Salvato Teles de Menezes is the president of the Foundation that oversees the program of Casa Verdades Faria-Museum of Portuguese Music (MMP), at Monte Estoril, in Cascais, an entity under the custody of which Lopes-Graça has left all his estate.
"We expect the digitization of all scores to be completed by June of next year, and then create a link to the National Library site [de Portugal], making it possible for all people, especially researchers, to have access to the scores, "said Salvato Teles de Menezes, in an interview with Lusa.
The director said that "the scores raise questions, related to the different versions made by Lopes-Graça himself," but he assured that "everything will be there", digitized.
One of the difficulties of the digitization is that the composer, when finishing a work, "passed the score in vegetal paper".
The process of digitization will be "accelerated," said the president of the D. Luís I Foundation, noting that all investment, "which is not particularly costly … of a few thousand euros" is from the Câmara de Cascais.
Teles de Menezes revealed that the process of digitizing the scores began at the initiative of the Minister of Culture, Luís Filipe Castro Mendes, who was urged, "by several personalities", to make available the composition material of Fernando Lopes-Graça, author of symphonies , chamber music, choral, piano and harmonization of hundreds of popular songs from European and American repertoires.
"The rest [do material do acervo documental de Lopes-Graça] will come next, "said Salvato Teles de Menezes.
The official emphasized that this process also aims to "preserve the documentation, avoiding its wear and tear".
The digitization of the musical work provides its access and its transcription in score "which, from the point of view of revision, presupposes the fixation of the original text, because each composer has his own grammar", said, in turn, the coordinator of the MMP, Conceição Correia.
The composer Sérgio Azevedo, who was a student of Lopes-Graça, is one of the reviewers of the work of the composer from Tense.
Conceição Correia emphasized that "besides the edition of the scores, it is essential to make them circulate". In fact, "it was a difficulty with which Lopes-Graça himself debated, having many scores circulated in 'helicopias'", made by the composer himself, that "were the so-called Lopes-Graça editions".
In an interview with the Lusa agency, the MMP coordinator, Conceição Correia, highlighted the vastness of the composer's estate, a native of Tomar, revealing that "there are still many unpublished ones".
"The work is vast and, despite being cataloged, is still unknown in its entirety, and will reveal many surprises for many years," said the official.
As for the unpublished, Conceição Correia said that these "arise through the editions and research studies of those who dedicate themselves to the works of Lopes-Graça, and puts them in sight."
According to the official, "there are musical works that were never recorded, and others that only had a first hearing", case of Cape Verdean mornas, which were premiered in 1981 in Caldas da Rainha by pianist Olga Prats and whose scores are presented on December 8, at Casa Verdades de Faria-MMP, by Edward Luiz Ayres d'Abreu.
The performance of the "Listen to Lopes-Graça" cycle, which begins on Saturday, is followed by a recital by pianist Duarte Pereira Martins, with a program that includes pieces by Óscar da Silva and Eurico Thomaz de Lima, as well as the Mornas , of Lopes-Graça.
Conceição Correia stated that "the work of digitizing the scores is already in progress", noting that many compositions of Lopes-Graça remain in the original manuscript, not being edited and many or recorded.
"For most people there is a portion of Lopes-Graça's work that is not yet popularized," said Conceição Correia, noting that there has been "growing interest in the work" of the author of the "Requiem for the Memory of the Victims of Fascism" ( 1979).
"There are more and more students working on the work of Lopes-Graça, both nationally and internationally," a fact that is not unrelated to "the regular MMP activity of treatment and dissemination of the work", in particular through a 'website' , which "arouses interest" and the catalog published in 1997, which, "for the first time, gave the whole notion of the work."
Conceição Correia said that the work of Lopes-Graça has "interested many Brazilian students". The composer traveled several times to Brazil, the first time, in 1958, and "maintained contacts and correspondence".
In the United States, his choral work is the subject of a doctoral thesis. The American composer, choral director and researcher Gregory W. Brown, of the University of Georgia, is working on a thesis on Musical Arts, entitled "The Portuguese Regional Songs" by Fernando Lopes-Graça (1906-1994): Methods and significance of the adaptation of folk materials into the coral medium.
On the other hand, "in Portugal, we have learned to look at Portuguese music in a different way, in which, until the middle of the last century, the national repertoire was somewhat neglected", and hence "a greater demand for one of our composers of excellence ".
The edition of scores "is vital", underlined Conceição Correia, who called for the collaboration of civil society, "through partnerships and supports".
In addition to the scores, MMP plans to also digitize Lopes-Graça's various essays, texts and criticisms, as well as the material that the composer has stored about written references to his pieces.