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- Convenors:
-
Cristina Fernandes
(INET-md, FCSH-UNL)
Maria Albuquerque (INET-md, FCSH-UNL)
Vanda Sá (Universidade de Évora)
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- Location:
- Sala 1.06, Edifício I&D, Piso 1
- Start time:
- 16 July, 2015 at
Time zone: Europe/Lisbon
- Session slots:
- 1
Short Abstract:
In the final period of the Ancien Régime, Portugal benefited greatly of imports related to music, coming from the leading centres in Europe, especially Paris, London and Hamburg. European musicians brought new instruments and new music, that enabled the renovation of Portuguese cultural practices.
Long Abstract:
In the final period of the Ancien Régime, Portugal benefited greatly from an expansive process of imports related to music coming from the leading centres in Europe, especially Paris, London and Hamburg.
The arrival of foreign musicians to perform at the Portuguese Royal Chamber, and their subsequent establishment, permitted the appearance of music warehouses responsible for the import of printed music and instruments, as well as the development of music publishing and its distribution in Portugal.
On the other hand the Crown allowed the circulation of music professionals in an autonomous and free-lance way and provided, with a negotiated control, the necessary means for the consolidation of new cultural and musical practices.
This study intends to evaluate how the circulation of new products, new instruments and new music, whether cosmopolitan or local production, as is the case of the modinha, enabled not only the renovation of cultural practices and the affirmation of new profiles of professionals within the musical life, but also a new way of consuming and listen to music.
Accepted papers:
Session 1Paper short abstract:
The paper will analyse the impact of new trends related to cultural exchanges and the music market on the appearance of specialized music publishers, who promoted new musical repertoires for domestic use, disseminating both foreign and Portuguese composers, as well as the national genre of “modinha”
Paper long abstract:
The second half of the eighteenth century in Portugal witnessed a wealthy and extravagant aristocratic culture. One of the most enduring legacies of this privileged culture was the patronage of music. At the same time the rising middle class and the development of industry and commerce made possible the appearance of new markets for musical goods, including printed music.
Evidence is given that despite the development of printed music, handwritten music continued to be produced throughout the eighteenth century. But it is an undeniable fact, however, that printed music altered music dissemination. Whilst handwritten manuscripts were usually generated on demand for a limited, and exclusive, clientele printed music was distributed by local stores to attract buyers. The need to find buyers generated a new way of spreading printed music, both in Portugal and abroad. Marketing became necessary to promote new musical pieces and ensure revenue.
Music publishers therefore played a fundamental role, in this period, in promoting the dissemination of new repertoires of music, thus influencing musical taste and stimulating cultural exchanges in Europe. It is the purpose of this paper to contribute to a better understanding of music publishing in Portugal throughout the second half of the eighteenth century, analysing the published music, in terms of genre, musical instruments and composers and, also, identifying the most significant music publishing houses in Lisbon and Oporto.
Paper short abstract:
The paper will analyse the impact of new trends related to cultural exchanges and the music market on the circulation of new products, new instruments and music, correlating with the renovation of cultural practices, and even a new way of consuming and listen to the music starting from Lisbon.
Paper long abstract:
During the reign of Queen Mary I (1777-1816), there developed in Portugal new musical practices in parallel with a flourishing of commerce associated with music. In this paper I intend to study the articulation between the renewal of repertoire, of music manuals, with the data of the imports and customs duties; and specific information from the commercial advertisements placed in periodicals concerning to the sales of instruments - including some references to Brasil -, but also auctions and trade of second hand instruments, especially pianos.
I intend most of all evaluate how the circulation of new products, new instruments and music, whether cosmopolitan or local production as in the case of the modinha, enabled not only the renovation of cultural practices, such as the affirmation of new professionals and even a new way of consuming and listen to the music.
Paper short abstract:
The paper will analyse the impact of new trends related to cultural exchanges and the music market on the social and professional careers of the musicians in Lisbon in the late eighteenth-century, both native and foreigners who had chosen the Portuguese capital to develop their activities
Paper long abstract:
The development of the public sphere during the eighteenth century turned music into a commodity, accessible to all who could pay for it, either in the form of a concert ticket or the purchase of sheet music and instruments for domestic use. It also contributed to liberate the composer and performer from the dependence of representational culture of the ancient régime. The new paradigm not only led to the increasing variety of cultural and musical goods exchanged as generated significant changes in the social condition of the musicians, widening their professional expectations and opportunities within the labor market.
The paper intends to analyse the impact of the new trends related to cultural exchanges and the music market on the social and professional careers of the musicians in Lisbon in the late eighteenth century (both native and foreigners who had chosen the Portuguese capital to develop their activities), as well as their role in the development of musical practices and repertoires linked to private initiative within a society that slowly began to encompass the challenges of the public sphere. Several musicians, including instrumentalists of the Royal Chamber, had paralell free lance activities and became agents of the emerging music market as sheet music editors and sellers, private teachers or promotors of assemblies, balls and concerts. Different profiles of musicians will be considered, comprising examples of their life conditions and income.
Paper short abstract:
The conflict between the modern consciousness of a free professional musician and a context such as the early nineteenth century Lisbon appears central in Bomtempo’s experience after his return to homeland, finding a surprising solution as the represented by the establishment of the Sociedade Filarmónica.
Paper long abstract:
The Revolution of 1820 favors the return to Lisbon of João Domingos Bontempo, a musician who had enjoyed significant success in the most important European musical centers, showing a modern conception of "concertism" and interpreting his role as musician as a free entrepreneur, according to a model exemplified in an incisive and successful way by his friend Muzio Clementi in London. Despite the illuminated climate of the early times of the revolution, the transfer of this model clashes with a musical context, such as the Portuguese capital of the time, still firmly rooted in the dynamics, logic and mentality typical of the Ancient Régime. Though being upgraded to official musician of the revolution and counting with the support of the liberal elite and the king himself, Bomtempo remained unemployed more than a year after his removal. Some deputies tried to resolve the anomaly of this situation by creating a new secular institution for music education (in place of the Seminário Patriarcal de Música) in which the musician entrust a post of prestige: the failure of this initiative will force Bomtempo to create their own livelihoods through the foundation of the Sociedade Filarmónica. This concert society, despite the difficulties caused by politic involution and the hostility of part of the local musical scene, provided during six years some regular concert seasons for the first time in Lisbon and finished significantly its activities on the day of the dissolution of the Cortes and the establishment of the absolutist regime of D. Miguel.