritual speculativa v activa. Burgo de Osma,

1570.4. Montanos, Francisco de. Arte de canto llano v de canto de organo. Villadolid, 1592.5. Meibomius, Marcus. Tomo I antiqua musicae in prologo lectori benevolo.

Amsterdam, 1652.6. Gasparini, Francesco. L'armonico prat ico al cembalo. Venez, 1683.7. Brossard, Sebastien de. Dictionnaire de musique. Paris, 1703.8. Ozanam, Jacques. Recreations mathematiques et physiques. Paris, 1724.9. Alembert, Jean le Rond d’. Elemens de musique theorique et pratique suivant les

principes de M. Rameau. Paris, 1752.10

These lists form a valuable resource when trying to trace the development o f Brazilian

composers. Though m uch o f the information o f these lists comes from one composer, Pinto,

x Fernando Pereira Binder and Paulo Castagna. Teoria musical no Brasil: 1734-1854. http://www.cce.ufpr.br/~rem/REMvl .2/teoria.html.■’ Ibid.. n.p.10 Ibid., n.p.

xvi l


http://www.cce.ufpr.br/~rem/REMvl

these lists can still aid in establishing what possible European influences Brazilian composers

m ight have received.

For quite some time, the theoretical treatise written by Father Caetano M elo de Jesus

(1734-1760), chapel master a t the Salvador Cathedral, was thought to be lost. Father Jose

Augusto Alegria found a manuscript copy o f this treatise at the Cathedral o f Evora, Portugal, as

he organized a catalogue o f m usical holdings at the Cathedral. The treatise by M elo de Jesus

was written between 1759-1760, in two volumes, totaling 1265 pages. The first volum e is the

treatise proper, while the second volume is an "‘apologetic dialogue,'’ discussing a variety o f

theoretical problems. The treatise by M elo de Jesus demonstrates that musicians in the Northeast

region o f Brazil had a high level o f musical training during the mid-eighteenth century, with a

comprehensive understanding o f European musical practices.11 Jose Augusto Alegria prepared

a critical edition o f the apologetic dialogue by Melo de Jesus, published in 1985.1-

The impulse given by the confraternities benefited music in general, creating the demand

for good performances that in its turn, demanded performers that were well trained, and thus

m usical instruction became a necessity. This domino effect is most likely the motivation behind

the appearance o f the first music treatises written in Brazil.1' The musical development in Brazil

during the eighteenth century is observable also in the establishment o f instrument craftsmen.

Agostinho Rodrigues Leite (1722-1786), from Pernambuco, was an important organist and organ

11 See Regis Duprat, “A redescoberta de um teorico musical brasileiro”, In Garimpo musical, 177-179.12 Jose Augusto Alegria, Discurso apologetico: polemica musical do Padre Caetano de Melo de Jesus.13 Fernando Pereira Binder and Paulo Castagna, Teoria musical no Brasil: 1734-1854: the following works are known to have been written during the XVIII century:Joao de Lima, lost treatise(s) written at the end of the XVII century; Caetano de Melo Jesus, Escola de canto de orgao (1759-1760); Ibid, Tratado dos tons (lost work written in the first half of the XVIII century); Luis Alvares Pinto, Arte de solfejar (1761) and Muzico e modemo systema para solfejar sem confuzao (1776); Jose de Torres Franco, Arte de acompanhar (1790).

xviii


builder known throughout Brazil. Agostinho Rodrigues Leite’s son, Salvador Francisco Leite

(1761 -1844), took on his father’s craft and continued the tradition o f organ building.14

Pernambuco, Bahia, and Minas Gerais were important centers o f musical activity, with

the latter witnessing one o f the most remarkable surges o f musical production in the second half

o f the eighteenth century. Riches provided by the gold and precious stones found in Minas

Gerais prompted artistic production in music, sculpture, and architecture. This period o f artistic

abundance has been referred to as Barroco mineiro,Ia a term that best describes the style o f

sculptor Antonio Francisco Lisboa (ca. 1738-1814), better known as Aleijcidinho (Little Cripple),

but which is misleading when used in connection with to the music produced in Minas Gerais.

The music o f eighteenth-century Minas Gerais was the object o f a life-long study by

musicologist Francisco Curt Lange (1903-1997), whose effort in collecting, restoring, and

salvaging manuscripts has provided us with much o f the information extant on this period o f rich

musical activity. It has been estimated that there were approximately 1000 musicians active in

Minas Gerais during the period from 1760 to 1800. Most o f these musicians were mulattoes and

had associations with irmandades.16 The most important and better known o f these composers is

Jose Joaquim Emerico Lobo de Mesquita (ca. 1740-1805).

In Sao Paulo, the Portuguese composer Andre da Silva Gomes (1752-1844) gave a new

impulse to the musical life o f the city, and it is said that at the Sao Paulo Cathedral the music

rivaled that o f the better Portuguese churches. Andre da Silva Gomes wrote a counterpoint and

composition treatise that was recently discovered in Sao Paulo, Tratado de contraponto e

composiqdo, a manuscript copy dating from 1830 o f a work written circa 1800 and containing

14 Jaime C. Diniz. Musicos pemambucanos do passado Vol. II, 151.'■ Barroco=Baroq\ie, mineiro=from Minas Gerais. See Leopoldo Castedo, The Baroque Prevalence in Brazilian Art for an English language description o f sculpture and architecture.16 Gerard Behague. “Brazil", New Grove Dictionary o f M usic and Musicians, Vol. 4, 269.

xix


149 pages. Brazilian musicologist Regis Duprat considers an understanding o f this treatise to be

o f fundamental importance to better evaluate the com poser’s contrapuntal sty le.17

An important musicological discovery took place in 1984, in the town o f Mogi das

Cruzes, Sao Paulo state, where manuscripts o f eleven sacred compositions where found, dating

most likely from the early part o f the eighteenth century. The notation in these manuscripts uses

white notes, nearly without measure divisions, standing in contrast with the traditional notation

observed in the manuscripts from the second half o f the eighteenth century found elsewhere in

Brazil. Names o f three copyists have been identified, Faustino do Prado Xavier, his brother,

Angelo do Prado Xavier, and Timoteo Leme, who might be or not the actual composers o f these

w orks.18 This collection o f manuscripts is most likely the earliest surviving example o f music

composed on Brazilian soil during colonial times, and it is still waiting for further musicological

investigation.

Jose Mauricio Nunes Garcia established him self as a composer in late eighteenth-century

Rio de Janeiro, and it has not yet been clarified if he had any significant predecessors in that

city .19 Garcia’s music follows the pattern observed in much Brazilian music o f the second half

o f the eighteenth century, lacking extensive sections using traditional imitative contrapuntal

procedures associated with the eighteenth century, such as fugue and canon. Because o f Garcia’s

predominant homorhythmic textures, a superficial observation can lead one to discard his music

as being homophonic. This would be far from truth, however, as the horizontal movement o f the

voices is o f great importance in Garcia, leading into what I have described as a linear

homorhythmic style. Many o f the non-dominant seventh chords observed in the works o f Garcia,

17 Vasco Mariz, Histdria da miisica no Brasil, 37.18 Jaelson Trindade and Paulo Castagna, Musica pre-harroca luso-americana: o grtipo de Mogi das Cruzes. See also: Regis Duprat, “As mais antigas folhas de musica do Brasil”, In Garimpo musical.19 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 93.

XX


must be considered the result o f contrapuntal writing, as in suspensions, appoggiaturas, and

sequences.20 Still, the question concerning what kind o f training Brazilian composers o f the

period under discussion received, and particularly what kind o f counterpoint instruction they

received, is a very pressing one. If counterpoint was still the prevailing musical training o f all

European composers during the eighteenth century, why in a European colony is there little

evidence o f eighteenth-century counterpoint? This is a rather puzzling question that still awaits a

satisfactory and documented answer, for it is not until the late eighteenth century that a

continuous history can be narrated for Brazilian music. As musicological studies are developed

on the theoretical works by Brazilian authors, a better understanding of the possible training and

mind set o f Brazilian composers from colonial times will be obtained.

Garcia has been one o f the few Brazilian composers from colonial times to be kept

continually alive. Even though it is known that a good number o f his over 400 works have been

lost, his name has never fallen into oblivion, dem onstrating an ongoing preservation effort that

has span many generations. The first efforts at preservation were by G arcia's contemporaries

and some disciples. Notably, some o f these early efforts involved alterations in the works o f

Garcia so as to update them according to contemporary ta s te . '1 Thus, the question o f source is o f

vital relevance when evaluating the m usic o f Garcia.

20 Claudio Antonio Esteves, A obra voca/“de capella "de Padre Jose Mauricio Nunes Garcia.seis edigoes e seus elementos de escrita, 88.21 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 188.

XXI


Chapter I

Biographical sketch

Father Jose M auricio Nunes Garcia is recognized as the most important composer in

Brazil and one o f the most original composers o f the Americas during the period comprising the

turn o f the eighteenth century into the nineteenth century. His parents were “colored,’" meaning

some type o f racial mix involving Negroes, and his m other in particular was o f a direct African

descent.22 Although there is limited documentation o f his musical training, it is known that he

received formal instruction in philosophy, Latin, rhetoric, and theology', a normal educational

path to priesthood. It is also known that the composer was fluent in French and Italian and had a

working knowledge o f English and Greek.2'’ Some o f the com poser's first professional

experiences were with m usic brotherhoods,24 the first o f which he helped to found when he was

only seventeen years old, as well as religious brotherhoods.^ This type o f association the

composer maintained throughout his life.

Garcia was ordained priest in 1792,26 and in 1798 was appointed mestre de capela o f the

Rio de Janeiro Cathedral, the most important music position in the city. Upon the arrival in 1808

o f the Portuguese court in Rio de Janeiro, which fled the Napoleonic invasion o f Portugal, Garcia

was appointed mestre de capela o f the newly created Royal Chapel, an appointment that gives

22 Visconde de Taunay, “Esboceto Biografico”, In: Missa de requiem; choral and organ reduction score by Alberto Nepomuceno, Casa Bevilacqua, 1897, reprinted In: Estudos Mauricianos, 11.23 Januario da Cunha Barbosa, “Necrologio”, In: Jomal da Imprensa Imperial Nacional, Rio de Janeiro, p. 402-4, April 30, 1830, reprinted In: Estudos Mauricianos, 31-3224 The first o f such brotherhoods was the Irmandade de Santa Cecilia, founded in 1784, which functioned as a guild of musicians in general, but especially music teachers in Rio de Janeiro. Those interested in becoming “professional” musicians had to take exams in this brotherhood.2 The composer was accepted in the Irmandade de Sao Pedro in 1791, and he was responsible for composing music for the feasts of its patron saint, St. Peter. The composer also wrote under commission for the Ordem Terceira do Carmo, responsible for festivities o f Our Lady of Carmo (July) and St. Teresa (October), most likely beginning in 1790.26 Luiz Heitor Correa Azevedo, 150 Anos de Musica no Brasil, 32. According to the author, in Portuguese society of the XVIII century. Catholic priesthood was seen as a career like others, especially for a youth of humble birth.

1


evidence o f his talents, accomplishments, and fame at that time. Throughout the stay o f the

Portuguese court in Brazil, the Regent Prince Dom Joao, later King Dom Joao VI, demonstrated

appreciation o f Garcia,27 and the com poser had his most productive period during the years in

which he was the sole mestre de capela o f the Royal Chapel, 1808-1811, writing approximately

seventy works. In spite o f Dom Joao’s fondness o f Garcia, Marcos Portugal, the most important

Portuguese composer at the time, moved to Rio de Janeiro in 1811, and was immediately given

all the privileges o f court composer, being appointed mestre de capela o f the Royal Chapel by

royal decree. Even though Garcia was not dismissed from the Royal Chapel, he was no longer

responsible for composing music for the services presented by it, a duty now given to Marcos

Portugal. The relationship between the two composers seems to have been considerably

strained, as Marcos Portugal thought that Garcia was out o f fashion for never having been

outside o f Brazil.

A considerable amount o f mystery remains as for the real reason behind Marcos

Portugal's move to Rio de Janeiro. During the Napoleonic occupation o f Portugal, Marcos

Portugal had been anything but patriotic, writing an opera in honor o f the French invaders. Thus

it would seem strange that Dom Joao would have called upon the composer to move to Rio de

Janeiro. This situation is given a further degree o f mystery, as it seems that Dom Joao was very

pleased musically with Garcia. Vasco Mariz suggests that the now public love affair o f Father

Jose Mauricio Nunes Garcia with Severiana Rosa de Castro might have influenced the

Portuguese ruler’s decision to privilege Marcos Portugal, and also might have fueled Marcos

Portugal’s dem eaner o f Garcia.28

' Appointed the composer as mestre de capela, honored him with the Ordem de Cristo, gave him a pension, possibly comissioned Garcia to write the Requiem and Office o f 1816 for the death of his mother, D. Maria I.

Vasco Mariz, Historia da musica no Brasil, 54-55.

2


By 1811 Garcia and Severiana Rosa de Castro had already three children. The

Portuguese court was always known for its religiosity, and such an embarassing situation might

indeed have prompted Dom Joao to place Garcia in the background of musical activities at the

Royal Chapel.29 The musical production o f Garcia was very irregular during the years after he

worked as composer o f the Royal Chapel, and Garcia com plained that he no longer had access to

the wonderful performers at the chapel, who knew no technical limits.

With BraziPs independence from Portugal in 1822, financial strains were felt in all

segments o f society, but particularly in the arts, limiting the pomp o f the cerimonies held at what

was now called the Imperial Chapel. G arcia's last work was composed in 1826, the Mass o f St.

Cecilia, a work that parallels Bach's B minor Mass in its very large scope. The com poser died in

poverty and sickness on April 18, 1830, at the age o f 62.

Relevance of the present study

In spite o f the fact that the literature regards Garcia as an important musical figure o f his

day, there have been few studies that discuss his style or the uniqueness o f his musical

contribution. This is no surprise, as the Brazilian repertory still remains largely unknown,

especially that o f colonial times, which can be considered a last frontier o f W estern music

history.30 Cleofe Person de Mattos’s life-work dedicated to Garcia laid the foundations for

studying this composer. It was through M attos’s paramount efforts that the com poser’s thematic

catalogue (catdlogo temaiico) was published in 1970, som e scores were published in the last

decades o f the twentieth century, and a more comprehensive biography was published in 1993.

Other publications, such as the Estudos Mauricianos (1983), helped to bring a variety o f

29 Vasco Mariz, Historia da musica no Brasil., 54-55.30 Lorenzo Mammi, “Apresenta^ao” In: Manuel Dias de Oliveira, Matinas e vesperasde sabado santo, 7

-1


information to the hands o f researchers. In recent times Garcia has been the subject o f some

theses and dissertations, m ostly in Portuguese, with one work in English, so that little by little we

are deciphering the elements o f the composer’s language.

It is in this category that the present research fits, highlighting significant elements in the

works under study. W ithout the publication o f G arcia’s thematic catalogue and biography, any

attempt to better understand the composer would have proven impossible. Considering the

materials published so far, studies about Garcia’s style have become a necessity to deepen our

understanding of his unique contribution to music. Garcia composed foremost for the Catholic

liturgy, although some secular works and pedagogical treatises have survived.31 A lost opera, Le

due gemelle, might have been the first composition by a Brazilian composer in the genre. It was

written for the Royal Theatre (1808-1821), and only an inventory entry in the hand o f the

composer survives o f this opera. The scores for Le due gemelle were lost in the fire that

destroyed the Royal Theatre and in the belongings o f Marcos Portugal, who was the theater’s

director.

The original proposal for this study projected a study o f four Requiem M ass settings by

Garcia, as listed in both the com poser's thematic catalogue and the New Grove Dictionary o f

Music and Musicians entry on the composer, as items numbers 182, 184, 185, and 190. On the

course o f research it was found that one of the four settings is by another composer, the undated

Requiem Mass in F major, referred to as CT 190.33 Even though this work is not by Garcia, I

have decided to keep CT 190 in the present study in order to address the issue o f authorship and

also for comparison o f another early nineteenth-century Brazilian composer with Garcia.

31 It is estimated that Garcia wrote circa 400 works, of which 240+ items are listed in the Thematic Catalogue. Consideration must be taken to the fact that some items in the Thematic Catalogue are not of Garcia's authorship.32 Viscon de Taunay, Uma grande gloria brasileira: Jose Mauricio Nunes Garcia, 97.33 In reference to the Thematic Catalogue organized by Cleofe Person de Matos.

4


A comparative study o f the three surviving musical settings o f the Requiem Mass text by

Garcia can provide a useful perspective o f the composer's style,34 as the Requiem Mass is a

unique genre. Mattos explains that the intense Brazilian religious environment o f colonial times,

with its remarkable preoccupation with life after death, gave rise to funeral ceremonies o f great

social and musical im portance/3 thus elevating the importance of studying the funeral music o f

that time. The three Requiem settings by Garcia have dates: 1799 (CT 182), 1809 (CT 184) and

1816 (CT 185). Thus they span the most productive period o f the com poser’s life and mark

distinct moments in his career. The year 1799 marks Garcia's first full year as mestre de capela

o f the Rio de Janeiro Cathedral: 1809 is the com poser’s second year as mestre de capela o f the

Royal Chapel: and 1816 is in a period in which the composer had already been working with

better performers for some time, most o f which had come to Rio de Janeiro from Europe with the

Portuguese court, but a time when he was no longer in charge o f musical activities at the Royal

Chapel. The fourth Requiem setting under this study, CT 190, is a work by another Brazilian

composer, Damiao Barbosa de Araujo (1778-1856). The questions surrounding the CT 190 will

be discussed in detail in Chapter V. Even though this work is not dated, it can be placed within a

limited time period through consideration o f its unique instrumentation, consisting o f a string

quintet comprising two viola parts, two violoncello parts, and double-bass, plus two homs. This

helps to place the work around the period o f activity o f the Royal Chapel (1808-1821). The

work also survives in autograph score, using an orchestra o f Classical size.

The Requiem settings o f 1799 and 1809 are scored for SATB chorus and basso continuo,

and the 1816 setting has the largest scoring, using SATB chorus, SATB soli, and a full Classical

orchestra. Two o f the settings, 1799 and 1816, have their own specific Office, while the 1809

34 A lost Requiem Mass in F minor is referred to in the Thematic Catalogue of the Mendanha Archive. See: Cleofe Person de Mattos, “Masses o f Requiem”, In: Jose Mauricio Nunes Garcia, Oficio 1816, 20.35 Cleofe Person de Mattos, Catalogo tematico das obras do Padre Jose Mauricio Nunes Garcia, 373.

5


setting has survived as an independent work without being attached to a specific Office. The

Requiem by Araujo (CT 190) sets some verses belonging to the Office following the Requiem

Mass in the manuscript score copy, with the peculiar inscription “O que segue nao vai fica para

quando foi precizo.”36

Training and influences

Little is known about the musical instruction and models available for Brazilian

composers o f the eighteenth century. It seems reasonable to consider that musical practices

common in Portugal were transferred, assimilated, and adapted in Brazil. Theoretical works by

Portuguese and other European authors found in Brazil have been listed in the introduction.

Furthermore, the strong influence that Italian music had on Portuguese music in general, starting

in the seventeenth century, must also be considered as a very significant one. Mauricio Dottori

states that the “imported music played in Brazil was almost entirely o f Neapolitan origin,

composed by Davide Perez, by some o f his Portuguese pupils and by Niccolo Jommelli.”'’7

Neves indicates that the musical models available for the composers from Minas Gerais were

copies o f music by Palestrina, Lassus, Scarlatti, Lully, Rameau, Frescobaldi, Monteverdi,

Pergolesi, and others. These copies were sent to Rio de Janeiro in the first half o f the eighteenth

century as per the request made by Friar Joao da Cruz. Neves suggests that this same repertory

also served as models for Garcia.38 Neves also suggests that the tendency towards Classical

expression in the music o f Brazilian composers o f the second half o f the eighteenth century can

be explained by the presence o f copies o f works by Joseph Haydn, Mozart, Beethoven, and Ignaz

36 Translation: “What follows is not going to stay [;] it was for when it was necessary.”37 Mauricio Dottori, On Baroque Music and Brazil, http://www.ccc.ufpr.br/-rem/REMvl ,2/voll 2/baroque.html38 Jose Maria Neves, “Jose Mauricio e os Compositores Setecentistas Mineiros”. In: Estudos Mauricianos, 56.These copies would have arrived in Rio de Janeiro during the first half o f the XVIII century.

6


http://www.ccc.ufpr.br/-rem/REMvl

Pleyel, who seems to have been particularly popular in Minas Gerais.39 Still, no direct

connection between these European masters and Brazilian composers has been drawn.

Discussing the general musical style o f Brazilian composers o f the second half o f the eighteenth

century, Duprat elaborates on the idea that all o f these composers fell under the spell o f some

form o f pre-Classicism, meaning an abandonment o f Baroque practices but not yet an embrace o f

Classical ideals.40 This abandonment o f Baroque practices may be interpreted as an avoidance o f

contrapuntal practices, as Brazilian composers from the second half o f the eighteenth century

cultivated very little counterpoint, while approximating the rococo and gallant styles.

Garcia’s musical training and development as a composer is still somewhat shrouded in

darkness. The idea that he was basically self-taught has circulated in the literature,41 but it seems

to be rather without basis. Azevedo suggests that much o f Garcia’s development as a musician

and composer took place singing in some church choir,42 an idea supported by Neves, who thinks

that Garcia's training, as well as that o f the composers from Minas Gerais, was largely o f a

practical nature, provided by the repertory that was performed.43

Garcia's first music lessons were in the class o f Salvador Jose de Almeida e Faria, and it

is said that some o f the best musicians o f Rio de Janeiro were Faria's disciples.44 For a long time

this was all the information known about G arcia’s teacher. A recent dissertation in history

(1997), dealing with the city o f Rio de Janeiro during the period 1710-1810, makes an important

contribution to a better understanding o f Salvador Jose de Almeida e Faria, and consequently

39 Jose Maria Neves, “Jose Mauricio e os Compositores Setecentistas Mineiros”, In: Estudos Mauricianos, 57. The author states that these copies are housed in the Museum of Mariana, Minas Gerais, Brazil.40 Regis Duprat, “Musica brasileira do sec. XVIII e a definipao do seu estilo”, In Art 007, revista da escola de musica e artes cenicas, 5-6.41 Guilherme de Melo, A rmisica no Brasil, 153; J. F. de Almeida Prado, Historia daformaqao da sociedade Brasileira, 177.42 L. H. Correa de Azevedo, 150 Anos de musica no Brasil, 32.43 Jose Maria Neves, “Jose Mauricio e os compositores setecentistas mineiros”. In: Estudos Mauricianos, 56.44 Januario da Cunha Barbosa, “Necrologio”, In: Estudos Mauricianos, 31.

7


Garcia. The author analyzes the inventory of Salvador Jose de Almeida e Faria’s assets at the

time o f his death (1799), and concludes that this m ulatto music teacher and instrument craftsman

must have had a successful career considering the amount o f his assets. More importantly, an

inventory o f his personal music library was found, listing exclusively works by Portuguese and

Italian composers, with only one Brazilian composer represented, notably, Garcia.45

T able 4: Portuguese com posers listed in F a ria 's inventory

1. Andre da Silva Gomes2. Antonio Leal Moreira3. Friar Antonio do Rosario4. Antonio Teixeira5. Father Joao Alvares Frovo6. Joao Cordeiro da Silva7. Joao de Souza Carvalho8. Jose Joaquim dos Santos9. Luciano Xavier Santos10. Friar Manoel de Santo Elias11. Marcos Portugal46

Table 5: Italian composers listed in Faria's inventory'

1. David Peres2. Galuppi Baldassare3. Gioseffo Bencini4. Giovan Battista Borghi5. Giovan Battista Pergolesi6. Leonardo Ortensio Salvatore de Leo7. Luigi Antonio Sabbatine8. Nicolau Jommelli9. Nicolo Piccini10. Paolo Orgitano11. Tommaso Traetta12. Lustrini (?)47

45 Nireu Oliveira Cavalcanti, A ctdade de Sao Sebatido do Rio de Janeiro, 288-289.4746 Ibid.. 288.

Ibid., 288


This information is crucial in establishing an European repertory that Garcia would have known.

Even if Garcia outgrew the music lessons o f Salvador Jose de Almeida e Faria very quickly, he

certainly would have had access to his teacher's valuable collection o f European works. At least

one o f the Italian composers, Davide Perez, is referred to in connection with Garcia later in the

com poser’s life, when he conducted the first performance of Mozart’s Requiem in Brazil.48

Mattos’s thinking is that Garcia developed his own style little by little, during the time

preceding the arrival o f the Portuguese court in Rio de Janeiro (1808), starting from the rich

musical tradition that had existed in Minas Gerais.49 A connection with the composers from

Minas Gerais is certainly plausible, though the extent o f Garcia’s knowledge o f these composers

has not been documented. However, the music o f the composers from Minas Gerais and that o f

Garcia bear a striking similarity, namely, the lack o f substantial sections in contrapuntal style.

M attos adds that the first fugue written by Garcia appears in 1808. and from then on fugues

appear always at a specific point o f his Masses, the conclusion o f the Gloria, as in the Masses o f

Haydn and Mozart.30 Perhaps o f greater relevance to our understanding o f the composer’s style

are accounts, including some that are contemporary, describing G arcia's extraordinary ability in

the art o f improvisation.31 Sigismund Neukomm is said to have called him the finest improviser

in the world,3' which might explain his facility in composing works that appear to be through-

composed.

48 Rene Brighenti, “A funcionalidade da musica de Jose Mauricio”, In: Estudos Mauricianos, 82. The author comments on Neukomm’s notice to the Allgemeine Musikalische Zeitung, 1820, about the performance of Mozart’s Requiem under Garcia’s baton, when some pieces by Neapolitan composer David Perez were performed, and also the mention that Garcia’s preferred repertory was that of the Italian school.49 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 93-94.” Ibid., 99-100.51 Guilherme de Melo, A musica no Brasil, 153-154.52 Ibid., 167; Manuel de Araujo Porto Alegre, “Apontamentos sobre a vida e obras do Padre Jose Mauricio Nunes Garcia”, In Estudos Mauricianos, 28. Porto Alegre claims that in Paris, Neukomm told him that Garcia was the “first [best] improviser of the world” .

9


The lack o f substantial contrapuntal textures in Garcia's works begs the question w hether

he had adequate training in this area o f musical craft. Mattos affirms that counterpoint was

lacking in the formal training o f the Brazilian com poser and that it is not until the arrival o f the

Portuguese court in Rio de Janeiro (1808) that fugal and fugato sections appear in the works o f

Garcia.33 Endorsing this idea, Mario de Andrade says that Garcia’s weakness was his lack o f

knowledge o f Catholic and Protestant polyphonists.54 Somewhat contradicting this view,

Azevedo affirms that Rio de Janeiro had an accomplished counterpoint specialist at the end o f

the eighteenth century, Father Antonio Nunes de Cerqueira, mestre de capela and rector o f the

Seminario de Sdo Jose , a training school for church singers.33 Diniz (1970) affirms that Jose

Mauricio Nunes G arcia left the music class o f Salvador Jose de Alm eida e Faria to enroll in the

harmony and counterpoint class o f Father Manuel das Rosas,36 but unfortunately he does not

give his source for this possibly revealing information. Most likely, Diniz turned into fact the

hypothesis raised by Visconde de Taunay that Father Manoel da Silva Rosa could have possibly

guided Garcia in studies o f harmony and counterpoint.3' Contradicting this possibility, Porto

Alegre,38 writing in 1856, states that Father Manuel da Silva Rosa did not influence Garcia,39 for

Rosa always lived in seclusion and there is no evidence that he shared his admirable musical

talents with anyone.60 Melo, writing in his music history o f Brazil first published in 1908,

repeats Porto A legre’s words without crediting his source.61 Even if G arcia studied counterpoint

53 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 99.54 Mario de Andrade, Musica, doce musica, 138.55 L. H. Correa de Azevedo, Urn velho compositor brasileira ~ Jose Mauricio Nunes Garcia, 25.

Jaime C. Diniz, In Damiao Barbosa de Araujo, Memento Baianopara coro e orquestra, 8.57 Visconde de Taunay, Uma grande gloria brasileira: Jose Mauricio Nunes Garcia , 59-60.58 A contemporary o f Garcia, who made the composer’s death mask.59 We must consider that the two authors are speaking about the same person, in spite o f a slight difference of spelling.

Manuel de Araujo Porto Alegre, “Apontamentos sobre a vida e obras do Padre Jose Mauricio Nunes Garcia”, In Estudos Mauricianos, 23.61 Guilherme Melo, A musica no Brasil, 170

10


with Manuel da Silva Rosa, an evaluation o f the contents o f these hypothetical studies is not

possible at the present moment, for there is alm ost no information about Rosa in print, and he is

only remembered today as having composed a setting o f the Biblical Passion story. Another

possible important piece o f information are references that Garcia would have written a

counterpoint treatise.62 To the present time this manuscript has not been located.6j

Garcia has been likened to M ozart,64 and he certainly greatly admired the Salzburg

master, paying homage to Mozart in his 1816 Requiem Mass by quoting melodies from M ozart's

Requiem and setting his work in the same main key, D minor. Garcia also admired Franz Joseph

Haydn, and Appleby thinks that “ [. . .] the influence o f Haydn is a readily observable stylistic

element in the works o f Jose Mauricio.”6' Gama affirms that G arcia 's inspirations were M ozart

and Haydn, adding that the Brazilian composer was closer to Haydn.66 Garcia paid homage to

Haydn by quoting melodies from The Creation in two o f his Psalm settings, Laudate Dominum

Omnes Gentes (1821, CT 78) and Laudate Pueri Dominum (1821, CT 79). Even though Garcia

admired these two great composers, he paid homage to them late in his life; and although some

literary references suggest that Garcia was “connected” to the German school,67 there is no

factual demonstration that Viennese Classicism was a significant influence on the Brazilian

master. Marcelo Fagerlande points out in his study o f G arcia 's pianoforte method, that,

surprisingly, the composer, working in the early part o f the nineteenth century, did not explain

62 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 152; Mario de Andrade, Musica, doce musica, 136.63 This counterpoint treatise is not the surviving Compendio de musica e metodo de pianoforte, CT 23664 Mauro Gama, Jose Mauricio: o padre-compositor, 20; Manuel de Araujo Porto Alegre, "Apontamentos sobre a vida e obras do Padre Jose Mauricio Nunes Garcia”, In In Estudos Mauricianos, 28.65 David P. Appleby, The Music o f Brazil, 32.66 Mauro Gama, Jose Mauricio: o padre-compositor, 20.67 Visconde de Taunay, “Esboceto Biografico”, In Estudos Mauricianos, 12. The author affirms that Garcia was connected to the German School.

1 1


sonata form in his pedagogical treatise.68 W hat other possible European models did Garcia have,

then? Behague asserts that Garcia’s Mass settings and other works after 1810 demonstrate the

influence o f contemporary Italian opera, in a significant change o f style most likely

demonstrating the Portuguese court’s taste during its stay in Rio de Janeiro, as well as the

musical resources brought to the Royal Chapel — accomplished singers and instrumentalists from

Europe - as well as a contact with current musical practices observed in Portugal. Begague also

states that Garcia’s Missa pastoril para a noite de Natal (1811) recalls the masses o f Cherubini.69

Behague’s tim e frame for a change o f style is in disagreement with that o f Visconde de

Taunay, who was the first to articulate the idea o f a change o f style, or two periods in the work o f

Garcia. Taunay established 1817 as the stylistic turning point in the work o f Garcia, saying that

the composer gave in to the pressures o f the Portuguese court’s taste for Italian opera.70 It is

known that Italian opera was the dominant genre at the Portuguese court during the eighteenth

century, and even in previous times, the musical connection between Italy and Portugal had

already been established with a strong.

Marcos Portugal, the leading Portuguese composer o f the late eighteenth and early

nineteenth centuries, moved to Rio de Janeiro 1811, bringing with him the permeating influence

o f Italian opera in all o f his works, including sacred, and whose general background is that o f the

old Neapolitan school o f composition.71 Thus, it seems reasonable to consider, initially, the

arrival o f the Portuguese court to Rio de Janeiro (1808) as an im portant stylistic influence on

Garcia, mostly because he had better performers to work. Furthermore, the contact with Marcos

68 Marcelo Fagerlande, O metodo de pianoforte do Padre Jose Mauricio Nunes Garcia, 8.69 Gerard Behague. “Jose Mauricio Nunes Garcia”, New Grove Dictionary o f Music and Musicians, Vol 9. 524.70 Visconde de Taunay, “Esboceto biografico”. In: Missa de requiem; choral and organ reduction score by Alberto Nepomuceno, Casa Bevilacqua. 1897, reprinted Ln: Estudos Mauricianos, 13.71 It was during the reign o f Dom Joao V (1689-1750) that the Italian style became dominant in Portugal, as Domenico Scarlatti served at the Portuguese court, and promising Portuguese composers were sent to Italy for training.

12


Portugal and the involvement with these European musicians brought to Rio de Janeiro by the

Portuguese court gradually must have caused Garcia to change his style further in order to

accommodate both the taste o f the court and the necessity o f highlighting these virtuoso singers

and instrumentalists.

The presence o f Italian opera in Brazil becam e o f paramount importance during the

nineteenth century, to the point that Carlos Gomes (1836-1896), Brazil’s most celebrated opera

composer, can be considered for all intents and purposes and Italian composer o f Brazilian birth.

It is also interesting to note Fagerlande’s observation that in Garcia’s pianoforte method, written

in the last years o f his life, the most cultivated form is that o f the da capo aria,7' in lieu o f other

keyboard genres, providing added evidence o f the com poser’s affinity with opera genres. Taking

into consideration that early nineteenth-century Italian music was a main influence in the latter

years o f the composer, it is not a far-fetched possibility to consider that, like Marcos Portugal

him self as well as other contemporary Portuguese composers in general, G arcia’s early

development was also influenced by Italian music o f earlier times, as represented by the Italian

composers found in the inventory o f Salvador Jose de A lm eida e Faria.

The question concerning how much contemporary European musical production Garcia

really knew at first hand is certainly an important one. From nineteenth-century historiography,

comes the idea that Garcia had a personal library with many current European editions and thus

had first-hand knowledge o f mainstream European musical style.73 No proof o f the existence o f

such a personal collection has em erged so far, and it is more likely that Garcia’s knowledge o f

current European musical production was considerably limited, perhaps best represented by the

72 Marcelo Fagerlande, O metodo de pianoforte do Padre Jose Mauricio Nunes Garcia, 8.73 Visconde de Taunay, “Esboceto biografico”, In: Missa de requiem ; choral and organ reduction score by Alberto Nepomuceno, Casa Bevilacqua, 1897, reprinted In: Estudos Mauricianos, 12. The author affirms that the composer spent much of his savings to purchase a large collection of music by German, French, and Italian composers.

13


inventory o f his teacher, Salvador Jose de Almeida e Faria. Most likely, it was not until the

arrival o f the Portuguese court in Brazil in 1808, when Dom Joao brought his library to Rio de

Janeiro and appointed Garcia to be in charge o f the music archives in 1810, that the composer

had the opportunity to explore contemporary mainstream European music.74 Dom Joao's library

was, indeed, one o f the best in Europe, and it certainly aided the Brazilian com poser in renewing

his style during the 181 Os.

In spite o f all this suggestive information, a more specific answer to this question o f

possible models and influences is unlikely to be found, because the little historical evidence that

has survived suggests that Garcia did not have any immediate, significant predecessors in Rio de

Janeiro so as to create an ongoing tradition. Thus, whatever European models he might have had

were most likely taken out o f their original context. Furthermore, an investigation o f the

Portuguese and Italian composers listed in Salvador Jose de Almeida e Faria 's inventory proves

to be very difficult, as this repertory remains largely unpublished, and analytical studies on these

composers are nearly non-existent.

Source m aterials

Manuscripts for the four Requiem settings have been catalogued by Cleofe Person de

Mattos and are housed in the Biblioteca da Escola Nacional de M usica o f the Federal University

o f Rio de Janeiro (UFRJ). The autograph score for the Requiem Mass by Damiao Barbosa de

Araujo (CT 190) is housed in the Arquivo Historico Municipal de Salvador (Historical

Municipal Archive o f Salvador), identified in Jaime C. Diniz's edition o f Araujo’s Memento

Baiano 75 Two o f the Requiem settings, 1809 and 1816, survive in autograph scores, and a score

74 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 85.' Jaime C. Diniz, In Damiao Barbosa de Araujo, Memento Baiano, 21-22.

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o f the 1799 setting survives in the hand o f copyist, with autograph parts. CT 190 exists in the

hand o f a copyist, Bento das Merces, and in an autograph score. Only two o f the Requiem

settings have ever been published, and currently only the 1816 setting is available in print, in

M attos’ edition for Carus-Verlag (1994) and in a vocal score with piano reduction published by

Associated Music Publishers in 1977. Individual movements o f the 1816 setting were also

published in the late nineteenth and early twentieth Centuries, most frequently in some form o f

arrangement or as single movements, demonstrating that the com poser’s music was never

completely forgotten. The 1816 setting is also a landmark in Brazilian music printing, as it was

the very first score to be printed on Brazilian soil o f a sacred work dating from the colonial

period. This 1897 edition was undertaken by Alberto Nepomuceno, who also hand-copied many

o f Garcia’s scores.70 The 1809 setting was published in the Arquivo de Musica Brasileira, Vol.

I, 1934-1935, in an edition by Cleofe Person de Mattos under the supervision of Luiz Heitor

Correa de Azevedo.

The manuscript sources that I have examined o f the four Requiem Masses, as listed in

Garcia's thematic catalogue, are found in the microfilm collection provided by the Biblioteca

Nacional, o f which the University o f Illinois music library owns a copy. The autograph score for

CT 190 is housed in the Arquivo Historico Municipal de Salvador, and a photocopy o f this

material was graciously provided for this study by Professor Joel Barbosa, coordinator o f

graduate studies in music at the Universidade Federal da Bahia (UFBA). Photocopies o f the

autograph parts o f the 1799 setting were graciously provided for this study by Professor Carlos

Alberto Figueiredo, a long-time Garcia scholar.

76 Carlos Alberto Figueiredo, A ediqao de 1897 do Requiem de Jose Mauricio Nunes Garcia, In: Brasiliana, 22-26 This article deals with the transmission tradition of the work. It cites that many sources have survived, demonstrating how widely know the work was at the turn o f the century, and also in the early part of the XX century. Even a Kyrie excerpt appears in a music education collection prepared by Heitor Villa-Lobos in the 1930s.

15


Table 6: Manuscript sources

The manuscripts examined for the present study are identified as follows:

1. 1799 setting - Thematic Catalogue # 182. E.M. Reg. o. 4189 - v. 3146. Autograph parts

for SATB, double-bass and organ. E. M. Reg. 30.102. Copy o f 1859 by Bento

Fernandes das Merces. Sequence, E. M. Reg. o. 4103 - v. 3059, copy also by Bento

Fernandes das Merces, parts for SATB, violoncello, and double-bass.

2. 1809 setting -T hem atic Catalogue # 184. E. M. Reg. 30.101. Autograph score.

3. 1816 setting - Thematic Catalogue # 185. E. M. Reg. O. 4110 - v. 3066. Autograph

score.

4. CT 190 setting - Thematic Catalogue # 190. E. M. Reg. 30.115. Copy identified as by

Bento Fernandes das Merces.

5. Requiem Mass by Damiao Barbosa de Araujo - Autograph score. Historical M unicipal

Archive o f Salvador.

Table 7: Printed sources

The printed musical sources examined for this study were:

1. 1809 setting - Arquivo de Musica Brasileira Vol. I, 1934-1935.

2. 1816 setting - Carus-Verlag 23.008/01. Associated M usic Press 47667.

Introduction to the analytical and comparative study

The four musical settings o f the Requiem text under consideration differ in the portions

o f the Sequence text that are set to music and the presence, or not, o f the Tract text. Table 8

demonstrates which portions o f the Requiem text are set to music in each work. Only the 1816

16


setting contains the Tract text (“Absolve, Domine” ) The Sequence o f the 1809 setting is not

present in the autograph score, thus this movement is missing completely. The 1799 Requiem

differs in the extent o f the Sequence text that is set to music. The 1816 Requiem and A raujo 's

setting contain the entire Sequence text, while the 1799 setting contains a considerably shorter

segment o f the text. The Sequence text, with its suggestive images o f judgm ent and theological

implications, has inspired composers to write some o f their most effective music in Requiem

settings. The works under consideration show different approaches to this text segment, a very

direct approach in two works and an extended treatment in another.

All four Requiem settings contain the psalm verse "In memoria aetem a erit justus: ab

auditione mala non timebit” (Psalm 116:07, Vulgate) at the conclusion o f the Gradual. This is an

interesting aspect that can shed some light on possible models or traditions that Garcia was

aware of. No Requiem setting o f the German-Austro tradition uses this segment o f text in the

eighteenth century,77 and none o f the well-known nineteenth-centurv settings use this text

either.78 On the other hand, this text is consistently used in the Italian and Portuguese traditions

o f Requiem writing during the seventeenth and eighteenth centuries, such as in the Neapolitan

school tradition represented by composers such as Francesco Provenzale (1627-1704), Nicola

Fago (1677-1745), Francesco Durante (1684-1755), Niccolo Jommelli (1714-1774), Domenico

Cimarosa (1749-1801), Giovanni Paisiello (1740-1816), and Luigi Cherubini (1760-1842).

Though the presence o f this short Psalm verse might not be more than an indication o f the

liturgical application o f the works, it might indeed point in the direction o f a tradition o f which

Garcia was aware.

77 I.e.: Michael Haydn, Mozart, e tc . .78 I.e.: Verdi, Berlioz, Faure, Schumann.

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Table 8: Portions of Requiem text set to music in each work

X = text is set to music no = text is not set to music Alt = text is altered

Introit 1799 1809 1816 Araujo

Requiem aetemma dona eis, Domine: X X X Xet lux perpetua luceat eis. X X X XTe decet hymnus, Deus in Sion, X X X Xet tibi reddetur votum in Jerusalem: X X X Xexaudi orationem mean, X X X Xad te omnis caro veniet. X X X XRequiem aetemam, dona eis, Domine: X X X noet lux perpetua luceat eis. X X X no

Kvrie 1799 1809 1816 Araujo

Kyrie eleison (3 times) Alt79 X X AltChriste eleison (3 times) X X X AltKvrie eleison (3 times) X X X Alt

Gradual 1799 1809 1816 Araujo

Requiem aetemam dona eis, Domine: X X X Xet lux perpetua luceat eis. X X X XIn memoria aetema erit justus: X X X XAb auditione mala non timebit. X X X X

Tract 1799 1809 1816 Araujo

Absolve, Domine, animas omnium no no X nofidelium defuntorum ab omni no no X novinculo delictorum. no no X noEt gratia tua illis succurente, no no X nomereantur evadere judicium ultionis. no no X noEt lucis aetemae beatitudine perfrui. no no X no

79 The alterations of text in Garcia's 1799 Requiem and Araujo's setting, are in the number of utterances of the words "Kyrie'' and “Christe."

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Table 8 (cont.)

Sequence 1799 180980 1816 Araujo

Dies irae, dies ilia, X X XSolvet saeclum in favilla: X X XTeste David cum Sibylla. X X XQuantus tremor est futurus, X X XQuando judex est venturus, X X XCuncta stride discussurus! X X XTuba mirum spargens sonum X X XPer sepulcra regionum, X X noCoget omnes ante thronum. X X noMors stupebit, et natura, X X noCum resurget creatura, X X noJudicanti responsura. X X noLiber scriptus proferetur, no X XIn quo totum continetur, no X XUnde mundus judicetur. no X XJudex ergo cum sedebit, no X XQuidquid latet, apparebit: no X XNil inultum remanebit. no X XQuid sum miser tunc dicturus? no X XQuern patronum rogaturus, no X XCum vix justus sit securus? no X XRex tremendae majestatis, no X XQui salvandos salvas gratis, no X XSalva me, fons pietatis. no X XRecordare, Jesu pie, no X XQuod sum causa tuae viae: no X XNe me perdas ilia die. no X XQuaerens me, sedisti lassus: no X XRedemisti Crucem passus: no X XTantus labor non sit cassus. no X XJuste judex ultionis, no X XDonum fac remissionis no X XAnte diem rationis. no X XIngemisco, tamquam reus: no X XCulpa rubet vultus meus: no X XSupplicanti parce, Deus. no X XQui Mariam absolvisti, no X XEt Iatronem exaudisti, no X XMihi quoque spem dedisti. no X XPreces meae non sunt dignae: no X XSed tu bonus fac benigne, no X X

80 The Sequence is missing in the autograph score for the 1809 Requiem, see Chapter III for further discussion.

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Table 8 (cont.)

1799 1809 1816 Araujo

Ne perenni cremer igne. no X XInter oves locus praesta, no X XEt ab hoedis me sequestra, no X XStatuens in parte dextra. no X XConfutatis maledictis, no X XFlammis acribus addictis: no X XVoca me cum benedictis. no X XOro supplex, et acclinis, X X XCor contritum quasi cinis: X X XGere curam mei finis. X X XLacrimosa dies ilia, X X XQua resurget ex favilla, X X XJudicandus homo reus. X X XHuic ergo parce, Deus: X X XPie Jesu Domine, X X XDona eis requiem. Amen. X X X

Offertorv 1799 1809 1816 Araujo

Domine Jesu Christe, X X X XRex gloriae, X X X XLibera animas omnium X X X Xfidelium defunctdrum X X X Xde poenis infemi et deprofundo Iacu: X X X Xlibera eas de ore leonis, X X X Xne absorbeat eas tartarus, X X X Xne cadant in obscurum: X X X Xsed signifer sanctus Michael X X X Xrepraesentet eas in lucem sanctam: X X X XQuam olim Abrahae promisisti, X X X Xet semini ejus. X X X XHostias et preces tibi, Domine, X X X Xlaudis offerimus: X X X Xtu suscipe pro animabus illis, X X X Xquarum hodie memonam facimus: X X X Xfac eas, Domine de morte X X X Xtransire ad vitam. X X X XQuam olim Abrahae promisisti, X X X Xet semini ejus. X X X X

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Table 8 (cont.)

Sanctus 1799 1809 1816 Araujo

Sanctus, Sanctus, Sanctus, X81 X X XDominus Deus Sabaoth. X X X XPleni sunt caeli et terra X X X XGloria tua. X X X XHosanna in excelsis. X X X X

Benedictus 1799 1809 1816 Araujo

Benedictus qui venit in nomine Domini. X X X XHosanna in excelsis. X X X X

Aenus Dei 1799 1809 1816 Araujo

Agnus Dei, qui tollis peccata mundi: X X X Xdona eis requiem. X X X XAgnus Dei, qui tollis peccata mundi: X X X Xdona eis requiem. X X X XAgnus Dei, qui tollis peccata mundi: X X X Xdona eis requiem sempitemam. X X X X

Communion 1799 1809 1816 Araujo

Lux aetema luceat eis, Domine: X X X XCum Sanctis tuis in aetemum: X X X Xquia pius es. X X X XRequiem aetemam dona eis, Domine: X X X Xet lux perpetua luceat eis. X X X XCum Sanctis tuis in aetemum: X X X Xquia pius es. X X X X

81 Three utterances of the word sanctus are obtained in this setting using a chant incipit.


Whether or not some new information concerning Garcia’s musical training will ever be

found, specifically clarifying his training in the art o f counterpoint, one aspect becomes evident.

If the composer lacked the training in the common eighteenth-century counterpoint genres, this

limitation propelled him to excel in other aspects in the craft o f composition, particularly in the

handling o f musical form and structure and in the development o f a rich harmonic language. The

present study concentrates its efforts on the aspect o f music architecture, pointing out some

characteristics o f the composer’s concept o f musical structure, as observed in his three Requiem

Masses.

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Chapter II

The 1799 Requiem Mass, CT 182

The earliest o f the four Requiem Masses by Garcia dates from 1799 and is the only

surviving setting to have been written prior to the arrival o f the Portuguese court to Rio de

Janeiro (1808). The work is dedicated to the anniversary o f the Senhores Conegos Dejuntos,8“

but it was possibly written for the memory o f Garcia’s immediate predecessor at the Se, Joao

Lopes Ferreira.83 Garcia’s teacher, Salvador Jose de Almeida e Faria, also died in 1799, and it is

not far fetched to conclude that this work might have been performed in his memory. Mattos

believes that the 1799 Requiem M ass and its accompanying Office were performed many times,

considering the number o f copies that have survived dating from distinct periods and from the

84evidence o f extensive use o f these copies.

Sources

The 1799 Requiem is scored for SATB chorus and basso continuo with parts for a pair o f

horns surviving in a non-autograph source, which Mattos believes to be an addition by a student

o f Garcia.83 Mattos also mentions the existence of thirteen orchestral parts in an unidentified

hand that demonstrate some attempt at orchestrating this Requiem Mass.86 The present study

considers only the materials that conform to the autograph sources, scoring the work for SATB

chorus and continuo. According to contemporary performance practice, the basso continuo

82 Cleofe Person de Mattos, Catalogo tematico das obras do Padre Jose Mauricio Nunes Garcia, 260. Translation: deceased canon gentlemen.83 Idem, Jose Mauricio Nunes Garcia: biografia, 48.84 Idem, Catalogo tematico de Jose Mauricio Nunes Garcia, 262.85 Ibid., 261. The student is identified as possibly Francisco Manoel da Silva.86 Ibid., 263. The author explains the simplicity o f the material, mostly doubling the choral texture and as such does not represent an expanded version of the work.

23


group included organ and bass instruments. In the case o f the 1799 Requiem, autograph parts for

organ, violoncello, and double bass, as well as individual choral parts, have survived, clearly

establishing current local practices.

There are tw o more sources for this work, a manuscript copy in score format and a set o f

parts for the Sequence, both in the hand o f the copyist Bento das Merces. The autograph and

copy sources contain essentially the same material, with a significant difference observed in the

Sequence.

Sequence, differences in the sources

In the m anuscript copy in score format, the Sequence presents a curious situation

regarding the copyist’s understanding o f the source he copied. In the set o f parts in the hand o f

Bento das Merces, the Sequence is laid out in seven segments, using three different segments o f

music. Segments 1, 3, and 5 share the same music in the key o f Eb major, and segments 2, 4,

and 6 share yet another segment o f music, in the key o f C minor, with segment 7 having its own

unique music to conclude the movement, back in the key o f Eb major. In the manuscript copy in

score format, the initial segment in Eb major and the segment in C m inor are superimposed, with

all six segments o f text laid out in the score as if they were hymn stanzas (see Example 1).

Curiously enough, there are no continuo figures for the C-minor segment, and the organ part

contains a treble-clef staff with a realization of the missing figures. Mattos says that the C-minor

segment was added in a different hand from that o f Bento das Merces, believing that the

87handwriting recalls som e sketches o f Francisco Manuel da Silva. Naturally, this layout in the

score is very confusing, and there is no indication that the major and m inor segments are to be

8' Cleofe Person de Mattos, Catalog tematico das obras do Padre Jose Mauricio Nunes Garcia, 263.

24


used in alternation. The surviving set o f parts, in the hand o f Bento das M erces, clarifies this

question, as the segments and their respective texts are laid out continuously.

/ .

Example 1: Title page of Sequence, copy by Bento das Merces and unidentified hand

M ore intriguing is the fact that in the autograph set o f parts the Sequence contains only

the two different segments o f music in Eb major. As such, six verses are set to the same music,

while the seventh verse (“Huic ergo”) is set to the second segment o f music in Eb major, as in

the manuscript copy score and set o f parts.

Example 2: Sequence, alto voice, autograph part

25


Example 3: Sequence, organ, autograph part

The instruction found in the autograph for the organ part, "repete 6 vezes esta solfa,”88 leaves no

room to speculate if the C-m inor segment was simply missing in this source. This significant

difference between the two sources points out to the conclusion that the autograph set o f parts

refer to the earlier version o f the Sequence, while the copies o f Bento das Merces represent a

reworking o f the musical material with the insertion o f the C-minor segments. M attos’s

hypothesis that the C-minor segment is a later addition by Francisco Manuel da Silva is very

unlikely, given the structural unity that exists between the Eb-major segment and the C-minor

segment, which will be discussed below.

Text concerns

The 1799 Requiem raises some questions concerning text. The Kyrie does not contain

the standard three-part structure o f the text, as it initially presents four utterances o f “Kyrie,”

followed by the regular three utterances o f “Christe,” and three utterances o f “Kyrie.” Both the

autograph and copy sources have the same text distribution. This would seem somewhat

unusual, considering the im portance o f the Catholic dogma o f the Trinity. Considering that

88 Translation: repeat 6 times this solfa (score).

26


G arcia had already been ordained Priest in 1792, his disposition o f text in the Kyrie must not

have been regarded as a theological disruption.

The Kyrie o f the 1799 Requiem also raises an issue concerning text underlay, involving

different numbers o f notes in different voices for the same text. It seems to me that the intention,

in this case, is that these passages should be perform ed by dividing in h a lf some notes o f longer

rhythmic value, so that there is uniformity in the utterance o f text am ong the voices. The

passages in question are measures 54 and 64 in the soprano voice and measure 86 in both the

soprano and tenor voices, as these contain the three syllable utterance o f the word “eleison” (e-

lei-son), while the other voices have the word divided into four syllables (e-le-i-son). In my

edition o f this work I have provided an alternate text underlay, further explained in the editorial

notes o f the 1799 Requiem (see Appendix A).

53

J f —b--Ttx— ----- ----- « ------ ---------------------:------------ !--------------------- —^-CT ^ t ~

----- P------1 = ± ± e .-------------------^ ---------- 1

e e - lei son.

Example 4: Kyrie, soprano voice, mm. 53-55

A m inor question concerns the Sanctus text, as there are only two utterances o f the initial

word o f this movement. Very likely Garcia intended a chant incipit to be used in the Sanctus,

thus providing the trinity representation in the three utterances o f the word “Sanctus.” The use

o f chant incipit in the oeuvre o f Jose Mauricio is consistent in the Credo o f Mass ordinaries, as

all o f his Credo settings start on the text “Patrem omnipotentem,” naturally implying the

com poser’s intention to start the movement with chant. It is interesting to observe that a chant

incipit is consistently used for the Credo but very few times in the Gloria,89 a movement in which

89 The Mass in Bb (CT 102). for 3 voices, is an example.

27


chant incipits were commonly used. Though the Requiem settings o f 1809 and 1816 do not

allow room for the use o f chant incipits, the use o f a chant incipit in the Credo settings o f Garcia

creates the precedent for the use o f an incipit in the Sanctus o f the 1799 Requiem setting.

90Analytical study

A superficial acquaintance with the 1799 Requiem would lead one to believe that it is a

through-composed work. A careful analysis, however, reveals that the work has bass patterns, a

peculiar use o f a recurring soprano motive, as well as repeated musical materials in texts that are

reprised. The tonal scheme o f the work is also a prominent feature, involving only flat keys.

Even though the main key is F major, its dominant key, C major, is never used as a tonal

center. 91

Throughout the analysis o f the 1799 Requiem, the letter "A" represents sections that

share the recurring soprano motive, comprised o f the first five measures o f the Introit.

IntroitA (mm. 1-14)F“Requiem'"

KvrieA" (mm. 52-65) F“Kyrie” I

Gradual D (mm. 1-17) g“Requiem”

B (mm. 15-37) F—>d“Te decet”

C (mm. 66-75) d“Christe”

A1 (mm. 38-51) Bb—>F "Requiem ”

A‘“ (mm. 76-91) F—>d “Kyrie” II

E (mm. 18-29) Eb“In memoria”

Following the three-part structures o f their texts, both the Introit and Kyrie are organized

in ternary form. The outstanding feature is that all “A” sections share a motive, to one extent or

Refer to Appendix A for a complete transcription of the 1799 Requiem.For a complete list of the tonal scheme, refer to Tonal Designs found on page 105.

28


another, and furthermore, are o f the same length, fourteen measures, the exception occurring in

the second Kyrie (A1U), which is seventeen m easures long, the lengthening created by a cadential

extension. The four sections that share the recurring motive in the Introit and Kyrie contain texts

that are prayers to God the Father. In the Introit, the prayer is for Eternal rest (“Requiem

aetem a” ), and in the Kyrie it is a prayer for mercy (“Kyrie eleison"). The recurrence o f the

motive seems to be rather calculated to avoid appearing obvious. The motive is first stated in

full at the beginning o f the Introit (mm. 1-5), and subsequently it is fragm ented so that only two

measures o f the motive are presented (mm. 40-41), followed by a three-measure appearance

(mm. 53-55), and finally a four-measure appearance (mm. 76-80) that could be considered as a

full restatement o f the motive, as only one pitch is different, the second one. M otive

fragmentation in the Introit, is as follows.

" ° IT T"7^ H"--------Re - qui - cm ae - ter - nam

Example 5: Introit, motive statement, soprano voice, mm. 1-5

38

- - * | i» « 1 J ° ! » -«J 1 1

Re - qui - em ac - ter - - nam

Example 6: Introit motive statement, soprano voice, mm. 38-41

- r !“ r i~>. ■ ■ i »Kv - ri - e e - lei - son.

Example 7: Kyrie, motive statement, soprano voice, mm. 52-55

76

Ky - ri - - e e - l e - i - son.

Example 8: Kyrie, motive statement, soprano voice, mm. 76-80

29


It seems that Garcia thought that the tonal m otion from F major to D minor had to be well

prepared, perhaps because no tonic-dominant relationship would ever be emphasized throughout

the work. As such, the com poser pre-announces the use o f D minor for the first time in the

Introit, ending the opening section on the dominant chord o f D, A major (m. 14). This seemingly

simple modulation to D m inor by means o f a secondary dominant chord (mm. 12-14) is rather

frustrated, as the subsequent section starts again in the main key, F m ajor (mm. 15 onwards).

The key o f D minor will not be given full consideration until the Christe section (mm. 66-75),

and also to end the second Kyrie. In spite o f this, the com poser thought it important to establish

D minor as a principal tonal center as early as the very first section o f the work (Introit mm. 12-

14).

The Sequence is organized in seven segments, strophic with coda format according to the

autograph source, or in a design that alternates two different segments o f music, one in Eb major,

and the other in C minor, with a concluding segment in Eb major, according to the non

autograph source. For the analytical discussion o f the Sequence, the non-autograph source will

be considered because o f its more interesting scheme. The distribution o f the seven segments

with their respective texts and music is as follows:

SeauenceF (mm. 1-13) Eb “Dies irae”G (mm. 14-26) c “Quantus”F (mm. 27-39) Eb “Tuba”G (mm. 40-52) c “Mors”F (mm. 53-65) Eb “Oro suplex’G (mm. 66-78) c “Lacrimosa”H (mm. 79-94) Eb “Huic ergo”

Garcia must have considered that the strophic format for the first six verses o f the Sequence was

not satisfying and decided to insert the alternating segments in C minor. The reasoning behind

such decision would appear to have been purely m usical, for there is no apparent reason for the

30


alternation o f segments in m ajor and minor keys suggested by the text. Thus, Garcia enriched

his previous musical creation and intensified the sense o f structure with the strong musical

cohesion created by the two recurring sections alternating with each other. Both the strophic

setting o f the autograph and the setting with the alternating C minor sections are possible

because all o f the seven text segments are o f twenty syllables, following the same stress pattern,

and thus the same music can be used for them.

An interesting observation is that Garcia changed the spelling o f one word in the first

sentence o f the Sequence ('‘Dies irae”), thus adding a syllable to this first sentence. The word in

question is "seelurn,” which Garcia spelled “seculum,” as in measure 6, where the word is set to

a dotted rhythm. Observe that in the set o f parts in the hand o f Bento das Merces, when this

segment o f music is repeated with the subsequent different texts, this measure remains the same,

notated with the dotted rhythm that is no longer needed to set the words "sepulchra" (mm. 31-32)

and “contritum” (mm. 57-58). Possibly, the explanation for this is that the copyist worked

indeed from a source that contained only the score in short hand, as represented in Example A,

and thus mechanically copied the music without noticing that the dotted rhythm was not

necessary for segments 3 and 5, or furthermore that the word "speculum” could be spelled

"seclum,” eliminating the problem all together.

Even though the alternating sections are quite distinct, set in Eb major and C minor,

respectively, and with soprano melodies that are very different, the bass lines o f both sections are

very similar, helping to give a further sense o f unity in the movement.

a*vir-rirrTifMr rriExample 9: Dies irae, continuo line of Eb major segment, mm. 1-4

31


r_ r j J r * u' rExample 10: Dies irae, continuo line of C minor segment, mm. 14-17

r r i r r i f J j u - r - ^Example 11: Dies irae, continuo line of Eb major segment, mm. 9-13

------1— ©-------- i m m r — v p ----------- 1 - -J— !--------- »— fl-- J - A - X b© — id— — F -------- F - ~ h r ! i t ----------- = - --------- *— •&

Example 12: Dies irae, continuo line of C minor segment, mm. 22-26

The pattern o f organization o f both bass lines is basically the same: four measures o f broken

chord figures, one measure o f ascending scale in quarter notes, a three-measure segment that

begins with a half note-quarter note rhythm and ends with two quarter notes and a quarter rest,

and by a five-measure segment with half-note predominance.

The Offertory is organized on two different levels. At a larger structural level there is an

emphasis on harmonic content, and on a smaller level, some motivic relationships can be

observed. The first section o f the Offertory contains the opening motive o f the Introit and thus

helps to create a further sense o f connection for the work in its larger design, both motivically

and tonally, as the Offertory is also set in the main key o f the work, F major. Perhaps the

justification for the use o f the recurring motive in the Offertory is that its opening sentence is,

like the text associated with the motive in the Introit and Kyrie, a prayer - in this text segment

directed to God the Son. The larger structural design o f the Offertory is determined by tonal

centers as follows:

32


OffertoryA 1U1 (mm. 1-20) I (mm. 21-55) J (mm. 56-75) K (mm. 76-90)F Bb—►Ill/d d—>V/F F“Domine” “libera” “Hostias” “fac eas”

The tonal movement presented in the Offertory creates one level o f structure. The outer sections,

“A” and “K,” are set in the tonic key o f F major, while the inner sections, “I” and “J," contain

harmonic movements away from the tonic and back to the tonic, going, respectively, through the

subdominant (Bb major) and the relative minor (D minor), and using the dominant (C major)

only as a means to modulate back to the tonic key, F major. The division o f the Offertory into

four harmonically distinct sections does not coincide with the four text segments that are

traditionally set as distinct musical entities: Domine, Quam olim, Hostias, and Quam olim

(reprise o f text, and many times m usic as well). The harmonic structure used by Garcia

emphasizes, instead, a bi-partite division o f the text, the first section from the beginning

(Domine), ending with the first Quam olim (mm. 1-55), and the second section from the Hostias

to the end, including the second Quam olim (56-90). This bi-partite division o f text appears to

deny the musical structure inherent in the text reprise o f Quam olim, but a careful comparison of

the two Quam olim sections (mm. 48-55 and 82 ’-90) reveals that they are closely related not

only tonally but also motivically. The motivic relationship o f the two Quam olim sections is

observable one m easure at time, for G arcia created motives that are one measure long.

33


48 cresc.

S

lim A-bra-hac pro sis - u. ctquam mi sc-m i - ni jus.

cresc.

lim A -bra-hae proquam jus.

cresc.

T

lim A-bra-hac proquam sc - mi-m

cresc.

B

sis - ti. ctlim A-bra-hac proquam o mt sc- mi - m e jus.

Example 13: Offertory, SATB mm. 48-55

82

£

/r rvi-tam.Quam o - lim A - bra - hae pro - mi - sis-ti. et se - mi-ni e

cresc. f

jus.

1

ttarn. Quam o - lim A - bra - hae pro - mi - sis-u . cl se - mi-m e

cresc. f

jus.

r r ir i r r r »J r r i r pV tarn. Quam o - lim A - bra - hae

£pro - mi - sis-ti. el se - mi-m e

cresc. f

jus.

vi-iam.Quam o - lim A - bra - hae pro - mi - sis-ti. el se - mi-ni e jus.

Example 14: Offertory, SATB mm. 82-90

The motivic relationship between the two Quam olim sections is drawn comparing measures 89-

90 with 54-55, 88 with 50, 87 (A & B) with 53 (S & A), 86 with 49, 85 with 48, and 84 with 51.

34


Considering indeed that the Quam olim sections are set in a parallel manner, the

Offertory can be described by the following formal scheme.

Offertory92A11" (mm. 1-47) B (mm. 48-55) C (mm. 56-822) B1 (mm. 82?-90)F->V7/C V7/F-»F d (V 7/C) F“Domine” “Quam olim” “Hostias” “Quam olim"

This design better represents the unfolding o f the text in four segments, even though the musical

relationship between the Quam olim sections is greatly obscured by the shifting o f materials

around. The harmonic transitions into the Quam olim sections are also obscure, for the sections

that precede both Quam olim are not harmonically conclusive. The section that precedes the first

Quam olim ends on a G-major minor-seventh chord in second inversion (m. 47), and the second

Quam olim is preceded by a section that ends with a tonic to submediant harmonic motion (m.

82).

The two larger sections in this design, sections “A” and “C” , also present a parallel, as

they both are set with the same type o f substructure, with three subsections.

Domine Section A (mm. 1-47)a (mm. 1-122) b (1 2 ’-20) c (mm. 21-47)F F Bb

Hostias Section C (mm. 56-822)a (56-63) b (64-75) c (mm. 76-822)d—»V/d F—»V/F F—>vi/F

The Sanctus is a movement that presents a similar structural organization to that observed

in the Offertory, in regards to the treatment o f the text that is repeated. Considering harmonic

plateaus and distinct tempo indications, the Sanctus is set in three parts.

92 In this particular analytical segment, only the letter “A” refers to material previously presented in the work.

35


SanctusA “m (mm. 1-16) L (mm. 17-24) M (mm. 25-32)F d—>V/d d“Sanctus” “Benedictus” “Hosana”M oderato Adagio Allegro

But, when the music o f the tw o “hosana” segments is compared, motivic relationships can be

found as in the Offertory, the relocation of the motives, in this case in voice exchanges, obscures

or veils the motivic relationship. The parallel between the two “hosana” passages is observed

when the bass voice o f measures 30-32 is compared with that o f measures 14-16, the tenor voice

o f measures 29-32 is compared with the alto voice o f measures 13-16, the alto voice o f measures

30-32 is compared with the soprano voice o f measures 14-16, and the soprano voice o f measures

30-32 is compared with the tenor voice o f measures 14-16.

11J t L i ! r m , h i , ----- 1----h=---- =---- ------- '----h---- :------ M ---------

f g - * u j p - > i-----tu - a Ho - san - n

J? t» V 1----- f'-M— '-----

«----FT---- P---- !-P---- «----; i ia in ex eel

” 1 ------^ -T 1—

-6?---------- — “---------sis.

; ■ i ..i ,4 J---- J J ■ i d ---- ,

tu - a Ho - san - n

Vf It S! « i « • 1 b mi

J \m * J i + --- p = ra in ex - cel

---- r“r---- ^ i---•** 1 ^i... p#---- •— | n

L*---- *---- — ^---------sis.

f T3--- ! p "* l-T p F 1 F-— 4

8 ..tu - a Ho - san - n

l v I ft i p— f

— ---Lj----- 1----- Lf----:-----a in ex - cel

, p 0 . ---------9---------- 1-----H----- f ----

l[ ■ 1 r ~ = = i- sis.

—1---------- h*---------J P—4 — -- J-— p— |-------lu - a Ho - san - n

— i1 1 i ra in e \ cel

1rJ ~ — lj. =1sis.

Example 15: Sanctus, SATB mm. 11-16

36


25 f

Ho

! Is m

san - na in ex - cel - sis. in ex - cel

m

Ho

* Ho

san - na in ex - cel - sis. ex - cel -

in ex- sis.

cciin ex - cel

st s.sis.

d = tsan * na in ex - cel - sis. in ex - cel

Ho san - na in ex - cel - sis. in ex - cel

Example 16: Sanctus. SATB mm. 25-32

The relationship between the two “hosana" sections is basically motivic, for they are cast

in different keys and in different modes, the first in F major and the second in D minor.

Considering the motivic relationship o f the “hosana" sections, the Sanctus can be described with

the following formal scheme.

Sanctus9-'A”111 (mm. 1-11)F-»V 7/F“Sanctus”

B (mm. 12-16) F“hosana"

C (mm. 16-24) d—>V/d “Benedictus"

B1 (mm. 25-32) d“hosana”

A transition, obscured by its lack of harmonic punctuation, is observed only in the first “hosana,”

for there is no sense o f closure in the preceding section.

The first two notes that Garcia wrote for the soprano voice echoes the chant incipit

repeating the A to G sequence o f pitches. A fragment o f the opening motive from the Introit is

used in the first section o f the Sanctus, which is also in F major, contributing to the larger design

o f the work as a whole. The fragment o f the motive is found in the soprano voice, measures 3-4,

93 In this analytical segment, only the letter “A” refers to material previously used in the work.

37


and corresponds to measures 32-5 o f the Introit. This degree o f fragmentation o f the motive is

only matched in the second appearance o f the motive in the Introit (mm. 40-41).

J 0

Do - mi-nus De - us

Example 17: Sanctus, motive statement, soprano voice mm. 3-4

The Agnus Dei also contains the motive and is organized in a series o f harmonic plateau

that parallels that o f the Sanctus but in an inverted order. If in the Sanctus the motive appears in

the first section or harmonic plateau, the one that clearly defines the tonality o f F major, then in

the Agnus Dei the motive does not appear until the third section, the one in which F major is

established.

Agnus DeiN (mm. 1-8) O (mm. 9-20) Amu‘ (mm. 21-35)F—>c c—>d F“Agnus Dei” I "Agnus Dei” II "Agnus Dei” III

Some melodic shapes are prominently present in both sections “N” and "O,” and could possibly

be sufficient reason to consider these two sections as having the same musical substance.

Notably, ascending and descending shapes comprised o f a half-step give these two sections a

sighing, wailing quality very appropriate to represent the text pleading for eternal rest.

d o - na c - is r e - q u i - e m .

Example 18: Agnus Dei, half-step sigh, bass voice mm. 6-8

The Sanctus and the Agnus Dei are close companions, considering their tonal design and use o f

the recurring motive, and they can be seen as continuous segments o f music that is harmonically

38


closed. Combining these tw o movements into one larger design, the following structural scheme

is observed:

Sanctus Agnus DeiA (mm. 1-16) L (mm. 17-24) M (mm. 25-32) N (mm. 1-8) 0 (mm. 9-20) A (mm. 21-35)F d-»V /d d F—»c c-K i F

In this formal design the outer sections correspond to each other both tonally and motivally,

while the four inner sections are characterized by the dominance o f m inor keys, D minor and C

minor. This structural connection between the Sanctus and the Agnus Dei may possibly be the

reason why Garcia chose to obscure the transition into the first “hosana,’" thus allowing the

Sanctus to function both as a design with three harmonic plateau, and as a four-section template

in which the “hosana" sections are related motivically.

The Communion o f the 1799 Requiem setting is an independent segment o f music, set

apart from the Agnus Dei, in the key o f C minor.

CommunionP (mm. 1-71) Q (m m . 72-16) R (mm. 17-29) Q l (mm. 30-39)c c c—>V/c—>c c“Lux aetem a" “Cum sanctis" “Requiem aetema" “Cum sanctis"

Like the Offertory and Sanctus, the Communion contains text reprise (“Cum sanctis"). But

unlike these previous m ovem ents with text reprise, in which the musical relationship between the

parallel texts is concealed, in the Communion Garcia chose a more direct repetition o f the “Cum

sanctis" music. The repetition is verbatim in all voice parts, except the first two and a half

measures (mm. 302-39) in the soprano, alto, and tenor voices, one pitch in the tenor voice (m.

3 3 1), and an octave displacem ent in the continuo line (m. 342). Com pare measures 33-39 with

measures 10-16, as these are identical, with the exception o f the first beat o f the tenor voice (mm.

10 and 33).

39


Paradigm and motive sharing in the Offertory, Sanctus, Agnus Dei, and Communion

The treatment given to text reprise is similar in the Offertory, Sanctus, and Communion,

as the musical relationship is more easily observable starting from the end o f the sections that

have the same text and working backwards. No two sections o f the same text begin with the

exact same material in these three movements, but these have endings that, i f not clear

repetitions, are still related. The Sanctus and Agnus Dei can be viewed as continuous segments

o f music in both their tonal design and presence o f the recurring motive at the beginning o f the

Sanctus and at the last section o f the Agnus Dei. A large three-part structure can be recognized

from the Offertory onwards, considering the Sanctus and Agnus Dei as one movement. Though

these sections are related by the presence o f text reprises, another reason why Garcia might have

treated these movements with musical connections is that the Offertory comes after the Gospel

lesson, and thus is the beginning o f the second part of texts o f the Requiem Mass that are set to

music (the first part is from the Introit through the Sequence). The letter “A" represents sections

in which the recurring motive is present.

Offertory A (mm. 1-47)B (mm. 48-55) C (mm. 56-822) B (mm. 82'-90)

Sanctus A (mm. 1-11)D (mm. 12-16) E (mm. 16-24) D (mm. 25-32)

Agnus Dei

“Domine" “Quam olim” “ Hostias” “Quam olim”

“Sanctus” A (mm. 1-16) “Sanctus” “hosana” D (mm. 17-24) “Benedictus” “Benedictus” E (mm. 25-32) “Hosana” “hosana”

F (mm. 1-8) “Agnus” I G (mm. 9-20) “Agnus” II A (mm. 21 -35) “Agnus” III J

40


CommunionH (m m .1-71) “Lux”I (mm. 72-16) “Cum sanctis”J (mm. 17-29) “Requiem”I (mm. 30-39) “Cum sanctis” -^

One interesting observation in this scheme is that the treatment given to the sections in between

the text reprises o f the Offertory and Communion is similar. The Hostias begins in trio texture

(mm. 56-63), soprano, alto, and tenor, and the “Requiem aetem am ” verse contains a segment

also in trio texture using the three upper voices (mm. 59-62).

The manner in which the recurring motive is used in the 1799 Requiem is indeed rather

peculiar. Only sections that are in F m ajor contain the motive, presented always in the soprano

voice and also accompanied at times by the same bass motion from F to C.94 The use o f a

recurring motive gives the work the sense o f a quasi-cyclic organization, “quasi” because the

motive is not used in the Sequence or Communion, segments o f music that emphasize key

signatures with three flats. These two sections are further linked, as they are the only ones in

which a broken chord continuo line is observed, and thus, structural unity is achieved (compare

the opening bars o f the Sequence with measures 7-20 o f the Communion).

Another interesting relationship exists between the Gradual and its parallel text in the

Communion. In the Gradual (mm. 1-17) the text “Requiem aetem a” is treated in the key o f G

minor, while in the Communion (mm. 17-301) the same text is given a considerable flirting with

the key o f G major, though C minor is the predominant tonality. This emphasis on G major is

noteworthy, for the 1799 Requiem is tonally about flat keys, and this section stands out

emphasizing the sharp side o f the tonal spectrum.

94 Introit mm. 1-2, Offertory mm. 1-2, Agnus Dei mm. 21-22.

41


Recurrence of bass patterns and motives as structural elements

On a sub-level, the recurrence o f bass patterns and motives, as well as the treatment o f

bass motives sequentially, contribute to give the 1799 Requiem a sense o f cohesion. The bass

motion that accompanies the first statement o f the recurring motive (Introit mm. 1-2), from tonic

to dominant, may have a structural function o f its own, beyond the definition o f the key o f F

major, as it is used independently from the recurring motive, for example, at the beginning o f the

“Te decet hymnus” section (Introit mm. 15-16). T he repetition o f certain cadential gestures in

the bass line also creates a sense o f cohesion, as in a rhyme scheme. Two o f such cadential

gestures are observed in the Introit:

ir <t * f~ r»

Example 19: Introit, cadential bass gesture, mm. 7-9,49-51, and 63-65

12 , O

Example 20: Introit, cadential bass gesture, mm. 12z-141, 252-27‘ and 672-69*

The second o f these two cadential gestures becomes a bass pattern with the addition o f one pitch

(BPI93), in measures 25-27, first beat. This bass pattern is used in the outer movements, the first,

and last two movements, Introit, Gradual, Agnus Dei, and Communion, considering that the

Introit and the Kyrie are treated as one single movement without any breaks.

95

Example 21: Introit, original statement of BPI mm. 25-27

First bass pattern.

42


BPI is heard one more time in the Introit in measures 67-69. In the Gradual this bass pattern

goes through transpositions, and loses the last pitch. BPI is heard in measures 6-8, with a

rhythmic elongation, and then in measures 13-14.

6

< 1? r ? - U s j “ ■ f

Example 22: Gradual, statement of BPI mm. 6-8

In the Agnus Dei, BPI is first observed in a rhythmic compressed form, and in retrogade as well,

in measures 1-2, second beat. The use o f half-steps in a descending and ascending pattern in the

first two sections o f the Agnus Dei can also be said to derive from BPI (i.e.: mm. 4-8).

r - f t rExample 23: Agnus Dei, statement of BPI retrogade and compressed mm. 1-22

A clearer statement o f BPI is presented in measures 10-12, and right away in measures 13-14,

and measures 16-17, in a sequential treatment o f this bass pattern.

In the Communion, BPI is used at the conclusion o f the "Quam olim” section, stated with

the exact interval content o f its first statement, as observed in the Introit (mm. 25-27'), including

the last pitch, with the descending perfect fourth interval.

r i ■ ij J l

Example 24: Communion, BPI statements mm. 13-15,36-38

It is noteworthy to observe that BPI migrates to the tenor voice in this same passage

(Communion tenor voice mm. 14-16, 37-39). This is the only example o f a bass pattern motive

presented in other voice than the bass.

43


Example 25: Communion, tenor voice mm. 14-16,37-39

Sequential treatment o f the bass line is another feature observed in the Introit, between

measure 69, second beat, and measure 73. Note that while the bass line is treated sequentially,

the soprano, alto, and tenor lines are not treated sequentially, providing at the same time an

element o f variety and cohesion. The melodic contour o f the material treated sequentially recalls

BPI, without the second pitch.

A second bass pattern (BPII96) is used in the Introit. It is first observed in measures 41-

44, and two more statements follow.

41

Example 26: Introit, BPII mm. 41-44

When BPII is restated in measures 51-55, one measures is added (m. 54), overlapping the Introit

with the Kyrie, and it is this expanded version that is used again in measures 76-80. Considering

the degree which Garcia shifts materials around in the '"hosana" and "Quam olim” reprises, it is

not far fetched to draw a relationship between this bass pattern, and the opening bass line o f the

Introit (mm. 1-5).

^ i, 3 ° | - - ° r ” [ ° ;

Example 27: Introit, opening bass line mm. 1-5

96 Second bass pattern.

44


In both versions o f BPII, the pitch content is very sim ilar to this opening bass line o f the Introit.

As if working with a puzzle, the bass pattern is com prised o f bars 5-6 in retrogade, then bar 3 as

it is, ending with a dom inant to tonic motion, which is the opposite o f the tonic to dominant

opening bass line.

Garcia makes a rem arkable combination o f the bass patterns and o f the recurring motive

observed in the soprano voice. In both the Introit and Kyrie, three-partite structures, BPI is used

in the middle sections, while that BPII and the soprano recurring motive are reserved for the

outer sections.

IntroitA (mm. 1-14) "Requiem”S motive

KyrieA" (mm. 52-65) "Kyrie” I BPII and S motive

B (mm. 15-37) "Te decet”BPI

C (mm. 66-75) "Christe”BPI

A1 (mm. 38-51) “Requiem ”BPII and S motive

Am (mm. 76-91) "K yrie" II BPII and S motive

Observe that even though the first section o f the Introit does not contain BPII, it is possible that

BPII is derived from the opening bass line, as discussed above.

The Offertory contains one prominent use o f a bass line treated sequentially, while the

upper voices are treated independently. This three-bar bass pattern is first heard in measures 31 -

33 and is repeated three m ore times, from measure 34 to measure 42. It is noteworthy to observe

that the first three pitches o f this bass pattern recalls the first bass pattern presented in the Introit

(BPI). The Sanctus also contains a passage in which a bass pattern is treated sequentially. In the

Sanctus the bass pattern is only one measure long (m. 8) and is repeated two more times. The

interesting feature here is that in measure 10 the pattern initially heard in the bass is also present

in the soprano voice.

45


The Agnus Dei contains one example o f a bass pattern used sequentially. The pattern is

stated in measures 22-23, and heard again in measures 24-25, with the last pitch missing. Once

again, the music o f the upper voices is not treated sequentially. The Agnus Dei presents a

curious recurrence o f a bass pattern first heard in the Offertory. The repetition is literal (Agnus

Dei mm. 3-5 compared with Offertory mm. 49-51), and there is no apparent textual motivation to

make a connection between the two sections. It is impossible to say whether Garcia intended a

musical connection or if the recurrence o f the bass pattern in the Agnus Dei was unconscious.

The individuality o f each composer allows for the use o f simple materials in unique

ways. In the 1799 Requiem Garcia makes extensive use o f scales, particularly descending

scales, both diatonic and with chrom atic alterations. Most o f these scale patterns are found in the

bass line.

^ --------------- r S ------ ---------------------------------------------------------------------------------- i------------> T <?' ' ' ~ " i 11 r ~ 1 r

1 !

Example 28: Introit, continuo mm. 19-26

- n n — f -------------------------- --------------------------------- --------------------- n f5^ --------------------------1 s .............. f - ------r• 1 * | 1; | 11 i i

Example 29: Communion, continuo mm. 24-282

These scale passages in the bass line serve as a structural foundation. Ln Example 28, the bass

line scale outlines the key o f D minor, while the harmony in the passage is very active,

containing a series o f secondary dominants. In Example 29, the chromaticism o f the bass line,

doubling the tenor voice, as well as the chromaticism o f the alto voice, generates a passage with

46


little tonal clarity. The succession o f harmonies is, from measure 24: Ab major, C minor, F

sharp fully diminished seventh, G major, G diminished, Bb minor, E half diminished seventh, F

minor, and G major minor seventh.

Garcia used different structural devices in the 1799 Requiem Mass, be it in his sensitivity

to designs prompted by the text and his ability to veil the music o f text reprises, or in motivic

relationships and bass patterns, creating a work o f strong organic unity.

47


Chapter III


Little is known about the genesis o f Garcia’s 1809 Requiem. Written in the period in

which Garcia reigned alone as mestre de capela o f the Royal Chapel (1808-1811), before the

arrival o f Marcos Portugal in Brazil, the 1809 Requiem represents an important chapter in the

composer’s most prolific period.97 It has survived in an autograph score that bears an inscription

indicating that it was written for the Royal Chapel. This inscription also indicates that the work

is for voices de Capella , which basically denotes a work for four voices w ith organ

98accompaniment and intended for liturgical use. This work has had one publication, in the 1934

volume o f the Arquivo Brasileiro de Musica, supplement o f the Revista Brcisileira de Musica.

This is a practical edition containing a realization of the figured bass that basically doubles the

choral texture, and with some alterations o f the musical text.99 The thematic catalogue says that

segments o f this work were published in arrangements, such as the Lux aetem a published in

reduction for medium voice and organ or piano, prepared by Jose Capocchi.100

There are few bibliographical references to this work. One o f them is by the Portuguese

historian Ribeiro (1936), who writes that there are admirable things in the 1809 Requiem .101 A

recent master’s thesis by Claudio Antonio Esteves (UNICAMP, 2000) entitled A obra vocal “de

97 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 70. The author states that the composer wrote approximately 70 works in the period comprising 1808-1811.

According to Esteves, there is only one reference to the term de capella, found in Machado’s Dicianario musical.99 The editor thought it necessary to alter passages that contained parallel octaves and fifths. The alterations are indicated in the score by asterisks referring to footnotes with the original text. Also, some purely editorial expression marks are given without any differentiation from the composer’s original text.100 Cleofe Person de Mattos, Catalogo tematico das obras do Padre Jose Mauricio Nunes Garcia, 269.101 Mario de Sampayo Ribeiro, Achegaspara a historia da musica de Portugal, III, 94.

48


capella" de Padre Jose Mauricio Nunes Garcia: seis editpdes e seus elementos de escrita , 102

makes an important contribution by describing the harmonic language o f Garcia in six o f his

works, including the 1809 Requiem. Esteves especially points out Garcia’s comprehensive

understanding o f the harmonic language o f the period and his extensive use o f seventh chords

with dominant function, particularly on the sixth and second scale degrees, pointing out that this

element is a distinguishing trait o f the com poser.103

The 1809 Requiem setting is missing the Sequence altogether. Two possibilities are

offered by Mattos. The first is that the Sequence should be chanted. The second is that another

Sequence should be used. The possibility that the Sequence for this setting was lost is very slim

because o f the m anuscript's disposition, in which the Gradual is immediately followed by the

Offertory on the same page, without any breaks. Also, following the Gradual, is found the

inscription “Sequence" and “Dies Irae," indicating the appropriate liturgical disposition o f this

104text segment.

102 Translation: The Vocal Ouvre “De Capella” of Father Jose Mauricio Nunes Garcia: Six Editions and Their Writing Elements.103 Claudio Antonio Esteves, A obra vocal "de capella "de Padre Jose Mauricio Nunes Garcia:seis ediqoes e seus elementos de escrita. 88.104 Cleofe Person de Mattos, In: Jose Mauricio Nunes Garcia, Oficio 1816, 16.

49


' r * ' -

= = f H :y ■ rr ■ *■ ryv* #6<ft'r» ,#i

/ y

.* T P T T T 'T

Example 30: Dies irae and Sequence inscriptions between Gradual and Offertory

One way to determine the possible Sequence is to look at the tonal relationship between

the Gradual and the Sequence, as to how they could possibly connect tonally. It is also important

to explore the same type o f tonal relationship between the Sequence and the Offertory. The

Gradual ends in F major, and the Offertory begins in Eb major, leaving only the key o f C minor

as a possibility for the missing Sequence, as it has to serve as a link between these two tonal

centers. No independent Sequence appropriate for a Requiem Mass has survived, though the one

from the 1799 (second version) comes very close to fulfilling the tonal requirements, as it

alternates between Eb Major and C minor. Still, a transition from the F Major at the end o f the

Gradual into the Eb Major o f the beginning o f the 1799 Sequence is quite a stretch, but a similar

transition is found between the Sequence and the Offertory o f the 1799 setting, in this case in

reverse order, from Eb Major to F Major. Also the consistent use o f unison writing at the

beginning o f each movement o f the 1809 setting speaks against a Sequence that does not follow

50


this pattern. The possibility o f using chant for the Sequence has also to fulfill the tonal

requirement o f a link between the Gradual and the Offertory. In this case, some transposition o f

the chant mode seems to be most appropriate.

Most likely the option o f using chant for the Sequence best reflects the com poser’s

original intention. The practice o f having the Sequence o f Requiem Masses chanted was a very

common one in polyphonic settings o f the Requiem text by Portuguese composers o f the

seventeenth century.103 The question in G arcia’s case concerns the possibility o f using a

different chant than the one found in the Liber Usuahs. This question becomes important when

the strong motivic connection existent at the beginning o f each movement is considered.

Another point to consider is that the one known Dies irae chant is in the Dorian mode, and would

have to be transposed down a whole step in order to fit the tonal scheme o f the 1809 Requiem.

The transposition itself is not the problem, as chants are not fixed to a specific tuning. The

problem lies in the fact that when the Dies irae chant is transposed down a whole step, the

tessitura o f a chant, already quite low, becomes even lower, going to the pitch G and m aking it

difficult for the SATB chorus to sing it. The possibility o f using just the lower voices to chant

the Dies irae exists and can be possibly the solution for this issue. The question remains o f the

tuning used by Garcia. But whatever it might have been, it is very unlikely to have been higher

than A440 when considering the tessitura written for the soprano parts that were sung by boys,

and most likely was lower than that, following eighteenth century practices.

105 Filipe de Magalhaes (15657-1652), Portugaliae rmisica XXVII (PM XXVII); Frei Manuel Cardoso (1566-1650), PM VI, XIII; Gongalo Mendes Saldanha (ca 1580-cal645), PM XXXVII; Estevao de Brito 0 » 1597-1641) PM XXI.

51


Unison writing

As mentioned earlier, one o f the prominent features o f the 1809 Requiem is the use o f

vocal unison writing at the beginning o f each movement. This fact in itself gives the work a

considerable structural unity. Furthermore these opening unison motives all bear a strong

melodic similarity among themselves, as they all begin with an ascending third, minor or major,

the exception found in the Agnus Dei and Communion, which fills the minor third interval with

the supertonic, but which still preserves the m inor third identity, as stressed syllables are placed

on the tonic and mediant pitches, respectively. The opening motive o f the Communion is the

same used in the Agnus Dei, at half-note value, further unifying these two sections. These

unison openings o f movements give the work the sense o f a cyclic structure.

■g - \ n a

Example 31: Introit, opening unison motive mm. 1-6

Example 32: Gradual, opening unison motive, soprano mm. 1-2

J'i $

Example 33: Offertory, opening unison motive mm. 1-8

Example 34: Sanctus, opening unison motive mm. 1-3

52


J ' l f p j J T j J } 7 ] \ J - J t

Example 35: Agnus Dei, opening unison motive, alto mm. 1-5

Example 36: Communion, opening unison motive, alto mm. 1-2

Vocal unison writing is also used internally within movements in the Introit, Kyrie,

Gradual, Sanctus, Agnus Dei, and Communion. A great degree o f formal structure is created by

these vocal unison passages, a notable exception found in the Introit. In the Introit, the

recurrences o f the vocal unison writing leads one. in a superficial analysis, to consider these

passages as the beginnings o f the sections that give the movement its formal design. A closer

analysis, however, reveals that even though there are musical reasons to consider the vocal

unison writing as the beginning o f a new section,106 these passages do not contain the beginning

o f a new text sentence, rather, they generally have the second half o f a text sentence.

In the Kyrie, the short tutti unison passage for voices and continuo (mm. 114-115) makes

an emphatic plea out o f the text “Kyrie eleison," rather than serving merely a structural function.

The opening unison motive o f the Gradual is the only one to outline a m ajor triad, which,

together with its upward melodic shape and triple meter, stands in stark contrast with the opening

o f the Introit by creating a rather positive atmosphere for this prayer.

In the Offertory, the opening motive o f two measures is treated sequentially a step higher,

the third pitch (Bb) being preserved. It is interesting to observe that when the voices open in

106 See mm. 15-21 and 43-49, the section before the unison passage has a sense of closure, both in the harmony and the rhythm, particularly observe the one bar o f vocal rest that functions as a structural marker o f rather a smaller internal division, and not of a major section.

53


harmony in measure 9, the shape o f the opening motive is present in all voices, whether in its

original form or inverted. M elodic sequencing is once again used in the soprano, measures 11-

12, one step higher than in measures 9-10. In measure 21 the melodic shape o f all four voices

resembles that o f the opening motive, inverted. Further unity is given to this section as measures

24-28 seem to be also derived from the opening motive.

The Sanctus presents a new type o f unison writing. The opening, like the other

movements, begins with a motive in vocal unison, three measures in length. At measure 9 the

new type o f unison writing is introduced, when tenor and bass in unison support a duet in sixths

by soprano and alto. At measure 12 the soprano jo ins the tenor and bass in unison, while the alto

remains with the duet in sixths. Finally a tutti unison, voices and continuo, is reached at measure

14 on the word “gloria.” The passage between measures 24-30 bears a strong resemblance with

measures 24-28 o f the Offertory, creating a connection between the two movements. A last

passage in unison, in this movement, is found between measures 39 to 40, in which the soprano

line is adjusted for reasons o f range, and it serves as an emphatic outburst o f the word “hosana.”

The vocal unison writing is reserved in the Agnus Dei to the opening line o f text (“Agnus

Dei qui tollis peccata mundi” ), and is used twice with the exact same motive, first in C minor

(mm. 1-5), tonic key area, and then in the relative major, Eb major (mm. 10-14). As mentioned

before, the opening motive still possesses the imprint o f the interval o f a third, in spite the fact

that the interval is filled with the supertonic. The outline o f the interval o f a third is preserved

through the placement o f stress syllables on the first and third pitches o f the motive, tonic and

mediant, respectively. The transformation from m inor to major is also interesting, and it is my

opinion that the composer's intention in this passage is that sopranos sing in absolute unison with

the altos, not taking the higher octave present in the score, following the relationship between

54


tenor and bass, which sing in absolute unison. The m inor intonation o f the m otive sets a darker

mood o f this plea, and when five measures later it is presented again in the m ajor mode, the

effect is that o f relief, as if the plea has been heard. W hen this opening text is repeated for the

third time (mm. 19-27), the voices open up in harmony, and there is some agitation in the rhythm

o f the tenor voice, bringing once again the mood to one o f intense plea. The use o f unison

writing in the Communion is very sim ilar to that o f the Agnus Dei, involving a transformation o f

m ode, from minor to m ajor (compare mm. 1-2 with 5-6). In this case the option o f octaves is

given to the tenor voice, and it appears that the com poser's preferred intention is that the tenors

should take the higher octave, so that the same octave relationship presented between soprano

and alto can also be obtained between tenor and bass. The very first measure o f the triple meter

“Cum sanctis" section is set in unison, outlining a C m inor triad in a rocket figure (m. 13).

Recurrence of bass patterns

The recurrence o f bass patterns in the 1809 Requiem is related to the use o f unison

writing, both as it also creates a level o f musical structure, and its use overlaps with the unison

writing. Repetition o f a bass line with a different texture on top is observed in the Introit,

Offertory, Sanctus, and Communion. Furthermore, a bass pattern is shared between the

Offertory, the Sanctus (“Hosanna”), and the Communion (“Cum sanctis” ). A total o f four

different bass patterns are used in the 1809 Requiem, in a quasi-bass variation manner.

In the Introit two bass patterns are present, the first in the basso continuo line, and the

second in both the basso continuo and the vocal bass lines. The first bass pattern (BP1) is from

measures 1-18, considering measures 9 and 10 as extra measures, compared with measures 19-

36. The pattern is first stated in the key o f D minor, and then transposed to the key o f F major

55


with the necessary adjustments caused by the change from the m inor to the major mode. It is

interesting to observe that the basso continuo figuration rem ains practically the same in the two

passages. Note that in this case the music used on top o f the bass pattern is also very similar,

especially in the first six measures.

pM - 1 A n

6 #3 5

-------- 1---------------------- 1---------------------- 1---------------------

3 t? 6 6 6 6

o

6 6 4

--------- -L— |

6 6

in f

- ? ■ -

- i - l - o - 1 0 - [ „ -------- ----

T b T 6 6

------------------------------------------------ - O ------------------ --

± = i =

* 6 3 S3

t—

&4

T ~ ■■

* ,— ----

------- ;------ 0 ----------- :-------------------3

- ■ / - ! ) I--------- 1------ - i ------------------------i----------------------- !---------------------------- ----------F -------!---- r t ---------------------------------------

E x a m p l e 37: BP1, Introit, BC m m . 1-18

----- 0 ------------------Ti------------------- !

19 P-------p r - e ---------

3 6 35

3 6

— «-=---------«■

0 6

a .— ------- :==:—

6

eRh 3

O------------------------------------------------ ,

6

2 8 - 4—

----------5 -------------------- e ---------------- u -------------------

7 0 7 1 * 6 6 —5 — 5 — 5 —

^ ° -----------------u f e — e ^ = —

*3 -

iS?

6

T- P -------- « ------

i>j

---- o . ----------------

—---------------------- ----------------------- 1

1

' . . . . , . . . . - J

. .i r .-— u ------------------ &------------------ •

Example 38: BP1, Introit, BC mm. 19-36

The second bass pattern (BP2) found in the Introit is from measures 48-55 compared with 56-63.

In this example the bass line is exactly the same for both the continuo and the vocal bass, in both

the statement and repeat, while the soprano, alto, and tenor voice parts are changed. In measures

48-55 the texture is o f tutti unison, while that in measures 56-63 it is homorhythmic.

48 o cI--- u----fit--- d ---- j--- ®---- E~---- — — |— — h

9 Y- O - -----r— £ = — — = F = ^ — ^ d --------

Example 39: BP2, Introit mm. 48-55

56


The Offertory also contains two different bass patterns. The first bass pattern (BP3) is

observed from measures 1-52, compared with 9-132, in both the continuo and vocal bass lines,

each with its own distinct melodic design. Similarly to BP2, BP3 is first heard in the context o f

tutti unison, and then in homorhythmic texture.

H ^ i i r ~ l r ' J l r ~ r r i ~ I r 7 i

Example 40: BP3, Offertory, BC mm. 1-5

The second bass pattern observed in the Offertory (BP4) is used three times, measures 20 ’-222 in

the vocal bass line, measures 243-262, and 26J-28’, as a repetition o f the second statement, in

both the continuo and vocal bass lines. Once again, the bass pattern is first heard in the context

o f unison, only choral in this case, and then in homorhythmic texture.

24

Example 41: BP4, Offertory mm. 20-22, 24-28

BP4 is also present in the Sanctus, more precisely, in the “Hosana” section (mm. 24-27,

31-34). In the “Hosana” BP4 is presented in C minor, while it was stated in Eb major in the

Offertory. The connection o f BP4 as presented in the “Hosana” with the form presented in the

Offertory is more readily visible when comparing measures 24-27 o f the “Hosana” with

measures 243-28* o f the Offertory. Note that the repetition o f the original bass pattern cell

present in the Offertory, becomes the main motivic element in the “Hosana.” In the “Hosana”

BP4 also gains a distinct basso continuo line, which is maintained at the reiteration o f the bass

pattern in measures 31-34. The two statements o f BP4 in the “Hosana” contain the same basso

continuo figuration. The use o f a bass pattern in the “Hosana” follows the practice observed

57


earlier, o f a first statement in the context o f unison, and then a second statement in

homorhythmic texture.

r^B Lju~:'il . - ~ ^ ? 'F J,-» 1ho - - - sa - na in___ ex - cel - sis.

Example 42: BP4 as presented in the “Hosana,” mm. 24-27

The Communion also contains BP4. BP4 is present in the basso continuo line, measures

24-27 (reprised in mm. 93-96) o f the Communion (“Cum sanctis”) in a verbatim repetition o f the

pattern observed in the vocal bass line in measures 24-27 o f the Sanctus (“ Hosana”). The pattern

present in the vocal bass line o f the Communion is also the same, except for the omission o f the

sixth pitch o f the pattern, as to accommodate the text. BP4 is presented once in the Communion,

half in the context o f tutti unison (mm. 25-25), and ha lf in the context o f homorhythmic texture

(mm. 26-27), recalling the original motivic cell o f the pattern as it is stated in the Offertory,

measures 20 '-22: o f the vocal bass line (see Example 41).

24

J', a • . p i * . * i i» » r i » . r- e■' '’ i' » : I M * ; J i T i - *

Example 43: BP4 as presented in the Communion, mm. 24-27

Immediate repetition o f sections, without the sense o f reprise or recapitulation, and not

only a bass pattern, is also observed in the 1809 Requiem.

Sanctus

Meaures 45-48 repeated a step higher at measures 54-57.

Agnus Dei

Measures 1-9 repeated in the relative major key at measures 10-18.

58


CommunionUsing the same basic material presented in the Agnus Dei, measures 1-4 repeated in the relative m ajor key at measures 5-8.

Measures 37-44 repeated, with a small rhythmic adjustm ent to accommodate the text, at measures 45-52.

In the "Quam olim ” fugato o f the Offertory the countersubject appears twice as the lowest voice

in the texture, doubled by the continuo line, and could possibly be considered a bass pattern as

well. The countersubject is doubled in the continuo line in measures 70-77 and then again in

measures 92-99, and naturally in their respective counterparts in the reprise o f the fugato.

Harmony

Garcia had a profound understanding o f the harmonic language o f the period. The

observations pointed out by Esteves in his study o f six choral works with continuo reveal that the

composer explored the harmonic resources at hand to their full potential. For exam ple, in the

m ajor mode seventh chords are found in the following scale degree: V, vii°, vi and ii. Sevenths

in chords o f dominant function are common to the tonal language o f the period, but their use on

the submediant and supertonic scale degrees is a stylistic trait o f Garcia's writing. In the minor

mode, sevenths are not used in the submediant but are used in the dominant and supertonic scale

degrees.107 Sevenths are used to create the tension in modulatory passages, w hether in the

context o f tonal function or in passages o f tonal indefinition. Chains o f dominant chords are also

frequent, as in the Offertory, measures 58-59108.

107 Claudio Antonio Esteves, A obra vocal "de capella " de Padre Jose Mauricio Nunes Garcia: seis ediqoes e sens elementos de escrita, 88.108 Ibid., 89-94

59


Use of chromaticism

There are three highly chromatic passages in the 1809 Requiem: measures 37-41 o f the

Introit, measures 9-16 o f the Gradual, and measures 54-59 o f the Offertory, the last two passages

bearing a remarkable resemblance. Consider the parallel passages in the Gradual and Offertory.

These passages have a kaleidoscopic quality in which functional harmony gives way to a

coloristic treatment o f the text. Observe that the texts o f both passages focus on the concept o f

“ light” (“lux” and “lucem”) and that the chromaticism o f these passages is directly connected to

the imagery o f light. Both passages are characterized by chromatic scale segments, and the first

five harmonic changes in the Gradual passage (mm. 9-10) make this characteristic very

pronounced, moving down the chromatic scale from F to C= in root position triads, the last triad

being a diminished one, while the others are o f the major quality. Twice, this passage contains

the use o f a triad with a flat fifth, measure 12, first beat, and measure 15, third beat, in this case

with the addition o f the seventh (D). In both measures the triad involved is an E-major triad with

a Bb (flat fifth). The whole passage (mm. 12-16) is very peculiar, as some degree of parallelism

can be observed. The rhythm and melodic shape o f tenor and bass in measure 12 and that o f

measure 15, as these are practically identical. Furthermore these two measures contain an

interesting parallel relationship with respect to the way the harmonies progress out of the Eb

major, flat-five chord in measure 12, back into the Eb 7, flat-five chord in measure 15, third beat.

Compare the quality o f the triads in mirror image starting with the two Eb, flat-five triads. Beat

two o f both measures (mm. 12 and 15) have a diminished triad, the first over an E pedal, and the

second is a half diminished seventh chord. Next compare the third beat o f measure 12 with the

first beat o f measure 15, both have major triads with sevenths.

60


The chromaticism in the Offertory passage (mm. 54-60) is slightly different than that o f

the Gradual, as it contains both some melodic sequencing and some tonal function, though the

strong characteristic presented by segments o f chromatic scale is still present. Melodic

sequencing is observable in all four voices, grouped in two measure segments. M easures 54-55

o f the soprano are repeated at higher pitch in measures 56-57 and 58-59. M easures 56-57 o f the

alto are reproduced a whole tone higher in measures 58-59. The tenor m otive presented in

measures 56-57 is repeated a whole tone higher in measures 58-59, as is also the case with the

bass line in the same measures. Some tonal function can be observed in sequence o f chords that

relate tonally to each other. From the third beat o f measure 54 to the downbeat o f m easure 55

there is the resolution o f a diminished triad into a major triad (d° to Eb6/4). Harmonic motion by

fifths also provides some resemblance o f tonal function: measure 56 has a harm onic movement

from a G4/' chord to a C6/:> chord, and the same passage is repeated two bars later with different

pitches, created by the melodic sequence (A4/3 to D6/").

In the Introit, the third chromatic passage (mm. 37-41) cannot be accounted for in terms

o f tonal function. The basso continuo line acts as a basso seguente line, doubling the lowest

vocal texture, the tenor voice, a procedure commonly observed throughout the work. The

passage in question serves to modulate from the G minor tonality o f the previous section into the

key o f D minor, which is not established until the harmonic motion in m easures 42-43 and

confirmed in measures 45-46. The alto and tenor voices move downward by chromatic half

steps (mm. 37 to 42, first beat), while the soprano voice presents a m elodic contour that is

retained from measures 38-39 into measures 40-41, as if it were a tonally adjusted sequence. As

the soprano line does not move chromatically by half-steps as do the alto and tenor voices when

it presents half-step motion, it has a stronger effect. Observe the motion from the pitch G# to A

61


(mm. 38-39), and from F# to G (mm. 40-41). The melodic contour is that o f a cadence, and the

half-step motion also sounds like a cadence. Peculiarly enough, the pitches to which there are

half-step pulls are A and G, respectively the dom inant and subdominant scale degrees o f the key

about to be established, D minor.

Structural design109

A cohesive structural design characterizes the 1809 Requiem, created by the unison

writing, recurrence o f bass patterns, and structures that reflect the division o f the text. The

Introit, Kyrie, and Gradual are all treated in structures o f three parts, with the Gradual being set

in ternary form.

Internally, each larger section has its own tightly knit structure. Consider for example, section

"A."

Section Aa (mm. 1-18) a1 (mm. 19-27) d->V/d F

Observe how the two sub-sections which m ake up section "A” are o f the same musical

substance, differing basically in the change o f m ode, from minor to major. Furthermore, these

two sub-sections are organized in the same way, beginning in vocal unison (mm. 1-61, 19-241),

and followed by a trio section with suspension like motion (mm. 62-10’, 242-27). Section “B” is

similarly organized, containing three sub-sections, the first two bearing a musical relationship,

and the third recalling sub-section “a” in its unison writing.

109 Refer to Appendix B for the complete score of the 1809 Requiem.

IntroitA (mm. 1-27) d—»F

B (mm. 28-63) g—>d—>Bb "Te decet”

C (mm. 64-95) —>g—>V/d "Requiem ”“Requiem"

62


Section Bb (mm. 28-36) b1 (mm. 37-47) a like (mm. 48-63) g d Bb

The two sub-sections labeled as “b” relate to each other in which sub-section “b1" appears to be a

chromatically embellished version o f sub-section “b”. Notice how “b” is organized, beginning

with the alto, tenor, and bass voices moving in descending scales, while the soprano voice has a

melody comprised o f ascending and descending skips (mm. 28-311). The same pattern is

observed in sub-section “b‘,” in which the alto and tenor voices move in chromatic descending

scales, accompanying the soprano voice in its undulating melodic line (mm. 37-421). As

mentioned before, the third sub-section o f section “B” bears a relationship to sub-section “a” of

section "A" in its unison writing. But that is about all that can be said of this sub-section, as the

unison writing is its only point o f reference to any previous section.

Section “C ” has its own unique structural design, alternating passages between solo trio

and tutti textures. At the same time, section "C" recalls some o f the textures heard in previous

sections.

Section Cc (mm. 64-71') d (mm. 712-79) c1 (mm. 80-83) e (mm. 84-89) codetta (mm. 90-95)->V /g g g g —>V/dTrio Tutti Trio Tutti Tutti

Observe how the outer sub-sections o f section “C” have modulatory roles, establishing chords of

dominant function, first the dominant o f G minor and then the dominant o f D minor. As such,

section “C” can be considered as one large musical transition between the Introit and the Kyrie.

It is also interesting to observe that the sub-sections with the trio texture relate to each other not

only texturally but also in musical construction, as both sub-sections are built on the principle of

sequencing. M easures 68-711 are a sequence o f measures 64-671, while measures 82-83 are a

sequence of measures 80-81.

63


The Kyrie is organized in a similar fashion to the Introit, with three distinct sections,

following the natural division o f the text. The Kyrie is also tied motivically to the Introit, as its

opening bass line, both vocal and in the continuo, recalls the opening motive o f the Introit, the

sequence o f pitches D, F, E, and A.

96

« r f tr r r ^ iKy - n - e e - le - i -

Example 44: Kyrie opening bass line mm. 96-97

KyrieA (mm. 96-104) B (mm. 105-1 l l 1) C (mm. 11 T-125)d F—>V/F d“Kyrie" I “Christe” “Kyrie" II

The Kyrie presents a harmonically closed structure, beginning and ending in D minor. Even

though the Kyrie is organized similarly to the Introit, the musical treatment is much simpler, as

the Kyrie does not contain the structuring of sub-sections observed in the Introit. Also, the Kyrie

is much shorter than the Introit, with 30 measures o f length compared to the 95 measures o f the

Introit.

The Gradual in its turn is set in a regular ternary form, in which the outer sections are the

same. This is quite peculiar for there is no text repetition or text parallelism to prompt such

musical formal design. Thus, it must be that the composer thought it necessary to establish such

three-partite musical structure.

64


GradualA (mm. 1-8) B (mm. 9-16) A1 (mm. 10-24) Coda (mm. 25-34)F chrom atic—»V/d F F“Requiem” “et lux” “In m em oria” "ab auditione”

It is interesting to observe that, like the Kyrie, the Gradual is also harmonically closed, beginning

and ending in the key o f F m ajor, establishing it as an independent movement.

The Offertory is divided into four very large sections, each corresponding to a distinct

segment o f text. The “Quam olim Abrahae” fugato is fully reprised, thus creating a structure that

alternates a triple meter section with this fugato.

OffertoryA (m m . 1-69) B (mm. 70-132) C (mm. 133-171) B (mm. 172-234)Eb Eb c Eb“Domine” “Quam olim ” “Hostias” “Quam olim”

Section “A” can be divided into four sub-sections, and a codetta/transition.

Section Aa (mm. 1-28) b (mm. 29-45) c (mm. 46-53) d (mm. 54-64) codetta (mm. 65-69)Eb —>-V/Eb Bb’ish chrom atic Eb

Sub-section “d” is very chromatic, recalling the chromaticism observed earlier in the Gradual

(mm. 134-141).

Section “B” presents a fugato o f 63 measures. This fugato section stands out in the

context o f a basically homophonic work, but at the same time, its overall texture is still

homorhythmic. The fugato is divided into two parts, the first part displaying elements o f a fugal

exposition, and the second part giving a homophonic treatment to the text. The subject and

pseudo-answer are accompanied by a counter-subject, which carries the same text as the main

melodic material, observing that the tail o f the counter-subject is different in each entry.

Section BPart I (mm. 70-1141, 172-2161) Part II (mm. 114:-132, 2162-234)Eb EbFugal exposition Homophonic treatm ent

65


Example 45: Subject and countersubject, S and A mm. 70-81, 172-183

The order o f the entries is as follows:

First entry :Subject in Eb, Soprano voice (mm. 70-81', 172-1831)Counter-subject, Alto voice (mm. 70-77', 172-1791)

Second entry:Answer in Bb, Alto voice (mm. 81:-92‘, 183M 941)Counter-subject, Tenor voice (mm. S l'-SS1, 183~-l90 1)

Third entry:Subject in Eb, Tenor voice (mm. 922-103‘, 194^-2051)Counter-subject, Bass voice (mm. 92;-991, 194:-2 0 11)

Fourth entry :Answer in Bb, Bass voice (mm. 1032-114', 2052-216l)Counter-subject, Soprano voice (mm. 1032- 1101, 205:-212l)

Observe that after the first entry, all subsequent entries o f the subject/answer and counter-subject

are shortened by a half note. It is also interesting to observe the tonal relationship between the

subject and the answer, as well as the counter-subject. The subject entries (1 and 3) end in the

dominant, Bb, preparing the answer entries (2 and 4), that are exact modulations o f the subject to

the dominant key, Bb, ending in their turn back in the tonic, Eb, thus creating a tonic to dominant

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relationship in which an actual modulation to the dominant occurs. The melodic make-up o f the

counter-subject already hints at this tonal relationship, with the inflection o f the A natural (m.

74), serving as the leading-tone o f the key of Bb major.

Part II o f the fugato presents a rather free homophonic treatment o f the text, and many o f

the figures presented in this section seem to spring out o f the fugal exposition. For example, the

emphasis on the dotted half note rhythm, which is a prominent feature o f the fugato's subject.

There is also a direct quotation from the subject, in the soprano voice, in measures 124-125* and

226-227* that come from measures 76-77* and 178-179*, respectively. The dotted rhythm used

to treat the word “semini" on measures 123, 126, 130, 225, 228, and 232 is also reminiscent o f

the fugal exposition, used both in the countersubject and in the free material. According to

Mattos, fugatos and fugue like passages are not present in the works o f Garcia until 1808, and

thus must be considered as indicative o f an influence brought with the move o f the Portuguese

court to Brazil, in 1808.**°

The Sanctus is organized into four musical sections following its four text divisions.

SanctusA (mm. 1-17) B (mm. 18-44) C (mm. 45-68) B (mm. 69-95)c—►V/c c Eb—►V/c c“Sanctus" “Hosana" “Benedictus" “Hosana"

Section “A*’ presents a particularly effective use o f duets in sixths against a background o f

dissonance. The passage in question is in the “Pleni sunt caeli” text (mm. 9-17), and duets o f

sixths are observed twice. First, in measures 7 and 9 between the soprano and alto voices against

the unison line o f tenor and bass, that through the use o f a lower passing tone produces the

striking dissonance o f a tritone against the alto voice, and a minor ninth against the soprano

voice, in the second and fourth quarter notes o f each bar. This grinding dissonance is relieved in

110 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 99.

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measures 10 and 12, respectively, when the soprano voice joins the tenor and bass voices in

unison at the octave, while the alto voice continues dueting a sixth below the soprano voice.

Next, between measures 15 and 17, the sweet duet in sixths is between the soprano and tenor

voices, heard against the bitter m inor seventh pedal o f the alto F against the bass Gj.

Another interesting feature o f the Sanctus is the use o f a two-measure pattern that is

immediately repeated with different text, and from which a continuing musical line spins off.

Repetition in this case does not serve any rhetorical purpose, and serving only to create the

necessary musical energy for a short musical outgrowth, as in an atomicized ritomello

Fortspinnung. The first use o f this technique in the Sanctus is also in the “Pleni sunt caeli” text,

in which the music o f measures 9-10 are immediately repeated in m easures 11-12, with the

continuation o f the text, and from which a new musical idea grows starting at measure 13. If one

ignores the text and looks only at the notes, there will be a natural inclination to underline the

musical repetition. This creates a break in the text line and should not be done. The idea is o f a

continuous musical line without any breaks, except for those suggested by the text punctuation.

The second example o f this technique is found in the “Hosana” section (Section B), between

measures 18 and 23. In this example the use o f the technique is even more striking, as there is a

rhetorical repetition o f the text that does not coincide with the repetition o f the musical pattern.

Observe how measures 18-19 are immediately repeated in measures 20-21. The initial utterance

o f the text does not end until the second beat of measure 20, already into the repetition o f the

musical pattern, which starts in measure 20.

The “Benedictus” (Section C o f the Sanctus) is set in non-imitative counterpoint. The

principle o f repetition with outgrowth or development is also used here, but on a larger canvas.

The first four measures o f the section (mm. 45-48) are repeated in m easures 54-57, a whole step

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higher and with a change o f key and mode, from Eb m ajor to F minor. From this four-measure

pattern different tails are spun out. The first outgrowth goes from measure 49 ending in measure

53 in the dominant o f Eb major. The second outgrowth (mm. 58-68) is longer, and serves to

prepare the modulation into the reprise o f the C m inor “Hosana,” with a seven-measure G pedal,

and ending in the dominant chord o f C minor at measure 68.

The Agnus Dei is also structured following the division o f the text, into three parts.

Agnus DeiA (mm. 1-9) A1 (mm. 10-18) B (mm. 19-44)c Eb —»g—>c"Agnus" I “Agnus” II “Agnus” III

The first two sections contain exactly the same m usic with the change o f mode, from m inor to

major. These two sections are organized with a five-measure choral unison opening followed by

four measures in homorhythmic texture. Besides the change o f mode, these two sections differ

on how the voices are placed in the four homorhythmic measures. Comparing measures 6-9 with

15-18, we observe that there is a voice exchange involving the soprano, alto, and tenor voices.

The exchange is as follows:

Measures 6-9 Measures 15-18Soprano —> TenorAlto —> SopranoTenor —> Alto

The voice exchange in a homorhythmic context is, besides the change o f mode, an added feature

o f variety used in these two segments.

Section “B” is largely constructed based on the principle o f sequence, both melodic and

o f the full texture. The full texture o f measures 19-20 is immediately repeated a whole step

higher in measures 21-22, with the second bar o f the pattern suffering a rhythmic compression

(m. 22). What follows next is melodic sequencing observed in the alto voice (mm. 24-27) and in

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the pairing o f soprano and tenor voices (mm. 233-28‘). The process o f melodic sequence in this

example is purely musical, and does not reflect any aspect observed in the text.

24

J -i J ! J J I . . J J - J l !Its pec - ca - la mun di do - na

Example 46: Alto voice melodic sequence, mm. 24-27

■nr ^ - a l u . h - r - = ----- . - f i t - j ------—

i ----------------- N------ ■— ' |— ----------------------

De - 1 qui lol - Its/ ‘

pec - ca - ta

-4— m---------- --------* ----* ----J ----- j f-----------J —

mun - di do - na e - is

f l . i , „ -------------------K------------------------— ----------------- • ----i—i------m----m—----- -3---- L-1------ -------1----- ..... i J •

Dc - i qui lol - lis pec - ca - la mun - di do na c - is

Example 47: Soprano and tenor melodic sequence, mm. 22-28

This passage constructed on sequences ends in a G major chord, approached by a fully

diminished triad built on F# (mm. 29-30). What follows next is a six-measure a cappella trio o f

soprano, alto, and tenor voices that has an interesting harmonic design. In order to maintain

harmonic interest and not arrive too soon in C minor, the composer set these six measures in G

minor, but with a strong hint o f C minor. For four bars (mm. 31-34) the harmonic tension is

created by the alternation between a fully diminished seventh chord (b°7) and the sub-dominant

chord, C minor. Observe that the fully diminished seventh chord is the leading-tone chord o f C

minor, used here as a chord o f secondary function, thus the hint o f the key in which the

movement will end. To modulate to C minor, Garcia implies that G m inor will continue as the

main key through the use o f a D m ajor chord in measure 35 (V/g), but which is immediately

followed by a G major seventh chord (m. 36) that leads into C minor, in the following measure,

consummating the modulation. Once again, an element o f variety is observed in the last eight

70


measures o f the movement. In order to create yet tw o more rhetorical repetitions o f the word

“sempitemam,” the composer frustrates the expectation o f a tonic chord in measure 40,

substituting it for a fully dim inished seventh chord built on F#, with secondary function to the

dominant o f C minor (V/c). Finally, the harmonic sequence in the last four measures (mm. 41-

chord, to the dominant chord, and to the tonic chord in root position, provide the sense o f finality

for this movement.

The musical structure o f the Communion follows the division o f its text into four

segments. The opening section o f the Communion bears a strong connection with the Agnus

Dei, recalling the head motive from the unison opening, the shift from C minor to Eb major, and

the cadential formula using the viio7/V chord preceding the dominant chord (mm. 10-12 o f

Communion).

44), from the fully diminished seventh chord built on F# (viio7/g), to tonic second inversion

A - gnus De - i qui

Example 48: unison head motive from Agnus Dei (mm. 1-2)

Lux ae ter nam

Example 49: unison head motive from Communion (mm. 1-2)

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CommunionA (mm. 1-12) B (mm. 13-36) C (mm. 37-81) B (mm. 82-105)c-^V /c c Eb c“Lux aetemam” “Cum sanctis” “Requiem” “Cum sanctis”

Section “A” o f the Communion contains both “A” and “A‘” o f the Agnus Dei in a compressed

form. Both movements share the same unison head motive, as exemplified above, and some o f

the same building blocks are observed in both movements. In the Agnus Dei the opening

material stated in C minor (mm. 1-9) is immediately repeated in Eb major (mm. 10-18). This

same paradigm is used in the Communion, in a smaller scale, as the opening unison four bars

(mm. 1-4) that outline the key o f C minor, are immediately repeated outlining the key o f Eb

m ajor (mm. 5-9). The alternation observed in the opening o f the Agnus Dei between unison and

homophony is also present, but in the Communion the unison opening is followed by a duet o f

soprano and alto voices (mm. 3-4) and then soprano and tenor voices (mm. 7-8). It is interesting

to observe that like in the Agnus Dei these sections in duet contain a voice exchange, in this case

involving the exact pitch material. The sequence o f pitches used in the soprano voice in

measures 3-4 is used in the tenor voice in measures 7-8, and likewise, the pitches used in the alto

voice in measures 3-4 are then used in measures 7-8 in the soprano voice. The use o f the viio7/V

chord in the Communion (mm. 10-12) also recalls the Agnus Dei, as this chord is used twice in

that movement quite effectively (mm. 29, 40-41).

The remaining three sections o f the Communion present contrasting moods, motivated in

part by the shift o f meters from the opening C-slash (Section A), to the triple three-eight o f

section “B,” to the duple two-four o f section “C”, and back to the triple three-eight, in the reprise

o f the “Cum sanctis.” This concludes the 1809 Requiem setting, providing one o f the most

remarkable uses o f recurring materials and structural paradigms, which will be discussed next.

72


Paradigm and bass pattern sharing in the Offertory, Sanctus, Agnus Dei, and Communion

As stated before in the section “Recurrence o f bass patterns,” the Offertory, Sanctus,

Agnus Dei, and Communion, all share a common bass pattern, BP4 (see Examples 41, 42, and

43). A recurring bass pattern is not the only element shared by these sections, as they are all

structured following the same architectural paradigm, suggested by text reprise. Consider the

following structural diagram that describes these four movements as three continuous structures,

in which the letter “A” denotes sections in which BP4 is present:

OffertoryA “Domine” (mm. 1-69)B "Quam olim" (mm. 70-132)C “Hostias” (mm. 133-171)B "Quam olim" (mm. 172-234)

SanctusD “Sanctus” (mm. 1-23)A1 "Hosana" (mm. 18-44)E “Benedictus” (mm. 45-68)A‘ "Hosana" (mm. 69-95)

Agnus DeiF “Agnus Dei” (mm. 1-44)

CommunionF1 “Lux” (mm. 1-12)A" "Cum sanctis" (mm. 13-26)G “Requiem” (mm. 37-81)A" “Cum sanctis” (mm. 37-81)

Considering the above bracketing we can observe objectively three movements (Agnus Dei and

Communion are combined as one movement) that have the exact same structure, prompted by

the reprise o f a text segment. In the Offertory the “Quam olim” is reprised, in the Sanctus the

“Hosana” is reprised, and in the Communion the “Cum sanctis” is reprised. The “Quam olim”

contains its own distinct musical materials to make up the fugato, but the other two texts that are

reprised (“Hosana” and "Cum sanctis” ), both contain references to the same bass pattern (BP4),

73


and thus bear a strong connection. As such, the structural organization o f these three

movements, considering the Agnus Dei and Communion as only one movement, is the same. An

opening section followed by the section that is going to be reprised, a contrasting section, and

then the reprise. It is noteworthy to point out that the Offertory and Communion are further

approximated, as these two movements have a section in vocal duo in between the text reprises,

“Hostias” and the “Requiem” verse.

74


Chapter IV


Two important losses occurred in the life o f Garcia in the city o f Rio de Janeiro on March

20 o f 1816: the death o f Queen Dona M aria I, mother o f his admired patron. Dom Joao, and the

death o f the composer’s own m other, Vitoria Maria da Cruz. In midst o f the sorrow caused by

the loss o f these two lives, the 1816 Requiem had its genesis, in the words o f Taunay, "[o

Requiem] fora escripto com lagrimas bem intimas e sinceras.” 111 The music for the funeral rites

o f the Queen at the Royal Chapel was that o f Marcos Portugal, while Garcia's setting seems to

have been prompted by the ceremony promoted in memory o f the Queen by the Ordem Terceira

do Carmo, as the inventory o f the music director for this order, Batista Lisboa, contains

references o f payment for the Requiem Mass and its accompanying O ffice.11” Jean-Paul

Sarrautte suggests that Garcia's setting was commissioned by the Senado da Camara (Senate of

the Chamber), performed at the Igreja da Ajuda in a service attended by the now to be King,

Dom Joao, and that would have surpassed all other mourning manifestations for the death o f the

Q ueen.113 Even though the surviving documentation ties the 1816 Requiem to the Ordem

Terceira do Carmo, it is still possible that Sarrautte's information is true, and that G arcia 's work

was used in more than one memorial service for the deceased Queen. O f Garcia’s three Requiem

settings, the 1816 setting has the largest scope, being scored for a classic size orchestra, with two

viola parts, SATB chorus, and soli vocal quartet. Gerard Behague has proclaimed G arcia’s 1816

111 Visconde de Taunay, In: “Esboceto biografico", In: M issade requiem, choral and organ reduction score by Alberto Nepomuceno. Casa Bevilacqua. 1897. reprinted In: Esiudos Mauricianos, 12. “[the Requiem] was composed with intimate and sincere tears” .11 ” Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 121, 124.113 Jean-Paul Sarraute, Marcos Portugal, 76.

75


Requiem Mass, as “[. . . ] one o f the most successful masses ever written in the Am ericas."114

The work is also a landmark in Brazilian history, having been the very first music score to be

published in Brazil (1897) o f a work dating from the Colonial period, that is, from before

1822.115

Garcia conducted the first performance o f M ozart’s Requiem in Brazil in 1819, an event

that prompted Sigismund Neukomm, living in Rio de Janeiro at the time as a member o f the

Duke o f Luxemburg diplomatic mission, to write an article for the A/lgemeine Musikalische

Zeitung, praising this artistic endeavor as well as Garcia him self.116 O f particular interest is the

fact that Garcia chose to pay homage to Mozart quoting melodies from the Requiem o f the

Salzburg master in his 1816 Requiem, and also setting his own work in the same key o f D minor.

This fact in itself would prompt one to consider the extent o f M ozart's influence on the Brazilian

composer, but even a superficial comparison reveals marked differences. Mattos indicates that

the principal difference between the two works lies in the treatment given by Garcia to the

polyphonic themes o f Mozart that he quotes. In G arcia's work, M ozart's polyphonic themes are

treated as part o f a harmonic texture,117 thus losing their thematic identify. Ricardo Tacuchian's

comparative study o f the two works exemplifies Mattos words in detail, indicating thematic

similarities and demonstrating the different treatment given to the themes in each work.118

Further more, both authors agree that G arcia’s work, like that o f Mozart, has a certain Baroque

aura with something o f a Romantic expansiveness.119

114 Gerard Behague, “Jose Mauricio Nunes Garcia”, New Grove Dictionary o f Music and Musicians, Vol. 9, 525.115 Carlos Alberto Figueiredo, A edi^ao de 1897 do Requiem de Jose Mauricio Nunes Garcia, 22.116 Sigismund Neukomm, Korrespondenz. AUgemeine Muzikalische Zeitung July 07, 1820, no 29117 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 122-125.118 Ricardo Tacuchian, O Requiem Mozartiano de Jose Mauricio.119 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 122-125, and Ricardo Tacuchian, O Requiem Mozartiano de Jose Mauricio, 36.

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Formal design120

The 1816 Requiem is divided into eleven movements, as follows:

1. Introit2. Kyrie3. Gradual4. Dies irae5. Ingemisco6. Inter oves7. Offertory8. Sanctus9. Benedictus10. Agnus Dei11. Communion

Even though there are eleven movements, the concept o f closed harmonic sections121 leads one

to rather consider the following division:

1. Introit and Kyrie2. Gradual, textually and thematically related to the Introit3. Dies irae, Ingemisco, and Inter oves, as these represent the complete Sequence4. Offertory5. Sanctus6. Benedictus, related to Sanctus textually and thematically7. Agnus Dei and Communion

Both the Introit and the Kyrie are formally organized in ternary designs, following the three-

partite structure o f their respective texts:

IntroitA (mm. 1-12) d“Requiem”

B (mm. 13-24) A (V/i)“Te decet”

A1 (mm. 25-36) d“Requiem”

Coda (mm. 37-46) d—>A (V/i) “Requiem” (cont.)

KvrieA (mm. 1-12) d“Kyrie” I

(mm. 13-24) A“Christe”

A1 (mm. 25-38) d“Kyrie” II

120 Measure numbers refer to the Carus-Verlag edition.121 Refer to Tonal Designs chart on pg. 105.

77


The Introit and the Kyrie are similar in many aspects. Both are set in ternary form with an "A"

section in the tonic key (D minor) and a “B” section set in the dominant key o f D minor, A

major. Also the proportions o f the inner sections are virtually the same in both the Introit and

Kyrie: the “A” sections o f the Introit are twelve measures in length, while in “Kyrie" I, section

“A" is exactly twelve m easures in length, and in “Kyrie" II, it is fourteen measures in length, a

fact accounted by the concluding elongation o f the movement in its Largo ending (mm. 36-38).

The “B” section o f the Introit is also twelve measures long, and corresponds to the “Christe"

section, also twelve measures long. The themes used in these two sections. Introit and Kyrie, are

quotations from Mozart’s Requiem.

all N - --S ■ NI E

Re - qui - em ae - ter nam do - na

mnamRe - qui - em ae - ter do na

$- y — ?---------------------------Re - qui - em ae - ter nam do

£p

B m- pr a t r - r~y~qui - em ae - ter

—

doRe nam na

Example 50: Garcia Introit choral incipit

78


1Re

£

i itRe

" h hr, Nqui - em ae -

T

B

Re qui - em ae - ter

2 * £

Re - qui - em ae - ter -

Example 51: Mozart Introit choral incipit

fy jt. m m

Kv - ri - e le - i - son.

Example 52: Garcia Kyrie theme, bass voice

/

Kv - r i-e e le - i - son. e

nam.

J , , . . 1 5 — ;---------- V f s--------, f t * - . J r .

ae

Example 53: Mozart Kyrie theme, bass voice

Even though the Gradual relates thematically to the Introit, it is organized in a different

fashion. Set in the key o f G minor, the Gradual expands the tonal spectrum introducing the

subdominant (iv/D minor). It is also in the Gradual that Garcia introduces for the first time in

this work the concept o f recurring ideas in a very unusual way. The return o f the “B" section in

this case is not accomplished by either a return o f the theme or even a return o f key, but by

79


rather, a return o f textural features found in the orchestration and an overall return o f the

atmosphere presented earlier. The Gradual is constructed on two larger segments representing

the text o f the Gradual and Tract, respectively, each segment comprised o f two contrasting

sections, and ending with a Coda.

GradualA (mm. 1-9) B (mm. 10-19) A‘ (mm. 20-28) B1 (mm. 29-39) Coda (mm. 40-50)g —>D g —»Eb g“Requiem" “In memoria” “Absolve, Domine” “Et gratia" “Et lucis aetem a"

O f particular interest are the two “B” sections. Observe that in the recurrence o f “B" (mm. 29-

39), there is no return o f the thematic material initially stated in measures 10-19. In spite o f this

fact, the two sections relate to each other in a carefully laid plan. Both sections are introduced by

a first clarinet solo (mm. 94- 121 compared to mm. 284-30‘). and taken then by vocal solos,

soprano solo (mm. 12-16) compared with bass solo (mm. 30-39). The two sections also form a

parallel in terms o f harmonic function, as both sections are not clearly defined tonally, but rather

have harmonic movement toward well defined cadences, first in D major in measure 19 (V/G

minor), and then in Eb major in measure 39 (relative major o f G minor). This is a rather

unorthodox and sophisticated procedure, one that appears to be a unique technique of Garcia, and

that the composer will take to a further level in the Sequence. It is possible that Garcia

elaborated this formal design in consequence o f a necessity to create musical structure setting a

text that has few parallels. The two “ A" sections represent respectively, the beginning o f the

Gradual and the beginning o f the Tract (“Absolve, D om ine. . ."). These two sections are related

textually as both are apocryphal prayers, and Garcia set both of them with the same music. No

such text parallelism exists in the “B" section, as the first “B" section contains a Psalm verse (“ In

memoria . . ."), and the second “B" section is simply the second phrase o f the Tract text. Garcia

set the Tract text to music only in the 1816 Requiem, and thus the composer was posed with a

80


challenge that he had not faced in his two earlier Requiem Masses, 1799 and 1809. Garcia could

have simply set this entire segment o f text adding an entirely different section to what is “B1,’*

but he obviously decided not to, perhaps because it would not satisfy musically, as well as the

solution that he found. In order to create musical unity and still maintain the different identity o f

each text segment, Garcia created a dichotomical structure that accomplishes just that. Musically

the two “B” sections are related, as demonstrated above, and yet they are sufficiently different

from each other as to maintain their distinct text identity.

The Sequence must be considered as one large segment o f both text and music, involving

three movements: 4. Dies irae, 5. Ingemisco, and 6. Inter oves. The three movements form a

very large ternary template.

4. Dies irae 5. Ingemisco 6. Inter ovesA B A 1 d Bb d

There are some interesting observations about how Garcia organizes this Sequence. It

seems that the important issue is, to a great extant, the obscuring, veiling, or ambiguity o f events,

a feature observed earlier in the Gradual. This is accomplished in the macro structure, and also

in micro structure. The overall form is obscured, veiled, or ambiguous by the complete lack of

relationship o f movement 5, Ingemisco, to the movement that precedes it, 4, Dies irae, setting off

any expectation that there will be any return of the materials heard on movement 4, again in

movement 6. This apparent lack o f relationship is also presented in the strong sense o f finality at

the end o f movement 4, and by the complete change o f character presented in movement 5, with

changes o f key, tempo, character, and forces, as movement 5 is scored for soprano solo only. As

such when in movement 6, Inter Oves, the musical material presented earlier in movement 4,

81


Dies irae, returns, it com es as a complete surprise. The formal design o f m ovem ent 4, Dies irae,

is also obscured, now by setting up an expectation, and then half frustrating it.

Movement 4: Dies irae

Please refer to Figure 1.

In this case a regular ternary design, or something along those lines, is set up with the

initial design o f an “A” section in D minor, followed by a “B” section in the relative major key

o f F. But, this expectation is totally “frustrated7’ or perhaps better put, “temporarily denied" by

what I have labeled as "inserts." These inserts have a distinctive character from the "A" and “B"

sections, mainly presented by the texture o f solos, without the chorus. Insert 1 is scored for bass

solo and Insert 2 for tenor solo.

82


Reproduced

with perm

ission of the

copyright ow

ner. Further

reproduction prohibited

without

permission.

A (1-42) B (43-64) D minor F major

Movement 4: Dies irae

Trans. (65-85) Insert 1 (86-113) Insert 2 ( 114-136) Link (137) Bb & D m ajor Bb, D min, F Maj

Figure 1: Dies irae structural units

A 1 (138-182) D minor

Coda (1 83-196) D minor

00

Movement 6: Inter oves

T' (1-17) Something else I (18-27) T ’ish1 (27-36) * *

rish" (37-44) t ____________

Something else II (45-52) T 1 (52-69)

Figure 2: Inter oves structural units

O f interest are also the internal designs o f the individual sections. Please observe the internal

ternary design o f each section.

Section AT (mm. 1-17) Trans, (m. 18) M (mm. 19-27) T l (mm. 28-42)d Unstable d“Dies irae” “Quantus tremor” “quando judex”

Note that “T1” is quite different from “T”, thus the return consists o f the return o f key,

some figuration (Violin I & II at m. 28), the same basic choral texture as before, and a very brief

quotation o f the very opening motive (m. 40).

Section BQ (mm. 43-56) P (mm. 57-64) Q 1 (mm. 65-85)F F FUnclear unclear more defined“Tuba mirum” "cogetom nes” “Liber scriptus”

Observe that even though F m ajor is in one hand established by the outlining o f the tonic

triad in the opening figure (m. 43), the overall harmonic movement is at least ambiguous,

avoiding any cadence that would confirm the key. Note the sequence o f chords at m easures 46-

49, repeated at measures 53-56: F7, Bb, e°7, F, all occurring over an F pedal. Also note that “P”

is harmonically unclear, being comprised o f sequential patterns (mm. 57-59) and a series o f

seventh chords (mm. 60-63), ending on a C7 chord at measure 64. The distinction o f “P” with

the other material is mainly the difference o f texture, where the chorus returns to a higher

register, the dynamics return to the forte plus level, the string figuration has an agitated rhythm.

An important marker is present at measure 64, with a half-note rest with a fermata. Q1 has been

considered a return o f Q, mainly in its spirit. Here the chorus sings once again in a lower

register, the texture is thinned out, and finally F major is established by means o f a c lear cadence

(mm. 83-84). Q1 has a great sense o f finality, as it has for the entire section “B” the clearest

cadence and also a three beat rest at measure 85 “announcing” the end o f a section.

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The Inserts also have a three-part structure, but different from what has been observed so

far, resembling a bar form. I have decided to label these two sections as inserts because that is

exactly how they function. The inserts are simply put, two additional sections to an overall

structure that seems to work well by itself. Observe that the inserts with their scoring for solo

voices, bass and then tenor, differ from the other sections, contrasting with the basic four voice

texture, may it be chorus or the quartet o f soloists.

Insert 1A (mm. 86-93) B (mm. 94-103) B‘ (mm. 104-113)Bb D D“Liber scriptus” “unde mundus" “quidquid”

Insert 1 resembles a bar form, but not quite. Even though, I have decided to label the

segment as it is schematisized above for, I believe that B' has sufficient likeness to B for such.

This likeness can be observed in the preservation o f the basic melodic design with wide leaps,

greater than the interval o f a fourth, the maintenance o f key, D major, and above all in the

proportion existent between the two sections in question: both are exactly 9 measures in length.

It is also worth noticing the use o f the German augmented 6 chord at measure 110, which after a

rest, resolves to the tonic chord.

Insert 2A (114-122) B (123-126) B1 (127-136)y (114-117) v1 (118-122) x ( 127-131) x‘ (132-136)Bb Bb g min—>F maj—> d F4 mm. 4 mm. + 1 beat 4 mm. 4 mm. + 1 beat 4 mm. + 1 beat“Quid sum m iser’ “Cum vix” “Cum vix” (cont.)

Observe that in Insert 2, proportions are once again o f interest. Note how the phrases are

organized in a very regular four bar format. Also, “y‘” and “x1” are phrase repetitions, musically

and textually, preserving the essential four bar proportion to “B”. The similarities between B

and B1 are quite interesting. First, both use the same text, but o f greater interest the movement

85


from a minor key to F m ajor experienced in “B” is preserved in “B‘,” but now in an expanded

fashion as one would expect: the first phrase o f “B1” in D minor and the second phrase moving

back to F major.

Section A‘T" (138-155) M ‘ (156-175)Bb, C ->d d18 mm. 20 mm.“Rex” “Recordare”

Section “A1” poses the issue o f ambiguity at the larger structural level. Here materials

from or related to section “A” return in an orderly fashion, helping the connection to be made.

At the same time, it is somewhat difficult to hear the connection because there is not a clear

return o f motives. Note the similar dramatic aura o f the section starting in measure 138 with the

one beginning at measure 5. Also notice the use o f the solo quartet at measure 156, similar to the

use o f the chorus at measure 19. And last, the stronger ties of the segment starting at measure

176 with that from the initial segment o f the movement. Beyond the sim ilar full-choral texture

bringing out some o f the more dramatic text, the syncopated string figuration found at measure

176 having a recalling quality o f that present at measure 3.

M ovem ent 5: Ingemisco

The movement Ingemisco is the one with the clearest and simplest formal design.

Intro (1-9) A (10-17) B (18-31) A' (33-40) Bl (41-54) Codetta (55-65)Bb Bb -*F Bb ->Bb Bb

8 mm 14 mm 8 mm 14 mm“Ingemisco” “supplicanti” “mihi quoque”“sed tu bonus” “ne perenni”

Note how “A1” and “B‘” are simply embellished repetitions o f their counterparts. Also the

proportions are visibly and audibly preserved. This movement comes as a complete change o f

pace from the previous one in many respects. The mood is quiet, but above all the issue o f

86

Tm (176-196) Codetta (196-198)d d21 mm. 2 mm.“tantus labor”


obscuring and ambiguity is not made present. In the Ingemisco expectations are set up and

fulfilled in a very audible manner. It seems that the choice to set this movement in a more

traditional formal design it prompted by the text itself, with its prayerful mood and positive

outlook in a scenario o f punishment and destruction. Thus, clarity of form serves to reinforce the

fore-mentioned characteristics o f the text.

Movement 6: Inter oves

In this movement the issues o f obscuring and ambiguity are made present again, perhaps

even more so than before. At the same time, because o f the exact repetition o f the first 39

measures from the Dies irae as its first 39 measures, a very strong impact is made upon the

listener as to obviously relate the Inter oves movement to the Dies irae movement. The

following graphs will attempt to clarify these issues.

T (mm. 1-17) Trans, (mm. 17-18) M (m m . 19-521) T' (mm. 52:-69)d d d"Inter oves” "voca me” "dona eis”

Examine closely the "M” segment:

Segment MSection 1 (mm. 19-271) Section 2 (mm. 27*-36) Section 3 (mm. 37-44) Section 4 (mm. 45-521)

T’ish T'ish"voca me” "cor contritum ” “judicandus” "Pie Jesu”

Observe how the internal structure o f M, with the presence o f two segments that recall “T ”,

disrupts the large three-part form. Examine the possibilities presented in Figure 2 (p. 74):

considering the possibility suggested by the top bracketing, three binary segments are observed,

with a very strong tie between the first and last segments. Considering the possibility suggested

by the bottom bracketing, two three-part segments are presented, which start and end with “T ”

material.

87


As the analysis has demonstrated, one outstanding characteristic o f this 1816 Sequence is

the masking, or veiling o f events, or simply the ambiguous nature o f materials. This is most

noticeable in the manner in which the composer chose to make materials reappear. The materials

hardly ever recur in a clear-cut fashion. There is always the need o f a close exam ination o f the

score to make the connections, even though a connection made by a general sense o f mood and

texture is generally present and to a certain extant, audible. The motivation for such a choice

seems, appropriately, the meaning o f the text. The concept o f the “Day o f Judgm ent" always

raises the question o f “in which side will I be found - destruction? Eternal bliss?" Bearing such

a thought in mind, the apparent ambiguity o f the formal design becomes not just acceptable, but

desirable. Naturally this is very hypothetical, but certainly within the realms o f the possible.

Generally speaking, the portions o f the text that are more positive in nature are set for the

individual solo voices, while the more dramatic text segments are reserved for the full chorus

texture. The analysis demonstrates that the section studied has a well-structured formal design,

even though it is not obvious. As it was said earlier, the obscurity or ambiguity o f formal design

matches the images suggested by the text.

The Offertory presents a sim ilar formal design to that observed in the Gradual, in regards

to the concept o f recurring materials. In the Offertory, Garcia finds a musical structural solution

different from that suggested by the text. Surprising enough, Garcia ignores the one text

repetition (“Quam olim"), setting each utterance o f this text with its own music. Another

peculiarity o f the Offertory, is that it is completely set in the key o f Eb major, without ever

making use o f a contrasting key, or even a significant modulation. The formal design can be

described as represented in the following chart, observing that the recurrences o f sections “A”

and “B" follow the pattern o f not presenting a clear restatement o f the themes earlier presented.

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Offertory A (mm. 1-36) Eb

B (mm. 37-61) EbChorus"ne absorbeat”

A' (mm. 62-98) EbBass solo "Quam olim”

B1 (mm. 99-120) EbChorus "Fac eas"

Bass solo "Domine”

Observe that the "A” sections are characterized by the bass solo, while the “B” sections

are characterized by the use o f the chorus. Also observe the proportions between the sections.

Section "A ” is 36 measures in length, and section "A1” is 37 measures in length. The two "B"

sections have approximately the same number o f measures, the first with 25 measures, and the

second with 22 measures. Furthermore, a stronger argument in favor o f viewing measures 62-98

as a recurrence o f the opening section (mm. 1-36) is the use o f a motive common to both

sections. The opening instrumental motive o f three bars (mm. 1-3) comprised o f a descending

triadic figure characterized by the root to fifth to third motion is used again in the "A1” section, in

a quasi developmental fashion, or perhaps better put, in a continuous variation process. This

motive that is used as a short introduction to the Offertory, and there stated in dotted half notes,

is used in section "A 1", no longer as part o f the instrumental texture, but rather as part o f the solo

bass vocal line. The appearance o f the motive takes place in measure 65, at the entrance o f the

solo bass voice, stating the motive in an Ab major triad, no longer using dotted half notes, but

rather quarter notes (ab-eb-c). The difference in the rhythmic values assigned to each statement

o f the motive is significant, for in the opening o f the Offertory, the statement in dotted h a lf notes

helps to create a audible imprint in the listener's ears, an imprint that is necessary to help the

listener make the connection when the motive is stated in quarter notes in section "A 1” (m. 65).

The parallel observed between the two "B ” sections is subtler. The main characteristic o f

the two sections is the dominance o f the choral texture. Even though the thematic connection

between the two “B” sections is almost imperceptible, and will be pointed out a little further, the

89


use o f the chorus in alternation with the solo bass voice is perceived as a statement and

restatement. One salient feature shared between the two sections is a simple string figuration o f

repeated eight notes found initially in measures 41-44, and then again in m easures 107-111. The

m ost striking unifying element between the two sections, though, is reserved for the choral

ending o f each sections, as these are verbatim the same. Remember that the m ain characteristic

o f both sections “B” is the dominance o f the choral texture. Compare m easures 59-61 with

measures 117-119 and notice that they are the same, with a slight rhythmic modification in the

orchestral texture in measure 119 with the purpose o f propelling the rhythmic energy into

measure 120, as to conclude the movement. Thus, if sections "A” are connected thematically by

a head motive, sections “B” are connected thematically by a concluding cadential gesture.

The Sanctus and Benedictus reveal a more significant influence o f M ozart's Requiem

than that mentioned earlier in the quotation o f melodies. According to Christoph Wolff, one o f

the outstanding characteristics o f M ozart's Requiem is its tonal design plan, in which each

complete segment o f text is harmonically closed. W olff believes that Franz X aver Sussmeyer

misunderstood M ozart's intentions in the Sanctus/Benedictus. as he set the reprise o f the

hosanna in the Bb major key o f the Benedictus, and not in the D minor/D m ajor o f the Sanctus-

Hosanna, thus allowing the Sanctus/Benedictus segment o f text to break away from the pattern

o f harmonically closed movements. Garcia followed the same disrupted harmonic design

created by Sussmeyer, and in the reprise o f the “Hosana” there is no return to the C m ajor key o f

the initial Sanctus-Hosanna, but rather, this reprise remains in the F m ajor tonality o f the

Benedictus. It is important to highlight that by now, it would be rather unusual for Garcia to

simply make a verbatim reprise. Then, to no surprise, the reprise o f the “Hosana” is not a

thematic one, but rather an atmospheric one mostly observed in the similarity o f the choral

90


texture and in the instrumental figuration, particularly the dotted rhythm o f the violins (compare

m. 11 o f the Sanctus with mm. 8-12 o f the Benedictus).

Sanctus-BenedictusA (mm. 1-8) B (mm. 8-14) C(m m . 1-7)'“ B‘ (mm. 8-13)C C F C—>F"Sanctus" "Hosana" "Benedictus" "Hosana"

Curiously enough, Garcia must have felt somewhat intrigued with the reprise o f the "Hosana" in

the key o f the Benedictus in the work o f Mozart as he begins his own reprise o f the "Hosana” in

C major, the key o f the original statement, and only then moves to F major to conclude the

movement. This fact perhaps reveals just the extent o f Garcia’s admiration o f Mozart, an

admiration that caused him to copy a paradigm that he did not quite understand, and rightly so

for it was not Mozart’s, but rather represented Sussm eyer’s inability to understand his m aster's

desire.

The Agnus Dei is organized in a ternary form, following the natural design suggested by

the text. Harmonically, the Agnus Dei moves from D minor to its dominant, A major, going

through its relative major, F major.

Agnus DeiA (mm. 1-15) B (m m . 16-31) A1 (mm. 32-46) codetta (mm. 47-52)d -W /d d—>F d—>V/d A"Agnus" I "Agnus" II "Agnus” III "sempitemam”

Each section o f the Agnus Dei is approximately o f the same length, and the codetta contains the

additional text o f this movement. To a great extant, all three sections can be considered to

emerge from the same musical substance. The distinction given to section "B” is mostly because

it moves away from D minor, to F major, even though, its texture is basically that o f section "A,”

both in the chorus and the orchestra. Compare for exam ple, the string figuration o f measures 16-

122 In the Carus-Verlag score the measure numbering restarts in the Benedictus.

91


19 with measures 1-4, as the latter basically repeats an octave higher the figuration o f the former.

Also the choral texture is basically the same, with some voice inversions. In measures 17-19 the

soprano sings the tenor part, the alto sings the soprano part, while the tenor sings the alto part o f

measures 2-4.

The Communion is reminiscent o f the Agnus Dei in its opening gesture with the D pedal.

The Communion is organized in five sections that are determined more by musical

considerations than by textual considerations. According to the text, the Communion should be

divided into four sections as follows:

CommunionA (mm. 1-20) B (mm. 12-20) C (mm. 21-34) B1 (mm. 35-58)"Lux aetem a” "Cum sanctis” "Requiem” "Cum sanctis”

This division o f the text into four sections is not fully confirm ed musically, or is at least given an

ambiguous treatment. Considering harmonic flow, a division into five sections seems to be more

coherent, as follows:

Communiona(m m . 1-10) a‘ (mm. 11-20) b (mm. 21-28) c (a“) (mm. 29-47) d(m m . 48-58)d->V/d d—>V/d A -»d d"Lux aetem a” "Cum sanctis" "Requiem ” "et lux” "quia pius”

To a great extent, only sections "b” and "d” can be considered as music of a different substance

than sections "a”, "a1”, and "c” . In spite o f this fact, an element o f unity is achieved in all the

sections through the recurring dotted rhythm observed in measure 1. This dotted rhythm

announces sections "a”, "a1” , and "c”, while it is present in the first bar o f sections "b”, and "d”.

This dotted rhythm is also used as a short one bar interlude in measures 6 and 16, as it is the

driving force in the last few bars o f the work (mm. 51-58). The first "Cum sanctis” (a1) contains

the exact harmonic progressions and melodic contour o f the opening section (a). Section "a1” is

indeed an embellished version o f section "a”, with an elaborated orchestration figuration.

92


Section “c" recalls the materials presented in both sections "a’' and “a1” , and it also contains the

reprise o f the “Cum sanctis” text. Considering the connection observed in the text reprise and

some motivic resemblance o f section “c” with sections "a” and “a1”, the Communion can be seen

as follows:

Communiona(m m . 1-10) a1 (mm. 11-20) b (mm. 21-34) a" (mm. 35-47) d (mm. 48-58)d-»V /d d—>V/d A—> d d“ Lux aetema” “Cum sanctis” “Requiem” “Cum sanctis” “quia pius”

One o f the interesting motivic connections observed between the two “Cum sanctis" sections is

an accompaniment gesture first presented in both violins I and II, in octaves (mm. 17-18), and

then recalled in measures 35-36. Note, that in the second passage, the second violin doubles the

part only for one measure, as the figure drops below its range.

V ln . I

V ln . II

Example 54: Communion violins I and II mm. 17-18

•m-Vln. I

V ln . II

Example 55: Communion violins I and II mm. 35-36

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The difference between the two passages is not only observed in the transposition of the figure

but also in the interval modification observed between the fifth and sixth notes o f the first bar (m.

35 com pared with m. 17), only a m inor second in the second example, in contrast with the m inor

third o f the first example, as to allow the following bar (m. 36) to descend in the natural

harmonic form o f D minor. In the first “Cum sanctis” this violin figuration accompanies the text

"quia pius," while that in the second passage it is used with the "Cum sanctis” part o f the text

itself. The inner workings observed above are all o f great importance and help to create a two-

part division o f the Communion, emphasizing the two prayer utterances, “Lux aetem a," and

“Requiem aetem am ," in which case the "Cum sanctis" sections are part o f each prayer utterance.

Considering a bi-partite division o f the Communion, macro structural divisions are:

CommunionA (mm. 1-20) B (mm. 21-47) Coda (mm. 48-58)d->V/d A—>d d"Lux aetem a” "Requiem aetem am " "quia pius repetition"

Considering the macro and micro structural organization o f the Communion, it is possible to

draw a relationship between the sections that contain the reprised text, "Cum sanctis," and at the

same time, observe a structure that emphasizes a larger, bi-partite division o f both text and

music. In this fashion, Garcia once again created structure on top o f structure.

Perhaps demonstrating one further degree o f M ozart's influence, Garcia chose to echo in

section “B” o f the Communion (“Requiem aetem am ”) the music that is used for this same text in

the Introit, a procedure that is not observed in the Requiem settings o f 1799 and 1809. Mostly,

the textual and musical connection o f section “B” with the choral opening o f the Introit is m ade

audible through the anticipatory bass entrance, which forms such a recognizable fingerprint.

94


s

Re - qui - em ae - ter do - nanam

A

Re - qui - em ae - ter nam na

T

Re - qui - em ae - ter nam do na

B

Re doterqui - em ae nam na

Example 56: Introit choral entrance mm. 3-4

s

Re qui

A

Re qui

T

Re - qui

B

Re qui em

Example 57: Communion, “Requiem” verse choral entrance mm. 21-22

95


Chapter V

Requiem Mass in F major, CT 190

The efforts o f Cleofe Person de Mattos to preserve the music o f Jose Mauricio Nunes

Garcia must never be underestimated. Were it not for her dedication, the access to the music o f

this composer would be much more difficult. However, in spite o f her efforts in classifying

Garcia's manuscripts, some works included in the thematic catalogue are o f dubious authorship,

a fact that Mattos herself acknowledged in thematic catalogue itself.123 The thematic catalogue

published in 1970, never received a revision, and such a revision is long past due. The copy o f

the thematic catalogue at the library o f the Escola de Musica o f UFRJ, where the majority o f

Garcia's manuscripts are housed, contain handwritten corrections in the hand o f Emani

Aguiar,124 particularly as per questions o f authorship.123 This information, though, has not been

circulated and is accessible only to those who visit this library in Rio de Janeiro.

As early as the publication of the thematic catalogue in 1970, a possible question o f

authorship regarding the Requiem Mass in F major, CT 190,126 had already been raised by

Mattos, where she says that certain harmonic imperfections in the CT 190 (chords lacking thirds,

and parallel fifths) would place this work along those o f doubtful authorship, were it not for

some familiar traces o f Garcia, as well as the copyist o f the manuscript, Bento das Merces.127 At

the time o f the publication o f the thematic catalogue, Mattos considered these elements, familiar

123 Cleofe Person de Mattos, Catalogo tematico das obras do Padre Jose Mauricio Nunes Garcia, 347124 Well-known Brazilian composer and conductor who has dedicated much of his life to the performance of Brazilian colonial music.“ Claudio Antonio Esteves, A obra vocal "de capella "de Padre Jose Mauricio Nunes Garcia. seis ediqoes e seus

elementos de escrila, 45.The source o f information for the inclusion of this work in the Thematic Catalogue was a manuscript copy with a

title page indicating Jose Mauricio Nunes Garcia as the author The title page is in an unidentified hand, while the score is in the hand of Bento das Merces.

Cleofe Person de Mattos, Catalogo tematico das obras do Padre Jose Mauricio Nunes Garcia, 374.

96


traces o f Garcia and the hand o f Bento das M erces as the copyist, to outweigh the so called

harmonic imperfections and the verticality o f the work, as observed in the manuscript copy that

she examined. Eleven years later, in a 1981 article concerning G arcia 's Offices for the Dead and

his Requiem Masses, 128 Mattos omitted any mention to the CT 190, demonstrating at that time

that she must have realized that the work was indeed by another composer. In a publication

issued a year later, 1982, the most revealing information was released in the preface o f M attos'

edition o f Garcia’s 1816 Oficio. Mattos writes:

A Missa de Requiem em Fd [CT 190] foi localizada pelo padre Jayme Diniz no Arquivo Municipal de Salvador (Bahia) em original de Damiao Barbosa de Araujo, e registrada em Estudos Baianos, publica^ao da Universidade Federal da Bahia, n.2, 1970, p. 2 1.129

It is curious to observe that Mattos herself, writing in 1982, did not further pursuit the

information that an autograph score had been found for the CT 190, and simply accepted Diniz’s

claim as sufficient evidence to confirm her previous suspicion, as she says about her doubts that

the work was by Garcia:

De fato, observaQoes ja expostas em 1970 no C.T. (p.374), e convem recordar, aludem a verticalidade e as "imperfeiQoes de harmonia" da M issa de requiem. A obra estaria “no limiar das obras duvidosas” nao fora o “apontar, aqui e ali, algum tra<?o familiar a pena do Mestre de Capela.” 130

Furthermore, an examination o f D iniz's 1970 publication, same year in which G arcia’s thematic

catalogue was published, seems to indicate that the author was not aw are that a manuscript copy

o f the Requiem Mass in F m ajor (CT 190) existed in Rio de Janeiro, with a title page indicating

128 Cleofe Person de Mattos, Jose Mauricio Nunes Garcia (1767-1830), Offices fo r the Dead: Requiem Masses. In: Musices Aptatio, 29-42 (1981).129 Idem, In Jose Mauricio Nunes Garcia, Oficio 1816, 19 Translation: “The Requiem Mass in F [CT 190] was found by Father Jayme Diniz in the Municipal Archive of Salvador (Bahia), in an autograph score by Damiao Barbosa de Araujo, and registered in [segue reference].*’130 Ibid., Translation: Indeed, observations made in the Thematic Catalogue in 1970 (p.374) are worth remembering, and they refer to the verticality and to “the imperfections o f harmony” of the Requiem Mass. This work could be placed near the “border of doubtful works” if it were not for traces “here and there familiar to works by the chapel master".

97


Garcia as the author. Mattos, perhaps because o f advanced age, seems to have forgotten the

whole issue, stating in the preface o f her own edition o f the 1816 Requiem for Carus-Verlag,

published in 1994, that four Requiem Masses by Garcia had survived.1' 1 Also, the newest

edition o f the New Grove Dictionary o f Music and Musicians (2001) maintains the work as by

Garcia, ignoring the previously m entioned information and adding to this work’s authorship

confusion.

An examination o f Diniz’s reference to the autograph score located in Salvador poses an

intriguing question. The reference is in the preface for D iniz’s own edition o f Damiao Barbosa

de Araujo’s Memento Baiano. Jaim e Diniz includes choral incipits for both the Introit and the

Kyrie o f the Requiem Mass in F m ajor (CT 190). A comparison o f these incipits with the

manuscript score copy attributed to Garcia found in Rio de Janeiro, reveals significant

differences, as the distribution o f voice parts are not the same in both sources. The soprano

voice part o f the score attributed to Garcia is found in the alto voice o f the incipit, and the alto

voice, in the tenor voice o f the incipit. The bass voice has the same material in both sources, and

a different melody is found in the incipit, a third higher than that found in the score attributed to

Garcia. Important differences are also found in the Kyrie o f both sources. In this case there is a

significant variance in the bass voice, measure 81, where the C major seventh chord is in second

inversion in the incipit and in first inversion in the score, where it is doubled by the instrumental

bass line. The soprano and tenor voices are the same in this passage. These voice inversions

would not be so intriguing were it not for the fact that the work under discussion has an

orchestral accompaniment, in which the instrumental parts basically double the choral texture.

Thus the first viola doubles the soprano voice, and the second viola doubles the alto voice. Thus,

changes in the choral voices should also be reflected in the instrumental parts.

131 Cleofe Person de Mattos, In Jose Mauricio Nunes Garcia, Requiem in d . iii.

98


Example 58: Introit, incipit from autograph score provided by Diniz132

sA

TB

F=emA

Rei

quii

ae ter nam

ZSu

Example 59: Introit, incipit from manuscript copy catalogued as CT 190

9J IsA

TB

f— 5 — r/ e - le

/ ' Ai £ - 1 r

son

Example 60: Kyrie, incipit from autograph score provided by Diniz 133

¥ $ $sA

TB

TeI

le son.

j

p

Example 61: Kyrie, incipit from manuscript copy catalogued as CT 190

132

133Jaime C. Diniz, In Damiao Barbosa de Araujo, Memento Baiano, 21. Ibid., 22

99


Damido Barbosa de Araujo

The name o f Damiao Barbosa de Araujo is found in almost every music history o f Brazil,

but the information provided is always very brief and, in most cases, sketchy. No information

exists regarding the composer’s early musical training, and there is conflicting information about

his later life, particularly as to whether or not he studied at the St. Cecilia Academy in R om e.134

The date o f his birth has been established as September 27 o f 1778 in Itaparica island, ju s t on the

coast o f the city o f Salvador, Bahia. Approximatelly twenty-five works o f the com poser have

survived.133 The majority o f Araujo’s manuscrits are housed in the Arquivo Historico Municipal

de Salvador (Historical Municipal Arquive o f Salvador).

Damiao Barbosa de Araujo was destined to cross with Jose Mauricio Nunes G arcia with

the arrival o f Prince D. Joao to Brazil, in 1808. Because of a storm, the Portuguese Royal family

first arrived in Bahia, and not in Rio de Janeiro, their final destiny. While staying in Salvador,

the Portuguese Regent Prince became impressed with Damiao Barbosa de Araujo, possibly with

his violin playing, as the Brazilian composer played first violin in a local theater.136 This first

acquaintance must have influenced D. Joao 's decision to invite Damiao Barbosa de Araujo to

join the Prince's musical Brigade, as both leader and composer. Thus, a few years later, in 1813,

Araujo moved to Rio de Janeiro to assume his position with the Royal Brigade, and not

immediately in 1808 upon the arrival o f the Portuguese Royal family to Brazil.13'

134 Jaime C. Diniz, In Damiao Barbosa de Araujo, Memento Baiano, 10. The author argues that there is no documented proof that the composer ever studied in Italy.135 Ibid., 21-25; Pablo Sotuyo Blanco, Motetos e Misere: uma novapartitura atribnida a Damiao Barbosa de Araujo; Mats uma obra de Damiao Barbosa de Araujo, electronic citations.136 Jaime C. Diniz, In Damiao Barbosa de Araujo, Memento Baiano, 8-9.

Ibid., 9; Maria Luiza de Queiroz Amancio dos Santos, Origem e evoluqao da mitstca em Portugal e sua influencia no Brasil, 197.

100


Cemicchiaro dedicates some more attention to Damiao Barbosa de Araujo in his music

history o f Brazil (1926), than some other authors, offering some insight in the difficulties

encountered by the young com poser while he stayed in Rio de Janeiro:

Non e mestieri dire che Fanimo sempre maligno di Marcos Portugal, non permise al giovanne Barboza Damiao di poter fare eseguire qualche suo lavoro sacro nella cappella reale, della cui orchestra era primo violino. 1j8

The information given by Santos quoting Raymundo Querino, questions if Araujo indeed served

as first violin for the Royal Chapel, saying that in Rio de Janeiro, Araujo first served in the

Prince's Brigade, and only later was admitted as violinist o f the Imperial C hapel,1’9 from 1822

onwards. Even though, C em icchiaro 's information is still revealing o f the predominant

environment o f despotism practiced by Marcos Portugal at the Royal Chapel.

Damiao Barbosa de Araujo has been liked to Jose Mauricio Nunes Garcia, not ju st

because he was also a mulato com poser but because it is said that he represented to Bahia, what

Garcia represented to Rio de Janeiro, in the court o f D. Joao V I.140 It is known that during his

stay in Rio de Janeiro, the younger composer from Bahia was in close contact with Garcia. It is

very likely that in Garcia, Araujo not only found a friend with whom he could lament the

impetuous behavior o f M arcos Portugal but also a significant source o f musical influence,

resulting in the so called “familiar traces" o f Garcia in the Requiem Mass in F m ajor (CT 190).141

138 Vincenzo Cemicchiaro, Storia della musica nel Brasile, 151. Translation: It is not a mystery that the malignant attitude o f Marcos Portugal did not allow the young Barboza Damiao to present any o f his sacred pieces in the Royal Chapel, of which he was first violin.139 Maria Luiza de Queiroz Amancio dos Santos, Origem e evoluqao da musica em Portugal e sua mfluencia no Brasil, 197140 Guilerme Melo, A musica no Brasil, 240.141 Cleofe Person de Mattos, Catalogo das obras do Padre Jose Mauricio Nunes Garcia, 374.

101


The autograph score and the manuscript copy

A comparison between the autograph score and the manuscript copy reveals that the

manuscript copy refers to the earliest source for the work. The manuscript copy indeed contains

many harmonic problems, some o f which cannot be simply justified by bad writing, and must

suggest that the source for the manuscript copy was an unifinished work, perhaps still in an

embrionic stage, or yet a study work. The possibility that the errors encountered in the

manuscript score copy were caused by the copyist, is not a viable one, for comparison o f

autographs o f Garcia, as well as non-autograph sources with copies o f Bento das Merces,

conducted by Carlos Alberto Figueiredo reveal that the copyist simply copied whatever was in

front o f him, without any questioning, and certainly without making any alterations.14-

The prominent role given in the manuscript copy to violas, without violins, leads one to

consider that it was conceived during the period o f stay o f the Portuguese court in Rio de Janeiro

(1808-1819), or in the immediate period that followed, under D. Pedro I. It is known that the

Portuguese Court brought virtuoso players and singers, including castrati, from Europe,

particularly excellent violists, which received prominent roles in some works o f Garcia.143 As

the Portuguese court returned to Portugal in 1819, the funding for music at the Royal Chapel and

the theater was affected, and gradually the musicians disbanded.144 It is also important to

consider that during the period comprising 1811 and 1818 Garcia wrote fewer works because o f

the arrival o f Marcos Portugal. Most works written by Garcia during this period were for

confraternities such as the Ordem Terceira do Carmo or the Irmandade de Sao Pedro. Notably,

in 1814, the composer had to reduce his orchestration because o f financial difficulties when

142 Carlos Alberto Figueiredo, Telephone interview on 12 30 01.143 Viola concertata in Missa pastoril para a noite de natal (1811), two viola parts in Requiem in D Minor (1816)

Cleofe Person de Mattos. Jose Mauricio Nunes Garcia: hiografia, 163. By 1824, in spite of economicdifficulties, the former Royal Chapel, now Imperial Chapel had a chorus of 42 singers and 18 instrumentalists.

102


writing a piece to be used by both confraternities, specially the poorer Irmandade de Sao

Pedro.143 The financial difficulties experienced during the latter years o f the Royal Chapel and

early years o f the Imperial Chapel, affecting music making in general, favors the placement o f

the manuscript copy o f the Requiem in F major (CT 190) during this period, as it both justifies

the use o f two leading viola parts, as well as the reduced orchestration. It was also during this

same time frame that Damiao Barbosa de Araujo worked in Rio de Janeiro, and likely absorbed

some influence from Garcia. The existence o f the manuscript copy in the hand o f Bento das

Merces, included in the thematic catalogue of Garcia, also favors the idea that the work was

given its initial genesis, as represented in the manuscript copy, during the stay o f Araujo in Rio

de Janeiro, between 1813 and 1828.

The autograph score, on the other hand, is a complete and polished work in which the for

mentioned harmonic imperfections found in the manuscript copy have been corrected. The

autograph score differs from the manuscript copy in the orchestration, as it is set for a traditional

early nineteenth-century orchestra with a string quintet, and pairs o f flutes, clarinets, homs, and

trumpets. The autograph score has a title page with the com poser's name but does not provide a

date (see Example 62). The fact that the autograph score was found in the city o f Salvador is not

sufficient evidence to say that the work was given its final shape after Araujo had returned to that

city in 1828.146 It is only conjecturial to think that there was any given amount o f time, short or

long, between the initial genesis o f the work as observed in the manuscript copy, and its final

form given in the autograph score.

M* Cleofe Person de Mattos, Jose Mauricio Nunes Garcia: biografia, 113. The work in question is a Novena, scoredfor strings without viola, one clarinet, one horn, and basso continuo.

Jaime C. Diniz, In Damiao Barbosa de Araujo, Memento Baiano, 10. The author shows documental evidence of Araujo’s presence in Salvador in 1828.

103


Example 62: Missa de Requiem, title page, autograph score

104


Several passages were reworked in the autograph score, correcting part-writing mistakes.

These reworked passages clearly indicate that the autograph score is the later source o f the work,

the final version. This passage from the Dies irae has both parallel fifths, observed between

tenor and bass voices, and an awkward dissonance in measure 16 in the first viola part, that is out

o f place.

| Jf-R-j-r f =__M ---«— ■*- - - -r----- b1--H--- j--- c---

! = --- t ---!-1------ K-- rs=J--- *---

14

Via.

ire - mor est tu - tu - rus.

tre - mor est tu - tu - rus.

m.•f - g-

Example 63: Dies irae, manuscript copy, TB and via. I mm. 14-16

In the autograph score the awkward dissonance o f the first viola is resolved in the first violin

part, and also the parallel fifths between tenor and bass are corrected.

14

ln‘ 1 | ^ 9 1 f

B

tre

tre

m

EE— «-

mor est fu - tu - rus.

a r ■ r [T p \zsmor est fu - tu - rus.

Example 64: Dies irae, autograph score, TB and vln. 1 mm. 14-16

105


The following passage has an impossible harmonic scheme in the manuscript copy, which

clarified in the autograph score.

!-I In.

!

lux per pe in - a

S S E

lux per pe lu - a

lux per - pe tu - a

OQ-lux per pe lu - a

i i

: ii j.

1

k p j, v i - - - - - - - -

- - - - - - - - - - - - :- - - - - - - - - -- - - - - - - - - - - - - - - - k- - - - _ - - - - - - - - - * - - - - - - - -' • " i . -r-: i !

! ! ■ i - . . . . . - - - - - - - - > ' ■"

j

r x y n r - t r = ;

, j . , ; jI i

* . r i m \ m . . . . . . .-t- - - - - - - - f ' —n - - - - - 1— !- - - - - - - - •*—■ ' % l - - - - - - - - !- - - - - - - - -

> » : « I - - - - - - - - 1- - - - - - - - -

r - - - ^ . . . . . . . . . — 1 [ - ! j — :!1 1

m - r L i > ; • i •- > . . — i t | ^_ _ _ _ _ _- P- ^ - - »

h *F # S n S = - r .

- - - - - - - - - - - - - - - - - - - - - - 1- - - - - - - - - - - - - - - - c- - - - i— 1 ^ ------------

1* _ L s : .. • 0

■ 1 L - - J - i - - - - - - - - = T ~ - - - - - - r

Via. I

Via. II :

Ye. I i

Vc. II

Example 65: Gradual, manuscript copy mm. 9-12

106


Vln. I

Vin II

FI

B»CI

S

A

r

B

Via

Vc

DB

*2 .r A m r=-- =

»■ • ___*_%----------

*}

, V

'T '■!

I----1 " h i : f

ij

—-----—■—■---- -—----------------- *

9-&

j I------ = d t ib = =— V . r .

TO 4 »------o --T

1----- !-------

■ ■■■ - .......

---- «___i ' ; 0 — ----- — ------- ------- «_J—m---------------------1

£ ^i

------------- Nr : r --------1 C o i • =

! et

j J ? |. | -----

Iu\ per P« tu - a

---------------6------ ------ 1------------- - j ------------1.

; ^j

! p . . „ -

ct

i. 5

fper

■

pe tu - a

-9 -------*---- -----------— — ------------ _ - ---- -------------------- £ ------------

: v! ei lux per pe tu - a

1 M- • • -M-----------m

I r ^ * * "et lux per - pe - tu - a

1 ^ - M - - - - - - - - - f : - f — = ~ - - - - - - - - - - - - - - - - - = jiaI11

4 8 , a > - - - - - - - - - - ^ — = * — - - - - - - - - - - - - - - - - - - - - - - - - - - - s c -

i ~ — ^ - i

14 # - - - - - - - - - - - - - - - - - - -

■ n * * |

\>0" T F - - - - 5 ! - - - - - - - - - - - - - - - 1 - - - - - - - - - - - - - « - - - - - - - - - - - - - - - - - - - - - - -

Exam ple 66: G rad u a l, au to g rap h score m m . 9-12

107


Some o f the modifications observed in the autograph score are not related to harmonic

imperfections in the manuscript copy but rather demonstrates a further polishment o f the piece.

In the following example, the opening statement o f the "Christe” is given an emphatic rhetorical

repetition in the autograph score, using the same harmonic scheme found in the manuscript copy.

87

0Chris

i- te e le i - son.

¥Chris • to e

m

Chris te e le - i

Chris te e le - i

Example 67: “Christe,” manuscript copy, SATB mm. 87-90

87

£I «JC hris - te. C hris - tc e - le i - son.

C hris - te. C hris - tc e - le

mf - r

C hris - Chris- - te - c - le -i - - son. -

! £ j . i r •fr^FRT iB - i — ■ . 1

'C h r is - tc. C hris - te e - le

Example 68: Christe, autograph score, SATB mm. 87-90

108


When questioning the authorship o f the Requiem Mass in F m ajor (CT 190), Mattos

pointed out the verticality o f the work as an unusual trait in a work by Garcia. Even in its final

polished version (autograph score), it is indeed the vertical concept o f this piece that gives it its

distinguishing characteristic, and sets it apart from Garcia's style. G arcia 's bass lines are hardly

ever static or triadic. On the other hand, in the Requiem by Araujo the opposite is true, as static

bass lines are commonly present.

B — — ■ l *■ I J - ;— =' -------Re qui - em ac - ter - nam do - na e - ts. Do - m i-ne

Example 69: Araujo Introit, vocal bass line mm. 3-9

B -■) ' . ¥ m ~ ; J i ■ —j — ~~ * } ■ „ m J - - - jE !

Rc - qui - cm ae - ter - nam do - na c • is. Do - mt - no

Example 70: Araujo Gradual, vocal bass line mm. 1-8

Re - qui - cm ae - ter - nam do - na c - is Do - mi - nc ct

Example 71: Garcia Introit, 1799 Requiem vocal bass line mm. 1-9

IB (* J 8 ° -----------------------------------------T ^ _ ^ X i r : = 3

IRe - qui - cm ae - ter - nam do - na e - is Do - m i - n e

Example 72: Garcia Gradual, 1799 Requiem vocal bass line mm. 1-8

The use o f static bass lines in Araujo’s work also affects the choral texture, and static harmony in

blocks is frequently observed. In the example below, the “Hosana” section is built on repeated F

major chords, concluding with a dominant to tonic cadence. This type o f passage with repeated

109


chords is a rare occurrence in the three Requiem Masses o f Garcia, as is certainly a distinctive

factor between the two composers.

19J? tr y > - i . - - J t | h h h h ■ j — » p » » \ m ■■ ) p i i ]■' "r t ! i ! *

j~~M------------n-- -----------J - --[]

T O 9 < j * ‘ m ’ \ m m w w \ m M.

Ho - sa-na in ex - cel-sis.

i. V 1 Vi— V h r T 'r 5'" r " l

f J v \ v v v v \ i — i— a — i—

ho - sa-na in ex - cel-sis. ho - sa-na in ex - cel -

N h h h 1 k N h ----------- 1— m -------------

_ i-------5— u

sis.

------ 4 —*— — a ■ 1 a ■ J J a —

Ho - sa-na in ex - cel-sis.

J ? If i i > t, ■ m i m m m m i m

I * * " ! r -----“ -----he>------------- h -“ — <*■-----H

ho - sa-na in ex - cel-sis. ho - sa-na in ex - cel - - - sis.

0 1 m m <0 0 I 10-------------!----------------- 1----------------- !------------------1---------- :------nI I I , ,r I ; I » m M ~ M M I » ! *1 I m i II

Ho - sa-na in ex - cel-sis.ii

< • ) : i f -------- ---------- 1---------- -------------1 > « .

r - f v r - r r \ \ y -y | l | - ^ r i

ho - sa-na in ex - cel-sis. ho - sa-na in ex - cel -

--------------------------------- £ ------- ^ ----------------- S ----------------- ;- - - - - - - - - - - - - - -

------------- * -------H

sis.

* — * -------H1 . / — p — ^ - - - - - - - - - - - - - - - - - - - - 1_______________ j— * — t— l A U J U , !--!--- 1 i '----- ---—— — l — ji

ho - sa-na in ex - cc-sis . in ex - cel - - sis.

Example 73: Sanctus, SATB mm. 19-27

The ^familiar" traces o f Garcia observed by M attos in the CT 190 are possibly a

reference to sections in which the work is less vertical in its concept, and come closer to the

linear homorhythmic style o f Garcia. The Dies irae shows some traces o f Garcia, not only in the

more linear treatment o f the part-writing, but also in the similarity o f some motives and

procedures, particularly the repeat o f music for different texts o f the Sequence, recalling Garcia's

1799 Requiem.

- 1 J J l 1 1 ... J ! J J 1 I J J - \T » ♦ ■ J J I«i ' n 7

Di - es ir - ae. di - es il - la sol vet se - cu - lum in fa -

-L \ I t l j I J U _ j .......vil - la tes te Da - vid cum S \ - bil - - la.

Example 74: Motive similarity, Garcia Dies irae, 1799 Requiem soprano voice mm. 1-13

110


Example 75: Motive similarity, Araujo Dies irae manuscript copy soprano mm. 1-12

Araujo’s motive is similar to G arcia's motive not only in melodic countour, but foremost in the

scansion o f the text set in triple meter. In the autograph score o f A raujo 's work there is a slight

modification in bar 3, as the motive is given a syncopated twist, starting on the second beat, with

a rest placed in the first beat, while the other three voices sing on the downbeat, but even though,

the basic triple meter scansion o f the text remains unaltered.

It is m ore than scansion o f the Dies irae text, set in triple meter, and melodic contour that

connects A raujo 's setting, to Garcia's 1799 Dies irae setting. Using a technique similar to that

observed in the autograph source o f Garcia's 1799 Sequence, Araujo uses the same music for the

eight verses that he sets o f the Sequence text, saving a new segment o f music for the concluding

"Huic ergo" verse. The main different is that Araujo uses the same choral parts with a slightly

different orchestration in alternating verses. The similarity o f approach is such, that in the

concluding section, “Huic ergo," Araujo uses a slower tempo, Adagio in contrast to Allegretto,

just like Garcia who used Larghetto in contrast with Moderato.

Damiao Barbosa de A raujo’s choice o f F m ajor as the main key for his Requiem Mass,

may also be reflective o f an influence o f Garcia’s 1799 Requiem setting, a work that also has F

major as its main tonality. In terms of tonal design, what differentiates the two works is the fact

1 1 1


that Araujo’s harmonic language is considerably limited. As such, his choices o f keys are

limited to tonic/dominant relationships, and only once the composer uses a m inor key.

Table 9: tonal design comparison of Garcia 1799 Requiem and Araujo Requiem

Text Segment Garcia 1799 Reauiem ArauioIntroit F F—>CKyrie F—>d FGradual g/Eb F

Dies irae Eb/c FHuic ergo Eb F

Domine Jesu F BbQuam olim F BbHostias d EbQuam olim F Bb

Sanctus F FHo sana F FBenedictus d—>A F—>CHosana d F

Agnus Dei F FLux aetem a c C(V/F)—>dCum sanctis c FRequiem c FCum sanctis c F

A raujo's sets the text reprises in the Offertory, Sanctus, and Communion with the same

music, in a direct approach observed only in Garcia’s 1809 setting. Aside from music repetition

in the reprise o f texts in the movements fore mentioned, Araujo's designs do not present the

recurrence o f musical materials in any significant structural manner, though he is found o f short

segments using sequential techniques. Particularly the Introit, Kyrie, and Gradual have indeed a

through-composed approach. A notable exception is found in the conclusion o f the Sequence, in

112


which Araujo chose to set the short "amen” with the same basic idea presented in the opening o f

the Sequence.

s

es 1 - rae.

A

es i - rae. es

M -

es 1 - rae. es

B

il - la.Di dii - rae. eses

Exam ple 76: Sequence, SATB m m . 1-4

L B J ------------------------ ---------------------------- ---------------------f—~ | ~— * r^ -\( f a N -----------------------\ - £ ---------------------

A - - - men.

[ ■ /£ \f - a — I------------------------ i— j---------------------

• \ m ' 1l_|---------------------------:----------------------------LI

a - - - men.

" 1------------------------ '------------------ *r-------1^ ■■ - 8 - » . ----r j- .

A - - - men.

J r L - 3 - f *------------------- i— ----------------

------------------- h - » -----------1------ \

a - - - men.

• ------------* --------1

— ! = r ~ A - - - men.

i i f r ---------------------------------------------------

_p------------------------ l_ i --------------2 — -Jl_|---------------------------— i------------------------11

a - - - men.

-*-=-----------------------1—m------------e -------1. ZI— g - ---------------------------j— -----------------------

a - - - men.

4 — --------------------H --------------2 ------- \

a - - - men.

Exam ple 77: Sequence, SATB last fo u r m easures

113


Chapter VI

Conclusion

Garcia wrote his three surviving Requiem Masses for liturgical functions. Nonetheless,

G arcia’s Requiem Masses display musical organization beyond the liturgical function and speak

o f him as a composer and not only a clergyman. Damiao Barbosa de Araujo, on the other hand,

thought o f himself as a musician and not a clergyman, and thus, his motivation for composing a

Requiem Mass was most likely a means through which he could express his need to create

music. The first level in which the works exam ined demonstrate musical structuring is in their

tonal designs (refer to Tonal designs on pg. 106). On a macro level, coherent tonal relationships

are used to connect the movements, even though in a liturgical function the movements would

not be performed continuously (i.e.: Gospel lesson read between Sequence and Offertory).

G arcia's choice o f tonalities demonstrates a predilection for using relative major/minor

relationships, and not as many tonic/dominant relationships. On the other hand, A raujo 's choice

o f keys, are very straightforward, emphasizing movement by fifths, up and down (dominant and

subdominant), and thus his movements are all harmonically closed, not so m uch by design, but

rather by harmonic simplicity. Garcia treated the Offertory text as a harmonically closed

structure in these three works. The other text segments are approached harmonically as to

prepare the transitions, and so many text segments end on a dominant chord, preparing a

modulation, or in a key that easily connects with the following section.

114


Reproduced

with perm

ission of the

copyright ow

ner. Further

reproduction prohibited

without

permission.

Table 10: Tonal designs chart

Text Seum ent 1799 1809Introit F d->AKyrie F->d dGradual g/Eb F

Dies irae Eb/cH u ice rg o Eb

Dom ine Jesu F EbQ uam olim F EbH ostias d cQuam olim F Eb

Sanctus F c —>( 3Hosana F c

Benedictus d->A c-»GH osana d c

A gnus Dei F cLux aeterna c c -»GCum sanctis c cRequiem c EbCum sanctis c c

1816 A rauio M ozartd->A F-> C d -»V /dd F dB F

d F dd F

Bb Bb g->V /gEb Bb gEb—>V/Eb Eb Eb—>V/gEb Bb g

C F DC F DF F->C BbF F Bb

d-»A F d/Bbd C (V /F )-> d B ->V /dd F dA Fd F

A comparison o f the four works discussed, immediately point to the individual scorings,

dividing the works into two groups. Two o f the works are scored for SATB chorus with basso

continuo, settings o f 1799147 and 1809. The other two works are scored for SATB chorus with a

Classic size orchestra. The settings from 1799 and 1809 are related beyond their scoring. Both

works have some o f the same principles o f construction, and passages that are similarly set. The

“Te decet hymnus” sections o f both works present a sim ilar opening, with the syncopated

entrance in paired voices.

15

~o~Te

A

Te

<& ’ — V

de - cet

de - cet

Te de - eel

ade - cet

Example 78: Introit 1799 setting, SATB mm. 15-16

147 There are horn parts surviving in non-autograph source.

116


A

1 1

£

• j — TJ— ,1

i

Te

f= f c

<g

Te

de

de

Te

L .

Te

de

de -

Example 79: Introit 1809 setting, SATB mm. 28-29

Both works have bass lines that are similarly constructed, particularly in the use o f descending

scales. The following passages have all pitches o f their respective scales, D minor, and F major,

with a chromatic alteration at the end o f the second example.

24

Example 80: Introit 1799 setting, BC mm. 19-26

_ Q _

Example 81: Introit 1809 setting, BC mm. 24-31

The outstanding feature that makes the 1799 setting and the 1809 setting close

companions is the use o f recurring motives and bass patterns. Garcia made a particular

profitable use o f recurring motives and bass patterns to create a strong musical connection

between the Offertory, Sanctus, Agnus Dei, and Communion movements o f these two works. In

117


the 1799 Requiem, both a recurring and a bass pattern are used in the movements fore

mentioned. The Offertory (mm. 1-5), Sanctus (mm. 2-4), and Agnus Dei (mm. 21-25) are

related by the presence o f a recurring motive, while the Agnus Dei (mm. 1-2, 10-12, 13-14, lb-

17) and Communion (mm. 13-15, 36-38) are connected by the use o f a bass pattern (BPI). It is

also interesting to observe that G arcia chose to end the 1799 Requiem M ass with this bass

pattern, an idea first presented in the Introit, thus recalling the beginning in the end.

A similar process is observed in the 1809 Requiem Mass. In this work only bass patterns

are used, a total o f four, and it is the fourth o f these bass patterns that creates a sense o f

connection between the Offertory, Sanctus, and Communion, while the Agnus Dei and

Communion are strongly tied by the use o f the same thematic material. The bass pattern (BP4) is

heard in the Offertory in its opening section (mm. 20-22, 24-28), while that in the Sanctus (mm.

24-27, 31-34) and Communion (mm. 24-27, 93-96) it is heard in conjunction to the sections

containing text that is reprised (“Hosana7' and "Cum sanctis'7).

G arcia's 1816 Requiem and the work by Araujo are related in their instrumentation and,

possibly, in the time frame in which they were conceived, as it seems that Araujo wrote or began

to write his Requiem while he lived in Rio de Janeiro. Both works also m ake use o f vocal

soloists, with Araujo’s work having duets o f alto and tenor, and soprano and alto. Garcia’s work

makes use o f a quartet o f vocal soloists, with prominent solos given for the soprano and bass

soloists. But this is the extent o f any similarities between these two works. Indeed, the Requiem

Mass o f Araujo bears a closer relationship with Garcia’s 1799 Requiem setting. As discussed in

Chapter V, there are some similarities in the opening motives o f the Sequence o f the two

composers, and Araujo’s setting o f the Sequence text also recalls Garcia’s approach, as presented

in the autograph source, with the strophic setting o f the verses.

118


Garcia’s works differ in the approach used for setting the Sequence text. In the 1809

Requiem, Garcia did not set this text to music, in a possible indication that it should be chanted.

The settings o f the Sequence in the other two works stand in stark contrast to each other. First,

in the 1799 Requiem two versions o f the Sequence have survived. According to the autograph

source, Garcia made a strophic setting o f six verses, while in the non-autograph source, an

extended strophic format is observed in the alternation o f two sections, in Eb major and C minor.

In the 1816 Requiem, the Sequence is given a great emphasis, being set in three movements, and

can be considered as the high point o f the entire Mass. The extended dramatic treatment o f the

text and the structural complexity o f the 1816 Sequence, demonstrate that Garcia was writing in

a different style than that observed in the 1799 Requiem.

The approach to text reprise in the Offertory, Sanctus, and Communion is also an

interesting point o f comparison o f these four works. A raujo 's approach is direct, reprising both

text and music for the “Quam olim,” “Hosana,” and “Cum sanctis." The three Requiem Masses

by Garcia present different approaches. The most direct approach is observed in the 1809

setting, as text reprise in these three movements is treated with reprise o f music as well. It is

noteworthy to recall that the Offertory and Communion o f the 1809 have a structural

resemblance, as the sections in between the text reprises, “Hostias,” and the “Requiem aetemam”

verse, are treated with vocal duos. The treatment o f text reprise in the 1816 setting varies in each

segment. In the Offertory there is no musical connection between the two “Quam olim”

sections. In the Sanctus/Benedictus, the two “Hosana” sections are related by the choral texture

and orchestral figuration, rather than by themes. In the Communion, the reprise o f the “Cum

sanctis” text vaguely recalls the first statement, in the choral texture o f the first measure, and in

the sixteenth note figuration o f the first violin, but it cannot be said that the second “Quam olim”

119


is a musical restatement of the first one. The 1799 Requiem contains the most intricate approach

to text reprise. Only in the Communion is the reprise audibly connected to the first statement, as

these nine and a half bar sections are the same, except for two and a half measures. The

treatment o f text reprise of the “Quam olim,” Offertory, and o f the “Hosana,” Sanctus, present an

intricate scheme o f motivic shifting, that creates a sense o f concealment in the repetition o f

musical materials.

The basic principle behind musical structure is the concept o f repetition. Recurrence o f

musical ideas occurs in the three Requiem M asses o f Garcia at different levels, and in unique

ways in each work. The 1809 Requiem is largely structured based on the use o f four bass

patterns. O f particular interest, the fourth o f these bass patterns is used in three different

movements, Offertory, Sanctus, and Communion, creating a sense o f connection and continuity

in these movements. All movements o f the 1809 Requiem begin in choral unison, and the

motives used are very similar, creating the sense o f a cyclic structure. The 1799 Requiem

presents the use o f a soprano voice recurring motive, and the two bass patterns. The soprano

motive is presented a total o f seven times through the work, and only the Gradual, Sequence, and

Communion do not contain statements o f this motive. The soprano m otive is presented twice in

both the Introit and Kyrie, and once in the Offertory, Sanctus, and Agnus Dei. The soprano

motive is used only in sections in which F major is well defined. The use o f bass patterns in the

1799 Requiem is somewhat similar and related to the use o f the soprano motive. The Sequence,

Offertory, and Sanctus do not contain the bass patterns. Both bass patterns (BPI and BPII) are

used in the Introit and Kyrie, while the Gradual, Agnus Dei, and Com m union contain only the

first bass pattern (BPI). The most remarkable example o f recurring musical materials in the 1799

Requiem concerns the text reprises o f the Offertory and Sanctus. As mentioned before, Garcia

120


used the same materials in both sections o f the sam e text, but shifted the motives around, as if

they were pieces o f a puzzle. The resulting product is the structure created by the recurrence of

musical materials and a sense o f variety in the veiling o f this structure. This principle of

concealment, observed in the 1799 Requiem, is taken to an extreme level in the 1816 Requiem.

In G arcia’s 1816 Requiem, many sections are related to each other not because o f thematic

recurrence, but rather, by a return o f texture, instrumentation, and a general sense o f atmosphere.

The first example o f this procedure is found in the Gradual, where two sections (mm. 10-19, 29-

39) are related by the use o f the first clarinet solo and vocal solos, soprano and bass. Though

there is no thematic connection between the tw o sections, they serve the same purpose of

creating harmonic motion towards well-defined cadences. It is in the Sequence that the concepts

o f concealment and ambiguity are presented with the greatest degree o f ingenuity. The music of

the Sequence may be viewed from different perspectives, with different formal templates,

creating a sense o f ambiguity. Garcia also builds some expectations and denies them or

postpones them. Perhaps the biggest surprise com es in the large ternary template o f the

Sequence, when the Inter oves recapitulates the m usic heard in the Dies irae. In the Offertory,

Garcia ignored the formal template suggested by the text reprise ("Quam olim ” ), preferring to

create a musical design in which, like in the Gradual, sections are related mainly by a recalling o f

the environment, though very subtle motivic parallels can be drawn in this case. In the Offertory

the sections are defined by the use o f the bass solo and chorus, while that a motive presented in

the first section, is once again heard in the third section, in a form o f variation o f the motive.

The motive first heard as part o f the instrumental introduction (mm. 1-3) is taken up by the solo

bass voice in measure 65. Similarly, the sections dominated by the choral texture can also be

said to relate to each other, not so much by the recurrence o f a motive, by the recurrence o f a

121


string figuration in eighth notes (mm. 41-44 compared with 107-111). The reprise o f the

“Hosana” (Sanctus/Benedictus) is not treated thematically, but rather through the sim ilar choral

texture and figuration, especially the dotted rhythm o f the violins. In the Communion the

musical connection between the two “Cum sanctis" sections is not easily drawn, but still exists.

Some o f the string figuration presented in the first statement, migrates to the reprise o f the “Cum

sanctis,” in a shifting similar to that observed in the 1799 Requiem, but more importantly, the

choral head motive o f three eight notes is preserved, helping to create an audible connection.

The veiling o f structures is a trademark of the three Requiem Masses o f Garcia. The

intricate motivic shifting observed in the 1799 Requiem, and the ambiguous templates, as well as

recapitulations not based on thematic material observed in the 1816 Requiem are the best

examples. But even the prominent use o f bass patterns in the 1809 Requiem can also be viewed

as containing an element o f concealment, for it creates structural repetition with a sense o f

variety at the same time, as the music heard on top o f the bass patterns is changed. Garcia’s

three surviving Requiem Masses are works possessing strong structural organization and

intelligent architectural design.

122


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131


Appendix A

Edition o f 1799 Requiem

132


Editorial Notes

Three sources were used for the present edition o f the 1799 Requiem M ass o f Garcia. An

autograph set o f parts, a m anuscript score copied by Bento das Merces, and a set o f parts also

copied by Bento das Merces. There are some differences in the sources, a com m on one is the

m isplacement o f dynamic markings in the manuscript score copy, which is nearly always

clarified in the autograph sources. Significant variations o f pitch material and text underlay are

indicated in the score itself, and in these Editorial Notes. The most significant difference

concerns the Sequence, as it exists in two different versions. Both versions are included in the

present edition, reflecting the musical text as presented in the autograph set o f parts, and a

reconstruction based on the score and set o f parts copied by Bento das Merces.

The original C clefs used for soprano, alto, and tenor voices have been transcribed into

modem notation, as well as dynamic indications abbreviated in the sources (i.e. pmo =pp),

without any further indication in the score. Standard punctuation and spelling o f the liturgical

Latin text have also been incorporated in this edition.

The present edition aims at providing a score to exemplify the discussion o f the 1799

Requiem Mass in this research, as well as performable source o f this work. An attem pt has been

made to free this edition from unnecessary editorial indications and markings.

Introit/Kvrie

m. 64, S, rhythm and text placement altered to conform with A.m. 66, BC, double-bass has "‘‘pp" in autograph part.mm. 69-73, text underlay o f manuscript score copy in italics.m. 86, S and T, rhythm and text placement altered to conform with A and B.m. 85-88, T, text underlay o f autograph part in italics.

3 3


Gradual

m. 28, T, pitch variance from m anuscript score copy in floating measure.

Sequence

mm. 11-12, BC, violoncello and double-bass parts copied by Bento das Merces have an octave variance, given in floating measure.

Offertory

m. 9, A, pitch variance from manuscript score copy in floating measure, m. 14, T, pitch variance from manuscript score copy in floating measure, m. 29, A, pitch variance from manuscript score copy in floating measure, m. 35, S and A, added cresc. , conforming to T and B. m. 36, T, pitch variance from manuscript score copy in floating measure, m. 50, S, pitch variance from manuscript score copy in floating measure.

Sanctus

m. 7, B, rhythm variance from autograph part in floating measure, mm. 27-32, A, text underlay o f autograph part in italics, m. 32, A, T, and B, half-note in autograph parts.

Communion

m. 29, A and T, added "p" in accordance to S, B, and BC.m. 30, S, A, and T, have " / ' on the first beat, autograph parts, moved to second beat conforming to B and BC, as it is its logical place.

134


1799 Requiem MassC T 182

Jose Mauricio Nunes Garcia. 1767-1830

Introit and Kyrie

Allegro Moderatof

1 J f ■ ! ^J - h d ---------------- . : _ o — -------- -------------2 -------r o ....... — n --------------- —iS--------n --------- <3--------w--------Soprano

Alto

1i Ref qui - cm ae ter - nam do - na c - IS

...........■ i ■ ,1 r w , .r YV' -----SF—n ----------- : ^ — n —n — ■ ■ -A-------1:

Re -/

qui - cm ac ter - nam do - na c - is

_a.— g . . : gTenor

/Re qui - em ae

~Q—

ter nam do - na c - is

Bass

Re

/Organ I y (|*

qui cm ae ter do - na e - is

-Hg- gl 4 et-

t* Copyright by Jetro Mcira de O liveira. 2002

135


E 5E E~ g ~ -l—g

Do - m i - ae et lux per - p e - t u - a l u - c e - a t e

t m 0-d-rrI rJ ~ sJ

Do - m i - ne ct lux per - p e - t u - a I u - c e - a t c

i1

!> .. r \ ? ~ P i r i =g?z: - g -

Do - m i - ne ct lux per - p e - t u - a lu - c c - a t

:gzn* g -

Do m i - ne et lux per - p e - t u - a lu - c c - a t c

3 F I EOrg =»zz:

STT

hvmcct onnus us in

ATT

Dehvmcet onnus us in

■eT

Te Decct onnus us in

QB

Dchvmcet onnus us in

Org.

136


dc - tur vo - turn in Je - sa - lem cx

wrg-fpisr - r - S -

sa1 5 ---- ®------- or

(cm cx * au

di

“ 27“dide - tur vo - turn in Je

lem cxtur turnvo ruin sa au

m_a_

3HE

de - cur4 (,

vo - cum4 6

m Je

8 4 6

Org

ru

it,sa - lem cx

=#z±

di o -

30

ct.ncm rome am om ms ca vc ni

ct.rora nem om nis ca vcme am ni

cl.ra ncm om nis rome am ca vc ni

ra nem el.me am om nis ca ro vc ni

Org. -o-

137


38

t

£

! V

Rc

-Cl-Re

Rc

iqui

— j— cm

qui - cm ae

qui - em

■t * O-

ter

ter

ter

do • na

do • na

gg-

do - na

j ■ \ & ' n !• f * :■"T a

Re qui - em ter - nam

6 3do

Org. -9—e -

Do lux tu - apermi nc

Do lux tu - ami pernc

Do lux tu - ami pernc

Do lux tu - ami nc per

XXOrg.

138


w lu - c e - a t e

=R =i= — j J | I l_gi—. jlgj . i |=^=

mV

lu - c e - a t e

0 •

lu - c e - a t e

m

lu - c e - a t c

-o*- TO.i

K\ - n - e e - lei son.

—

Kv-<s i - ‘ u

n - c e 1c - 1 - son.

Kv - ri - e e 1c - i - son.

-O - ZZZI -j—e -

Kv - n - c e Ie - i - son.

Org. ^ j>-

cresc.

Kv son.son.

cresc.

Kv son.son.

cresc.

Kv Kv son.son.

cresc.

Kv Kvson. son.

QOrg.

139


63

* Ky - ri - e_e

P

lei - - son.

p p

C hris

PPA

tc le

=22=

£

Ky - ri - e_e

P

Ie - i son. C hris

p p

te le

± ^ = F%

m

Ky - ri - e e - le

= r

i - son. C h n s

p p

cc Ic

-d— h =^=Kx - n - e e i - son. C hris

3tc

SoIc

Org. -w- =3ZZ=

69cresc.

ZZ

son. Chris Chris

son. C hris Chris

tc c son.son.

cresc.

-o-Chris tc. Chris

leitc. Chris

Chrisson. son.

son.cresc.

-o-

C h ris - tc e son. C hris C /ira

son. son.son.

7Tson. Chris Chrisson. son.

cresc.

Org. -o-3 1

140


76

wI

KKv

Kv

■ a ZZH-t—!

le i - son. Kv n - c e - Ic

d ■lc - i - son. Kv e c

■

lc

son.

aO .,Q

-T-

Kv n

7

le - i - son. K\ n - e_c - lc

6 C?6

Org m-TS----

84

TT-o-Kvson. son. son.

son. son.son.

-o- -o-

KyK y

son. son. son.Kv

-o-

Kvson. son. son.

Org. -o-TT

141


Moderaio Gradual

' f i >»- t J- =C=FSoprano ~D~ I BH g! I l> g - J T

Re - qui - em ae - ter nam do - na - is Do - mi - nc

Alto TTTI 2? 23 O O

Re - qui - em ae - ter - nam~o—^

c - is

Tenor *

do

P

na Do - mi - nc

rm1’B Re

g - g - -T*-- O

Re - qui - em ae - ter nam do - na e - is Do - mi - nc

/Bass

Re - qui - em ae - ter do3

- na c - isti 3

b 3

Don

95

Organ 1 * ) ’ O '- ^f3 E . a i H E

•)

if

zmscct

/

Xg g — i g 3 - 1 O

lux per - pe - tu - a lu - cc - a t lu - c c - a t c

X1 JT.

g t g 1' g g i g ffTI I Bct lux per - pc - tu - a lu - cc - at lu - c e - a t c

t i . f ^ i r - r i gi r

i 8 a| Itiv rv*r - rv

-g—g—i—®-r

ct lux per - pc - tu - a

f

=Flu - ce - at.

Tlu - c c - a t c

S E E S \ f r i f r i f f,ct lux per - pe8-3

- tu - a lu - cc - at.8ft 3

Org.rP - r -g - =P=F

f -i I

lu - c c - a t c6

/ i .

142


In

Andante P

j . J m ja TT— t

m e - m o - n - a ae - ter na e - n t jus tus:

^ ‘' U j . jIn m e - m o - ri - a ac - ter

ana n t jus tus:

f £In m e - m o - n - a ae - ter n t ju s tus:

B F -l » -* f -

In3

mo - n - a ae - ter6 74 :

nt0 JUSt>

tus:3

Org. u i L j ^ g!i w<w*

ab a u - d i - t i - o nc ma

J"J 1 J ^ = 1 1ab au - di - ti - o nc ma - la non

/

la non ti - me

- t - - j I ■J- I ati - me

:

bit.

bit.

m

n §&-1, rr f l t ir r r iab a u - d i - t i - o nc ma la non ti - me bit.

eaT p O i f - f r if =5Z=+ ±nc ma - la non ti - meab a u - d i - t i - o bit.

3 6 6

Org. 32=

143


Sequence(According to autograph sourcesi

Moderato

Soprano

cresc

AJ to

Tenor

Di - es ir - ae. Quan-tus tre-mor Tu - ba mi-rum Mors stu - pe - bit O - ro su-plex

P La - cri - mo-sa

di - es il - laest fu - tu- msspar-gens so-num et na - tu - raet ac - cli-nisdi - es il - la

3=sol - vet se-cu-lum in fa - vil - la

quan-do ju - dex est ven-tu-rusper se - pul - chra re - gi - o-numcum re - sur - get ere - a - tu - racor con - tn - turn qua - si ci - nisqu£res¥e -sur - get ex fa - vil - la

T—0--

— i------- 1—— i---- rtsj - m I m m 1 J j J ; i j =■ i i

Di - es ir - ae. Quan-tus tre-mor Tu - ba mi-rum Mors stu - pe-bit O - ro su-plex La - cn - mo-sa

di - es il - laest fu - tu-russpar-gens so-num et na - tu - raet ac - cli-nisdi - es il - la

± 3r

sol - vet se-cu-lum in fa - vil - laquan-do ju - dex est ven-tu-rus per se - pul - chra re - gi - o-num

cum re - sur - get ere - a - tu - rac° rre£Qn - tri - turn qua - si ci - msquk fre - sur - get ex fa - vil - la

m'm

Di - es ir - ae. Quan-tus tre-mor Tu - ba mi-rum Mors stu - pe - bit O - ro su-plex

P La - cri - mo-sa

Jr - & -

di - es il - laest fu - tu-rus

spar-gens so-num et na - tu - raet ac - cli-nisdi - es il - la

Bass i -221

sol - vet se-cu-lum m fa - vil - laquan-do ju - dex est ven-tu-rus per se - pul - chra re - gi - o-numcum re - sur - get ere - a - tu - racor con - tri - turn qua - si ci - nisqu£reife - sur - get ex fa - \j| - la

r -0 -rr *_u

Organ

Di - es ir - ae. di - es il - iaQuan-tus tre-mor est fu - tu-rusTu - ba mi-rum spar-gens so-numMors stu - pe-bit et na - tu - raO - ro su-plex et ac - cli-nisLa - cn - mo-sa di - es il - la

0 • 0 .

sol - vet se-cu-lum in fa - vil - laquan-do ju - dex est ven-tu-rus per se - pul - chra re - gi - o-num

cum re - sur - get ere - a - tu - racor con - tn - turn qua - si ci - nisqua re - sur - get ex fa - vil - la

4 6cresc

g r r r i r . 4 ' J - r r r i r r E

144


s

Dastnomcancucan

vidctenes

tescunco

cum dis an re me

P ho

etaget

cus rus.num.ranis.us.

suthrosuspon

ne namdus mo re

A

Dastnomcancu

can

vidctenes

tescunco

etaget

cus suthrosu

ne namdus mo re

T

Dastnomcancucan

vidctenes

tescunco

cumdisanreme

J»ho

etaget

rus.num.rams.us.

cus suthrosuspon

ne namdus mo re

B

i Dastnomcancucan

vidctenes

tescunco

c<ranreme

etaget

cus rus.num.rams.us.

suthrosuspon

namdus

nemo re

145


Larghetto cresc

S

Hu ce me suer go par uscresc

A

Hu er go par - ce cresc

me suus

T

Hu goer par mece us sucresc

B - 1 T i

- ce meHu Jeic er go epar us su

1P P

3 C 6 , 6 6 P5 5

6 3

f° r g - ; - f - f — _ ---- -<5^-------- ' | — ; " d » \ ■■ \-.a -

------.—I--------------j— ----------

P Pcresc

-»

Do - mi - ne na qui - em.P P

re men.cresc

Do - mi - ne na qui - em.

P P

re men.cresc

■o-

doDo - mi ne na qui - em.re men.

Do - mi done na re qui - em. men.

P Pcresc,Org.

146


Sequence(According to non-autograph sources>

ModeratoP

j i \ J J~?J J i J J J !EEESoprano

Alto

Tenor

Di - es ir - ae. di - es il - la sol - vet se-cu-lum in

crescfa - vil - la

t - l . J - J l J J i l J J H J J t | J J J ! J . J J I jDi - es ir - ae. di - es il - la sol - vet se-cu-lum in fa - vil - la

cresc

r r*fr-u

- r

Di - es ir - ae. di - es il - la sol - vet se-cu-lum in~i— ]—

fa - vil - la

8 " f i r r i i 1 1 f * rBass

Di - es ir - ac. di - es il - la sol - vet se-cu-lum in fa - vil - la

4 6

° ' e - j ^ V i , 8 * - ' ' • r i‘ . r r = ^ r H f - r r i r— r - t - f g y - K - j

Da vid Sv - bil Q uan - tus tre-m or est fu -tes cum

vid Quan - tus tre-m orDa Sv - bil fu -tes estcum

Da vid Sv - bil Quan - tus tre-m or fu -tes estcum

Da vid Sv - bil Quan - tus tre-m ortes fu -cum est

Org.

147


tu - ru s quan - do ju - dex est ven - tu - r u s cun - eta stn - cte dis - cus ■

' 1 mI I ! ix

~ ~d ~ ~ m

tu - ru s quan - do ju - dex est ven - tu - rus cun - eta stn - cte dis - cus -

X^ t r r m BE X------------------- 1------------- 1------- j-

tu - rus quan - do ju - dex est ven - tu - r u s cun - eta stri - cte dis - cus

■V r J t j r " f t i f • iV i itu - ru s quan - do ju - dex est ven - tu - ru s cun - eta stri - cte dis - cus -

* i Dg - 9 m -

Ore. -i-r

25

per se - pulTu chrasu rus. m i-rum spar - gens so-num

Tu per se - pul chrasu rus. spar - gen so-numm i-rum

Tu se - pul chrasu rus. spar - gen so-numm i-rum Per

Tu per se - pul chrasu rus. m i-m m spar - gen so-num

Org.

148


33

,j j | j j i j j J ! ,| j | j J | J j p i I! r i grc - gi - o -n u m co - get om - nes an - te ihro

$

num. Mors s tu -

EE J J * 1 5re - gi - o -n u m co - get om - nes an - te thro

f

num. Mors stu-

=£=

rc - gi - o -n u m co - get om - nes an - te thro

-f i r r 1*. J.

Mors stu -

«• «-

rc - gi - o - num

Org.

co - get om - nes an - te thro

*4

-42-

6 6 4

m- ■ O '

Mors stu -

p e -b it di -e t na cum rc - su r-g e ttu - ra crc

pe - bit gettu - ra tu - rana cum rc - sur ere

tu - ra cum rc - su r-g e t tu - rana crc

p e -b it tu - ra getna tu - racum rc - su r crc

Org.

149


49

s

c ii-n issu -p lex accan spon - su ra. ro

A

su-p lexcan spon - su r a . ro ac

T

su-p lexcan spon - su ra . ro ac

B-m-

O su-plex c li-n isti rc eican spon - su ra. ro ac

Org.

c o r con - tri turn qua nam menc cu

co r con - tri turn qua namcu menc

con - tri turn qua ci - ms cu nam mecor ne

z

co r con - tri turn qua ci - ms cu nam mene

Org.

150


s

La qua rc - sur-getcnms. es cx

A

La cnms. getes qua re - sur ex

T

La cn qua re - sur-getms. es ex

B

La il - la fadicnms. getes qua rc - sur cx

Org►a*- gg? 9-+-

Larghetto

>vil - la Humo erus.

dus ho Huvil - la can rc crmo us

vil - la dus ho Hucan rcmo erus.

Humo us. er

p pOrg.

151


81 cresc p

J . - | j» f r J J - | J . j j J=ggo

W

par - ce me

cresc

us p i - e Je - su Do - mi - ne

p crescn—r■* -g/- \ =& -« =- “3 5

Do - mi - ne

♦go par - ce

cresc

us P‘ Je - su

l es' 3Z=zc -r-- r

par - ce me

cresc

m

go us P* Je su Do - m i - ne

i b J - x -i I

go par - ce me P‘ Je - su Do - mi - ne

3 6 ,6 6»5 5

16 [>3

Org. —P -ir

89 PP

do men.na cm.qui

PP

na rc cm. men.qui

do na re em. men.qui

PP

na rc qui m e a

t PPOrg.

152


Offertory

Soprano

Moderatof

22=

Do - mi-ne Je - su Chris-te. Rex glo n ae.

Alto *H IJ . I J * 32= £

Do - mi-ne Je su Chris-tc. Rex glo - n ae.

Tenor f a iDo - mi-ne Je su Chris - te. Rex glo n - ae.

fBass v* 2 r " " F r f e e a

Do - mi-ne Je

Organ

SU

4

-JL

Chns - tc. Rex glo n - ac.

3 =

153


6

p r i f p M Y P Pi J ■ - J

li - be - ra a - in - mas om-ni -urn fi - de - li - urn de - func - to rum

-<5>-

li - be-ra a -n i -m as om-ni-um fi - de - Ii-um de - func - to rum

■ J ' 1 P I p - n p r 1 r ' i r y l r v ~ J 10 I&

I i -b e - r a a - n i - mas om-ni-um fi - de - li - um de - func - to rumsolo

[ |* _ g J ^i_____ i

£ *li - be-ra a -m -m a s om-ni-um fi - de - li - um de - func - to

$3 ^ 3 t>7 3 1?6 3 6 3

rum de

3

323

13

m

f= F

de

/

j j i

PP

poe - ms

i.i |j J i U j ifer - m et de pro

PP

fun - do

-£ —~ 0~9~de poe - ms

A\>

fer - m et de pro

PPN J J

fun - do

3 = ££de poe - nis in - fer - ni et de pro

tutu p p

fun - do

B ¥

Org.

poc - nis in - ier - - - ni et de pro fun - do

ft.

f \

6

— t r

42

—<S

6

"1— z

3

PP

1 i ;

72

154


s

be-racu: as re

A

be-racu: as re

T

b e - r acu: as re

lOLB 3C

b e - r acu: as re

o

S 3 EOig

i _ J <sor - be-at. sor - be-atnenis. nc

sor - be-at. sor - be-atne ne

sor - be-at. sor - be-atnis. ne ne

sor - be-at sor - be-atnis. ne ne

Org.

155


s

dant obstar - ta-nis.as ne ca in

dant obstar ta-rus.as ne ca in

T

dant obstar ta-rus.as ne ca m

2XB

* ta-rus. dant obstaras ne ca in

I

1

3

p4 6 0 3

r ~ - » . !! • # . . ir r j . 1 m i c? i —1 m m ■■ * ■ > ’ - ' i 1 ' ' i - 1

fersed tussanerum: sig nicu

fersed tusrum: sanesig nicu

cresc.

fersed tusrum: sanecu sig

cresc.

sed ferrum:cu tussig ni sane

Org.

156


cresc.

S

Mi cha tetre prae sen as in cemcresc.

A

Mi cha tetprae senre inas cemcresc.

T

Mi cha tetprae sen inas cemcresc

B

Mi cha tetprae sen inas cem

cresc

44

tam:sane sane quamin cem

tam:sane quamcem sanein

ta. tam:sane cem sane quamm

m.

ta.sane tam:in cem sane quam

Oig.

157


49 cresc.

S

Iim pro sismi nicresc.

A

Iim pro sismi se mi nicresc.

T

Iim bra-hae pro sismi se mi - nicresc.

B

i Iim bra-hae sispro se mi nimi

On>.

3 6 6cresc. J *

r ^ 221

Hos as pre cesjus.

Hos as pre cesjus.

Hos asjus. pre ces

jus.

Oig.

158


bi. Do - mi - ni. lau - dis of - fe - n - mus:

^ J J~' I J. J 1 J i - j J f t i (tj)J J i g j -bi. Do - mi - ni. lau - dis of - fe - n - mus:

I? f3 U p — j r ~ p ' I ' p I t i r p ‘ ’ fbi. Do - mi - ni. lau - dis of - fe n - mus:

Oig. J E f r r « -

#4 t*6 #3

<tyi» -1—ss ‘

I --g i M-

pro ni - ma - bus

m i * = F3C =Z2=“ZT:

tu sus - ci - pe pro ni - ma - bus

i i r u r »p $ £tu sus - ci - fie pro ni - ma - bus

-T r y r r - r r - i rB

Org.

tu

lb-P

sus - ci - pe

i = g I

pro m

65

cresc.

ma

3

bus

p

159


69

S

lis. qua - rum n - amme mo

A

lis, qua - rum n - amme mo

T

lis. qua - rum n - amme mo

B

lis. qua - rum ho di e n - amme mo

Org

-m-

fac Domus: mi - nc.as

fac Domus: mi - ne.as

Domus: mi - nc.as

fac Domus: mi - ne.as

Org.

160


79

S

Iimvi-tam. Quam bra -te tran - simor

A

IimQuam bra -te tran - si tam.mor rc VI

T

IimQuam bra -te tran - si tam.mor re VI

B

Iim A bra -vi-tam Quamtc tran - simor rc

l>3

ITS * ' I F

6 (> o4 5

Org.

cresc.

hae pro jus.se mi - nimi s is

cresc.

hae sis - ti.pro jus.semi mi - ni

cresc.

hae sis - ti.pro mi sc jus.mi -ni

cresc.

hae pro mi se jus.mi -m

cresc.

Oig.

161


Soprano

Alto

Tenor

Bass

Organ

S a n c t u s

1 = 4

San - ctus..

Moderatof

>> ¥ J " "=fz= t t

San

/- dus. San - dus Do - mi-nus De - us Sa ba -

-0 —mm t - n r

! V

San

f- dus. San - dus Do - mi - nus De - us

San

f

V V

- ctus. San - ctus Do - mi - nus De - us

XJC

Sa - ba

Sa ba -

-u

San - dus. San - dus

f' f , s r J ^

Do3

- r -0 -j j-H—

mi-nus Dee>

Sa43

ba -

162


s

oth. Pie glo - rini sunt tercae

A

oth. Pie gloni sunt tercac ra n - a

T ac

oth. Pie gloni sunt tercae ra n - a

B Mi

oth. Pie glo - rini sunt tercac ra

I t V . ' g " ■ - " ! * ■ J - j M0 t S ; S •» - >— — - ; fg . I 1 ; • \ m * m m \ * i i

• j i * - - . i i i r — —i i-—

ccla Ho - san sis.na m ex

ccla Ho - san m sis.na ex

ccla Ho - santu na m ex sis.

ccla Ho - santu na m cx sis.

Oig.

163


Adagio

S

n e - d i Do - miBe ctus qut nit nive no-mi-ne

A- © ■

n e - d i Do - mic tu s q u i nitvc no-mi-ne ni.

T

n e - d i Doc tu s q u i nit inv e no-mi-ne mi-ni.

B

Bc ne - di Do - mic tu s q u i nit inv c no-mi-ne ni*6

P

Org- V : ~ ft O T p — yo*

r-1 g - 3z2=~ T T -rt—

Allegro

-m

Ho c c lm s is .san na e x cx

cclm ex

Ho c c l - SIS. cel

san na e xex cel

*IHo cc ln a ins a n ex ex SIS.

Ho c c l - s i s . cclsa n na ex m cx SIS.

Org.

164


A g n u s D e i

Soprano

Alto

Tenor

Bass

f e

Moderato/

J'T» J j • a I ^ £r-sf- ~rO-

f eI 9j

A - gnus De - i qui tol-lis pec - ca - ta mun - di. do - na e

f P

is re-qui-em.

* 0 I g : -t-ITT~S- ♦ 0 0 - -0 <*

A - gnus De-i qui tol-lis pec - ca - ta mun - di. do-na

inie - is re-qui-em.

f321 0 I m s 0-

A - gnus De - 1 qui tol-lis pec - ca - ta mun - di. do-na e - is re-qui-em.

fn n I 0 *

Xr ipp p~;

! i - ■ i - • r = z mA - gnus De - i qui tol-lis pec - ca - ta mun - di. d o - n a e - is re-qui-em.

ti 6

°®" f i r r n r r r !»r-r-ir r i J J iJ hj i J-

165


s

tol di.mungnus pec ca

A

tolgnus munpec ca

T

tol munpec ca

B

De - i qui tol mungnus pec ca

*3

Ore.

16

P PS

na rc qui cm.

P PA

rcna qui em

P PT

na rc qui em.

B

na rc qui em.

P POrg.

166


s

domun-di. na

A

domun-di. na

T Z

mun-di. na

B

i A gnus De - i qui tol - lis pec - ca domun-di.ta cna is

i i _Ons.

-42-"t 1 T -J ! Pg~

P P cresc

rc - qui - em ter ter namsem nam. sem

P P cresc

rc - qui - em ter ter nam.sem nam. sem

P P cresc

rc - qui - em ter tersem nam. sem nam.

P P cresc

re - qui - em ter - nam. sem tersem nam.

P P cresc

Org.

167


Communion

Allegro Moderate

Soprano

Lux ter cc -atn a is.ae

Alto «- XE

Lux t e r ce -at is.n aae

3X ■O-Tenor

Lux ter cc -atn a is.ae

2Z -m-Bass

Lux t e r n a is.ae

Organ

168


$

/zsz

Do

P

mi - nc: Cum

/

sane - tis tu m ae

3 t <g-

I

Do - mi nc: Cum

/sane tis tu ts in ae

i> I. i* hp=g

* Do

P

- mi ne: Cum sane us tu IS

/in ae

ISZIB 3fc 3= _22_

Do mi ne: Cum sane us tu is

P= 22=

C7V5C. fOrg. — rr zaz

± ± :

S n -o- -o-

ter num: qui us es.

A

ter num: qui esus

T

ter num: qui es.us

B-o-

ter num: qui us es.

nOigo-

169


Moderatocresc.

S

Re Doterqui - em ae nam na is. mi ne.

cresc.

A

Doter namqui - em ae na mi

cresc.

T

Doter namqui - em ae is. mina ne.

cresc.

B

do DoRe - qui - em ae - ter nam is. mina e

p '

*■1. ■■ t7 - 8 ------1— w -m ~ r - H t -T — r —

1 i 1

cresc -

— - — m— r - P — S # — 1— f2 ---------i —■ 9 i, & m— i------!------ i—* — '------!— ! a + r \------ i a*> ------ F * — = — ----- --- ,----------- ,----------- 1-----------* ----

cc -atper

ce -attuper

lux ce -atper

ce-at

Oig.

170


Allegro Moderato

Cum tertisis. sane in ae

Cum terosIS. in aesane

Cum tertisis. in aesane

i is. Cuj3 6

/

m sane - tis tu - is in ae te r6 3 3 t> 3 5

fiV 1, \ ^ a, J 5---W----------- T. ------------1— (g------- - ------------ -- U ------------&------------ 1 ;

------------1--- ~ ----------- ------------- M-------------- 1-------------- H-------------- i------------------- 1-----------e --------

oo-

us es.num: qui

o o-xynum: qui us es.

n

num: qui us es.

o-num: qui us es.

nOig. ~n~o

171


Appendix B

E dition of 1809 Requiem

172


Editorial Notes

The autograph manuscript o f the 1809 Requiem is a very clean one, and thus minimizes

the need o f any significant editorial alteration. The present edition has aimed at both providing a

musical text for scholarly investigation as well as a performable score. Much o f the editorial

work has concerned amounted to transcribing the autograph source into current notational

practice, especially in the use o f clefs. The com poser used C clefs for soprano, alto, and tenor

voices, and these have been transcribed into m odem usage of G clefs without any reference to

the original clefs in the body o f the edition.

Given the homorhythmic nature o f the work, the composer generally gave text underlay

only under one voice. The composer is careful enough to place text underlay in different voices

whenever there might be a question if the text were placed under only one voice. In order to

avoid cluttering the present edition with unnecessary indications o f text underlay added

following the analogy o f the one voice that contains text, in a homorhythmic context, the text is

simply placed under all voices without any additional editorial indication. Standard Latin

spelling and punctuation o f the texts that com prise the Requiem Mass have also been

incorporated in the present edition.

The few editorial alterations made are indicated by brackets (i.e.: [attaca]), or in the case

o f ligatures by a slashed ellipse. Courtesy accidentals have been added and are indicated in

parenthesis. Alternate passages created by C leofe Person de Mattos under the supervision o f

Luiz Heitor Correa de Azevedo, Archivo de M usica Brasileira, Supplemento da “Revista

Brasileira de Musica,” Vol. I, 1934-1935, are given as alternate measures without any further

commentary. It must be pointed out that one o f these alterations, created to prevent parallel

173


octaves between the alto and tenor voices (Introit mm. 59:-60i), creates a new set o f parallel

octaves between the soprano and tenor voices at measure 60. The list o f alterations is as follows:

Introit/Kvrie

m. 14, T, added (/] marking following dynamic context o f other voices.m. 70, there is only one indication o f tutti, placed to the left o f the scores. Tutti indications areprovided for each voice.m. 84, tutti indication present only in soprano and bass voices; added to alto and tenor voices, m. 95, attaca has been added considering that the Introit ends in a dominant chord, and the Kyrie should immediately follow.

m. 95, BC, a [/tv] has been added following the context o f the choral parts.

m. 96, tutti, added [/] marking in contrast with the “/>’* marking at m. 105, and in conformity with m. 112.

Offertory

mm. 3-4, BC, added ligature following the example observed in mm. 1-2. mm. 9-12, BC, added ligature following the example observed in mm. 1-2. mm. 24-28, A, added legato slur following indication in the other three voices, mm. 78-79, BC, added ligature following the example observed in mm. 70-71.

m. 157, A, the rhythm notated is • ”. leaving the measure incomplete. The rhythm

should be the same as that o f the tenor voice.

Sanctus

m. 1, added [/] to the voices following indication o f BC.

Agnus Dei

m. 1, tutti, added (/] marking in contrast with p marking at m. 6, matching indication at m. 10.

Communion

mm. 13/82, S, the rhythm notated in the autograph is “• - } ”, but should be three eight notes

following the context of unison with the other voices.mm. 13/82, added [Allegro], as the “Mosso” marking refers to the previous tempo indication, “Allegro Moderato”.

174


1809 Requiem MassCT 184

Jose Mauricio Nunes Garcia. 1767-1830

Introit and Kyrie

Soprano iAllegretto Vivace P

;

nam do“t rRe qui cm ter

i £Alto

321oRe

TenorT TRc

qui

qui

em ter

ter

—c r

nam do -

cresc.

nam do -

una c

Bass

Re.i

Organ

qui3

em terft*

nam

r Copy right by Jetro Meira de Oliveira. 2002

175


is. do -

f

- na e - - is Do - • mi - ne.

— d ----- hd------- — r—-^9— ig------^*------r-?d— 3 ---- t-E?------T ■ <g-----« —

is. do - na e is

[ / ]

Do mi ne.

: s i t :r m rJ ! * r *

* is.

i

e - is Do mi ne.

f-G.

do - - - na e - - is Do - mi - ne.6 6 7 6 7 6 7 n ^ 6 3 * 3 ti ft 3 —

f 4«------- g i B----------------------r-n -----------------------—-r---------------------------------------------------------------------------------- »TV ---- e----~ --------- - n --------- --------------------------

, , / g :------------------------ ;-------------1------------ :—[---- £—

cresc.

S

lux per is.ce

cresc.

A

lux tu cc - atper is.

cresc.

T

lux per cc - at is.

B

lux per

Org.

176


s

hvm - nus Decei in onus

AXT

hvm - nus Decet us in on

-o-T

hvm - nus Decet m onus

B

Te hvm - nus De Sidc cet inus on

Org.

t

♦

ct

p

et

P

=gg=

bi red - de - tur

9 Jbi red - dc - tur

oVO

/

; P - - d

f

f

turn in Jc - ru

~a----- turn in Jc

-mrsr -IW O

“X T'

ru

et bi red - de - tur vo turn in Jc

p^o .

7 85

fro - ~ (frro-> 3

I cresc. J7 85 63 —

}|o (Uf»

vo - turn in Jc83 — 3 3

Org. ±

177


s“O"lem.

XJcxsa au

A" X T

lem.jyexsa au

T -o-

lem.sa cx au

X IB

iem.sa ex au45

-O'

Org.

ncm me am om

“c r

adra ncm me am om

adnem me am om

X I

adncm me am om

Org.

_Q.

178


a j

S

Reve et. emro qui aems ca mp a 3

A

Reve et.ms qui cmca ro ac

P a 3

T

Rems vc e tca qui cmro ae

B

ms ca ve et.ro m\ } P6 6 6 , 7 3 6 i 6 1

*3 *3

0 r B- f I . i *T ' fg i a f j g : . . * J --------- 1------- j------- '-------------- —---------------

/ turn66

S

do Do luxter nam na mi nc

fiuniA

do Doter nam na mi nc

tuai

T

do Doter nam na mi nc

f turn

B

Org.

179


s

lux perper

A

luxlux per per

T

lux per lax per

B

lax per6

lax per674 46

Org.

80 a turn

S

lu - cc - a t

[a 3 / s f p

a tcc cc

f [tutti]

AXT

au aLcc cccea 3

XXT n

aucccc cc

turn

B -o-

cc

Org. ■o-

180


88

HP

[a/raca]

£

lu - ce - al

/Tv[affaca]

-r--r-

lu"0“

ce - att o r

eK 3r

IS.

ir IS. lu - ce - at is.

[oHaca]

[afraca]

IS.*3 —

Org.122=

lu75

- ce - at1.5S.i

IS.t> 3.1 4 [a/Mco]

Allegro Moderato

S

K\ son. Kv - n son.

[/*]A

Kv son.

T

Kv

B

Kv s o a Kv - ri so a

Org.

181


cresc.103

S

le. Chris -ChrisChris s o as o a

cresc.

A

Chris -ChrisChris te.s o as o a

cresc.

T

Chris -ChnsC hns tc.so as o a

B

Chris1c tes o ai

Org.

109

S

s o a Kvso a

A -m

s o a Kv

T

s o a Kvs o a

B

Kv s o a Kv

Org.

182


~+- dd — M,

e e - le - i - soil Kv - ri - e e - le - 1 - soil

e c - Ic - i - son. Ky - ri - e e - 1 e - i - son.

- i— t S -

e e - le - i - son. f C y - ri - e e - le - i - son.

■T <g

le

- le -

le

=jjzt

e e - le - i - son. Kv - ri - e e - le - i - soil

Org.

l i l l l6 35

?3

le -

12!

son son.

XTson.son.

son. so a

so a so a121

Org.

3EZ

183


GradualAndandno Vivo

Soprano

DodoRe ter nam na itu - ncem aequi

cresc.

Alto

DodoRe namter na nu - neem acqui

cresc.

acTenor

do DoRc ter namem ae na mi - ncqui

cresc.

Bass

doRe Doem ter namqui ac na mi - ne

Organ

ct lux per - pe is. c - is.

m 0 9+et lax per - pe ce-atis.

et lax per is. C - IS.

ce-a tis. c - is.

Org.

184


cresc.

S

ril ju s-tu s :tus.ae - te r -n a rit jusme mocresc.

A

rit ju s-tu s :rit tus.ter - naae jusme mocresc.

T

rit ju s-tu s :tus.ae - te r -n ame mo jus

cresc.

B

rit ju s-tus:rit tus.me mo ae jusi 17

Org.

cresc.

non ti-m e - bit.la non ti - me biuau nc

cresc.

non ti-m c - bit.la non ti - me b i tau ne ma

cresc.

l L : 1 *di - ti - o -ne m a - la non t i - m e b i t non ti-m e - bit.au

[ p ] cresc.

la non ti - me b i t non ti-m c - b itma

-6 3 6 3Org.

185


Offertory

An dan ti noP cresc?

£ £Soprano

Alto

Tenor

Bass

Do - mi - ne.~ y

Do - mi - ne

i H s

Je - su Chris - te. R ex. glo - ri - ae.

crvscfm

Do - mi - ne. D o - m i - n e J e - s u Chris - te. Rex_ glo - n - ae.

* IX

D o - m i - n e . D o - m i - n e J c - s u Chns - te. Rex_ glo - ri - ac.

P _

Do - mt - ne. D o - m i - n e64 -----

J e - s u Chns - te. R ex. glo - n - ae.3 t> 3 3

4

Organ

cresc. :

am fiomni mas urn

cresc.

urn fi - dcomra ru mas urn

cresc.

i - u m _ fi

cresc.

m mas om um

ra m mas om um

Org.

186


s

de-func fer - nito-rum

A

fer - nito-rum poe - ms in

T

fer - nito-rum poe - ms in

B

de func dc fer - mto rum p oe-m s in

____ /

24 P P

Obe-ra.pro - fun bc-ra.cu:

. Obe-ra.pro - fun bc-ra.cu:

pro - fun bc-ra. bc-ra.cu:

P P

dc pro - fun bc-ra. be-ra.cu:

[ / ]Org.

187


31 pi =1

/i &d ’

li - b e - ra e

P _______

d e o - re le - o

f

li - b e - ra e a s d e o - re le - o

J \.vy -K—jm—m » j * ■f4F | * » f T m m 1 n _1 *^ 1 j j 1 ! — i— 1 <t " * ~ h i < p 1q*-------— h-i— 2— -----------! ■ ■ -

l i - b e - r a e a s d e o - re le - o m s.

f

nc ab - s o r - b e - a t

' 31

n o » g:

O rg.<! [ / ]

! ^ ^ ; i , j . ± £ = a t - r 0-o b s - cu

fa s ta r - t a - r u s ne ca - dam in

prum :

i/

f

as tar - ta - ru s ne c a - d a n t " in

pobs - cu

P

wrum :

d a n t inas t a r - t a - r u s n e c a - o b s • cu

_

l»5

Org.

a s ta r - t a - r u s n c

tS5>iA J- Si

c a - d a n t in o b s - cu

t>64 -P'S *6

4

mm:

3

188


46

* ?HtTs1*3"sig -n i-fe r. tus M i-cha-elsig-ni-fer. sane tus Mi-cha-eLsedsed sane

A

sig-ni-fer. sane tus M i-cha-elsed tus M i-cha-el.sig -n i-fe r.sed sane

T

sed sig-ni-fer. tus M i-cha-cL tus M i-cha-elsig -n i-fe r.sed. sanesane

B

sed sig-ni-fer.s ig -n i-fe r. tus M i-cha-cL tus M i-cha-elsed sane sane

Ore.* * 'IF

5 o 7 3S3 4 5

5 t> 7 353 4 5

cresc.

•m&m—h

tetprae - sen as cem in cem

cresc.

- tet lu - cemre asprae - sen cem. in

cresc.

astetprae - sen cem.re in cem

cresc.

re— prae - sen tet cem.

Org.

0L

189


cem sane

cem sane

cem sane

70

* I ^

Fugato

m- i -o -

Quam o - lim A - bra - hae

t g ’

pro - mi tL e!

iOuam o - lim A - bra - hae

v

pro - mi - sis

70

i 3E

Org.

■J7- * • ^ i —4-

-i5>- i e : -P—

190


78

S

Quam o-Iim A bra - hae prosc JUS.nu-ni

A

jus. Quam o - lim A - bra hae pro

T

jus. Quam o - lim A - bra haese-m i-m pro

B

Org.

86

S

jus. quam o - limsc - mi - iumi sis

A

limmi sis sc nu - ru

T

mi sis sc - mi-ni

B

sc-mi -m

-e-Org.

191


94

jP \r \ m r> | o i------C---- 1-3 ----------- \-eA - bra - hae pi

l— Z .— j — j — H — p— p-------------1-------- f— ! r p f 1

t ) - - - n u - s i s - i i . el s e - m i - m

----- 1--------------- !-----1— | 1 -----1—1------------1---------------- !— ' KH—J ■ i ii . . — ^A - bra - hae pi

J? A ' P'------ F— e -----------

----- ci-------L J ------ ^ -------U sl------- J ------ U s,----------------- L- 2 ---------------- 1— J rJ— 1

o - - - m i - sis - ti. et s c - m i - n i

L e > .. 'M I — ■ I [A - bra - hae pi

U i , - f y 1 " I f

— i— \-y-— 1— i • j gi— 1 * T!—i r r i o* — p—I

o - m i - sis - t i et sc - m i-n i c

-f— j ] f1 - } - o ----------------rw------ — -ro ---------------- 1— w ~—|r 9 fr-l------- -----------------------h-L*•> ---- 1------ H------ 1-------1--------------- 4-P------------ 1----------------i T - r - P - ' l

A - bra -6 6

5

hac3

r\

pro -6*» 4

misb

- sis7 6

ti3

et3 b

se -m i-m2 3 6

rj BP? • i P? 1 T* CJ1 V . 1 ! i i r* & ■ » 1 1 I ‘ ' 1 : ’ . , r ]-----7 U— 1-------- !-------.---------------- 1 1 1 i ! ' l ? i i ! I 1

102-O-

S

lim bra hac pro mi

A

lim bra hac. mipro

T

lim bra hacju s quam pro mi

mB

braim iro

Oig.

192


109

s -o-

limsc - nu -msis

A

limsis se - n u -m

T

limsis se

i s , . 0 1 r a .*= r 1 r i ^mi-ni eu. et

B

limsis sc o

Org. '■ k) :- ^

s

bra - hae sc jus.

A

bra - hac se m i-ni jus. sc - m j-m

T

bra - hac m i-ni ju s sc - mi - m

£2B

bra - hac jus.

Org.

193


125

S

j u s - s e - n u - m jus.

A

se - mi - ru ju s . se - mi - ru__ jus.

T

se - mi - m_ ju s . s e - m i - m e jus.

B

ii JUS. se - mi - ru jus.

3 6 7 6 5 3 t>7 91 3 R-l 4 3 !

5 4 4__________5 O. P 5

f e l«J

Andantino\ P )

i j r

Hos

l > ]et pro - ccs b i Do - m i-ne . lau - d is o f

a rV

-f— i ~ r.7 1/. , j \?= 3 p i j — 7 I pHos

3

ti - as

Org. t i v r ^ - 3

et prc - ccs

d I*

b i D o - m i- n e . Iau - d is o f -

s

A

bustu.mus: sus - ci - pe pro tu ma

T

pro a - ni-fnabusmus:

Org.

194


MS

j) I n j i n a i n J i ' i j a = t j ^il - lis. qua - rum ho di - e m e - mo - ri - am fa - ci - mus:

^ U r p i d j r r r ~ M r p i & ' - b n r p . . i ril - lis. qua - rum ho - di - c m e - mo - ri - am fa - ci - mus:

Hi j

n t r _ c3 3 6 6 6 6 6 6 6 6 6 6 3 3

5 —------- 5 —--------- 5 4 unis.m- p r i-^—

■kOrg.

152

^ J ' J 1 i I J : J J ! J v j ' ^fac c - as. D o - m i - n e . fac e - as D o - m i- n e . dc mor - le Iran - si - re. Iran -

hi 1 J l t f l pirn r i h i I p p . . i p *m i-nc.u,•13

facS7

e - as Do - m i-nc. *|7

dc mor - tc uan si - re tran- 6 t?3

Org.

158

i l l! CJ

h ri t I,-r* y~T " j J ^ r raoc

si - re ad vi - tam. de mor - tc uan - si

t

re. tran - si - re Iran -

r i O - t ^ T T M* r 7 *si - rc ad7

vi - tam.6 3 f>

Org.

dc m or7

IP

tc . tran - si-rc3

dc m o r-te tran-

m

165

tam. tran tam.VI VI

tam. tran tam.VI

Org.

195


172Fugato

l r H r r T ^ r r iQuam o - lim A - bra - hae pro u. c t_

-tS-

Quam o - lim _ A - bra - hac pro - mi - sis

f

^ V w <1?B

172

m

Org.

T T

T P g

!

180

sc - mi-ru c jus. Quam o-Iim A - bra-hac pro

*hPm n n ,j T ' ~ r

et sc - mi-ru c jus. Quam o - lim A - bra - hae pro

mI fi: r r ir r ~i ret sc - mi-ni c jus. Quam o - Iim _ A - bra - hae pro

e e

3 ft H4

li =p= M - f ! J f 1^ ^

i4 6

Org.m

i i

196


188S

SCSISmi

A

ct_mi sis se mi - m

T

sis semi m i-ru

B

sc nu m

Org.

19:5

Qs

bra - haclim pro mi sis

A

bra - haclim A pro mi sis

T

lim bra - hae e t_pro mi sis se m i-ni

nB

bra - hacIim_ iro mis sis

Org.

197


203

s

lim bra haese - m i-n i pro mi

A

lim haebra pro nu

T

lim A - bra hae pro mi

B

lim bra - haesc -m i - ni pro mis

Org.

211

s

limsis se mi-ni

A

lim.sis mise

T

lim.sis sc mi-ni

-0B

ti. e t__ limsis se mi-ru

Org.

198


219

S

bra - hae sc m i-ni jus. sc - m i-n i

A

bra - hae. se - n u -mse jus.

T

bra - hac. sc jus. se - m i-n i

B

bra - hae se sc - n u -m

!

Org.

227

s

jus. se - m i-n i jus. sc - mi - m jus.

A

X Tse - m i-n i ejus. jusse - mi - m jus.

T

sc - mi - m ejus. sc - mi - ni e jus. jus.

B

jus. se - mi - m jus. se - mi - m jus.

Org. -O o

199


Sanctus

Soprano

Alto

Tenor

Bass

Moderato

m&

San - ctus. San - ctus. San - ctus. D o-m i-nus De - us Sa - ba - oth.

D i. t/ I ________ ___j I j-f jUr -ey- a>-

Sane - tus. Sane - tus. Sane - tus.

m _____ -i-------- p

D o-m i-nus De - us Sa - ba - oth.

_ r ~ | l ? ! p » - t * 'Sane - tus. Sane - tus. Sane - tus.

L £I----------- ^ p —, j}a a—

D o-m i-nus Dc - us Sa - ba - oth.

TSanc - tus. Sane - tus. Sane - tus.

r - t

D o-m i-nus De - us Sa - ba - oth.

Organ f

= ^ = i r r - ~ i|

i i

1 - - - - - - - - - - - - - - - - 1 - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - ! - - - - - - - - - - - - - - -6 1 J 6

5 |

' . . . . . . . . . . . . . . . T

6 1 4 1

~ 4 I - l i t A - j — - 4 - - - - - !- - - - - - - - - - 1 - 7 , - - - - - - - - - - - - - - - - - - - - - - - l a j ^ - - - - s - - - -~ — i — i — H - - - - - - ! - - - - - -

i

•J 9 r , " — a— ] - ■ fi 4 - W — ® — W - ~ e>- - - - - - - 1 — j - ! - - - - - - 1 - - - - - - L J - - - - - - - - j l j - - - - - - - - - -

i« j ^ -------------'----- 1----- i-i----- 1----------- 1-------- ;--------------------------“ i '----- 1----- '-------- i------------- "— :-------------- 1-----

Pie - ni sunt cae - li el ter - ra glo - ri - a tu - a glo - ri - a

......... J J1 ; i

mSf------- &-Pie - ni sum cac - li et ter - ra glo - ri - a tu - a____glo - ri - a

a = ii r r r r ir y r-r-ir r r r ir r J J rx.r=» 5=

Pie - ni sum cae - li et ter - ra glo - ri - a tu - a glo - ri - a

# __ •r r i r r f r jr v r r i r f f r ir r -r r hr ^

Pic - ni sunt cae - li et ter - ra glo - ri - a tu - a glo - ri - a

Org.<

g) 5E £

r f n r v - 1— h0 m 1- jr M r r r I

2 0 0


s

Ho - sa - na e.\ - ce l-s is . ho nasa

A

Ho - sa - na ex - ce l-s is . hoin sa na

T

Ho - sa - na ex - ce l-s is . hoin sa na

B

Ho - sa - na ex - cel - sis. ho nasa

&in ex - cel - sis.

J I J )

ho

P

sa na in cx - cel - sis.

j * i« i $ m m

ex - cel - sis.

^ j r r j ~ ] i j - j * i r y * i ^ *

ho

P

na in ex - cel - sis.

ex - cel - sis.

m-r ^1P J j=J-r r J - lr [p

ho

psa na in ex - cel - sis.

r - icx

6 3cel - sis.6 H3

ho65

sa - na ex - cel - sis.3

m £O rg -5Mr-

2 0 1


28

S

cel sa na cxex sis.in

A

celex sa nasis. cxin

T

celex sa nasis. in ex

celex sa nain. sis. cx -

cel - sis. cel sis.sa in cxna

ce!in sis.sa na cx

cel - sis. cel sis.sa na cx

cel1asa na cx sis.

Org. urns.

202


39

- J r - [ X m— ■— V ■■■» - p P * 1 h m ‘ ! r P i " 1!

sa - re

i f e r V P r —

u ^i in ex -

h-h i

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cel - - - - - sis.

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sa - D2

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i in _ ex -

v ’t" p n—

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cel - - - - sis.

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sa - na

b a - r f .

in------ ex -

— i- p — i— a # — h

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na in ex - cel

39

= != £

° rg \ |

■ a♦ £

3&E—M—t i c

Larghetto cresc

Be - nc die tus qui vc in no nu

Be die tus.nc qui ve no micresc.

Be dienc tus. qui nit incresc.

vc no mi

die - tus quiBe nc nit invc no mi

Org.

203


Do dieBe - nc tusne mi m.

Do Be diene mi m. ne tus

Do Be diene. mi m. ne tus.

Do Bene. mi m. nc

-m-Org.

cresc.

ve - nit Doqui no mi nc miin

[ cresc. ]

m. m

Donitqui. ve no mi nc mi inm ni.cresc.

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cresc.

die - tus ve - nit Dono miin nc mi

Org.

204


s

Do mine mi m.no mi

A

Done mino mi mi m.

T

Dono mi mi m.

Doin mino mi m.

Allegro mosso69

4-j-‘ ? r i c j y i p g f f l p f i c y f ' P f r * 1 J P u iH o-sa-na in ex - cel-sis. ho - sa - na in ex - cel-sis. ho sa - na . ex-

$ A.. J' J i J JI J. JU'I j Jl f= r fr I jFfPH--- j J1 1 J ~ j J' IH o -sa -n a in ex - cel-sis. ho - sa - na in cx - cel-sis. ho sa - na ui ex-

/ 1 p r~l £=5=

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F I c r ^ I F J ^ H T r F l r _ f P 1 f r FH o -sa -n a in— ex - cel-sis. h o - s a - n a in ex - ce l-s is3 6 3 6 6 ^6 3 6 ^ 3

5 . 5 A

ho - sa - na in ex-6 3 3 65 5

3Org.

205


78

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i t f t i " \ - i r 4T "I .ft -

:el

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rel-cic in rv -

n- trS N l i *" T-- * f

1 d ' 1 J .- - - t - J J z*1 - sis. bo - sa - na

t l k _.

f j ----- ^l-jV-jV7 !

in ex - cel-sis. h o -s a -n a

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cel-sis. in__ ex - c

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sis. h o - s a - n a

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4

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206


Agnus Dei^Ajlegretto

iB JiJ JUJ Jl J *BSoprano

AJto

Tenor

Bass

T ^ F

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If) P

m j j > n - y .A - gnus Dc - i qu i tol-lis pec - ca - ta m un-di. do - na e - i s re - qui - cm.

i i / ]S E 3E

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Organ * ) ' ^ % w W 7 | J J ^ j J - ■■ j

is re - qui - cm.#7 l|3

4

-I 1_____ U

i l

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/ ,

J i j j * i r f f iJ J t I IA - gnus De - i qui to l-lis pec - ca - ta m u n -d i do - na c

f —^-1 __ Pis re - qui - cm.

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f - N P- is re - qui - cm

y f r r - p i r r r i r . r T 1A - gnus D c - i qui to l-lis pec - ca - ta m u n -d i do3 3

f6 7 6 5 3 6 6 6 3 3

3 4

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re - qui - cm•| 7 3

4

Org.

207


cresc.

S

gnus DeDe qui tolgnuscresc.

pec -

A

Degnuscresc.

gnus pec -

T

A - gnusA - gnus De pec -cresc.

B

Degnus gnus pec

1Org.

cresc.

ca mun na cmqui

cresc.

ca mun na emqui

cresc.

ca mun na qui em

cresc.

ca mun na qui cm

208


s

tersem nam.nam. sem

A

sem ter ternam. nam.sem

T

tersem ternam. sem

B

Org.

SN & P

nam. nam

^ ? ~ \ksem-pi - ter nam. sem - pi - ter

& P

nam.

nam. nam

209


CommunionAllegro Moderato

Soprano

LuxLux ter ternam namce aeae

Alto

Lux Luxter nam terae ce ae nam

Tenor

Lux Luxter nam terae namae

Bass

Lux Luxter nam terae namac

Organ unis.

S

Doc e -a ta Lce is. mi ne:

A

Docc -a t is. mi nc:

T

Doa tce mi nc:

B

Dois. mi nc:

Org.

210


[Allegro] Mosso

Cum sane - tis Cum sane - tister - num.ae is.

Cum sane - tis Cum sane - tister - num.aein. is.

Cum s a n e - tis Cum sane - tisae ter - num. is.

Cum sane - tis Cum sane - tister - num.in ae

Org. urns. 9 “

-*} i f r t-I V T) - Hr fCum sane - tis tu - is in___ ae - ter qui

pp \ JS j i - y r j J. |,j ,h.| J. | J < | n JCum sane - tis t u - i s in a e - t c r

^ P P I ? Iqui

P

Cum sane - tis t u - i s in ae - ter qui

*)'- - - P- - P- - P- ~~F~ " ' -----P

fr rj--- C___C-----K---- 1—1---------V— M--------- *---- 1—--------------- —

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Cum sane - tis tu62

g j v f " \ Y

is m-6

ae - ter*13

num:6 ki

qui4k*7

P~m

211


s

us es.us. qui

A

us es. qui

T

us. us es. qui

B

us. us es____ qui

S

es.us uses. qui

A

es.us qui us

T

us es.es. qui us

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us es. qui es.us

Org.

212


Verso a DuoAllegrettoIP]

J i r ' V < rRe qui - em ae - ter nam do - na e - is Do - mi-

35-I— naRe

3

PS ’ A , i -jE

qui - em ae - ter nam do3 6

e - is74

Do3

mi -

Org. i * V

Is e i-H- ±r

I ek «j

et lux per - pe - tu - a lu ce - at

& dzzt

ne. ct

3 3

lux

3

per - pe3

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3

lu

6

cc - at

Org. r r i t i r £

5!

Org.

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3 ■' ! Pc

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is. Re - qui

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L i 1 =

ter - nam

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51

is.

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Rc

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qui

a

em

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ae

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ter

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213


s

do Dona mi ne.

A

do Dona mi nc.

Org.

67

mlux per pe - tu - a lu

& L -

cc - at

lux

75

O rg - 7 1

per

3

Pe75

tu - a

3

lu

3

ce - at

3

= ! = q =

■ u - . SJ «

*

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cc - atis.

6

lu

73

c

4

y A - J - 1 i J ' 7 i j j u j i j mOrg.

214


82[AllegroJMosso

S

ae - ter - num. Cum sane - tis

£ t I } ^

Cum sane-tis is.

A

Clim a n p - US Cum sane - tistu ter - munae is.

T

Cum sane - tis Cum sane - tister - num.ae is.

B

Cum sane - tis Cum sane - tistu ter - num.ae is.

88

3 = E 3 ±V - V- - Y y- inum:Cum sane - tis tu ac - ter

p

quir

&

Cum saiK: - tis tu - is in ac - ter qui

Cum sane - tis t u - i s in ae - ter num: qui

- ^ S - r b ,m—i ------

m-----i ------

m------j----- r ^ |r ~ - 1 p - 1 r -------------- c H— 1f » l> T --------------- V-— !— 1---------------- V-— y = ^ = t ^ = 6 = l

B

Org.

Cum sane - tis tu

4 62

f ' ^

is in

*6ae - ter qui

215


94 K i

p i *

j j . j . j > -p i - US.

mPi

3E

us es. qui

ij ~~ j t I 4 - a £PI -

p i - US. pi us es.. qui - pi -

pi - us. Pi us cs.

y ^ p J 1 i s c r p i r ^ 3

qui

r £ -

PI -

T t

p i - US.

6hpiH4

es.-6

qui

i r ' f t 8 g

pi4

Org.

qui Pi us es.

- - - - - - - - - ■». . — t 14 - — . . . JN i l j N M -=3 g~ r - i J- - - - - - - - - - La!- - - - - - - • — i-J- - - - - - - J t±=4J - - - - - - 5- - -us - - - es.

B

Org.

qui a pi - us es.

216


VITA

Jetro Meira de Oliveira holds the Bachelor o f Music degree (1990) and the Master o f

Music degree in conducting (1996) from Andrews University, M ichigan. From 1992 to 1999

he worked at the Instituto Adventista de Ensino, Campus 2, now Centro Universitario

Adventista de Sao Paulo, Brazil, serving as chairman o f the School o f Arts, where he developed

programs and faculty.

Jetro Meira de Oliveira has a passion for teaching music and finds it a joy to guide

students through the disciplines o f conducting and music history. As a conductor, he finds it a

necessity to provide young people w ith significant musical ensemble experiences. As such, he

has founded and is the principal conductor o f the Adventist Philharmonic Orchestra o f Brazil,

an ensemble that pairs seasoned professionals with promising young players. He has also

founded Officinu Vocahs, the cham ber chorus resident at the Centro Universitario Adventista

de Sao Paulo, a group specializing in the development o f vocal technique leading to a cappella

singing with an applied understanding o f just intonation.

Jetro Meira de Oliveira has been a sought after guest lecturer and conductor in both

South and North Americas. He has published articles on Heitor Villa-Lobos and Gustav

Mahler, and has a particular interest in the contemporary liturgical application o f music. He

has been selected to membership in the distinguished academic societies o f Phi Kappa Phi and

Pi Kappa Lambda.

217


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