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Kate Molleson explores Garcia’s trajectory to the ultimate role as master of music at the cathedral in Rio de Janeiro.

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.

José Garcia had to undertake a number of tests in order to enter the priesthood. His standing in Rio de Janeiro was such that he received excellent references from some of the most elite families. A few years later, around 1794, he established a free music school in the city. Soon, all the future musical talent of Rio de Janeiro would be trained in music by Garcia, for free. Garcia did recoup some form of reward in other ways. When the city or the cathedral wished to commission a new work for an event, Garcia was able to undercut his rival composers bidding for the same work, by employing his own students as musicians and pocketing their fees for himself. By the late 1790s the master of music at the cathedral was ill, and Garcia succeeded him in 1798. Garcia now held the top music job in the city.

Immutemur Habitu
Ensemble Turicum
Luiz Alves da Silva, director

Sinfonia fúnebre
³ÉÈË¿ìÊÖ Scottish Symphony Orchestra
Emilie Godden, conductor

Tenuisti Manum
Ensemble Turicum
Luiz Alves da Silva, director

Crux Fidelis
Ensemble Turicum
Luiz Alves da Silva, director

Popule Meus
Ensemble Turicum
Luiz Alves da Silva, director

Francisco Manuel da Silva
Brazilian National Anthem
Slovak Radio Symphony Orchestra
Peter Breiner, conductor

José Garcia
Fantasy No 6
Mário Trilha, fortepiano

Requiem Mass (excerpt)
Doralene Davis, soprano
Betty Allen, mezzo-soprano
William Brown, tenor
Matti Tuloisela, baritone
Morgan State College Choir
Helsinki Philharmonic orchestra
Paul Freeman, conductor

Dies Sanctificatus
Ensemble Turicum
Luiz Alves da Silva, director

Produced by Luke Whitlock