Concertos setecentistas em Portugal: obras de David Perez, José Palomino e Antonio Policarppi

Abstract

The construction of existence: (re) knowing the history that makes sense In 15 years of activities, the Laboratory of Musicology and Cultural History of the State University of Amazonas developed several projects with sponsor support several. The lines of action sought to promote the meeting of historical musicology, with interpretative practices, approaches analytical and historical-cultural views of the representations of music. In the last decade, work on sources Luso-Brazilian women of the Old Regime, or relative to them. There was then the transcription of material from many authors and collections, immediate results to performance in concerts and scenic montages and master's dissertations. In the case of musical performance, the program Opera in Colonial Brazil, with arias extracted from several works in circulation through the Portuguese-speaking space of the 18th and 19th centuries, a proposal that, sponsored by the Petrobrás Cultural Program, reached between 2013 and 2016 dozens of cities in Brazil and Portugal. It is also mentionable the repertoire developed for presentation under the auspices of SESC, in its Amazônia das Artes program, which dates back to 2010. Together several presentations that took place in Manaus, interspersed with 5 international tours that covered Portugal, Spain, France and Italy, the entire repertoire in question was defended by the Orchestra Amazon Baroque and its most chamber formation, Amazonas Baroque Ensemble, which also includes 5 CDs. But not only: in the case the musical restoration of Wars of the Rosemary and Mangerona (1737), Antonio José da Silva (1705-39) and Antonio Teixeira (1707-74), the score resulting from the musicological work was used so much for the 2010 montage by OBA and cast of soloists during the Festival Amazonas de Ópera - then the contemporary debut in Brazil of this work - as it was, after being edited by Universidade Nova de Lisbon, made available for the shows made by the group Portuguese The Musicians of the Tagus, in 2019. In the list of master's defenses that used these materials there are some that operated on the feasibility of the presentations, because they looked at the issues of reconstruction, and there are those who provided, and still provide, theoretical input for all practical activities, it being remarkable that all these now Masters, some already Doctors, were on stage to complete the experience in this universe that they helped to unravel. Noteworthy are the works on Vanessa Monteiro, who offered a critical and annotated version of the Rules of accompanying, for harpsichord or organ (1758), by Alberto José Gomes da Silva, and, in this same sense, Gabriela's contribution Dácio referring to the Method or explanation for learning to dance the contradictions (1761), by Julio Severin Pantezze, to which is added very recently Gustavo Medina's work on the voluminous pedagogical work by Pedro Lopes Nogueira (1686-d.1770), entitled Lisões variety (c.1720-40). Dedicated to transcription, restoration and criticism of musical works are: the work of Gabriel de Sousa Lima on Antonio Teixeira's remaining arias, in a manuscript of late 18th century containing music for Precipices of Phaeton (1738); the study with complete transcription of the opera Varieties of Proteu (1737) by the same Teixeira, directed by Tiago Soares; the transcript that Fábio Melo made the opera Demetrio (1765-6), by David Perez, in a version bilingual, drawing on the collation of manuscripts in Italian and Portuguese, that rest in the Help Library and the Library respectively the Paço Ducal of Vila Viçosa, in Portugal; transcription and critical study made by Silvia Lima of the serenade Gli Eroi Spartani (1788), from Antonio Leal Moreira (1758-1819), based on versions in Italian and Portuguese, included in the aforementioned collections of Ajuda and Vila Viçosa; The organization and transcription of Belizário (1777-78?), of multiple authorship in the process of counterfeiting and pastiche, on which Benjamin stopped About; finally, the work of Huan Miranda that discusses a reconstruction of missing parts for a cello concert of Pedro Antonio Avondano (1714-1782). With regard to studies of musical interpretation through interdisciplinary approaches exist: Manoella Costa's works on the Avondano trios, in Dresden; the works of Fabiano Cardoso and Flávia Procópio, who concentrated on the vocal repertoire of modinhas, between the centuries XVIII and XIX; Silvanei Correia's work on the double bass of five ropes used in the late 18th century; and the work of Luciana Pereira, about Waldemar Henrique's songs. The analysis texts also not been forgotten, with Guilherme Aleixo's contribution being the most important, when performing topic-schematic analysis of the 6 Responsories Funerals (1831-2) by João de Deus do Castro Lobo (1794-1832). a an even greater number of transcripts and studies were carried out scientific initiation and undergraduate monograph. They should also be mentioned in general terms that, both mentioned above, as the permanent members of this laboratory, namely the organizers of this collection, also produced books, chapters and articles in indexed and qualified journals, in addition to contributing entries for dictionaries and advising and would appear to scientific vehicles and events of national merit and international level, evidencing the recognition for the work that has being developed in this research unit. The Clinâmen series. The atomist doctrine of Democritus and Epicurus conceptualized the determinism of the movement of atoms. The different forms, arrangements and positions of atoms, understood here according to the theory philosophical, like the infinite variety of minimal materials, would give substance to everything you see. Lucretius as a follower of epicureanism believed that the doctrine found the key to understanding the all universal and with that happiness is achieved. Democritus defended that atoms fell into the void, always in parallel direction. The idea of ​​emptiness facilitated the movement of the atom. The different weight of the atoms would make the shocks happen at different speeds and moments, generating the worlds. The critic of Aristotle, that there was no emptiness, because if he had would not show resistance to the movement and weight of the atoms causing a simultaneous fall and shock, made Epicurus would argue for a lateral deviation in the movement of the particles. That movement without cause is already the notion of Clinâmen. But Lucrecio understood this deviation as intentional because so, even in the face of inexplicable quiddam, which was explained it was the free will of all living things and therefore emphasized the stamp humanistic of his doctrine of election. In much more recent times, several theorists and scholars have used the concept of Clinâmen, like Jacques Lacan, Jacques Derrida, Gilles Deleuze and Harold Bloom, however showing differences between their understandings, but always in a divergent condition. In a sense closer to Lucretius, the idea that is adopted here it is inspired by Boaventura Sousa Santos. The Portuguese sociologist notes that, in view of the canonical power that provokes an action routine, conformist, repetitive and reproductive, by reducing realism for what exists only in the face of the recognition of such power, an action-with-clinamen is used. The Clinâmen then assumed itself as in Lucretius, as the power of inclination, of spontaneous movement, of the will to deflect. It means that it is not necessary to deny the past, refusing it. Rather, it is important to recognize the connection, to assume it, to build a particular narrative that allows for redemption. Its about operate on the boundary between the past that existed and the one that did not have recognition, license or authorization to exist. Anyway means give voice to other epistemologies, which have gone hand in hand with established itself as a canon, but it was not unique. These experiences are precisely the ones that give us meaning, because without them we are speechless and will continue to build non-existence. This indolence of reason is not answered with the act revolutionary break. It also does not favor us, because we continue to live in the world as it is. But we can and we must recover our ways of being and doing, this time imposing a dialogue to the canon that is uncomfortable to him. The canon is only interested in what it justifies or strengthens you. The parallel voices, the deviation of their purposes, the appropriations that are made of it, or those that we revert from it, the different forms of knowledge, reason, production, communication, of conception, and of Art, disturb his speech, which one day becomes he wanted unitary, globalizing and not heterotopic. Rather, the unifying context must be more universal than global, more plural than unitary, less immediate so that the present includes the past in our lives as well as to start to live already the future that is desires for the act of building it. The various experiences that affect us are that make us what we are, and that is how our Art manifests. It was in this spirit that we decided on the choices that fill the 4 volumes that start this series. Since it also had been the research guideline of the last 15 years, nothing more just than give them continuity, publishing and exposing effectively, because digital and free, on the stage of cultural events to anyone who wants of that if you use it.These 4 volumes include sources for the understanding of traditions that unite part of the Mediterranean world and will meet in Portugal in the 18th century, consequently affecting Brazil, because after all this is part of that in the period in question. They are works made for a context that does not concern Europe belonging to the Cultural North. At most they integrate the culture of the semi-periphery where silences rest, but with much to say. This is because even authors that may have arisen and related to the canon, were diverted to other trajectories and built other epistemologies. Of these volumes, 3 were dedicated exclusively to music instrumental. First, because the idea is not exclusive to thought Anglo-Franco-Saxon. Second because in this way that are raised here this music obeys another tradition of representation and interpretation. Volume 1 brings together the work of two musicians who have deprived of mutual friendship and admiration in their lives. Both met far from the homeland, to become artists, whose work and scope only one starts to have a notion. Pedro Lopes Nogueira (1686-d.1770) came from Tavira to Lisbon, becoming a shoemaker and violinist, to register what can be considered the musical corpus for pedagogical purposes most important of the entire eighteenth century. Fruit of his practice in Lisbon and Coimbra, the Casta de Lições, from which we extracted the 13 sonatas that here they are edited for the first time, it is composed of diversified material for technical and expressive teaching that must refer to a tradition previous. The answer may lie in the relevant biographical survey Pietro Giorgio Avondano (1692-1750 / 52) who was best known like Pedro Jorge Avondano. Coming from Novi [Ligure] to Lisbon, in amidst a migratory wave of several families from that city, a exponent in his music profession with enormous prestige that he achieved their offspring and family members. The testimony of a respectable source like Nicolau Mongiardino, a long-time neighbor of Avondano, attributes the degree of excellence of this to his teacher of name Geminiani. The presence of a musician from Corelli's circle in Lisbon would also explain the high degree, not only of Avondano, but of Nogueira, dealing with the instrument and the musical material itself. To join Nogueira's 13 sonatas, they were selected the three trios that bear the name of Avondano, that are part of the estate of the Dresden Public Library. Accustomed to copying music chamber and orchestral, especially for strings, in large quantities and select quality, the copyists of the local official orchestral group that had one of the highlights under Augusto, the Fort, gathered works of different origins. Avondano's sonatas deposited there did not specify the first name, but the date of the copy allows to affirm if dealing with Pedro Jorge. Like Nogueira's, made for violin and bass, the three Avondano sonatas, for two violins and bass, demonstrate the hand skills of creative interpreters, both in handling the technique, as in the elaboration of semantic aspects, involving themes, tops and styles with a lot of ownership, combining them in order to offer singular aspects. The second volume opens a sequence for concerts for soloist and orchestra. Like the works in volume 1, they may have destined to moments of sociability in court spaces, religious or bourgeois. David Perez's flute concert (1711- 1778) seems to have been written around the years when he moved to Portugal, where there would certainly be no shortage of interpreters. This concert it is probably a second attempt by the author to approach writing of the soloist flute, compared to another example attributed to him and today he is in Brussels. Violinist, harpsichordist and singer, Perez can only have been interested in writing for flute in the presence of interpreters who demanded it. Although no name in particular it seems to have crossed its path during the Italian stage of his career, he must have found in Portugal the members Rodil, Plá and Heredia families, who had skilled flutists. Next to the Perez concert is a violin concert, made decades later by José Palomino (1753-1810). Born in Spain and very early immigrated to Portugal where he developed almost his entire career as an instrumentalist and composer, Palomino combines great technical precision, with melodic refinement, rhythmic vigor and effective orchestration, for strings without guitar and two horns. Better than many of the most notable contemporary violin concerts, this it may have been one among other possible concerts he wrote for the instrument, since the copy that we use here goes dated 1804 and there is news of his concerts in 1778 and on dates nearby though you don't need to. The volume concludes with a rare Iberian concert for cello. The manuscript bears the name of Antonio Policarppi, who is completely unknown who he was, unless talking about the owner of the parts and that there was some confusion with the name; the tenor Policarpo José Antonio da Silva (1745-1803), who joined the services of the Portuguese Court, served as a composer and key instrumentalist, but still managing groups for religious activities or at the service of nobles and bourgeois in their homes, which surely involved hiring musicians and collect repertoire for such purposes. The concert in question can be from the work of any of the virtues of the Royal Chamber Orchestra and its more cameristic texture would adapt well to different spaces that these professionals went through. The third volume of the series brings the complete work to the João Cordeiro da Silva (c.1735-1808) and a significant part of the work instrumental by José Palomino. The major work is the concert or quintet for harpsichord or pianoforte, two violins, viola and bass. More mature than the previous violin concert, the work works well with the harpsichord or the piano, with basso reinforcement or having solo cello, proving that Palomino was in fact an expert of the trade. The quality of writing shows a composer far ahead of the rest of craft within a radius of many kilometers of it and, if placed alongside the quintets produced in the same year 1785, which went out of Portugal, it projects itself at the high level of the best that has been done end of the 18th century and not only in the Iberian panorama. In this sense, the volume also brings the surprising duo of pianoforte and violin, worthy of the repertoire of the best sonatas of the time. The fourth volume of the inaugural stage of the series is the only one dedicated to vocal music. This is the first edition of the opera Ezio, by Niccolo Jommelli (1714-1774), one of his most important works. This was the fourth time that the Neapolitan wrote music for the same libretto by Pietro Metastasio (1698-1782). He did not do so willingly, having even complained about having to do it, but he did it because it was D.'s choice José, who kept it under contract and wanted the work to be to an important date like the queen's birthday. Jommelli, already victim of a stroke, was delayed in elaboration and the debut of the opera was for the anniversary of the discovery of Brazil, having subsequent reruns. The composer repeated some arias of versions precedents, but inserted new text and music, of which stand out the counterpoint treatment richer than in ordinary works of time and complex ensemble scenes. At that same time the Metastasio's libretto received a new Portuguese translation, intended for according to the lusophone audiences, with graceful characters inserted. Such version seems to have traveled Brazil from North to South at that end 18th century, without knowing if it had Jommelli's music, it is only presumed that it served the pastiche model and counterfactual that characterized the lyrical spectacles of the time in most popular context. All volumes have critical, historical and analytical about the works in question and with biographical approaches to build a context that allows understanding of artistic creation. The organizers would like to thank indistinctly to all archives and libraries that guard the originals of these works, in many cases for making the material available free of charge in digital platforms or in other cases for being able to meet the requests copy in a timely manner. The Historical Archive of the Brotherhood Santa Cecília and Montepio Philharmonic for availability consultation and transfer of images, as well as to the scientific researcher Dr. Ana Paula Tudela, for the information and diligences that you kindly provided in relation to the contents of that collection and connections made possible with other funds. Thanks are extensive to all students, colleagues and external collaborators who the Laboratory of Musicology and Cultural History, as well as the Barroca do Amazonas Orchestra, participated in the experience of restoration of this musical material. Thanks in particular here those who worked on the transcription with the organizers, as is the case of André Ferreira da Silva, Francisco Jayme Cordeiro da Costa, Guilherme Aleixo da Silva Monteiro, Maira Dessana Ferreira da Silva, and Mario André Vlaxio Lopes. The work is dedicated to those who, like us, feel that their history is not irrelevant and is just as important as any other to be told. This is the story of many, regardless of their origin, here they came together to give meaning to a culture.