Watermarks in musical manuscripts Marcos Portugal 1762 1830

Watermarks in musical manuscripts: Marcos Portugal (1762 -1830) in the Bernstein Project (MARCOSMUS) 3 rd International Conference of Watermarks in Digital Collections Paços de Brandão/Santa Maria da Feira, Portugal, 26 -27 May 2016 António Jorge Marques (CESEM/UNL/FCT)

BIOGRAPHICAL OUTLINE (1) • • • Born in Lisbon (24. 03. 1762) Seminário da Patriarcal [Patriarchal Seminary] (06. 08. 1771) First work: Miserere (1776) Organist at the Sancta Igreja Patriarcal [Holy Patriarchal Church] (08. 1782) 1782: year of the first Royal commission Maestro at the Teatro do Salitre [Salitre Theatre] (1784 ? ) Departure for Italy (09. 1792) Premieres 22 operas in only 6, 5 years Returns to Lisbon in mid 1800 Nominated Music Master at the Patriarchal Seminary and Maestro of the São Carlos Royal Theatre • Ten of the thirteen operas for the São Carlos were written for Madame Angelica Catalani (1780 -1849) • Continues to produce sacred works for the various royal chapels, specially for those occasions of greater sociopolitical significance • Portuguese Court leaves for Brazil (29. 11. 1807)

João VI (1767 -1826) Prince Regent (1792 -1816)

BIOGRAPHICAL OUTLINE (2) • • • • Summoned to go to Rio de Janeiro by the Prince Regent (1810) Arrives in Rio de Janeiro (11. 06. 1811) Nominated Music Master of SS. AA. RR. (Their Royal Highnesses) Director of Court Music Composes sacred music: the Monarch’s public appearances take place mainly in the Royal Chapel Death of the Queen Maria I (20. 03. 1816) Marriage of Prince Pedro with Archduchess Leopoldina (07. 11. 1817) Acclamation of João VI (06. 02. 1818) He is graced (by decree) with the Knighthood of the Order of Christ (12. 10. 1820) Independence of Brazil (07. 09. 1822) In essence, Marcos Portugal retains the same functions and privileges He is confirmed as Music Master of the Imperial Family, including the two princesses, daughters of Pedro I (01. 1825) Dies of a third apoplectic stroke (17. 02. 1830)

Pedro I (IV), Brazil (Portugal) (1798 -1834)

The sacred oeuvre of Marcos António Portugal (1762 -1830): thematic catalogue, source and text criticism, chronology proposal Lisboa, BNP/CESEM, 2012 Bahia, EDUFBA, 2012 +++++++++++++++++++++++ 1. Enormous and widely disseminated sacred music output; 2. Very few (dated) autographs extant - 27; 3. Copies usually not dated.

THEMATIC CATALOGUE - SACRED MUSIC Entries Versions AUT Versions Specimens 01. Masses. 23 30 67 255 02. Vespers/Psalms/Magnificats. 35 37 65 164 03. Matins/Responsories. 18 23 48 128 04. Hymns - O salutaris Hostia/Te Deum/Tantum ergo. 11 16 41 143 05. Varia. 19 26 37 55 RE. Doubtful, spurious & contrafacta. 32 35 43 -------------------------------------Totals: 138 132 292 788

ARCHIVES, LIBRARIES AND COLLECTIONS VISITED 1. Portugal 2. Brazil 3. Italy 4. Spain 5. France 6. United Kingdom 7. Belgium 8. Slovakia 9. Hungary 10. Czech Republic 11. Uruguay 12. United States of America 13. China (Macao) 14. Switzerland 15. Austria TOTALS 74 20 6 3 3 2 1 [NOT VISITED] [39] [8] [73] [15] [6] [1] [1] [2] [3] 1 1 111 [2] [152]

03. 07 MATINS OF EPIPHANY C Major Epiphany (In Epiphania Domini); 1º Nocturn (resp. 1, 2 & 3), 2º Nocturn (resp. 4, 5 & 6), 3º Nocturn (resp. 7 & 8). ■ VERSION 1. AUT — [Real Basílica de Mafra] ; [Por ordem de S. A. R. o Príncipe R. N. S. ]; [Jogos de Matinas (. . . ) de Reis a 5 orgãos obrigados]; [6 January 1807] ; T, B, B, B, TBBB conc. , 5 org ; RA 129.

SOURCE CRITICISM • Marcos Portugal: literary and musical calligraphic analysis; • Calligraphic identification of copyists; • Variants of the composer’s name; • Watermarks and paper types.

WATERMARKS Alan Tyson, «The Problem of Beethoven’s ‘First’ Leonore Overture» Journal of the American Musicological Society, 28, 1975, pp. 292334. Alan Tyson, «Dokumentation der Autographen Überlieferung. Abteilung 2: Wasserzeichen-Katalog» , Wolfgang Amadeus Mozart, Neue Ausgabe sämtlicher Werke, Vol. X/33/2, Kassel, Bärenreiter, 1992. PAPER TYPES (RASTRA) Paul J. Everett, «The application and usefulness of ‘Rastrology’, with particular reference to early eighteenth-century Italian manuscripts» , Marco di Pasquale (ed. ), Musica e filologia, Edizione della Società Letteraria, 1983, pp. 135 -58.

The sacred oeuvre of Marcos António Portugal (17621830): thematic catalogue, source and text criticism, chronology proposal APPENDIX B WATERMARKS AND PAPER TYPES Categories: ARBALEST, BIRD, BRITANNIA, CASTLE/TOWER, CRESCENTS/HALF MOON, EAGLE, FLEUR DE LIS, HAND WITH SWORD , HORN, LETTERS, LION, MONOGRAMS, NAMES, SHELL, STAR(S), SUN, WHEEL 192 watermarks (Italy: 118, England: 16, Holland: 10, Portugal: 7) 504 paper types

Paper size Watermark (185) Rastra (Type 19) 456 x 314 or less, shield<horn>/GM: ALMASSO (var. 1) (2 x 12 / 188, 5 -189 / 8 -8, 5) Fixation method: Dilux Paper

175. shield<crowned bird and tower>/GiorºMagnani: Al Masso (var. 1) Italy; Giorgio Magnani; later than 1824; ≈Wolfe 38, ≈Santos p. 174 Fixation method: Dilux Paper Type 1: 462 x 314 or less, guards 01. 20 Missa Breve Sol M; Autographs; BR-Rn, MS. A-VIII. P-XV-m

060. crown/G F A: 3 crescents [number and description of WM]. Northern Italy; c. 1795; DJohnson 3; ≈Sherman 37, ≈Heawood 877 [provenance, dates in the corpus, bibliography] Fixation method: digital photography (A 4 Viewlite light source) Type 1: 231 x 330 or less, (10 / 188 -188, 5 / 9 -9, 5) 01. 06 Missa Mi b M; Apograph - parts; P-CE, 161 [exact location of specimen with WM 060] Type 2: 323 x 229 or less, (10 / 251 -252 / 11, 5 -12, 5) 04. 07 Te Deum Dó M; Apograph - parts; P-Lf FSPL, 175/31, D. 4

APPENDIX B WATERMARKS AND PAPER TYPES

DATABASE : WATERMARKS / PAPER TYPES (File Maker Pro)

049. FV: shield<half moon Northern Italy; Fedrigone de Verona [? ]; c. 1790 -5 Fixation method: digital photography (A 4 Viewlite light source) Type 1: 324 x 235 or less, (10 / 247, 5 / 10 -10, 5) 01. 17 Missa Si b M, V 1; Apographs - parts; P-Lf FSPL, 175/5 A, D. 3

157. LOUZAN [large letters] Portugal; last third of 19 th cent. Fixation method: digital photography (A 4 Viewlite light source) Type 1: 274 x 367 or less, covers 03. 05 Matinas da Conceição Dó M, V 1; Apographs - parts; P-CE, 157 (3)

190. shield<horn [without GM and Al Masso] Italy [? ]; c. 1813 Fixation method: digital photography (A 4 Viewlite light source) Type 1: 439 x 292 or less, (2 x [2 x 8] / 95, 5 -96 [2 x (197 -198, 5)] [415 -416, 5] / 6, 5) 02. 29 Miserere mei Deus, secundum Mi b M, V 2; Apographs; P-La, 44 -XV-31 03. 15 Matinas de Sexta feira Santa Si b M, V 2; Apographs; P-La, 44 -XV-28 a 30

014. shell: PORRATA c. 1810 -1829 Fixation method: digital photography (A 4 Viewlite light source) Type 1: 218 x 300 or less, (10 / 172, 5 / 7, 5) 04. 08 Te Deum Ré M, V 5; Apographs - parts; P-Ln FCR, 168//103 (3) Type 2: 296 x 217 or less, (10 / 239 -239, 5 / 9 -9, 5) 01. 09 Missa Mi b M, V 6 ; Apographs - parts; P-Ln, M. M. 241//2