Messe de Requiem à Quatre voix, Choeurs, et grand Orchestre avec Accompagnement de Piano à défaut d’Orchestre Ouvrage consacré à la Mémoire de Camoes. Oeuvre 23.
Paris, Chez Aug.te Le Duc (1819).
Folio. (1) f., 205 pp. Contemporary calf, spine richly gilt (re-cased, top left-hand corner of lower cover expertly repaired). Small ink spot on p.13. Lacks tip of top corner of p. 101/102. Tiny wormhole in inner margin of pp. 47-205.
This is Bomtempo’s masterpiece, according to Vieira, in which the style of Haydn predominates, and the work contains hints of Mozart's Requiem. The Requiem was composed during a brief stay in Paris, and in letters to the Conde do Funchal and the Duchess of Hamilton Bomtempo referred to a private performance in Paris. He requested subscribers to help finance the printing of the work and sent a copy of the score to London, where the Requiem was well received. He left for London in July, entrusting the printing to Leduc and the distribution to Aillaud. At the end of the year or the beginning of 1820 at least 200 copies of the printed score were dispatched to subscribers. Portugal was currently rediscovering Camoes, the celebrated edition of the Lusiadas by the Morgado de Matheus was printed at this time, and Bomtempo decided to contribute to his memory. Bomtempo was “one of the principal reformers of Portuguese music. To (him) Portuguese music owes its first examples of native symphonies, and chamber music” (New Grove).
Vieira, Dic. bibliográfico de músicos portugueses, I, pp. 129-132. Vasconcellos, Os músicos portuguezes, I, pp. 22 & 23 – 29. João Domingos Bomtempo (1775-1842), ed. João Pedro d'Alvarenga, B1. New Grove III, p. 844. COPAC lists 1 copy only. Not in Angelés & Subirá, Cat. musical de la Bibl. Nac. de Madrid, Azevedo-Samodães, Palha, Ameal, Pinto de Mattos.