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.