For the University of Michigan Historic Organ Tour 52, we were invited by the World Congress on the New Evangelization to perform concerts in Portugal during the congress November 5–15, 2005. Seven artists took part in the tour: Donald and Lucy Baber, Donald Fishel, Joan McKay, Andrew Meagher, David Troiano, and Marilyn Mason.
Portugal covers 36,000 square miles. The population of Lisbon is 600,000 in the center and 1 million in the surrounding area. Historically, Portugal was a pioneer in exploration. The Great Earthquake of November 1, 1755, virtually destroyed the city of Lisbon and surrounding areas. Approximately 60,000 died. Voltaire describes this horrific destruction in his Candide. Today the country offers its own richness in variety of landscapes, churches, museums, and cuisine.
Dia á Dia
In Lisbon we played historic organs including one built in 1791. None of them were in very good condition except for a small Cavaillé-Coll in the French parish church. It was in tune and in good playing condition. The operative word here is unchanged. Except for the addition of electricity, the organs remain virtually as they were created. Many organs reveal the original windings: pumps remain that had been operated by hand before the addition of electricity.
The Breath of the Spirit is a multi-media work: two narrators read the poetry of Ken Gaertner, and the nine poems are interspersed with music for flute and organ by Gregory Hamilton. The music was played by Duo Pneuma: Donald Fishel, flutist, and Marilyn Mason, organist.
We played three performances of The Breath of the Spirit on three different organs to very receptive audiences. The first concert took place on November 7 at the Basilica de Estrela, a beautiful cathedral that was consecrated in 1790. As with almost all churches, it was built after the 1755 earthquake. The organ has one manual, seven stops, divided between b and c1. Andrew Meagher assisted.
Left side
Del de Caino
Clarao
Compuesta de 29
Quincena
Fl de 6
Fl de 6
Fl de 19
Ventils
Reeds on
Mixture on
Right side
Clarin
Cornetta
Vinte dozena
Pifaro
Vox humana
Flauto
Fl de 19
Ventils
Reeds on
Mixture on
Nameplate: Estrela Antonio Xavier, Muchado Cin. 1791 no. 2
On November 8, the opening Mass of the congress took place in the Cathedral of St. Jerónimos. In a grand procession, 11 bishops followed by Cardinal Polycarpo processed into the packed cathedral. Included in prayers was a petition to St. Theresa for the opening of the congress. We heard a large modern organ with a full pedal; the music included Bach’s Fantasy in G Minor, BWV 542. The second concert took place November 8 at the Igreja Maddalena. The organ has two manuals and pedals and 19 registers; the builder is unknown.
Positive
Fagote
Baixao-Zinho
Vox Humana
Fl 2' Fl 4'
Fl 8'
Tapadillo 8'
Viola 8'
Haupt
Oboe
Clarin
Corneta Real
Cheio
19th E 22
15th
12th
Fl Trav 4'
Fl 8'
O Real
Ped
I–Ped
II–Ped
Manual keys: 4 octaves plus C-sharp to F
Pedal keys: 2 octaves plus C-sharp, D
The morning of November 9 we attended a Rosary in Fatima, and our performers were invited to participate. David Troiano sang Durante’s Vergin tutto Amor with Andrew Meagher as accompanist. Donald Baber was accompanist for Joan McKay’s singing of the Bach/Gounod Ave Maria. The third concert, on November 9, was held at the Igreja Paroquia da Ajuda. The organ, of one manual and 11 registers, is by an unknown builder.
Left side
Trombeta magna
Clarao 4'
Cheio 3F
Cimbala 4F
Comp. 22
Quinzena
Dozena
Fl 6 Tap
Octava Real
Fl 12 Tap
Fl 12 AB
Right side
Clarim
Corneta 4F
Cimbala 3F
Cheio 4F
Comp. Quinzena
Oitava Real
Voz. humana
Fl. Travessa
Pifano
Fl. 12 AB
Fl. 12 Tap
One manual, 4 octaves, plus high c#, d, d#,e
On November 10, we drove to Sintra. In the mountains there are over 350 varieties of trees, including umbrella pine, olive, palm, oak, and pine, and also more exotic: camellia, hibiscus, and bougainvillea. At Sintra we visited the Palacio Nacional, a residence of kings, which has been well preserved. Long before the arrival of the Crusaders, this was a summer palace of Moorish sultans. The furnishings are in fine condition, and the glazed earthenware tiles lining many of the rooms are among the most beautiful in Portugal.
At the Ingreja de S. Luis dos Franceses, we experienced a serendipity—one of the surprises of the tour in the form of a Cavaillé-Coll organ.
On November 11, we took a two-mile walk on the beach to enjoy the astounding Atlantic. The concert was at the Igreja Paroquial da Pena. This beautiful parish church is situated on the top of a high hill. We spurned the electric tram and we climbed 180 steps (I counted) at nine different levels of 20 each to attain the summit. In the church we met a gracious priest, Father Nicolau Poelman, so proud of his church and of the organ. The group of Troiano, Meagher, McKay, Don and Lucy Baber played the recital to a most appreciative priest and audience. David Troiano’s second language is Spanish, so he addressed the audience in Spanish. He had them in the palm of his hand: they found an American who not only played, but sang, and could introduce the music to them in a language they understood. His introductions, the music, and the players made friends for America.
On November 13, we visited the main Cathedral or “Se” on the square. It is an architectural wedding of Romanesque and Gothic styles. Some think that at one time it was a mosque. The earthquakes of 1344 and 1755 damaged the structure. During Mass we heard the cabinet organ, which was placed to the left of the chancel. The sound of this lovely instrument filled the room attesting to Cavaillé-Coll’s dictum, “Acoustics are the most important stop on the organ.”
On November 14, we enjoyed a two-mile walk from Estoril to Cascais along the sea. The mouth of the Tagus River makes a natural harbor for Lisbon. We must not neglect to mention the food: pork, chicken, sausages, beef and many boiled dishes, often served in imaginative ways and with many interesting sauces. The many small restaurants all serve good food, especially fish that were in the sea that morning.
All of the organs have mechanical action. In general, they are free-standing, and there are three types:
1. One manual without pedal, with divided keyboard
2. One manual with pedal
3. Two manual with pedal
The two manual instruments have pedal couplers and a I–II coupler. The tones are usually mild, and also rich. One stop can fill the room. The color variety is within the flues and reeds. The 4¢ flutes are especially charming: clear and bright. The reeds, as in Spain, are en chamade. One instrument, at Igreja de Pena, had reeds en chamade on all four sides of the free-standing case.
What needs attention: tuning, keys that stick, notes that are dead, unevenness of touch, and a general regulation of the touch. Finally, it remains for a catalogue of these charming organs to be prepared by a scholar or aficionado.
