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Kate Molleson delves into José Garcia’s early beginnings as the grandson of slaves.

Composer of the Week shines the spotlight on the Afro-Brazilian composer José Maurício Nunes Garcia. Hailed by some as the Father of Brazilian Classical Music, and compared by others to Mozart and Haydn, this series delves into the life and music of this once hugely prolific and popular composer. Born in Rio de Janeiro, both his parents were children of slaves. Thanks to his exceptional musical talents, Garcia was able to move from his poverty-stricken beginnings to the very top of his society. He became master of music at the cathedral. Later, when the Portuguese Court established themselves in the city, Garcia was appointed master of music at the Chapel Royal and court composer. Kate Molleson is joined by Professor Marcelo Hazan from the University of South Carolina and Professor Kirsten Schultz from Seton Hall University who help her explore Garcia’s incredible life story and music.

A hugely influential teacher of music from early on, Garcia established his own free music school and was invited into the homes of the elite to teach their daughters. His trajectory wasn’t always plain sailing however and he frequently encountered racism. When it came to Garcia entering the Priesthood in the early 1790s, he had to undergo a number of tests to prove his worth, including providing impeccable references to offset the official concerns about his family background. Garcia was ordained, and with his musical skills finally recognised by the Church and Portuguese Court, he became the go-to composer for Saints' Days, royal occasions, and other commissions. However, many European musicians who came to Rio de Janeiro were not keen to be conducted by someone of his race. Eventually, Brazil gained independence from the Portuguese Empire and Garcia’s royal employers were returned to Portugal, leaving Garcia struggling during turbulent times.

In this first programme, Kate Molleson explores the city where José Garcia was born in 1767. Rio de Janeiro had been appointed the capital of Brazil a few years earlier, and with the development of the country’s economy through gold mining, and later agriculture, there was a huge reliance upon the slave trade. Both Garcia’s grandmothers were slaves and from very early on he used his skills in music to help support his family. The options for Garcia’s future were few, and he saw the Priesthood as a means to a better life. Sacred music would be the main area in which Garcia would compose throughout his life, and he eventually became a Priest in the early 1790s.

Missa pastoril para a noite de natal (Kyrie eleison)
Ex Cathedra
Jeffrey Skidmore, director

Tenuisti manum dexteram meam
Apollini et Musis
Jörg Strodthoff, organ
Vinzenz Weissenburger, conductor

Missa pastoril para a noite de natal (excerpt)
Katie Trethewey, soprano
Elizabeth Drury, soprano
Martha McLorinan, alto
Greg Skidmore, bass
Adrian Horsewood, bass
Nick Ashby, bass
Ex Cathedra
Jeffrey Skidmore, director

Fantasy No 1
Mário Trilha, fortepiano

Fantasy No 2
Mário Trilha, fortepiano

Lição No 7 da Segunda Parte
Mário Trilha, fortepiano

Tota Pulchra es Maria
Vox Brasiliensis Chorus
Vox Brasiliensis Orchestra
Ricardo Kanji, conductor

Zemira, Overture
Vox Brasiliensis Orchestra
Ricardo Kanji, conductor

Produced by Luke Whitlock