On the title page of the first edition of João Domingos Bomtempo’s Missa de Requiem, the title of the work and the composer’s name stand out. But one can also read: «Ouvrage consacré à la Mémoire de Camões» (“Work dedicated to the Memory of Camões”). This dedication reveals the purpose and context in which the work was composed, in 1819. We have received sixteen copies out of the three hundred printed at the beginning of 1820 by the prestigious French music publisher Auguste Leduc. These are about two hundred pages that inscribe every note we can hear today.
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Bomtempo was the first promoter of orchestral music in our country, having imported, for this purpose, the model of Concert Societies he had encountered in London. But this only became possible after 1820, when the Liberal Revolution confronted monarchical absolutism and opened the doors to a constitutional regime. Before that, this Portuguese musician—son of an Italian oboist settled in Lisbon in the service of King José I’s court—developed his career in Paris and London. For nearly two decades, he had the opportunity to distinguish himself there as a pianist and composer, enjoying the privilege of engaging with an intense musical practice and many of its leading figures.
At the time, Europe was going through a period of great political upheaval. It was the era of the Napoleonic Empire and its invasions. But also the period that fostered the implantation of Liberalism in Portugal. At that time, illustrious supporters of that cause were exiled, such as Morgado de Mateus, who promoted the edition of Os Lusíadas from Paris. This was the beginning of the recovery of the main national writers and thinkers, aiming to promote the political and spiritual renewal urgently needed in our country. Immersed in this spirit, Bomtempo dedicated this work to Luís Vaz de Camões; he was also seeking the opportunity to gain the support of potential patrons. The score was completed in 1818, still in Paris, but it only premiered publicly the following year, in London. The edition was sponsored by London’s high society and the Portuguese colony residing there.
The Requiem was received with great enthusiasm. Like his symphonies, this work is strongly referenced in the best practices of the great Viennese Classical masters. In this case, Haydn’s influence prevails, as demonstrated by the formal solidity and sobriety felt throughout the entire work. According to Fernando Lopes Graça, the score stylistically relates to the religious output of composers like Haydn, Mozart, Beethoven, and Cherubini. Above all, Bomtempo was well acquainted with the sacred choral works of the latter composer. Setting aside all the differences arising from each composer’s artistic merits, it is worth noting here that we are in the presence of a work revealing exceptional technical competence and fully in tune with the most innovative practices of its time.
Rui Campos Leitão
Image: Cover of the first edition of Bomtempo’s Missa de Requiem preserved at the National Library of Portugal