Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2023 | 01 | The Father Of Brazilian Classical Music | 20231002 | 20250210 (R3) |  Kate Molleson delves into Jos退 Garcia's early beginnings as the grandson of slaves. Composer of the Week shines the spotlight on the Afro-Brazilian composer Jos退 Maur퀀cio 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. In this first programme, Kate Molleson explores the city where Jos退 Garcia was born in 1767. Rio de Janeiro had been appointed the capital of Brazil a few years earlier, and with the development of the country's economy through gold mining, and later agriculture, there was a huge reliance upon the slave trade. Both Garcia's grandmothers were slaves and from very early on he used his skills in music to help support his family. The options for Garcia's future were few, and he saw the Priesthood as a means to a better life. Sacred music would be the main area in which Garcia would compose throughout his life, and he eventually became a Priest in the early 1790s. Missa pastoril para a noite de natal (Kyrie eleison) Ex Cathedra Jeffrey Skidmore, director Tenuisti manum dexteram meam Apollini et Musis J怀rg Strodthoff, organ Vinzenz Weissenburger, conductor Missa pastoril para a noite de natal (excerpt) Katie Trethewey, soprano Elizabeth Drury, soprano Martha McLorinan, alto Greg Skidmore, bass Adrian Horsewood, bass Nick Ashby, bass Fantasy No 1 Mကrio Trilha, fortepiano Fantasy No 2 Li瀀 o No 7 da Segunda Parte Tota Pulchra es Maria Vox Brasiliensis Chorus Vox Brasiliensis Orchestra Ricardo Kanji, conductor Zemira, Overture Kate Molleson explores Rio de Janeiro at the time of Jose Garcia's birth Produced by Luke Whitlock An informative guide to composers' lives and their music. |
| 2023 | 02 | Preacher And Teacher | 20231003 | 20250211 (R3) | Kate Molleson explores Garcia's trajectory to the ultimate role as master of music at the cathedral in Rio de Janeiro. Composer of the Week shines the spotlight on the Afro-Brazilian composer Jos退 Maur퀀cio 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. Jos退 Garcia had to undertake a number of tests in order to enter the priesthood. His standing in Rio de Janeiro was such that he received excellent references from some of the most elite families. A few years later, around 1794, he established a free music school in the city. Soon, all the future musical talent of Rio de Janeiro would be trained in music by Garcia, for free. Garcia did recoup some form of reward in other ways. When the city or the cathedral wished to commission a new work for an event, Garcia was able to undercut his rival composers bidding for the same work, by employing his own students as musicians and pocketing their fees for himself. By the late 1790s the master of music at the cathedral was ill, and Garcia succeeded him in 1798. Garcia now held the top music job in the city. Immutemur Habitu Ensemble Turicum Luiz Alves da Silva, director Sinfonia fúnebre BBC Scottish Symphony Orchestra Emilie Godden, conductor Tenuisti Manum Crux Fidelis Popule Meus Francisco Manuel da Silva Brazilian National Anthem Slovak Radio Symphony Orchestra Peter Breiner, conductor Fantasy No 6 Mကrio 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 Dies Sanctificatus Kate Molleson delves into Garcia's early career as a teacher and priest. Produced by Luke Whitlock An informative guide to composers' lives and their music. |
| 2023 | 03 | Arrival Of The Portuguese Court | 20231004 | 20250212 (R3) | Kate Molleson delves into Garcia's personal life when he broke his priestly vows of celibacy. Composer of the Week shines the spotlight on the Afro-Brazilian composer Jos退 Maur퀀cio 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. Today, Kate Molleson explores a pivotal moment: the Portuguese Court arrives in Rio de Janeiro under British naval escort, fleeing Napoleon. The city would now change dramatically, as thousands began to arrive from Europe. The prince regent quickly established a police system, which would take an active role in redefining the city, requisitioning houses for arriving courtiers, expanding and developing the city, and also carrying out a policy of Europeanisation too. Many musicians from Europe started to arrive, and this had an influence upon the music of Jos退 Garcia, who had now been appointed master of the music to the royal chapel. This elevation in Garcia's career came at a time of changes in his personal life too. Garcia had begun a relationship with Severiana Rosa de Castro, with whom he'd have six children. A serious risk for Garcia, considering his vows of celibacy as a priest. Justus cum ceciderit Ensemble Turicum Luiz Alves da Silva, director Judas Mercator pessimus Apollini et Musis J怀rg Strodthoff, organ Vinzenz Weissenburger, conductor Missa pastoril para a noite de natal (excerpt) Katie Trethewey, soprano Elizabeth Drury, soprano Martha McLorinan, alto Greg Skidmore, bass Adrian Horsewood, bass Nick Ashby, bass Ex Cathedra Jeffrey Skidmore, director Overture in D major Vox Brasiliensis Orchestra Ricardo Kanji, conductor Marcos Ant nio Portugal Cuidados, tristes cuidados Sandra Medeiros, soprano David Gordon, harpsichord Beijo a m o que me condena Tiago Pinheiro de Oliveira, tenor Rosana Lanzelotte, fortepiano Laudate pueri Kate Molleson explores the impact of the Portuguese Court's arrival in Brazil. Produced by Luke Whitlock An informative guide to composers' lives and their music. |
| 2023 | 04 | Rivalry At Court | 20231005 | 20250213 (R3) | Kate Molleson sees Jos退 Garcia forced to make way for a new composer, Marcos Portugal. Composer of the Week shines the spotlight on the Afro-Brazilian composer Jos退 Maur퀀cio 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. In today's programme, the Portuguese Court is now firmly established in Rio de Janeiro. They begin a series of changes within the city in order to make it more European. The prince regent was keen that a new royal theatre should be built, and he also sent for certain musicians to come to Brazil, including the composer Marcos Portugal. This newcomer began to take over Garcia's duties at the court. This was a difficult period for Garcia, and he had to take out a loan to ensure he could continue to support his growing family, including his mother, his partner, and six children. In Monte Oliveti Apollini et Musis J怀rg Strodthoff, organ Vinzenz Weissenburger, conductor Josef Haydn Piano Sonata No. 62 in E flat, Hob. WVI: 52 (Finale) Jean-Efflam Bavouzet, piano Li瀀 o No 8 da Primeira Parte Mကrio Trilha, fortepiano Li瀀 o No 4 da Segunda Parte Li瀀 o No 8 da Segunda Parte Laudate dominum Ensemble Turicum Luiz Alves da Silva, director 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 Creed No 9 in B flat (excerpt) Darlene Cluff, soprano Keely J. Rhodes, mezzo-soprano Jeffrey Jones-Ragona, tenor Peter Hamilton, bass University of Texas Chamber Singers University of Texas Chamber Orchestra James Morrow, conductor Kate Molleson delves into a period of intrigues and rivalries for Garcia. Produced by Luke Whitlock An informative guide to composers' lives and their music. |
| 2023 | 05 LAST | Decline Into Poverty | 20231006 | 20250214 (R3) | Kate Molleson sees Garcia struggle after the Portuguese Court abandons Brazil. Composer of the Week shines the spotlight on the Afro-Brazilian composer Jos退 Maur퀀cio 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 Jos退 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 Tr䀀nen Stella Doufexis, soprano Graham Johnson, piano Missa de Nossa Senhora da Conci瀀 o (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 Li瀀 o No 3 da Segunda Parte Mကrio Trilha, fortepiano Li瀀 o No 6 da Segunda Parte 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 J怀rg Strodthoff, organ Vinzenz Weissenburger, conductor Sepulto Domino Ensemble Turicum Luiz Alves da Silva, director Inter Vestibulum Kate Molleson explores Garcia's final years in poverty.
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 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 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 Produced by Luke Whitlock Kate Molleson explores Garcia's final years in poverty. An informative guide to composers' lives and their music. |