With the publication of volumes 4, 5 and 6, the series Music-Archival Patrimony of Minas Gerais (PAMM) takes forward the project launched at the end of 2006 by the Secretaria de Estado de Cultura de Minas Gerais. This project is devoted to the publication of music by composers from the state of Minas Gerais or closely related to Minas Gerais. That is, composers who have been deceased for over seventy years and whose music can be thus considered musical patrimony of Minas Gerais, having entered public domain in accordance with current Brazilian copyright laws (Law 9.610, of February 19, 1998, revoking Law 5.988, of December 14, 1973). The focus of this series, therefore, consists of works from the 18th, 19th, and early 20th centuries, by composers who lived all or part of their lives in Minas Gerais or whose works are extant in manuscripts or prints held in depositories in this state. The series prioritizes compositions that either have not been published or have been published in small quantities, or produced with criteria that no longer meet current demands. This is the case of the 77 works that make up the Coleção Música Sacra Mineira (Instituto Nacional de Música, Funarte, end of the 1970’s), except for twelve of these scores that were revised and re-released by Funarte in 2000 and again in 2002.
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 ...
