João Figueira Quintal

Abstract:
[Câmara de Lobos 30/10/1934 – ]
Army sergeant, violinist, performer and clarinet, conductor, composer of works philharmonic directed and band conductor. João Quintal was also founder of the Chamber Orchestra of Madeira, Chief of the Banda da Zona Militar and the Banda Recreio Camponês.

Biography:
João Figueira Quintal was born on October 30, 1934, in Ribeiro Real, Câmara de Lobos, descended from a family of long musical traditions. His grandfather and father, Maurício Figueira Quintal, a clarinetist, belonged to the Banda Recreio Camponês. A family tradition that, in the development of his career, led Quintero to join the same band, where he began at age 14 to learn clarinet with João Ornelas Abreu.
The young man also studied for several years in the Academy of Music and Belas-Artes of Madeira, current School of the Arts – Conservatory of Madeira and reached the quality of a good violin performer.
As for the instruments that João Quintal interpreted throughout his musical training and currently as a professional musician, the clarinet is mentioned above; the practice of of E-flat clarinet; saxophone in the Banda Recreio Camponês, an opportunity that arose due to a colleague who left the band and whose saxophone was bought by the father of João Quintal. With professor Madeira Carneiro he learned violin at the Academy of Music and Belas-Artes of Madeira. In 1956 he enrolled in the Madeiran Academy and throughout his training he achieved the V Degree in Violin and the III Degree in Solfeggio.
As his mentors, João Quintal highlights the masters of the Military Band, Lieutenant-Colonel Ilídio (conductor of the Republican Guard Band) and Lieutenant-Colonel Teixeira (course director).
In 1955, at the age of 20, he joined the Military Band. After joining the Military Band, he competed at several positions in the military hierarchy and reached the rank of Chief Sergeant, performing in clarinet, an instrument that he played in the Military Band for 36 years.
In spite of the musical experience João Quintal comments on the little time that he dedicated to the family due to the activity as musician of the Military Band, Banda Recreio Camponês and Orchestra of Camera of Madeira. However, he states that “it was worthwhile to be in the music and see that the children have also progressed in it”. As a family tradition the music is kept in the young generations of the Quintal family. The children of João Quintal, Maurício and Jorge integrated the Banda Recreio from the age of twelve. The daughters Guida and Dina learned cello and violin.
Currently João Quintal also collaborates in the Chamber Orchestra of Madeira as a violinist, being an element of the group since its foundation; and plays sacred music in several religious festivals, traditional of the parishes of the Madeira Archipelago. João Quintal was present in the religious celebrations with a group consisting of three violins, two rabecões and a flute that played sacred music and accompanied small choruses reinforced by an organist.
João Quintal also played an important role as teacher of some musicians known in the regional panorama namely, Zélia Gomes, teacher and conductor of choral groups; Aquilino da Silva, professor, composer and artistic director of several musical groups and philharmonic bands; Fabien Filipe, musician and teacher at the School of Arts – Madeira Conservatory.
As far as his presence in the Banda Recreio Camponês in 1972 was named head of the band and made alterations in the organization with the integration of women, who until the decade of 1970 only were accepted in Band of the Camacha. Also got a new headquarters for the Banda Recreio Camponês.
João Quintal made other changes in the band, so that in his perspective he had a transparent and equal organization, particularly through the creation of a commission of musicians with president, secretary and treasurer; the establishment of Statutes and the constitution of a General Assembly, Management and Fiscal Council, giving the Recreio Camponês an associative character.
In 2008, a tribute was paid to the XXVII Regional Meeting of Philharmonic Bands of the Autonomous Region of Madeira due to its contribution in regional music.
On the composition side, João Quintal has works recorded in the Society of Authors and printed sheet music that are still performed today by Madeiran bands, especially marches, boleros, waltzes and dances, among other compositions for bands, always produced in a perspective with greater incidence on classic and light music.

Authors:
Gomes, Catarina (2011). “João Figueira Quintal”. Realizado no âmbito da Disciplina Ciências Musicais VI, integrada no plano curricular da Licenciatura em Educação Musical, do Instituto Superior de Ciências Educativas, Universidade da Madeira.

Update:
Ventura, Ana (2011). “João Figueira Quintal”. Dicionário Online de Músicos na Madeira. Funchal: Divisão de Investigação e Documentação, Gabinete Coordenador de Educação Artística, atualizado em 12/09/2011.

Bibliography:
Banda Recreio Camponês (2007). “Breve Historial”. Banda Recreio Camponês – Historial. Acedido em http://www.bandarecreiocampones.com/ a 30/06/2011.
Banda Recreio Camponês (2007).”Regentes”. Banda Recreio Camponês – Historial. Acedido em http://www.bandarecreiocampones.com/ a 30/06/2011.
Castro, A. & Serrão, S. (2010). Banda Recreio Camponês: A memória de 100 anos em Concerto Intemporal. Funchal: Banda Recreio Camponês e Direção Regional dos Assuntos Culturais, p. 12, 25, 44, 47, 80, 82, 109.
Gomes, C. (2011). Entrevista realizada por Catarina Gomes a Jorge Quintal, filho. Realizada no âmbito da Disciplina Ciências Musicais VI, integrada no plano curricular da Licenciatura em Educação Musical, do Instituto Superior de Ciências Educativas, Universidade da Madeira.
Gouvei, O. (2010). “Encontro homenageou João Figueira Quintal”. Cultura – Jornal da Madeira. Acedido em http://www.jornaldamadeira.pt/not2008.php?Seccao=13&id=151914 a 30/06/2011.
Sardinha, V. & Camacho, R. (2001). Rostos e Traços das Bandas Filarmónicas Madeirenses. Funchal: Associação Musical e Cultural Xarabanda, p. 91-95.