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Vincent Novello e a Capela Portuguesa em Londres: transcrição e estudo crítico da "Selected Mass" (1811/1825)
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De ascendência paterna italiana, Vincent Novello (1781-1861) foi integrado desde
muito cedo na comunidade católica londrina, socialmente dinâmica em torno das capelas
das embaixadas da Sardenha, de Portugal, da Baviera e de Espanha. Depois de ter
recebido formação musical a partir da Capela da Sardenha, Novello sucedeu aos seus
professores nos cargos de organista titular e maestro da Capela da Embaixada Portuguesa
em Londres, entre c. 1797 e 1824. Uma das várias responsabilidades assumidas era a de
adequar repertório ao tipo de cerimónia num determinado tempo do calendário litúrgico.
Foi a partir deste contexto que a primeira edição de Novello foi publicada por subscrição:
A Collection of Sacred Music as performed at the Royal Portuguese Chapel in London,
composed, selected & arranged […] by Vincent Novello […], em 1811. Da variedade de
obras sacras agrupadas nesta colectânea destacamos a “Selected Mass”, pastiche
construído por Novello a partir de repertório de diferentes compositores — como Durante
(1684-1755), David Perez (1711-1778), W. A. Mozart (1756-1791), António José do Rego
(1765-1844), entre outros — e dele próprio. Dado o seu sucesso comercial, Novello
introduziu diversas alterações na 2.º edição de A Collection, em 1825, tanto em forma
quanto no conteúdo. Porém, na identificação de cada andamento do Ordinário, Novello
nunca esclarece a fonte original desse material, limitando-se a apresentar o nome do
compositor. Mesmo esta informação tem características que denunciam a adaptação do
texto musical original, como por exemplo pela indicação de “from” e “arr.d
from” (arranged from).
Esta dissertação tem o propósito fundamental de identificar a verdadeira origem
do repertório continental, através do estudo de manuscritos depositados na Biblioteca
Nacional de Portugal ou disponíveis em linha através do Répertoire International des
Sources Musicales. No caso dos andamentos identificados como sendo de Mozart, foi
executado um estudo comparativo entre inúmeros parâmetros musicais presentes na
edição de Novello com a obra modernamente editada pela Bärenreiter-Verlag. Foi criada
uma transcrição moderna da “Selected Mass” de 1825, com actualização de claves de Dó
para Sol, e feito o levantamento de um aparato crítico sobre omissões, lapsos e
incongruências entre a primeira e a segunda edição. É igualmente proposta uma
constituição do instrumento sediado na Capela Portuguesa, através do levantamento das
indicações de registos na partitura e do cruzamento com bibliografia dedicada ao Órgão
Inglês nos sécs. XVIII e XIX.
From an early age, Vincent Novello (1781-1861), of Italian descent, became integrated in London’s catholic community, which had a social dynamic based on the embassy chapels of Sardinia, Portugal, Bavaria and Spain. After receiving a musical education at the Sardinian chapel, Novello was appointed by his teachers to the post of organist and choirmaster to the Portuguese Embassy Chapel in c. 1797 and remained there until 1824. Among other duties, he had to choose the appropriate set of musical pieces according to the season of the liturgical calendar. It was this experience that led to the publication by subscription of his first musical edition: A Collection of Sacred Music performed at the Royal Portuguese Chapel in London, composed, selected & arranged […] by Vincent Novello […], in 1811. Within it is the “Selected Mass”, a pastiche assembled by Novello on the basis of a repertoire by different composers — such as Durante (1684-1755), David Perez (1711-1778), W. A. Mozart (1756-1791), António José do Rego (1765-1844), and others — and by himself. Given its commercial success, Novello revised the collection in detail and published a second edition in 1825. However, while identifying each movement of the Ordinary, Novello does not provide the user with details about the origin of the material included. The only information given is the name of the composer, and even this has some peculiarities that raise questions about the type of adaptation, through the indication “from” or “arr.d from” (arranged from) before the name. This dissertation has the main purpose of identifying the actual origin of the continental repertoire, by studying manuscripts archived in the Biblioteca Nacional de Portugal and the sources available online at the Répertoire International des Sources Musicales. All the movements that are identified as “from Mozart” were submitted to an analysis based on the evaluation of diverse musical characteristics and later compared to the Bärenreiter-Verlag’s critical edition of Mozart’s work. There is a modern transcription based on the 1825 edition of the “Selected Mass”, with C-clefs replaced by G-clefs and with a critical apparatus that highlights omissions, lapses and incongruities between the two editions. There is also a proposal as to the constitution of the Portuguese Chapel instrument, through the stop indications printed in the score, crossreferenced with bibliography dedicated to 18th- and 19th-century English Organs.
From an early age, Vincent Novello (1781-1861), of Italian descent, became integrated in London’s catholic community, which had a social dynamic based on the embassy chapels of Sardinia, Portugal, Bavaria and Spain. After receiving a musical education at the Sardinian chapel, Novello was appointed by his teachers to the post of organist and choirmaster to the Portuguese Embassy Chapel in c. 1797 and remained there until 1824. Among other duties, he had to choose the appropriate set of musical pieces according to the season of the liturgical calendar. It was this experience that led to the publication by subscription of his first musical edition: A Collection of Sacred Music performed at the Royal Portuguese Chapel in London, composed, selected & arranged […] by Vincent Novello […], in 1811. Within it is the “Selected Mass”, a pastiche assembled by Novello on the basis of a repertoire by different composers — such as Durante (1684-1755), David Perez (1711-1778), W. A. Mozart (1756-1791), António José do Rego (1765-1844), and others — and by himself. Given its commercial success, Novello revised the collection in detail and published a second edition in 1825. However, while identifying each movement of the Ordinary, Novello does not provide the user with details about the origin of the material included. The only information given is the name of the composer, and even this has some peculiarities that raise questions about the type of adaptation, through the indication “from” or “arr.d from” (arranged from) before the name. This dissertation has the main purpose of identifying the actual origin of the continental repertoire, by studying manuscripts archived in the Biblioteca Nacional de Portugal and the sources available online at the Répertoire International des Sources Musicales. All the movements that are identified as “from Mozart” were submitted to an analysis based on the evaluation of diverse musical characteristics and later compared to the Bärenreiter-Verlag’s critical edition of Mozart’s work. There is a modern transcription based on the 1825 edition of the “Selected Mass”, with C-clefs replaced by G-clefs and with a critical apparatus that highlights omissions, lapses and incongruities between the two editions. There is also a proposal as to the constitution of the Portuguese Chapel instrument, through the stop indications printed in the score, crossreferenced with bibliography dedicated to 18th- and 19th-century English Organs.
Descrição
Palavras-chave
Vincent Novello Capela da Embaixada Portuguesa em Londres “Selected
Mass” A Collection of Sacred Music Portuguese Embassy Chapel in London Transcription and critical study Pastiche Transcrição e estudo crítico