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Kate Molleson delves into Garcia’s personal life when he broke his priestly vows of celibacy.

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.

Today, Kate Molleson explores a pivotal moment: the Portuguese Court arrives in Rio de Janeiro under British naval escort, fleeing Napoleon. The city would now change dramatically, as thousands began to arrive from Europe. The prince regent quickly established a police system, which would take an active role in redefining the city, requisitioning houses for arriving courtiers, expanding and developing the city, and also carrying out a policy of Europeanisation too. Many musicians from Europe started to arrive, and this had an influence upon the music of José Garcia, who had now been appointed master of the music to the royal chapel. This elevation in Garcia’s career came at a time of changes in his personal life too. Garcia had begun a relationship with Severiana Rosa de Castro, with whom he’d have six children. A serious risk for Garcia, considering his vows of celibacy as a priest.

Justus cum ceciderit
Ensemble Turicum
Luiz Alves da Silva, director

Judas Mercator pessimus
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

Overture in D major
Vox Brasiliensis Orchestra
Ricardo Kanji, conductor

Marcos António Portugal
Cuidados, tristes cuidados
Sandra Medeiros, soprano
David Gordon, harpsichord

José Garcia
Beijo a mão que me condena
Tiago Pinheiro de Oliveira, tenor
Rosana Lanzelotte, fortepiano

Laudate pueri
Ensemble Turicum
Luiz Alves da Silva, director

Produced by Luke Whitlock