UID/EAT/00472/2013 ; Amidst the political-motivated movement of "national consciousness" which arose in the fin-de-siècle – profusely fostered since the celebrations, in 1880, of the third century of the death of Camões, the author of the epic poem Lusíadas, and deeply nurtured by the social upsurge against England, which forced the Portuguese Crown, through an ultimatum, in 1890, to discard its pretensions on the African Collonies – the quest to ascertain a "Portuguese music" arose within composers, musicians and critics of Lisbon's musical milieu. Just after the upgrowth of symphonic concerts within Lisbon's musical venues, which struggled to impose over a long-termed preference for opera, the attempts for a "Portuguese music", offered by Lisbon's composers, was coincidently offered among those artistic genres. In spite of the idiossincrasies of opera and instrumental music, the notions shared by several critics were, mutatis mutandis, much the same and was taken accordingly to the most renowned trends and examples of European "nationalistic schools", which was by that time included on Lisbon's concert programming. Focusing on Alfredo Keil's Dona Branca, Greenfield de Melo (1893) noted that a national opera should grasp not only a Portuguese libretto, wrote by a indigenous authour on national themes, but the Portuguese music, specifically, the popular songs (i.e., folk songs, distinct from the "popularized" themes) – which was recollected since the second quarter of the century – that retained the most "pure" and authentic aspects of "Portuguese music". Júlio Neuparth also ascertained that the resource to (that "invented") "tradition" was, due to the "purity" of that ancient and nearly untouched musical legacy, the most promissing method to achieve the "essence" of a Portuguese "nationalistic" compositional school. In what concerns instrumental music, it was indeed Neuparth which credited the successful attemps of a foreign composer, Victor Hussla: although the previous use of folk songs among opera and instrumental music by Portuguese composers, it was the notorious symphonic treatment of those musical materials, whitdrawn from Album de Músicas nacionais portuguesas collected by João António Ribas c. 1857, which made Hussla's Rhapsodies, op. 9 as a seminal work of "Portuguese music". It is fair to argue that Neuparth was stating as well, with that specific legitimation, the need to reformulate the far outdated pedagogical methods of the Portuguese institutions. On the following years, Sousa Morais, Filipe da Silva, Júlio Neuparth, António da Costa Ferreira, Ernesto Maia and others chose specific paratactic genres, such as the rhapsodie and paraphrase, to display their symphonic treatment of Portuguese "popular songs"; however, their works never achieved the recognition granted to Hussla's op. 9: while Hussla's Rhapsodies are currently accounted for on recent academic studies, the works by his followers – most of them constituted a common corpus exhibited by windbands during the tweentieth-century - remain still unnoticed. The present paper aims to discuss the influence of the ongoing upgrowth of a symphonic culture within Lisbon's musical praxis in the choice for those paractatic genres and specific compositional strategies to fullfil the need for the characteristics of a "Portuguese music" as well as to address the reception of its tokens on Lisbon's musical milieu. While the choice for the rhapsodie proceeds, certainly, from obvious sources, such as Liszt's Rhapsodies Hongroises, Lalo's Rhapsodie Norvegiénne, among others, the choice for the genre paraphrase is still unclear and requires a thorough study. Current studies have argued that some Portuguese composers, most notably Luís de Freitas Branco, took as methods for their composition the study of the most renowned works of consecrated European composers, most certainly due to the anachronic compositional methods of Portuguese pedagogical institutions. Therefore, it seems to be worth identifying presumable correlations between the symphonic treatment of popular song in some of the works presented in Lisbon at the time and the works of Hussla, Neuparth, Ferreira, Silva and Morais, as an attempt to suffice the lack of their compositional background. ; publishersversion ; published
PEst-OE/EAT/UI0693/2014 ; Francisco António Norberto dos Santos Pinto (1815-1860) was the most renown brass player in the second quarter of the nineteenth century, having served as horn, bugle and keyed bugle musician at the Reais Cavalariças, Real Câmara, in military bands and at the orchestra of the Teatro de São Carlos. His recognition as an excellent musician earned him the appointment as a teacher of brass instruments at the Conservatório Nacional, in 1849, after the death of Francisco Kuchembuch. He was soon to become one of the most appreciated Portuguese composers of the mid-nineteenth century, with a vast production of works for sacred celebrations, orchestra, ballet, theater and for accompanied solo or ensemble instruments. He also held significant positions in Lisbon's musical corporations – such as Irmandade de Santa Cecília, Montepio Filarmónico and Associação Música 24 de Junho –, maintained an active collaboration in amateur and professional music academies – such as Academia Filarmónica de Lisboa, Assembleia Filarmónica de Lisboa and Academia de Professores de Música – and produced a variety of arrangements for the piano domestic practice. Santos Pinto held a virtuoso career, between the 1830s and 1840s, mostly as a composer-performer, having participated on several venues with demanding concertos and variations for horn and keyed bugle. In the same period, he also produced some easier sets of variations for amateurs and private students. After his virtuoso career, Santos Pinto composed several works for the most important performers of his time, for a new generation of musicians and for his students at the Conservatório Nacional. These mid-century works are characterized by a higher level of demand, making use of an outstanding technical and expressive prowess, which demonstrate his broad theoretical knowledge of the morphology and practice techniques of a wide variety of instruments. His willingness to compose for the Lisbon's virtuosi was soon took by other composers, such as Leonardo Soller, Emílio Lami and Eugénio Ricardo Monteiro de Almeida, among others, asserting a new trend in Lisbon's musical praxis. This presentation aims to discuss the contexts of the "composition for virtuosi" in Lisbon, focusing on the works of Santos Pinto for his fellow musicians. As will be seen, this production discloses two main aspects. Firstly, it results from the need of reinstating the importance of Lisbon's professional musicians in an era when the musical activity was highly dominated by amateurs; those were, in fact, the purposes for the foundation of the Academia de Professores de Música. Secondly, it unveils the process of establishment of the pedagogical contents in the recently-founded Conservatório Nacional, namely the assemblage of methods for the instrument by its appointed Portuguese teachers and the composition of soloist works for the evaluation of students in public exams. Some of the works discussed in this presentation were composed for this [last] purpose, while the others may have been incorporated afterwards in the pedagogical compendium of the Conservatório Nacional. Zusammenfassung: Francisco António Norberto dos Santos Pinto (1815-1860) war im zweiten Quartal des 19. Jahrhunderts ein sehr beliebter Blechbläser. Er spielte Horn, Signalhorn und Schlüsselhorn in Reais Cavalariças, Real Câmara und in der Militärkapelle, zudem nahm er am Orchester vom Teatro de São Carlos teil. Im Jahre1849, nach dem Tod von Francisco Kuchembuch, erwarb Francisco Pinto durch seine Anerkennung als ausgezeichneter Musiker eine Stelle als Lehrer an der Conservatória Nacional, wo er Unterricht in Musik für Blechinstrumente erteilte. Ab Mitte des 19. Jahrhunderts wurde er einer der berühmtesten portugiesischen Komponisten, sein enormes Repertoire umfasste Werke für geistliche Feiern, Orchester, Ballett, Theater und Werke zur Begleitung von solo und ensemble Instrumente. Er nahm eine wichtige Rolle in der Musik-Kooperationen von Lissabon ein, wie in der Irmandade de Santa Cecília, Montepio Filarmónico und Associação Música 24 de Junho. Weiterhin bemühte er sich um eine aktive Zusammenarbeit zwischen den Musikakademien für Professionelle und Amateure, unter anderem der Academia Filarmónica aus Lissabon, der Assembleia Filarmónica aus Lissabon und der Academia de Professores de Música. Nennenswert sind zudem seine abwechslungsreichen Pianoübungen für den häuslichen Gebrauch. Santos Pinto durchlebte eine Karriere als Virtuosi . In den 30er und 40er Jahren des 19. Jahrhunderts etablierte er sich als ein sehr engagierter Künstler und Komponist. Er trat an verschiedenen Orten auf und gab anspruchsvolle und abwechslungsreiche Konzerte für das Horn und das Schlüsselhorn. Zur selben Zeit schrieb er eine Reihe an einfachen Stücken für Amateure und Privatstudenten. Nach seinem beruflichen Virtuose- Erfolg komponierte Santos Pinto zahlreiche Werke für berühmte Interpreten seiner Zeit, für eine neue Musikergeneration und für seine Studenten an der Conservatório Nacional. Die hier genannten Werke aus der Mitte des 19. Jahrhunderts kennzeichnen sich durch einen hohen Anspruch aus; eine außerordentliche Technik und ein ausdrucksstarkes Talent spiegeln sein weitgefächertes theoretisches Wissen über Morphologie und Übungstechniken für zahlreiche Instrumente wieder. Seine Begeisterung für die virtuosi in Lissabon zu komponieren, inspirierte viele andere Komponisten, unter anderem Leonardo Soller, Emílio Lami und Eugénio Ricardo Monteiro de Almeida, die in der Musikpraxis von Lissabon einen neuen Trend setzten. Ziel der vorliegenden Arbeit ist es, die Zusammenhänge der "Komposition für virtuosi" aus Lissabon zu diskutieren. anhand der Werke von Santos Pinto, die er für seine Musikgesellen geschrieben hat. Wie sich herausstellen wird, offenbaren die Stücke zwei Hauptaspekte. Als erstes entstand in einer Zeit, die ausschließlich von Amateuren dominiert wurde, das Bedürfnis die Bedeutung der professionellen Musiker aus Lissabon wieder neu zu erstellen. Dies war der eigentliche Beweggrund, der zur Gründung der Akademie für Musikprofessoren führte. Zweitens stellt sich der Einfluss der kürzlich gegründeten Conservatório Nacional heraus und es enthüllt sich ein Prozess der Ausgestaltung von Lernmethoden in dieser Einrichtung. Nennenswert ist eine Vielzahl von Lern- und Spielmethoden für Instrumente, die von portugiesischen Professoren gesammelt wurden und Solowerke, die in der Bewertung von Studenten in öffentlichen Prüfungen benutzt werden. Einige Werke, die in der vorliegenden Arbeit erläutert werden, entstanden aus dem letzten genannten Aspekt, wobei die anderen Werke erst später in die pädagogischen Leitfäden der Conservatório Nacional mit einbezogen wurden. Sumário: Francisco António Norberto dos Santos (1815-1860), de quem se celebrará no próximo ano o bicentenário do nascimento, foi, no segundo quartel do século XIX, o principal intérprete de sopros de metal, tendo prestado serviço como músico nas Reais Cavalariças, Real Câmara, em bandas militares e no Teatro de São Carlos. O seu reconhecimento como intérprete concretizou-se na sua nomeação como docente no Conservatório Nacional, após a morte de Francisco Kuchembuch, em 1849. Foi também reconhecido como um dos mais conceituados compositor de meados do século XIX, com meritória produção de obras para celebrações sacras, para orquestra, bailado, teatro cómico e para instrumentário a solo ou em ensemble com acompanhamento. Não fosse tudo isto já bastante, desempenhou cargos relevantes nas corporações de músicos portugueses (Irmandade de Santa Cecília, Montepio Filarmónico e Academia Música 24 de Junho), manteve uma colaboração activa nas academias de sociabilidade mundana de diletantes e músicos profissionais (Academia Filarmónica de Lisboa, Assembleia Filarmónica de Lisboa, Academia de Professores de Música, com o título distintivo Melpomenense) e produziu variados arranjos para piano para as casas editoras lisbonenses, destinados à prática de música doméstica. Santos Pinto foi, entre as décadas de 1830 e 1840, um reconhecidovirtuoso, apresentando-se em vários concertos com exigentes concertos e variações para trompa e corneta de chaves de sua autoria. No mesmo período, compôs alguns conjuntos de variações para amadores, seus possíveis alunos, que são obras mais fácil, de dificuldade moderada e acessível. Após a sua carreira como virtuoso, Santos Pinto compôs várias obras para os mais importantes instrumentistas da sua época e para os seus alunos no Conservatório Nacional. As suas obras de meados do século para os virtuosi lisbonenses são caracterizadas por um elevado nível de exigência, fazendo uso de uma capacidade técnica e expressiva, que certifica o conhecimento teórico vasto do compositor sobre as técnicas interpretativas e morfologia de uma ampla variedade de instrumentos. A sua vontade de compor para uma nova geração de instrumentistas foi também desde logo assumida por outros compositores e compositores-intérpretes, tais como Leonardo Soller, Emílio Lami, Eugénio Monteiro de Almeida, entre outros, capacitando uma nova tendência na praxis musical lisbonense. Esta comunicação procurará discutir os contextos desta tendência de composição para virtuosi em Portugal, centrando-se nas obras de Santos Pinto para os seus pares. Como se verá, esta produção reflecte dois importantes aspectos. Primeiro, esta resulta da tentativa de recuperação do papel detido pelo músico profissional enquanto figura máxima da vida musical lisbonense, numa era em que a actividade musical vinha sendo altamente dominada pelos músicos amadores, princípios estes que inspiraram a criação da Academia dos Professores de Música. Segundo, afirma a influência do recém-fundado Conservatório Nacional, e o processo de constituição dos métodos de ensino desta instituição, sobretudo os tutores e métodos de instrumento coligidos pelos seus professores e de obras para avaliação em exames públicos; parte das obras resultam deste último propósito, enquanto outras foram certamente incorporadas no compêndio pedagógico do Conservatório Nacional. ; authorsversion ; published
