Paulo Castagna
Paulo Castagna is professor and researcher at Institute of Arts, São Paulo State University (UNESP) since 1994, collaborator at Music Museum of Mariana since 2001, researcher at National Council for Scientific and Technological Development (CNPq) since 2007, member of the Advisory Council at CEREM Foundation (São João del-Rei - MG) since 2013 and the coordinator of the agreement between UNESP and Fundação Theatro Municipal de São Paulo to the cataloging of the Musicographic Collection of the Dramatic and Musical Conservatory of São Paulo, since 2022. Castagna holds bachelor’s, master’s and doctorate degrees from the University of São Paulo (USP) and received research scholarships from National Council for Scientific and Technological Development (CNPq), National Foundation of Arts (FUNARTE), São Paulo Research Foundation (FAPESP) and VITAE Foundation. He coordinated musicological projects in São Paulo and Minas Gerais states, and organized musicology meetings in several Brazilian cities, producing musical scores, books and articles on historical musicology, as well as courses, conferences, radio and television programs, and musicological research for the recording of CDs. More information: https://paulocastagna.com
Paulo Castagna es profesor e investigador en el Instituto de Artes de la Universidad Estatal de São Paulo (UNESP) desde 1994, colaborador en el Museo de Música de Mariana desde 2001, investigador en el Consejo Nacional para el Desarrollo Científico y Tecnológico (CNPq) desde 2007, miembro del Consejo Asesor en la Fundación CEREM (São João del-Rei - MG) desde 2013 y el coordinador del convenio entre la UNESP y la Fundação Theatro Municipal de São Paulo para la catalogación del Fondo Musicográfico del Conservatorio Dramático y Musical de São Paulo, desde 2022. Castagna tiene títulos de licenciatura, maestría y doctorado de la Universidad de São Paulo (USP) y recibió becas de investigación del Consejo Nacional para el Desarrollo Científico y Tecnológico (CNPq), Fundación Nacional de Arte (FUNARTE), Fundación de Investigación de São Paulo (FAPESP) y Fundación VITAE. Coordinó proyectos musicológicos en los estados de São Paulo y Minas Gerais, y organizó reuniones de musicología en varias ciudades brasileñas, produciendo partituras, libros y artículos sobre musicología histórica, así como cursos, conferencias, programas de radio y televisión, e investigación musicológica para la grabación de CDs. Más información: https://paulocastagna.com
Paulo Castagna é graduado e mestre pela Escola de Comunicações e Artes da Universidade de São Paulo (Brasil) e Doutor pela Faculdade de Filosofia e Ciências Humanas da mesma universidade, além de graduado em Biologia no Instituto de Biociências da USP. É professor e pesquisador do Instituto de Artes da UNESP desde 1994, produzindo partituras, livros, artigos, cursos, conferências, programas de rádio e televisão na área de musicologia histórica, e coordenando a pesquisa musicológica para a gravação de CDs. É colaborador do Museu da Música de Mariana desde 2001, pesquisador do CNPq (bolsista PQ) desde 2007, membro do Conselho Consultivo da Fundação CEREM (Centro de Referência Musicológica José Maria Neves) desde 2013 e coordenador do convênio entre a UNESP e a Fundação Theatro Municipal de São Paulo para a catalogação da Coleção Musicográfica do antigo Conservatório Dramático e Musical de São Paulo, a partir de 2022. Participa de encontros de musicologia na América Latina, Europa e Estados Unidos desde 1987, tendo coordenado vários deles no Brasil. Dedica-se à musicologia histórica, tendo produzido partituras, livros, capítulos e artigos, cursos e conferências, coordenando a pesquisa musicológica para a gravação de CDs e participando da elaboração de programas de rádio e televisão. Mais informações: https://paulocastagna.com
Supervisors: Google Scholar, IMSLP, Fapesp, Anppom, ORCID, Lattes, Researcher ID, VIAF, Travessa, Escavador, and Webblog
Phone: PABX: (55-11) 3393-8546
Address: Instituto de Artes da Unesp / Depto. de Música
Rua Dr. Bento Teobaldo Ferraz, 271
(Barra Funda)
01140-070 – São Paulo – SP
Brasil
http://www.ia.unesp.br/serv/fones.php
Paulo Castagna es profesor e investigador en el Instituto de Artes de la Universidad Estatal de São Paulo (UNESP) desde 1994, colaborador en el Museo de Música de Mariana desde 2001, investigador en el Consejo Nacional para el Desarrollo Científico y Tecnológico (CNPq) desde 2007, miembro del Consejo Asesor en la Fundación CEREM (São João del-Rei - MG) desde 2013 y el coordinador del convenio entre la UNESP y la Fundação Theatro Municipal de São Paulo para la catalogación del Fondo Musicográfico del Conservatorio Dramático y Musical de São Paulo, desde 2022. Castagna tiene títulos de licenciatura, maestría y doctorado de la Universidad de São Paulo (USP) y recibió becas de investigación del Consejo Nacional para el Desarrollo Científico y Tecnológico (CNPq), Fundación Nacional de Arte (FUNARTE), Fundación de Investigación de São Paulo (FAPESP) y Fundación VITAE. Coordinó proyectos musicológicos en los estados de São Paulo y Minas Gerais, y organizó reuniones de musicología en varias ciudades brasileñas, produciendo partituras, libros y artículos sobre musicología histórica, así como cursos, conferencias, programas de radio y televisión, e investigación musicológica para la grabación de CDs. Más información: https://paulocastagna.com
Paulo Castagna é graduado e mestre pela Escola de Comunicações e Artes da Universidade de São Paulo (Brasil) e Doutor pela Faculdade de Filosofia e Ciências Humanas da mesma universidade, além de graduado em Biologia no Instituto de Biociências da USP. É professor e pesquisador do Instituto de Artes da UNESP desde 1994, produzindo partituras, livros, artigos, cursos, conferências, programas de rádio e televisão na área de musicologia histórica, e coordenando a pesquisa musicológica para a gravação de CDs. É colaborador do Museu da Música de Mariana desde 2001, pesquisador do CNPq (bolsista PQ) desde 2007, membro do Conselho Consultivo da Fundação CEREM (Centro de Referência Musicológica José Maria Neves) desde 2013 e coordenador do convênio entre a UNESP e a Fundação Theatro Municipal de São Paulo para a catalogação da Coleção Musicográfica do antigo Conservatório Dramático e Musical de São Paulo, a partir de 2022. Participa de encontros de musicologia na América Latina, Europa e Estados Unidos desde 1987, tendo coordenado vários deles no Brasil. Dedica-se à musicologia histórica, tendo produzido partituras, livros, capítulos e artigos, cursos e conferências, coordenando a pesquisa musicológica para a gravação de CDs e participando da elaboração de programas de rádio e televisão. Mais informações: https://paulocastagna.com
Supervisors: Google Scholar, IMSLP, Fapesp, Anppom, ORCID, Lattes, Researcher ID, VIAF, Travessa, Escavador, and Webblog
Phone: PABX: (55-11) 3393-8546
Address: Instituto de Artes da Unesp / Depto. de Música
Rua Dr. Bento Teobaldo Ferraz, 271
(Barra Funda)
01140-070 – São Paulo – SP
Brasil
http://www.ia.unesp.br/serv/fones.php
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Books by Paulo Castagna
Key words: Sacred music; Musicographic sources; Manuscripts; Authorship; Cataloguing Rules.
Resumo. Adotando como problema da pesquisa a falta de trabalhos anteriores que tenham estabelecido com precisão quais foram as obras realmente escritas por João de Deus de Castro Lobo (Vila Rica, 08/03/1794 – Mariana, 26/01/1832), esta tese assumiu a tarefa de catalogar as possíveis composições remanescentes deste autor, localizadas em fontes musicográficas manuscritas pertencentes ao maior número possível de acervos históricos, o que envolveu a pesquisa em 90 acervos em vários estados brasileiros, a descrição e análise crítica das cerca de 950 fontes localizadas e a avaliação do nível de possibilidade de autoria de Castro Lobo para cada uma das obras catalogadas, uma vez que não foi indubitavelmente constatada a existência de autógrafos deste músico e nem localizada uma relação autografa, coeva ou autorizada de suas peças. A descrição das obras e documentos musicográficos foi realizada na forma de um catálogo crítico e temático, a partir da metodologia internacionalmente adotada para esse tipo de trabalho e fundamentada no estudo analítico de catálogos internacionais e brasileiros da obra de compositores. Além da aplicação das soluções mais eficazes que a bibliografia oferece para a solução de cada problema desta pesquisa, foi criado um sistema próprio de classificação do nível de possibilidade de autoria de cada composição catalogada, a partir da análise de evidências internas (das obras) e externas (das fontes), da pesquisa das informações históricas disponíveis e dos trabalhos já realizados sobre a música deste compositor. Considerando-se a impossibilidade de determinação das obras de autoria certa de João de Deus de Castro Lobo, em função da falta de documentos probatórios (especialmente os autógrafos musicográficos e relações autorizadas de suas obras), as conclusões técnicas do catálogo indicam a existência de 26 obras de autoria provável, 5 de autoria possível, 7 de autoria duvidosa, 14 de autoria improvável, duas obras resultantes de contrafação post- mortem e uma resultante de permutação post-mortem, tendo em vista que cada uma das obras catalogadas pode tratar-se de uma unidade cerimonial (a música para uma cerimônia completa) ou de uma unidade funcional (a música para cada uma das partes da cerimônia). As conclusões musicológicas, no entanto, são a menor existência de obras, documentos e evidências do que as expectativas que existiam na bibliografia a respeito, mas cujo estudo resultou na dissolução de falsas certezas e na primazia das informações verificáveis na documentação musicográfica e administrativa, em uma visão mais científica e realista, de aplicação mais eficaz no estudo das obras deste e de outros compositores brasileiros do passado.
Palavras-chave: Música sacra; Fontes musicográficas; Manuscritos; Autoria; Normas de catalogação.
Palavras-chave. Fernand Jouteux; Música; Coleção Documental; Tratamento arquivístico; Disponibilização.
A produção musical religiosa em São Paulo e Minas Gerais, nos séculos XVIII e XIX, tem sido estudada a partir da concepção de que foram empregados estilos únicos em determinadas épocas e regiões. Neste trabalho pretende-se demonstrar a existência, em acervos paulistas e mineiros de manuscritos musicais, de obras religiosas em estilo antigo, que exibem a manutenção de técnicas composicionais da música renascentista européia (século XVI), mas foram produzidas e/ou copiadas nos séculos XVIII e XIX: suas características são contrastantes com as das obras em estilo moderno do mesmo período, que utilizam técnicas originárias da ópera e da música instrumental profana. Após um levantamento em dez acervos, foram descritas e estudadas cento e quarenta e cinco composições em estilo antigo, procurando-se compreender suas principais características e sua função na prática musical religiosa paulista e mineira desse período. Além de terem sido detectados três sistemas de notação musical e vários tipos de composição para a mesma função cerimonial, concluiu-se que o estilo antigo concentra-se em cópias sem indicação de autoria, principalmente destinadas à Semana Santa, e que este não foi utilizado, em São Paulo e Minas Gerais, como mera alternativa estética, mas sim como uma forma conservadora de respeito às prescrições litúrgicas. Por ainda possuírem função nas cerimônias católicas, também foram copiadas, nessa época, composições em estilo antigo produzidas na Europa (especialmente em Portugal), em período anterior ao século XVIII."
A produção musical religiosa em São Paulo e Minas Gerais, nos séculos XVIII e XIX, tem sido estudada a partir da concepção de que foram empregados estilos únicos em determinadas épocas e regiões. Neste trabalho pretende-se demonstrar a existência, em acervos paulistas e mineiros de manuscritos musicais, de obras religiosas em estilo antigo, que exibem a manutenção de técnicas composicionais da música renascentista européia (século XVI), mas foram produzidas e/ou copiadas nos séculos XVIII e XIX: suas características são contrastantes com as das obras em estilo moderno do mesmo período, que utilizam técnicas originárias da ópera e da música instrumental profana. Após um levantamento em dez acervos, foram descritas e estudadas cento e quarenta e cinco composições em estilo antigo, procurando-se compreender suas principais características e sua função na prática musical religiosa paulista e mineira desse período. Além de terem sido detectados três sistemas de notação musical e vários tipos de composição para a mesma função cerimonial, concluiu-se que o estilo antigo concentra-se em cópias sem indicação de autoria, principalmente destinadas à Semana Santa, e que este não foi utilizado, em São Paulo e Minas Gerais, como mera alternativa estética, mas sim como uma forma conservadora de respeito às prescrições litúrgicas. Por ainda possuírem função nas cerimônias católicas, também foram copiadas, nessa época, composições em estilo antigo produzidas na Europa (especialmente em Portugal), em período anterior ao século XVIII.
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He worked for about twenty years in São João del-Rei (MG), but his place of birth or death is not known, despite a strong possibility that he was Portuguese. João de Deus de Castro Lobo (volume 5), in turn, was born, worked, and died in Minas Gerais, while Gabriel Fernandes da Trindade (volume 6) was born in Ouro Preto (MG) but spent most of his life in Rio de Janeiro (RJ), where he died.
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
From a methodological point of view, the present series builds upon innovations from the project Acervo da Música Brasileira (Fundação Cultural e Educacional da Arquidiocese de Mariana, Petrobras, Santa Rosa Bureau Cultural, 2001-2003), such as the description of the sources consulted, the itemization of the editorial interventions (including the use of a critical apparatus), and the explanation of the editorial criteria. The present series is based on the methodology and the editorial experience developed in this previous project, while introducing several innovations of its own:
■ The examination of as many sources from as many depositories as possible, rather than prioritizing a single source from one depository.
■ The release of all accompanying texts, scores, and vocal/instrumental parts in a CD-ROM, annexed to each of the volumes.
■ The release of all accompanying texts, scores, and vocal/instrumental parts on the internet, on the page of the Secretaria de Estado de Cultura de Minas Gerais, at http://www.cultura.mg.gov.br/pamm/site.html
■ The inclusion of English translations in the printed volumes, on the CD-ROM, and on the webpage.
■ The selection of a repertoire that is not exclusively sacred or from the colonial period.
■ The inclusion of introductory texts by guest musicologists and historians discussing the composers’ lives and works, as well as their personal and professional milieus, respectively.
The series Music-Archival Patrimony of Minas Gerais, unlike other initiatives of this type, is being undertaken by the Secretaria de Cultura do Estado de Minas Gerais who, for the first time, fully recognizes the importance of editing and promoting the music composed in this state in previous centuries. In this respect, the laurels must go to the entrepreneurial vision of former Cultural Secretary Eleonora Santa Rosa, who initiated the project in 2006. It is now important that this series be continued with the edition of new works by new composers, considering the vast amount of music that cannot reach the public without efforts of a musicological and editorial kind. More than just locating, organizing, and cataloging musical holdings, as well as, following a recent international trend, making them available on the internet in facsimile format, works of music indispensably need to be edited in order to be effectively performed and appreciated.
As a general rule, the keepers and custodians of the depositories received this project enthusiastically and cooperated fully during the field research, going so far as to contact other depositories on our behalf and even to send us important information before and after our visit. For the first three volumes of the series, sixteen depositories were visited in the states of Minas Gerais, Rio de Janeiro, and São Paulo, in 2007. For volumes 4, 5, and 6, thirteen others (two overseas) were additionally consulted, in 2008: Acervo de Aluízio José Viegas (São João del-Rei - MG), Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ), Biblioteca da Fundação Robert Bosch (Gardiner - Germany), Biblioteca da Universidade Federal de Santa Maria (RS), Biblioteca do Palácio da Ajuda (Lisbon - Portugal), Centro de Documentação Musical de Viçosa (MG), Biblioteca do Centro Cultural Banco do Brasil (Rio de Janeiro - RJ), Corporação Musical Nossa Senhora das Dores (Itapecerica - MG), Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ), Instituto de Estudos Brasileiros da Universidade de São Paulo (SP), Museu Imperial de Petrópolis (RJ), Seção de Música do Museu de História dos Salesianos no Brasil (São Paulo - SP), and Sociedade Euterpe Musical Itabirana (Itabira - MG). Out of the total of 29 depositories visited in 2007 and 2008, the ones represented in volumes 4, 5, and 6 are alphabetically listed as follows:
1. Acervo de Aluízio José Viegas (São João del-Rei - MG)
2. Arquivo do Cabido Metropolitano do Rio de Janeiro (RJ)
3. Arquivo Histórico Monsenhor Horta do Instituto de Ciências Humanas e Sociais da Universidade Federal de Ouro Preto (Mariana - MG)
4. Biblioteca da Fundação Robert Bosch (Gardiner - Germany)
5. Biblioteca da Universidade Federal de Santa Maria (RS)
6. Biblioteca do Palácio da Ajuda (Lisbon - Portugal)
7. Casa de Cultura de Santa Luzia (MG)
8. Divisão de Música e Arquivo Sonoro da Biblioteca Nacional (Rio de Janeiro - RJ)
9. Museu da Inconfidência de Ouro Preto (MG)
10. Museu da Música de Mariana (MG)
11. Museu Imperial de Petrópolis (RJ)
12. Orquestra Lira Sanjoanense (São João del-Rei - MG)
13. Orquestra Ribeiro Bastos (São João del-Rei - MG)
14. Sociedade Musical Santa Cecília de Sabará (MG)
Most of the works in volumes 4, 5, and 6 have been recorded in LP or CD. This is the case of the Kyrie/Gloria (but not the Credo/Sanctus/Benedictus/Agnus Dei) from the Mass and Credo in Five Voices by Antônio dos Santos Cunha. The Christmas Matins by João de Deus de Castro Lobo also have been recorded, as well as the Concertante Duets and a portion of the songs by Gabriel Fernandes da Trindade. However, none of these works have been edited, with the exception of the Invitatory of the Christmas Matins, as well as a few songs by Gabriel Fernandes da Trindade that reappeared in 20th-century editions after their original release in the mid-19th century. There were no previous efforts to publish Trindade’s songs in a comprehensive fashion, a determining factor in our decision to edit the composer’s complete works in volume 6 of this series. Volume 6 is thus comprised of Trindade’s 21 extant songs (of a total of 32 known by him), along with his three Concertante Duets. The decision to edit Trindade’s music, despite the existence of earlier initiatives (by no means impeditive to this project), resulted from the great repercussion that his works generated in the last decades and thus from the necessity to promote them as widely as possible by means of a musicological edition.
Each volume contains a Preface by a scholar of national and international renown, as well as the present Introduction by the project coordinator, common to volumes 4, 5, and 6. Two texts specifically conceived for each volume follow: the first text, by a guest musicologist, discusses the composer’s life and works, while the second, by a guest historian, examines the composer’s socio-historical milieu (except for volume 6, since the city of Vila Rica/Ouro Preto - MG has been already addressed in volume 2). The central part of the accompanying texts, entitled Work(s) Edited, discusses textual, historical, stylistic, and liturgical issues. The Editorial Considerations follow, explaining in detail the criteria used for editing the musical texts. A section called Lyrics and Translations (except for volume 6, whose lyrics are in Portuguese, not Latin) illuminates the significance and the structure of the works from a literary and/or ceremonial point of view. The most technical item, entitled Sources, provides a thorough description of all musical manuscripts and prints examined for each and every work. A sample of the sources in facsimile fashion precedes the scores, while the Critical Apparatus, at the end of each volume, meticulously itemizes the source readings before editorial intervention. The volumes include a CD-ROM with the scores and the vocal/instrumental parts in digital form, as well as all of the accompanying texts. This material, presented in high resolution, can be visualized and printed as well. Both online and on CD-ROM, volume 6 features additionally the complete facsimiles of the Concertante Duets, as well as an alternate edition of these Duets omitting the slurs, which are particularly inconsistent in the source, so that each performer can experiment with his or her own ideas without editorial influence.
A basic guideline of the series is to edit and prepare scores that are essentially ready for performance, but also to provide a view of the source contents that is as precise as possible. All extant sources were collated so that the authoritative readings could be accurately identified. A slow and painstaking process of revision and standardization of the edited scores took place, undertaken by Marcelo Campos Hazan and Leonardo Martinelli, also benefiting from the extensive collaboration of all editors and even musicians and scholars outside the project, duly cited in the acknowledgements.
Each volume presents one or more works by a specific composer. Represented in volumes 4, 5, and 6 are three composers who were active in the first half of the 19th century. Little is known about Antônio dos Santos Cunha (volume 4). He ...
Papers by Paulo Castagna