The Classical Era
Perhaps the most important changes of the musical life of Brazil was the arrival of the Portuguese household in Rio de Janeiro, during 1808. Up until this point, Rio de Janeiro had remained similar in terms of music to other cultural centers of Brazil, but with the arrival of the Portuguese household, this all changed.
Departing for Brazil, the king John VI of Portugal, brought along the great musical library from the House of Braganca, which was one of the best of Europe at the time. He ordered the appearence of the musicians from Lisbon, and the castrati of Italy, while re-ordering the Royal Chapel. As time progressed, the king demanded the construction of a sumptuous theater, to be called The Royal Theater of Sao Joao (which, despite being unfinished, was opened to the public in 1813). The secular music included the presence of Marcos Portugal, who was recognized as the official composer of the household, as well of Sigismund von Neukomm, who participated with work of his own, and with works of Austrian composers, such as Joseph Haydn and Wolfgang Amadeus Mozart. With the works of these composers, the music of this time had a strong influence.
Jose Mauricio Nunes Garcia, was the first of the great Brazilian composers of this time. He came with a large culture for his origin, he was among one of the founders of the Irmandade de Santa Cecilia, in Rio de Janeiro, teacher and kapellmeister of the Royal Chapel during the arrival of John VI of Portugal in Brazil. Jose Mauricio Nunes Garcia composed the most pieces during this period. In addition, he also composed the very first opera to be written in Brazil, Le Due Gemelle, which translated means "The Two Twins". The text was in Latin, while the music is unfortunately lost.
Another significant composer of this time include Gabriel Fernandes da Trindade. He was the only one to compose Brazilian chamber music during the 19th century that is still played today.
However, this period was rather short. During 1821, John VI of Portugal, left for Libson, along with the household he had originally brought in 1808. This left Rio de Janeiro feeling rather empty, or dull. Despite the love that Peter I of Brazil developed for the music, the unfortunate financial situation did not allow many luxuries to be given. The conflagration of the Royal Theater in 1824 had been yet another symbol of decadence, which is when Peter had stepped down from the throne and left to go back to Portugal.
Departing for Brazil, the king John VI of Portugal, brought along the great musical library from the House of Braganca, which was one of the best of Europe at the time. He ordered the appearence of the musicians from Lisbon, and the castrati of Italy, while re-ordering the Royal Chapel. As time progressed, the king demanded the construction of a sumptuous theater, to be called The Royal Theater of Sao Joao (which, despite being unfinished, was opened to the public in 1813). The secular music included the presence of Marcos Portugal, who was recognized as the official composer of the household, as well of Sigismund von Neukomm, who participated with work of his own, and with works of Austrian composers, such as Joseph Haydn and Wolfgang Amadeus Mozart. With the works of these composers, the music of this time had a strong influence.
Jose Mauricio Nunes Garcia, was the first of the great Brazilian composers of this time. He came with a large culture for his origin, he was among one of the founders of the Irmandade de Santa Cecilia, in Rio de Janeiro, teacher and kapellmeister of the Royal Chapel during the arrival of John VI of Portugal in Brazil. Jose Mauricio Nunes Garcia composed the most pieces during this period. In addition, he also composed the very first opera to be written in Brazil, Le Due Gemelle, which translated means "The Two Twins". The text was in Latin, while the music is unfortunately lost.
Another significant composer of this time include Gabriel Fernandes da Trindade. He was the only one to compose Brazilian chamber music during the 19th century that is still played today.
However, this period was rather short. During 1821, John VI of Portugal, left for Libson, along with the household he had originally brought in 1808. This left Rio de Janeiro feeling rather empty, or dull. Despite the love that Peter I of Brazil developed for the music, the unfortunate financial situation did not allow many luxuries to be given. The conflagration of the Royal Theater in 1824 had been yet another symbol of decadence, which is when Peter had stepped down from the throne and left to go back to Portugal.
The Romantic Era
Francisco Manuel da Silva was the only composer during this period whose work was relevant. He was a student of Jose Mauricio Nunes Garcia, and eventually took over his role of the kapellmeister. He founded the Musical Conservatory of Rio de Janeiro, and he was the author of the Brazilians National Anthem's melody. Silva's work reflected upon the musical transition for the Romanticism, while the interest of the national composers were all directed towards the opera.
One of the most outstanding Brazilian composers of this time was Antonio Carlos Gomes, who composed more Italian-like operas while including national themes. These were very successful in European theaters, such as the Teatro all Scala, in Milan.
One of the most outstanding Brazilian composers of this time was Antonio Carlos Gomes, who composed more Italian-like operas while including national themes. These were very successful in European theaters, such as the Teatro all Scala, in Milan.