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THE DIAPASON an INTERNATIONAL MONTHLY DEVOTED to the ORGAN, the Harpsicfford and CHURCH MUSIC

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THE DIAPASON an INTERNATIONAL MONTHLY DEVOTED to the ORGAN, the Harpsicfford and CHURCH MUSIC THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICffORD AND CHURCH MUSIC Seventy-Fint Ycor.. No.6, Whole No. 847 A Scranton Gilletle ]'ublic:a lioll 15SN OO12·2!1i8 JUNE, 1980 The Organ in Brazil Part I: Organs to the mid-19th Century by James B. Welch Brazil in its (olonial period from There are also reports of an imtru­ 1500 to 1822 enjo)'cd a remarkably ment in a chapel in Campos, siale of high level of culture: churches and Rio de Janeiro, dating from 1730. COllrts were replete with musicians, This organ, most likely buih in Europe, performers, composcn, and a variety was complete with automatic, mechan­ of musical inslmments. The Jesuits ical figures that played flutes, fifeJ, brought with them from Europe tra­ clarinets, and violins.o ditional mwical stylcs, including Gre­ From the middle of the 17th cen­ gorian chant and renaissance and tury through the late J 9th century in baroque forms. Musicians in Brazilian Brazil, there was considerable activity churches, monasteries, and courts wcre in organ construction by Brazilian being trained in composition and per­ builders, located principally in the fonnance of European music long be­ north-eastern region of the country. fore the establishment of the Euro­ The leading figure in this movement pean court in Brazil in 1815.1 was Agostinho Rodrigues Leite (1722- ~{usicaIlYI Brazil remained a colony 1786), of whose numerous instrumenlS until the early 20th century, absorbing only one survives. His first organ was musical styles from many countries, built for the Monastery of Sao Bento sacred music dominating. Religious in Olinda, Pernambuco, around 1750. plays accompanied by native instru­ Subsequent organs were built for the ments had been used at festivals as Capela de Nossa Senhora da Boa early as 1553j the Jesuits often useu Viagem (ca. 1757); I~r.ja de Sao music of the nalive Inuians, replacing Pedro Ap6stol0 (1760); Igreja do original lrrics with Christian texts. Carmo de Recif. (ca. 1766); Bahia Throughout the 18th century, thc Monastery (between 1760 and 1770); Jesuits maintained a music conserva­ Ordem Terceira do Carmo dOl Bahia tory for the natives; directors included ( 1769); and the Monastery of Sao Padre Jose Mauricio and Sigismundu Bento do Rio de Janeiro (inaugurated Neukomm, a student of Haydn who 1773), the case and facade of which arrived in Brnzil in 1816. Italian, Span­ are still standing. Leite is also said 10 ish, and Portuguese musical companies have constructed instruments for the brought operas and other perfor­ following churches in Recife; Livra­ mances to the Br:lzilian courts. Vari­ mento, Ordem T erceira do Carma, ous musical societies were established Sao Pedro, Madre de Deus, Corpo during the reigns of Dom Joao VI Santo, Santo Antonio, and Capela do ( 1815-21 ), DolO Pedro I ( 1822-31 ), Senhor Born J csus das Portas.1 and Dom Pedro II (1 831-1889 )_ After Concerning the organ built by Leite the fonnation of the Republic in 1889, for the Monastery of Sao Bento in Rio foreign artists :md music became some- de Janeiro in 1773, there is conflicting , what less important because of Brazil's information: other sources claim that - .great nationalistic cmphasis.:! this organ was built in 1777 in Lisbon. Today, however, only traces or this The bottom octave of each r.mk of musical heritage remain. The great this one-manual instrument was madc majority or the historical organs have of wood, the remaining pipes of tin simply disappeared. The remaining and lead. The trumpets were in hori­ instruments are in poor condition; if zontal position. The clarinet was playable at all, they have often been \'oiced "like a vox humana." The en­ rebuilt by unskilled technicians who semble was reputcd to have been in many cases havc done thc instru­ nrod.nf.s, MInas G.... ls. In,r.l_ do Sf. An'.nlo, built by Jes' Antonio d .. Santos h .. "brilliant, strong, sonorous, and ma­ ments irreparable damage. hd, patJtl 61. jestic."S There is only limited interest in thc Rio de Janeiro: the high standards and traditions of The following 3-stop realtjo, prob­ Mosteiro (Monastery) de S50 Benlo organ and its music in Brazil today. organ music. Unfortunately there is ably from the t 7th century, was found do Rio de Janeiro The instruments from the Baroque little hope for great improvement in in thc ~10nastery of Sao Bento in Agmtinho Rodrigues Leite 1773 (1) period have often been considered un­ the ncar futurc, because the economy Bahia. The lower-pitched pipes of the worthy antiques until rebuilt with elec­ makes prohibitive such luxuries as pipe Bordao were stopped wood pipes; the Manual tro-pneumatic actions; most of the in­ organs. As an instrument deteriorates, treble pipes were lead. The action was Principal 8' strumcnts from the Romantic pcriod it is rarely repaired or replaced. mechanical, the bellows being opernted BonHio 8' are collecting dust in churches which .'Iaula 8' • • • b)' the organist himself." Gamba 8' have not had organists for decades. Only vague rderences exist concem­ Oitau 4' Present-day imrorted European instru­ ing organs in earl)' colonial Drazil, with Manual (53 notes) Dulcional4' ments reCiect only the tastes of their almost no details as to their origins or Bordiiu ~ , (probably 8' pilCh) FI3uta tranI'S'" 4' builders, and e\'en these instrumenl~ characteristics. Records report that as Flaula -I ' (actually a pnncipal) Quinta 2-2/ 5' are allowed to deteriorate. early as 1688 abbots of certain mon­ Mixlur 11J l-13utim 2 Angelo Cam in, organist of the asteries maintained organs and choirs." In the chapel at Embu, Sao Paulo, Tcr\<lI ~' Teatro l\'[unicipal in Sao Paulo, cites Many of the earliest instruments is a small organ with one manual and Mistura 111 were portalivcs called rea/ejos, used five stops, based on a Bordao 4' (prob­ Clarinele 4' (8' pitch wilJl ~. a \'icious cycle which affects the organ Trombela 4' length n.--sonatol'S?) world in Brazil. There are few good by the Benedictine monks to accom­ ably 8' pitch ). No details concerning instruments, making it difficult for pany their ChanlSj Ihey are belic\'ed its builder, origin, or date of con­ Pedal (25 notrs) students to leaTII or for the public to to have dcrh'cd their l1ame from the struction arc known. Camio places the naixo 16' acquire a taste for organ music; few fact that they were used in ro),al (real ) date of its construction in the second flauto major 8 artists arc willing to play on inade­ courts. It is assumed that the organs half of the 17th century. If correct, it mentioned in sources about early mon­ Manual/Prdal quate instrumentsj therc arc few quali­ may be the oldest surviving organ in I'cllaletes (\'elltils) for p. mf. and asteries in Bahia and Rio de Janeiro Brazil. Judging by the primitive crafts­ f fied teachers, composers, performers, were realejos. They were of baroque manship, it could possibly be of na­ organbuilden, and organ technicians, P(."<ialcle for lingudas (creds) design and could be dismantled for th'e Brazilian construction. It was re­ Bell all of whom arc necessary to maintain easc in transporting. cently rcstoredti (scc pictures, p. 6). (Corlll"ued, jxJge 6) THE DIAPASON Establi!lIed ~'" 1009 An Internalional Montilly Devoted to tile Organ, tlu: Harpsicllord arad Cllurcll Music Ol/idal Joun/al oJ tile American fu!ti/ute of Orga"builders Latc last year, legislation waS introduced in the US Congress to allow two European-built organs to be imported duty-free into this country. One was for 1980 EdUor & 'ublish.r ARTHUR LAWRENCE a university, the olher for a churchj thc bills were presented in the Senate JUNE. DAVID M<CAIN (H.R. 3317 ) and in Ihe HOllse 01 Reprcsenlalivcs (H.R. 3755 ). The European 8u.in&1I ManDS'.r builders in question arc both known for high-quality instruments, and there is FEATURES Anistonl Edilor WESLEY VOS The Or9C11l ill BrenD. part I - no question that the institutions will have received fine organs. Certainly no b, 'am•• B. Welcb 1. S·' Contributing EditolS LARRY PALMER onc can question their right to purchase an organ from any source they deem Hew Orqan tor We.twood HorpsichorJ fit , nor should legislation hinder snch a purchase. In many wars, one cannot hI' Rlck WUd 1·1 ar.,an Historical Sod• ., Recoqnla.. JAMES McCRAY even blame the lWO, whose names do not matter, for wanting to secure their Exceptional lrutnaments Choral MusIc respective organs at the best possible price, namely, by eliminating the nonnal b, Wllliam. Van ,.It 12-13 dUly (eslimaled al $7,000-$9,000 lor Ihe one, and $6,400 lor Ihe other). HUDSON LADD Carillon In various presentations at the hearings, the Department of Commerce REVIEWS M\lSle lor VoleH aDd Organ BRUCE GUSiAFSON opposed one bill, while the Department of State deferred any view, and the by Jam.. McCray 4 Office of 1vlanagement and Budget had no objection. In general, only testi­ Mu.lcology mony favorable to granting the exemptions was presented; the legislators seem N.w R.cordlDq. .. fot.ign Cort ••pond.n'. DALE CARR to have been persuaded that such exemptions would be fair, since they were Gtoning.n told that few, if any, American builden werc capable of doing the kind of work desired in these instances - subslantial mechanical-aclion organs. When EDITORIAL 2 LAURENCE JENKINS the word of the proceedings got out early this year, a large number of American london organbuilders and related persons protested to various Senators and Representa­ LETTER TO THE EDITOR 4 SUSAN FERRE tives.
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