 Function

 Composer
 Biography
Frei José de Santa Rita Marques e Silva (17821837) was an organist and one of the principal Portuguese composers of the first third of the nineteenth century. He was admitted to the seminary in Vila Viçosa in 1790, studying with Joaquim Cordeiro Galão (b.1762), before becoming a brother and organist of the Paulist order in Lisbon in 1800. He received instruction in counterpoint from João José Baldi, later calling himself Baldi’s disciple on the titlepage of his 1820 arrangement for organ of the elder composer’s 1803 orchestral mass dedicated to Fernando Maria de Sousa Coutinho (PLn, F.C.R. 198//24). When in 1808, upon the death of Luciano Xavier dos Santos, Baldi was promoted to first master of the royal chapel of Bemposta, Marques e Silva became an organist there. Around 1810 he was invited to join the royal court in exile: he stayed only briefly (Vieira 1900, ii, p. 310), or, more likely, never went; dated works and autographs in PLf, PMp and PRp imply he was engaged more or less constantly as a composer of sacred music in Lisbon and Mafra between 1811 and 1819 (Vaz 2009, pp. 45).
In 1816, following the death of Baldi, he was nominated to become one of the masters of the Seminário Patriarcal and Mestre da Capela Real da Bemposta but was obstructed in doing so by the seminary Inspector, Jozé Joaquim Barba Alando de Menezes, eventually fulfilling the role of master only in 1820 after a vacancy was left by António Leal Moreira (d.1819). Several works of the 1820s were composed expressly under order from D. João VI once the court had returned to Portugal, including an 1825 mass for Mafra that was admired by the monarch according to the composer’s recollection (PLn, F.C.R. 198//26).
In 1831, his professional competence was again questioned by a new seminary Inspector, Joaquim Cordeiro Galão (formerly Marques e Silva’s teacher at Vila Viçosa), and on 8 March 1832, ostensibly for reasons of health, he was partially retired with his salary halved. He was eventually dismissed entirely from official duties on 23 June 1834 following the defeat of D. Miguel in the Civil War (Vaz 2009, p. 18). With the establishment of a new music conservatory (Conservatório de Música) in 1835 he was nominally engaged to teach there but seems never to have done so (Vaz 2009, pp. 2021). In 1834, the Conde de Redondo had been ordered by D. Miguel to protect musicians who had supported the absolutist cause. Between 1834 and 1835, Marques e Silva was engaged intensively in composing sacred works for the Count’s private chapel at the Quinta do Bom Jardim, where he was effectively the composerinresidence (Vieira, ii, p. 241). To judge from a decline in compositional output, his health became worse in 1836, and he eventually died in Lisbon in February 1837 (Vaz 2009, p. 22).
The Fundo do Conde de Redondo in PLn contains an exceptionally large number of Marques e Silva autographs that doubtless reflect the composer’s close association with the 15th Conde de Redondo, D. José Luis Gonzaga de Sousa Coutinho, to whom they were presumably bequeathed. His musical handwriting was fluent but it varied considerably in the formation of elements such as the G clef, the crotchet rest, and the tails of quavers and semiquavers.
José Augusto Alegria, História da Capela e Colégio dos Santos Reis de Vila Viçosa (Lisbon: Fundação Calouste Gulbenkian, 1983).
António Jorge Marques, A obra religiosa de Marcos António Portugal (17621830): catálogo temático, crítica de fontes e de texto, proposta de cronologia (Lisbon: Biblioteca Nacional de Portugal, 2012), p. 865.
Mariana Amélia Machado Santos, Catálogo de música manuscrita, vol. 6 (Lisbon: Biblioteca da Ajuda, Ministério da Educação Nacional, 1963).
João Vaz, ‘A obra para órgão de Fr. José Marques e Silva (17821837) e o fim da tradição organística portuguesa no antigo regime’, PhD thesis (Universidade de Évora, 2009).
Ernesto Vieira, Diccionario biographico de musicos portuguezes: historia e bibliographia da musica em Portugal, 2 vols. (Lisbon: Typographia Mattos Moreira & Pinheiro, 1900), ii, pp. 309317.
Robert Stevenson, ‘Silva, José de Santa Rita Marques e [Marques, José]’, Oxford Music Online: Grove Music Online (2001), [https://doi.org/10.1093/gmo/9781561592630.article.25785].
 Source(s)

 PLn_FCR_198_03
 PLn_FCR_198_05
 PLn_FCR_198_06
 PLn_FCR_198_07
 PLn_FCR_198_08
 PLn_FCR_198_09
 PLn_FCR_198_10
 PLn_FCR_198_11
 PLn_FCR_198_12
 PLn_FCR_198_13
 PLn_FCR_198_14
 PLn_FCR_198_16
 PLn_FCR_198_17
 PLn_FCR_198_18
 PLn_FCR_198_19
 PLn_FCR_198_20
 PLn_FCR_198_21
 PLn_FCR_198_23
 PLn_FCR_198_24
 PLn_FCR_198_25
 PLn_FCR_198_26
 PLn_FCR_198_27
 PLn_FCR_198_28
 PLn_FCR_198_29
 PLn_FCR_198_30
 PLn_FCR_198_31_1
 PLn_FCR_198_32
 PLn_FCR_198_33
 PLn_FCR_198_34
 PLn_FCR_198_37
 PLn_FCR_198_38
 PLn_FCR_198_41
 PLn_FCR_198_42
 PLn_FCR_198_43
 PLn_FCR_198_47
 PLn_FCR_198_54
 PLn_FCR_198_56
 PLn_FCR_198_57
 PLn_FCR_198_58
 PLn_FCR_198_60
 PLn_FCR_198_62
 PLn_FCR_198_63
 PLn_FCR_198_64
 PLn_FCR_198_65
 PLn_FCR_198_66
 PLn_FCR_198_67
 PLn_FCR_198_68
 PLn_FCR_198_69
 PLn_FCR_198_70
 PLn_FCR_198_71
 PLn_FCR_198_73
 PLn_FCR_198_74
 PLn_FCR_198_76
 PLn_FCR_198_77
 PLn_FCR_198_78
 PLn_FCR_198_79
 PLn_FCR_198_80
 PLn_FCR_198_81
 PLn_FCR_198_85
 PLn_FCR_198_86
 PLn_FCR_198_87
 PLn_FCR_198_88
 PLn_FCR_198_89
 PLn_FCR_198_92
 PLn_FCR_198_93
 Handwriting identifiers

 CClef

 Type 2
 FClef

 Type 2
 GClef

 Type 1
 Type 2
 Images
