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Kate Molleson sees Garcia struggle after the Portuguese Court abandons Brazil.

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.

The last decade in José Garcia’s life was difficult. In 1821 King John VI returned to Portugal with much of his court, taking most of the treasury funds with him. Financially, Brazil was in free fall, and the king’s son Pedro was forced to remove benefits and stipends. Garcia found his income severely cut, and he petitioned Pedro to reinstall his income, or at least give him a salary for all the free music teaching he undertook. Pedro declined, and Garcia decided to close his music school for good. Pedro declared Brazil’s independence in 1822, and with financial and social upheaval in the years to follow, Garcia faded from view in the city where he’d held the top music jobs at both court and cathedral. He died in poverty in 1830.

Fantasy No 4
Arnaldo Cohen, piano

Sigismund Neukomm
Trost in Tränen
Stella Doufexis, soprano
Graham Johnson, piano

José Garcia
Missa de Nossa Senhora da Concição (excerpt)
Darlene Cluff, soprano
Jeffrey Jones-Ragona, tenor
Phillip D. Hill, baritone
University of Texas Chamber Singers
University of Texas Chamber Orchestra
James Morrow, conductor

Lição No 3 da Segunda Parte
Mário Trilha, fortepiano

Lição No 6 da Segunda Parte
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

Domine Tu Mihi Lavas Pedes
Apollini et Musis
Jörg Strodthoff, organ
Vinzenz Weissenburger, conductor

Sepulto Domino
Ensemble Turicum
Luiz Alves da Silva, director

Inter Vestibulum
Ensemble Turicum
Luiz Alves da Silva, director

Produced by Luke Whitlock