10º

 

 

 

 

 

 

 

Programa Galeria Orquestrofone Informações Úteis

 

   Programme   

Tuesday 21 October, 11.00, a.m.

Church and Convent of Santa Clara
Tuesday 21 October, 12.00, a.m.

Church of St John the Evangelist (Colégio)

Guided tour to the organs by João Vaz & Dinarte Machado.



A guided tour to the historic organs: the earliest and the most recent

 

The Diocese of Funchal has had organs present in its liturgical services since the 15th century. Many are the instruments that have, since then, enriched the churches of the capital of Madeira, and many are those that, with the passage of time, have been lost. In spite of this, the city still possesses today a number of instruments that provide a panorama of its organs over the last three centuries. This tour will present the oldest instrument extant in Funchal - the organ of the Convent of Santa Clara, with Italian-Lusitanian characteristics of the first half of the 18th century – and the most recent - the great organ of the Church of St John the Evangelist (Colégio), built by Dinarte Machado and inaugurated in 2007. Some of the characteristics of the way the two instruments function will be explained, and works specially adapted for them will be played.

 

João Vaz

  Participants  

Tuesday 21 October, 11.00, a.m.

Church and Convent of Santa Clara
Tuesday 21 October, 12.00, a.m.

Church of St John the Evangelist (Colégio)

Guided tour to the organs by João Vaz & Dinarte Machado.


 

 

 

João Vaz

 

Born in Lisbon, João Vaz holds a doctorate in music and musicology from the University of Évora, where his thesis was entitled The organ works of Brother José Marques e Silva (1782-1837) and the end of the organ tradition in Portugal during the Ancien Regime, written under the supervision of Rui Vieira Nery. He holds a diploma in organ from the Higher School of Music of Lisbon, where he studied under Antoine Sibertin-Blanc, and from the Higher Conservatory of Music of Aragon in Zaragoza, where he studied with José Luis González Uriol, on a grant from the Gulbenkian Foundation, and also has a licentiate in architecture from the Technical University of Lisbon. He has been extremely active internationally, both as performer and teacher on organ courses. He has made over ten solo recordings, especially on historical Portuguese instruments. As performer and musicologist he has concentrated particularly on Portuguese sacred music, founding in 2006 the ensemble Capella Patriarchal, which he directs. His publications include articles that concentrate above all on Portuguese keyboard music, he currently teaches organ at the Higher School of Music in Lisbon, having also taught at the Gregorian Institute of Lisbon, the University of Évora and the School of Arts of the Portuguese Catholic University. Founder of the International Organ Festival of Lisbon in 1998, he is currently artistic director of the concert series that take place using the six organs of the Basilica of the Palace of Mafra (to whose restoration he was permanent consultant) and of the historical organ of the Church of São Vicente de Fora, in Lisbon (of which he became titular organist in 1997).

 

 

 

 

 

Dinarte Machado

 

Music has been part of Dinarte Machado’s life from an early age, and his first experience of pipe organs was at the age of twenty, on account of the urgent necessity of restoring the organ of the Church of St George, in the Northeast, on the island of S. Miguel, where he grew up. In 1987 he set up a workshop in Ponta Delgada, concentrating exclusively on organ building, undertaking his first restoration, that of the Church of Ribeira Grande, on S. Miguel. There followed other restorations in the Azores, Madeira, mainland Portugal and Spain, and to date he has carried out seventy-seven restorations of historical organs, the great majority of them Portuguese, from the second half of the 18th century, in which field he is a specialist. In the field of organ building, he has constructed some small instruments for study and has built nine larger organs, such as that made for the Church of the Colégio in Funchal. He published inventories of the organs of the Azores and Madeira. In 1993, he worked in Spain with the master organ builder Gerhard Grenzing, on the restoration of the historic organ of the Royal Palace in Madrid. At the International Congress in Mafra in 1994, he demonstrated the existence of differences between Spanish and Portuguese organs from the second half of the 18th century onwards. He was responsible for the restoration of the six organs of the Basilica of Mafra, built during the reign of King John VI, a set unique in the world, and which represents the apogee of Portuguese organ building. The work was begun on 15 May 2010, and given a Europa Nostra Prize on 1 June 2012. In July 2010 he was awarded the Order of Merit by the President of the Portuguese Republic. This year he has finished the restoration of the largest organ built in Portugal, the historic organ of the Monastery of Lorvão.

 

 Notes about organ

Tuesday 21 October, 11.00, a.m.

Church and Convent of Santa Clara
Tuesday 21 October, 12.00, a.m.

Church of St John the Evangelist (Colégio)

Guided tour to the organs by João Vaz & Dinarte Machado.


 

 

 

 


 

 

 

 

 

 

 

 

 

 

 

 

Church and Convent of Santa Clara, Funchal

 

The church of Santa Clara had acquired a small positive organ with Italo-Iberian characteristics in the 18th century. With the extinction of the religious orders and the subsequent sale of the congregation’s goods, the organ was also put up for sale, being purchased by a certain Romano de Santa Clara, who kept it in a wing of the dissolved convent. In 1921 he gave it to the fraternity of Santa Clara, so that it could once more be put to service in the worship of the church. In October 1923 the task of ‘repairing’ it was put in the hands of the musicians César R. Nascimento and Guilherme H. Lino, who completed the work in November of the following year.

 

Unused and badly damaged for many years, this instrument of considerable historical value underwent a major restoration by Dinarte Machado on the basis of proper criteria drawn from a knowledge of the organ-building practices of the instrument’s period. This was completed in 2001. The poor state of the instrument, completely disfigured, required a rigorous, in-depth study on which to base this restoration. Thus we see how from the outset Dinarte Machado went to considerable pains in the course of this restoration.

 

Manual (C, D, E, F, G, A, Bb-c’’’)
Principale (c#’-c’’’)
Ottava (4’)
Quintadecima
Decimanona
Vigesimaseconda e Trigesimasesta
Flauto 8’
Flauto 4’
Cornetto (c#’-c’’’)

 

 

Church of São João Evangelista (Colégio), Funchal


This instrument, with 1586 sounding pipes, is situated in a religious space with certain particularities. As a church typical of those belonging to Jesuit colleges, with a broad nave and quite a gentle acoustic, the organ had to be specially conceived, especially with regard to the measurements of the pipes. Thus all the pipework of the instrument has been specifically tailored to produce a full sound, and each stop produces a timbre with an individual personality, forming part of a harmonic ensemble based more on the sound of fundamentals and less on harmonics. It was also felt to be essential to give the instrument a certain ‘latin’ sonority that would favour performance of ancient music of the Italian, Spanish and Portuguese schools of the 17th and 18th centuries.

 

Another aspect to be taken into consideration was the need to complement the current range of organs available locally: the new organ responds in an ideal fashion to the performance of works of periods and of technical and artistic requirements that none of the 24 historic instruments of Madeira cater adequately for. It also enhances the range of organs that constitute the island’s heritage by being present in this particular religious space, as well as by existing side by side with other historical instruments. In the decision to build it for this church, not only were the issues of acoustic, aesthetic and liturgical space taken into account, but also the presence there of an important historic instrument which is currently on the list of instruments undergoing restoration.

 

I Manual - Órgão Principal (C-g’’’)
Flautado aberto de 12 palmos (8’)
Flautado tapado de 12 palmos (8’)
Oitava real (4’)                   
Tapado de 6 palmos (4’)                 
Quinzena (2’)
Dezanovena e 22ª                              
Mistura III                                                
Corneta IV                                               
Trompa de batalha* (bass)          
Clarim* (treble)
Fagote* (bass)
Clarineta* (treble)

 

II Manual - Órgão Positivo (C-g’’’)
Flautado aberto de 12 palmos (8’)
Tapado de 12 palmos (8’)
Flautado aberto de 6 palmos (4’)
Dozena (2 2/3’)
Quinzena (2’)
Dezassetena (1 3/5’)
Dezanovena (1 1/3)
Címbala III
Trompa real (8’)

 

Pedal (C-f’)                                                                                
Tapado de 24 palmos (16’)           
Bordão de 12 palmos (8’)                                 
Flautado de 6 palmos (4’)                                
Contrafagote de 24 palmos (16’)
Trompa de 12 palmos (8’)

 

Couplers
II/I
I/Pedal
II/Pedal

* horizontal reeds