HOW I SAW LUÍS GONZAGA GOMES

Luís Gonzaga Gomes is a rare example of one who dedicates all their activity, beyond any exclusively utilitarian interest, to cultivate themselves, trying at the same time to share with others their own cultural experiences, without any reservations whatsoever. He was, for instance, a melomaniac and so, patiently, decided to stimulate the creation of a favourable, and enthusiastic, atmosphere of receptivity to the great musical works in Macao. Indeed, he presented excellent classical music programs, with his own commentaries, on the local radio. He was an authentic exponent of Macanese rooted culture, and his homeland was the great inspiration for his writings. He was a pedagogue, beginning his career by teaching in schools. But his greatness was never to end, for even though his classes became very large and challenging, nevertheless all those who would like to be close to him and listen to the plethora of things he had to transmit, without avarice, could be his disciples.

Apparently, he was a quiet man, keeping to himself. In fact, he did much more thinking than talking. However, when he trusted his interlocutor and felt that he was receptive, he would open the doors of his thought, and it was a pleasure to listen to him. Being a very fine observer, he knew perfectly how to distinguish mediocrity and vulgarity from honest thought. I never felt that he would ever use his intellectual superiority or his vast knowledge to diminish others; on the contrary, when he felt the anothers weakness, and if they were presented with simplicity, and not with the arrogance of the mediocre who wants to raise himself to the level of the superior man, he would use a tone of conversation suitable to both, without falling into common place. With him there was always a subject of conversation; he was capable of bringing out of nowhere a subject for a pleasant talk.

I remember, not without nostalgia, the many occasions I met him, almost at dusk, going from home to his office, on the second floor of Sir Robert Ho Tung Building, where the headquarters of the Círculo de Cultura Musical (Circle of Musical Culture), over which he presided for several years, was installed. By mere chance, the meeting point was almost always the same: opposite the Associação Comercial (Commercial Association). There we would take shelter from sun or rain, under the protection of Companhia de Electricidade de Macau (Macao Electricity Company) building, and talk sometimes for more than one hour, which seemed only a few minutes to me. There, he entrusted to me much of what he thought of the true or false cultural manifestations, and he did it with an accuracy of observation and expression which were truly exemplary. Even in his most intimate confidences about what he thought of people, he was never rude, even if people did not deserve a lot of his consideration. He believed that there was a place for all in the world. He did not boast about his work or his duties: he would be satisfied with the conscience of having done something useful for others. I never saw him influenced by any bad feeling, nor did he frequent any of the places where reputations were made and destroyed. I also never saw him seeking publicity, although for his value he deserved it. Some of the newcomers to Macao heard of Luís Gomes as a myth, but not all of them would seek him to know him as a man who really lived for culture, long before it fell onto the street to be mixed with a gangue which has nothing to do with culture, but which so many mistaken treasure like jewels.

Luís Gongaza Gomes was the director of the Instituto Luís de Camões (Luís de Camões Institute), a Macanese cultural institution of modest resources. Despite the limited scope of its activities, it may be considered the precursor of the plurivalent Instituto Cultural de Macau (Cultural Institute of Macao). Luís Gomes dedicated to this Institute all his love for culture and his formidable research energies. The publication of the Institute's "Boletim [do Instituto Luís de Camões"] ("Bulletin [...]") was for him a perennial activity which produced a collection of volumes which remain a precious cultural repository of valuable articles written by important international contributors. It was with a spirit of modesty, that he cherished, and with a truly Oriental patience, that Luís Gomes worked, in his plain office in the non-asssuming Sir Robert Ho Tung Building, to achieve a body of work much praised by the highest international scholars. It was therefore not surprising that these academics enjoyed sharing with him the merits of the publication of which he was the editor. In those days when newcomers called Macao a cultural desert (not recognizing that they were the most likely contributors to the lack of cultural promotion — although boasting their utmost engagement on the contrary) there was at least a cultural publication of the highest international calibre. Luís Gomes actively corresponded with specialists the world over in order to maintain the recognized merit of the Institute's "Boletim". He was probably better known in certain international cultural circles than in his homeland. Although he was much loved and respected in Macao, Luís Gomes humble personality," spirit of isolation and studious intellect kept him distant from social gatherings, the publicity attached to cultural events and the boasting of his name.

In his day, there were in Lisbon two outstanding institutions for the divulgation of good music: the Círculo Musical da Cultura (Circle of Musical Culture) and the Sociedade de Concertos (Society of Concerts). Both had, in their directive bodies, people of high social and intellectual rank. They were open to all, being truly democratic: for a sum which even if valued at today's inflationary rate would be insignificant, one could listen to artists like Backhaus, Gieseking and Rubinstein at the piano; Suggia, at the cello; Thibaud at the violin; Elizabeth Schwarzkopf and Victoria de Los Angeles ( it was in Lisbon that she started her triumphal career) singing. I only mention half a dozen of those who impressed me the most ( how could I forget the great pianist Alfred Cortot, already very old, but drawing from the instrument sounds which I never heard again) but the list of celebrities which these two institutions brought to Portugal is extremely vast. Furthermore, there were branches in provincial and overseas cities, so that many of the artists, if they did not have other obligations, were heard by audiences in places far from the usual ones. Regretably, all of that is now finished, due to several circumstances, among which are the ageing and tiredness of some charismatic people and the difficulties of contracting great performers, who started to demand extremely high fees. It was a truly remarkable period of cultural policy, which is lost, and would be impossible to rebuild today, when culture has become a consumer commodity at the level of washing machines and other household appliances — at the level, in fact, of giving out 'magnificent' cars as prizes.

In Macao, where there was a branch of the circle and, due to economic reasons great artists came only when they received a contract to Hong Kong, the trip to Macao being nothing but a minor detour. Even then, concerts were always honoured with the presence of Governors, and they were a pleasant meeting place for people of different social layers (the Círculo's membership was, like in Portugal, extremely accessible) and a useful precept of social equalization was fulfilled through the common interest in a cultural manifestation. During intermission, or on the way out, exactly as in Lisbon, people socialized, exchanged impressions, gave their opinions, empirical or well-grounded, and everybody left with a feeling of satisfaction. Luís Gomes was always present, making his comments, talking to all (good old days when everybody knew each other in Macao!), but for him that was just the first part of the evening. On the top floor of Sir Robert Ho Tung Building a supper awaited the artists, to which Luis Gomes invited this or that friend. I had the privilege of being invited several times to those gatherings, and of them I shall keep as an everlasting memory. The supper was very intimate, informal, unpretentious. Luís Gomes, who forced himself to an extremely rigorous diet, ate just what was strickly necessary to accompany the guests. And there was always lively and interesting conversation. Luís Gomes, apart from speaking English and French, was at ease with German and Italian, so that most artists could enjoy the evening using their own language, which gave a special flavour to those meetings. Late at night, he would go home showing no sign of fatigue, and with a particular satisfaction on his face. Being with artists he was in his natural element. In his blood he was also an artist, and perhaps these moments represented for him a remote approach to what his life might have been if he had become an itinerant artist like those he received in Macao. I do not know what has become today of the second floor of Sir Robert Ho Tung Building, but I have no doubt that the shadow of Luís Gomes, to whom this was a favourite working place, still wanders there. It is a pity if, in the house to which his life was so deeply tied, there is nothing lewt to remember him by.

Luís Gomes work is scattered; some of it out of print, so that many who know his name do not know his work. When he worked in the "Notícias de Macau", a newspaper which certainly gave some value to local culture, he took the chance to publish a valuable collection of volumes about Macanese and Oriental themes, twenty-three of them of his own authorship. The so-called Colecção Notícias de Macau (Macao News Collection)* constitutes, still today, a precious fund, which helps to dismiss those who, already in those days, said that Macao was a cultural desert — which in fact it never was, if we consider its isolation and the fact that most of those with the capacity to work in cultural themes had the burden of official duties, as well as a limited period of stay. The Collection I refer to, which is totally out of print — I do not know if the Biblioteca do Governo (Government Library) [i. e., Biblioteca Central de Macau (Central Library of Macao)] has a complete one — deserves, in this period of cultural effervescence in which so many good works are being published, to be re-published. Those who hear about Luís Gomes almost as a mythological figure could become acquainted with him, and measure the value of that part of his work, which is a multifaced one. Chinesices (Things Chinese), a work which is part of this Collection was re-published with a careful and tasteful graphic design. Therefore, only six other works of the set in good time published by "Notícias de Macau", remain to be reprinted. If that newspaper had had no other value, this editorial fund alone would justify its value.

Luís Gomes's writing is clear, free flowing and unpretentious. Gifted as he was with languages, he had a rich vocabulary, using even, here and there, uncommon words, some with a special classical flavour. I do not pretend to publish a complete list of the written work of Luís Gomes, I do not even have the means to do it, but I remember the translation of Ou-Mun Kei-Leok, also re-published in an elegant edition, as well and a precious Vocabulário português-cantonense (Portuguese-Cantonese Vocabulary) which I was lucky enough to come by at an antique bookshop; it also deserves to be published again.

When Macao was granted its autonomy, after 1974, and the Government thought about organizing new study programs, more adapted to the local conditions, the idea came up of teaching, already at elementary schools, some notions on the history of Macao. He had been a teacher himself — and even started in elementary teaching- not to mention the fact that he had a deep knowledge of local history: all in all, he was the right person for that work. Unfortunately, he was close to the end, although he never showed the pain he suffered, which was great. He did not refuse the work that was commissioned to him (the payment of which was made to his heir). Given the physical conditions in which he worked, this was not one of his best productions; nevertheless, I think it deserves to be published. It is, exactly, of an illustrious Macanese, a writer and investigator, about the history of his homeland, and in its short form, of easy reading, it gives information on the relationship between Portugal and vast China, in this minute piece of territory. If the archives of the Instituto Cultural de Macau (Cultural Institute of Macao) or of the Serviços de Educação (Education Services) do not have a copy of this last work, I must say that I still preciously keep one, which will always be at the disposal of the Cultural Institute of Macao.

All through his life, and never loosing contact with cultural institutions, both national and foreign (he had an extremely abundant mail, most of which has been lost in the domestic chaos which followed hid death) he organized a precious library where it is possible to find books which today are extremely rare. Most of his books were not bought accidentally in excursions to bookshops or antique booksellers: instead, he carefully gathered information on the books which were worth buying and the places where to buy them. In order to prevent the loss of this library — as had already happened with the one belonging to Jack Braga the Governor Garcia Leandro immediately contacted the sister and heir of Luís Gomes for the acquisition of the whole library. Negotiations were long and difficult: the lady had whims, demands, one of which was to keep jurisdiction over the place and use of the library. Surely that was not on purpose: it was only to ignore the most elementary rules of the Administration. Finally, it was possible to reach an agreement, but only after the Governor Garcia Leandro abandoned the negotiations. Nevertheless, and according to his will, Gonzaga Gomes's library was attached to the Arquivo Histórico (Historical Archive) of Macao [presently called Arquivo Histórico de Macau (Historical Archive of Macao)]: in this manner the the work of future investigators was considered to be made easier for, in the same place, they would find documents and specific bibliography since most of the library is composed of works on the Orient and China. It is a little bit of himself which will be tied to one of the most important cultural institutions of Macao. And, let us hope, that the future does not bring more stormy days, in the style of the Cultural Revolution.

The estate of Luís Gonzaga Gomes was also composed of an extremely valuable collection of records and tapes, most of which deteriorated during years of stagnation. His sister was invited to hand it over to Radio Macao, for she, although being an artist and melomaniac (not to mention, a performer) not only did not use that material, but also failed to take extreme care of it, not keeping it in an air conditioned room during the hottest and most humid days of the year. The answer invariably was: — "They are, for me, a company!" How does one reply? The poor lady, deeply sad with the destiny designed for Macao, did not worry that all the patrimony could be destroyed, just because she loathed the possibility of it falling into hands not worthy of enjoying it. And, in her bitterness, and in spite of a deep love for Macao, she sold her possessions and left the land of her birth, to which she had devoted so much of her time. It is a pity that time had such an effect upon her for she was a very intelligent person, cultivated and more given to action than speculation. I have no idea as to whether that musical archive remained in Macao, or even if at the time it was still able to be utilized.

Luís Gomes directed the [Biblioteca Nacional de Macau] National Library [of Macau, presently called Biblioteca Central de Macau (Central Library of Macao)] of Macao, as it was called in his days. I have no knowledge as to his ability as a library keeper, but I guess that, due to his natural tendencies for reading and investigating that was, for him, the ideal working place. The Library had been born of the interest of a former and illustrious teacher of the Liceu Nacional do Infante D. Henrique (Infante Dom Henrique Government Middle School), Dr. Azevedo Gomes, whom I still had the privilege of knowing in Angola, and it is a landmark of the cultural history of Macao. Besides, Luís Gomes could not have seen it in any other way.

It is curious how his activity was so varied in the field of local culture. Journalist, in the "Notícias de Macau", he left there some valuable articles, which never saw any other more lasting publication. Therefore, it is convenient to collect them in a more lasting publication, for they deserve it. They are all of them concerning Macanese themes and its history, and are a useful complement to the more substantial works he published. Once again I mention the remarkable collection of works which were then published, and which is necessary to republish, in this so fertile time in Macao, with excelent editorial initiatives taking place, side by side or even going beyond the best that is being done in this field in Portugal.

His role as director of Radio Macao shows well the sacred respect he had for musical culture. For a long time, he produced alone a program of concert music (unfortunately, in those days there were already a few light music pygmies who had the nerve to present themselves 'in concert', destroying the traditional dignity of the word) in which he always avoided banality. He avoided the crowd pleasing commonplaces of those who like to listen ten or one-hundred times to music which touches their ears and easy sensibility. With him it would be impossible to listen for the thousandth time to Pavarotti, singing "O Sole Mio", or any other insignificant part of his repertoire. Besides carefully selecting his programs, and supplying Radio Macao's music archive with quality works, he also used his own material which included several historical tapes, of great interest. Then he would make the comments which his great musical culture allowed him. It was a high level program, which probably was not appreciated as it should. If it ever was, it gave a high dignity to the musical culture in Macao. Programs such as those contitute today a kind of 'embarrassed poverty': since the consumer society created the Platinum, Gold and Silver Record Awards, they go to the old generation of chanteurs de charme, or to the ever new generation of noisy 'rockers', capable of causing nervous trauma. If the great Stravinski would return to this world and started to compose again, I doubt that he would reach even the most modest of those three precious metals.

Luís Gomes's health was weak. I am sure that his enthusiasm for cultural work somehow strengthened it, far beyond the harm that his diseases would have caused had he remained inactive. His health deteriorated quickly. I went to visit him twice during his short stay in hospital. On the second time, as I watched him leaning on the pillow, apparently, without any breathing difficulties, I told him straightforwardly, that I found him better. He only answered, and repeated: — "I am much worse!" And slowly pronounced the 'much', as if to underline the feeling that haunted his soul. On that very same night he died. But only physically. A new life started for his name, for his work, for his example. He is a landmark, and a high one, in the local rooted culture. And the creation of a Coenaculum with his name will intensify, and revive the cult his memory deserves.

January 1992

Translated from the Portuguese by: Rui Cascais Parada

* Translator's note: For this and all other literary works by Luís Gonzaga Gomes, see: Exposição Fotobibliográfica: Photobibliographical Exhibition: Luís Gonzaga Gomes, Macau, Instituto Cultural de Macau - Biblioteca Nacional - Arquivo Histórico, 1987, pp. 39-83 — Biografia / Biography (197 entries); and Luís Gonzaga Gomes: Uma Vida (Comemorações do 10. ° Aniversário da Morte de Luís Gonzaga Gomes), Macau, Instituto Cultural de Macau, 1986.