Baroque colours from Lisbon to Rio de Janeiro

Le Sans Pareil - Bruno Procopio

João Rodrigues Esteves (vers 1700 – 1751 Lisbon)

José Gomes Veloso (Portugal 18th century)
Iste Sanctus

Marcos Portugal (1762 Lisbon – 1830 Rio de Janeiro)
Missa Grande (Excerpts)
Kyrie I – Christe – Kyrie II
Laudamus te
Qui sedes ad dexteram Patris
Cum Sancto Spiritu
Sanctus – Hosanna
Benedictus – Hosanna

José Maurício Nunes Garcia (1767 – 1830 Rio de Janeiro)
Requiem “Missa dos Defuntos” (1809)
Magnificat “Cântico de Nossa Senhora para às Vésperas de São José” (1810)


Popular Brazilian music for choir of 4 voices

Muié Rendêra (traditional)

Tristeza pé no Chão (Mamão)

Rosa Amarela (Villa-Lobos)


Le Sans-Pareil

Bruno Procopio organ and direction

Bruno Procopio orgue et direction

Françoise Masset soprano

Jean-Christophe Clair countertenor

David Lefort tenor

Sidney Fierro bass-baritone

Baroque colours from Lisbon to Rio de Janeiro

Monday July 28th – 15:00 – Espace Culturel Le Savoie in Saint-Michel-de-Maurienne

Tuesday July 29th – 21:00 – Valloire Church

This programme offers a selection of works recently restored by Brazilian and Portuguese musicologists.

The first part is dedicated to Portuguese composers of the early 18th century, Marcos Portugal and João Rodrigues Esteves. In his Magnificat, Esteves demonstrates a rare mastery of the Italian style, displaying much resemblance with the works of Roman composer Ottavio Pitoni.

Marcos Portugal is the most important composer both in Portugal and the New World in the 18th and 19th centuries. First composer at the court of Lisbon, he follows D. João VI to Rio de Janeiro. After the return of the royal family in 1821, he becomes the first composer of nascent Brazil with more than 150 sacred works composed for the Cathedral of Rio de Janeiro and no fewer than 40 operas.

The second part is a journey to the heart of the Cathedral of Rio de Janeiro at the end of the 18th century, when José Maurício Nunes Garcia, the most important Brazilian composer of the colonial period, was in charge of the music for the viceroy’s entourage.

Throughout the 18th century, the exchanges between Lisbon and Brazil, the most important Portuguese colony, went far beyond the mere importation of precious metals and trade goods, offering striking examples of cultural crossbreeding.

Le Sans Pareil – Les musiciens navigateurs 

When one goes back in time, in search of ancestral ties between Europe and the New World, one necessarily meets several figures of note. In 1394, a prince of the royal house of Portugal was born, Infante Dom Henrique, nicknamed Henry the Navigator at the age of 20. His birth marked the beginning of the golden age of the Portuguese colonial empire. Doubling the Cape of Good Hope, Vasco de Gama sailed to India, then, in 1500, Pedro Alvarez Cabral landed on the shore of what was to become Brazil, amazing discoveries which Henry the Navigator did not live to see. Six centuries later, in 1994, Bruno Procopio, the precocious Brazilian harpsichordist, arrived in France to hone his instrumental skills, nurtured throughout his youth on this singular repertoire now called colonial Brazilian music. The term colonial in no way implies that this Brazilian music was nothing but a picturesque replica of Europe’s musical canons imposed by Portuguese conquerors. Indeed, once the rush for gold and precious timber had slackened, the time for cultural exchange promptly followed, as shown by the innumerable Portuguese Baroque churches in Minas Gerais and the emergence in the 18th century of a repertoire of sacred music, the distinctive legacy of the masters of Lisbon. To bear witness to this abundance of musical works, Bruno Procopio founded the “Solistes du Palais Royal”, supported by a number of Brazilian musicologists. Besides its privileged relationship with the colonial style, the ensemble also navigates European music, with a predilection for the composers who, through exchanges with the new world have contributed to the musical diversity of the Portuguese court. Le Sans-Pareil, the flagship dreamed up by par Louis XV, yet never actually built, is thus now afloat. Casting off its moorings at the Palais Royal in Paris, a musical caravel puts out to sea. Paying a distant homage to Dom Henrique, Les Musiciens Navigateurs, led by Bruno Procopio, are again headed for Brazil, the hold packed with a wealth of musical experience, eager to discover the treasures in store for them, an ocean away.
The July 28th concert is organizedACCM in partnership with the Espace Culturel Le Savoie
Le Sans Pareil Website.