10º

 

 

 

 

 

 

 

Programa Galeria Orquestrofone Informações Úteis

 

   Programme   

Saturday, 25 October, 9.30, p.m.

Church of Nossa Senhora da Conceição (Machico)

Daniela Moreira, organ


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



Tomás de Santa Maria (? - 1570)
Fantasía

 

Antonio de Cabezón (1510-1566)
Diferencias sobre el "Canto del Cavallero"

 

Antonio Valente (1520-1581?)
Lo Ballo dell' Intorcia

 

Antonio Carreira (1520/30?-1587/97?)
Quartus tonus, fantasia a quatro

 

Pedro de Araújo (1610?-1684?)
Consonâncias de 1º tom

 

Pablo Bruna (1611-1679)
Tiento de 2º tono por Ge sol re ut sobre la litanía de la Vírgen

 

Andrés de Sola (1634-1696)
Tiento de medio registro de mano derecha de 1º Tono

 

Bernardo Pasquini (1637-1710)
Partite sopra la aria della Folia da Spagna

 

Juan Cabanilles (1644-1712)
Corrente italiana

 

Carlos Seixas (1704-1742)
Sonata in F major

 

Baldassare Galuppi (1706-1785)
Allegro

 

Nicola Zingarelli (1752-1837)
Pastorale

 

Anselmo Viola (1738-1798)
Sonata

 

 

The Fantasía which opens the programme is the first of the fantasias included in the treatise Arte de Tañer Fantasía by Tomás de Santa Maria. It is a polyphonic work, and polythematic, written chiefly in long note values, which allows plenty of opportunity for improvisation. Diferencias sobre el Canto del Cavallero is one of the most famous compositions by Antonio de Cabezón, on a theme, probably Castilian, which appears in the different voices during the course of the variations. Antonio Valente, a Neapolitan composer whose writing shows the clear influence of the contemporary Spanish school, makes use in his Lo Ballo dell' Intorcia of the theme of the Danza de las Hachas, then very well known in Spain.

 

Antonio Carreira, the most important figure in 16th century Portuguese organ music, is represented by a work of great thematic density and complex harmony, Quartus Tonus, Fantasia a Quatro. Consonâncias de 1º tom, written by the outstanding Portuguese composer Pedro de Araújo, comes from manuscript 964 of the Braga Public Library and District Archive. Its style is influenced by Italian keyboard music. Tiento de 2º tono por Ge sol re ut sobre la litanía de la Vírgen, by Pablo Bruna, is a work written for a split keyboard, a common characteristic of the organs of the time, dividing the keyboard in two timbrally. Representative of the development of Spanish organ music, it comes from manuscript 729 from the Biblioteca de Catalunya in Barcelona. By the Spanish composer Andrés de Sola we hear the Tiento de medio registro de mano derecha de 1er tono, clearly divided in two distinct parts. The Partite sopra la aria della folia da Spagna by Bernardo Pasquini are also preserved in manuscript 964 from the Braga library; the work uses as a them a Luso-Spanish melody, developed in a series of variations. The Spanish composer Juan Cabalilles (1644-1712), represents the culmination of the evolution of the Spanish organ. In Corrente italiana the composer is principally concerned with exploring rhythmic effects.

 

Carlos Seixas is one of the greatest figures of the Portuguese baroque and in the entire history of Portuguese music. The Sonata heard in this programme is in three movements, Allegro, Adagio and Minuet, and is another example of Italian influence on Portuguese music of the time. Baldassare Galuppi, an Italian composer of some renown at the time, especially for his operas, was forgotten after his death, and only at the end of the 20th century did his works once more come to be performed in public. The style of the Allegro, divided into two parts, is very clear, and largely for two voices. The Pastorale, a light work of dance-like character, is by another Italian composer, Nicola Zingarelli, also renowned at the time largely for his operas. Anselmo Viola, a Catalan composer, was chapelmaster of the convent of Montserrat. The Sonata in this programme alternates polyphonic sections with recitative style.

 

Daniela Moreira

  Participants  

Saturday, 25 October, 9.30, p.m.

Church of Nossa Senhora da Conceição (Machico)

Daniela Moreira, organ



Daniela Moreira

 

Was born in 1986 in Barreiro. She began her musical education in 2000 at the Regional Conservatory of Music in Tomar, and subsequently attended the Music Conservatory of Ourém, where she studied organ with Margarida Oliveira. In 2006 she went to the Higher School of Music in Lisbon, graduating in 2010, as a student of the organ class of João Vaz. In 2014 she finished her master’s degree on “The Didactic Function of the Organ from the 16th Century until the Present”, also under the supervision of João Vaz. She has attended a number of masterclasses with various teachers both for organ and music for children, such as the 5th Organ Days in Santiago de Compostela, Music and Dance in Education, in Madrid, the International Early Music Course of Daroca, the Organ Academy in Alkmaar, Holland, and the "ECHO Days" in Brussels. She has also taken part, since 2011, in the Six Organs Concert Cycle in Mafra. She has been, since 2008, professor of organ at the Conservatory of Ourém and Fátima.

 

 Notes about organ

Saturday, 25 October, 9.30, p.m.

Church of Nossa Senhora da Conceição (Machico)

Daniela Moreira, organ


 

 

 

 


 

 

 

 

 

 

Church of Nossa Senhora da Conceição, Machico

 

In the historical documentation from before the 20th century there are references to two instruments: according to historical tradition, one was given to the Church of Nossa Senhora da Conceição in 1499 by King Manuel, and another acquired in 1746. As regards the Manueline organ, we may deduce that it was placed within the archway above the choirstalls on the Gospel side of the sanctuary. In the 18th century, the state of this instrument must have left much to be desired, leading to the acquisition of the second instrument in 1746. The organ arrived in Madeira in 1752, with the Council of the Treasury initially contributing the cost of purchase and later the installation costs.

 

The recent restoration undertaken by Dinarte Machado was done with the principal objective of returning as far as possible it to its original constitution, in accordance with indications to be gleened from the pieces of the instrument during its dismantling. Thus, the restoration always proceeded from a philosophy of taking into account the specificities of the original pieces, from the configuration of the case and its polychrome decoration, to the way the registration, pipiework, bellows-work and even its placement - in the sanctuary - were returned to how they were originally. As regards the composition of the stops, the split keyboard, with the reed stop in the right hand, which the organ indicated was an original feature, which indeed characterised the instrument. The original keyboard, which was found piled in a heap, and which it was possible to repair and reassemble retains the short octave, as was usual at this period. The new pipework was completed with great rigour in accordance with the characteristics of the few original pipes that had survived, compared with the actual indications and dimensions of the windchest, which was also studied and recorded in great detail.
There can be no doubt that this is one of the loveliest organs on the island of Madeira. It is one of the instruments that conserves some of the most typical features of Portuguese organ building in the 17th century. It should be stressed that the restoration work carried out on this instrument required study of considerable documentation, as well as comparison with other instruments of the period. Since no other instruments of this kind are to be found in Portugal, recourse was had to instruments from other countries for the necessary data.

 

Manual (C, D, E, F, G, A-c’’’)
Flautado de 12 palmos (8’)
Flautado de 6 palmos (4’)
Flauta doce
Dozena (2 2/3’)
Voz humana (c#’-c’’’)
Quinzena (2’)
Composta de 19ª e 22ª
Sesquialtera II (c#’-c’’’)
Clarim* (c#’-c’’’)

* horizontal reeds