Musical Score

Madeira Quadrille 1/2/3/4/5

 

Rui Magno Pinto

Duarte Joaquim dos Santos* was one of the most active and influential musicians in Funchal for the second quarter of the nineteenth century. Son of João dos Santos and Rita Oliveira, he came from Olivença and not from Elvas, as has been said before. On 20th of February 1823, he became an organist at the Sisterhood of St. Cecilia, presenting himself as Joaquim dos Santos. He was composer and player of piano, organ, and harp. He practiced music in Lisbon (where he lived at Rua do Tesouro Velho - actual Rua António Maria Cardoso - in the county of Mártires) presenting himself in concert in Porto on September 9th 1826, with his first known compositions: a concert for piano, a harp solo and variations for flute and piano (interpreted by João Parado). Some of his compositions were published in Lithografia Armazém de Música da Casa Real, 4 of which are deposited in the National Library of Portugal. Invited to teach in a feminine college in London, Santos arrived in the city, possibly toward the end of 1826, with a letter of recommendation by João Domingos Bomtempo. In London, he was also piano teacher to Queen Mary II, present twice in London, from October 7th 1828 to August 30th 1829 and in 1831.
In London, Santos acquired a remarkable reputation as a prolific composer, published by editors as Payne & Hopkins, R. Cocks & Co., Jeffreys & Co., etc. There are about 60 known works, listed in catalogs published by editors, remaining, to date, about 25 pieces. Among the works published there remains in the British Library works for piano solo and 4 hands – quadrilles, waltzes, rondos, divertissements and a capriccio on themes from operas of C. M. von Weber, transcriptions from operatic arias – and a sacred work for choir and organ – Alma [redemptoris mater]. Among the various existing works, it is notorious the republication of quadrilles composed and edited in Portugal by the "Lithografia" above mentioned. There are no known references on the publication of his Concert for piano and works for flute, piano and harp, as well as his musical productions made in Madeira intended for events and institutions.
The first news regarding the activity of this musician in Madeira dates from December 1st 1827. The article in the journal “O Defensor da Liberdade” praises the debut of a symphony and the interpretation of a Concert for piano in a benefit concert for Carlos Guigou, performed at the Teatro do Bom Gosto on November 28th 1827. It would be, however, a first short stay in the region, taking into account his permanence in London between 1828 and 1831. After his residence in London, he returned to Funchal in the first half of the decade of 1840; the available references date from 1844. Duarte Joaquim dos Santos and Guilherme Meyer orchestrated in October of 1844, the Introduction and Theme with variations for Flute and Large Orchestra. Meyer's association with the “Philharmonic Society", where he performed solo, with variations for flute, on December 9th 1841, March 3rd and April 18th of 1842, makes it possible to consider that the arrangement was aimed at this group, also being an important contribution into knowledge of Madeiran Orchestras. Alberto Artur Sarmento refers to the composition of a "Novena" [to St. Cecilia] composed for the festivities of the patron saint of musicians, celebrated on November 22nd of 1844. The edition of May 1st 1847 from the journal "O Defensor" refers to a composition, "by the very skilful Professor Duarte Joaquim dos Santos” for voices and orchestra, written by Monteiro [Teixeira], for the ending of a Prologue to drama “Trinta Anos ou A Vida d'um Jogador" performed at Teatro Concórdia. On December 30th 1850, the polka "Aglaia”, was premiered, composed for a charity ball of the homonymous society. The reference to Madeira (Madeira Quadrilles - dated, with some reservations by the British Library in 1847) and the dedication to the people of Madeira's society (Miss Terro Garcez, Miss and Mrs. Ellicott, Mrs. Rego Sant'Ana) in some printed works in London allow us to consider the possible publication in this city, of his compositions after he was living in Madeira.
The analysis of operatic themes for piano, states, by the degree of difficulty in them, the excellent level of interpretation and composition of Santos; those works are part of the virtuosistic repertoire developed in Europe in the first half of nineteenth-century. By the other hand, other works, mainly those for piano for 4 hands are related to the instruction of piano and to the domestic practice; note that several of this pieces are dedicated to wemen and children.
Santos presented himself frequently as accompanying pianist in musical events in Madeira. He was accompanist of César Augusto Casella (when the cellist came to the region in December 1850 and January 1851) and Julia de França Neto (in benefit concerts in 1854 and 1855), among other collaborations not referred. His production of "trivial" music - especially the dances - refers heavily to his participation in the dances performed in the Region, as composer and performer. Santos could have integrated the orchestras of Madeira, as a performer, conductor, or primarily as an interpreter-conductor, as was common practice in such repertoires. Duarte Joaquim dos Santos died suddenly in Funchal on May 24th 1855, at the age of 54, after a prolific contribution to musical life in Madeira.