Antoine Sibertin-Blanc was born on July 16, 1930 in Paris. Based in Portugal since 1960, musician and distinguished professor, he was the great foundation of Portuguese organizational life in the 20th century.
Graduated from the César Frank School and from the Paris Conservatory, where he studied with Maurice Duruflé, he began his career as an organist and chapel master in the churches of La Madeleine and Saint-Merry.
In 1955, he left for Luxembourg as holder of the organ of the Saint-Joseph church and in 1960 headed to Lisbon at the invitation of Júlia d’Almendra, founder and director of the Center for Gregorian Studies, to teach at this first higher school of sacred music in Portugal.
Since then he has traveled the country in the exercise of the multiple activities he accumulates having been awarded by the President of the Republic with the order of the Order of S. Tiago da Espada, in 1999.
For 51 years Antoine Sibertin-Blanc was a full organist of the organ of the Sé Patriarcal de Lisboa, a position he held until his death in 2012. His legacy was decisive in the rehabilitation of liturgical music in particular and in our musical culture in general and thus it remains, perpetuated by successive generations of professionals such as Domingos Peixoto, Joaquim Simões da Hora, João Vaz, Idalete Giga, among others.
Two emblematic editions of Antoine Sibertin-Blanc finally reach digital platforms, in the year that marks the 400th anniversary of this work.
“Flores de Música pera o instrumento de tecla & harpa“, by Manuel Rodrigues Coelho (1555-1635) was first published in 1620 and constitutes the essential of what we know of the great Portuguese musician.
Dedicated to Philip II of Portugal (Philip III of Spain), it is the oldest instrumental score printed in Portugal and one of the most important collections of sacred and profane music for organ, harpsichord and harp, produced in the Iberian Peninsula during the transition from the Renaissance to the Baroque.
Interpreted and recorded internationally, one of the most interesting records of the work consists of the interpretation of Antoine Sibertin-Blanc captured in Lisbon in the late 1960s, early 1970s, which resulted in two LPs.
“Flores de Música” (1968), to the organ of the Sé Patriarcal de Lisboa, and “Flores de Música Nº 2: Cinco Tentos – Cinco Kyrie” (1970), to the organ of the Church of Pena, comprise passages from the compilation of Manuel Rodrigues Coelho based on the first transcription in modern notation by Santiago Kastner, edited in 1959/61 by the Calouste Gulbenkian Foundation in Lisbon.
Respecting the criterion adopted by Sibertin-Blanc in the original editions, the numbering and nomenclature adopted now for digital platforms also follows not the terminology and numbering of the original score, but that used by Kastner.