Events
GIEHCM Seminar | Modern editions of Portuguese music from the 17th and 18th centuries: History, methodologies and problems
PERMANENT SEMINAR IN HISTORICAL AND CULTURAL STUDIES IN MUSIC
The Permanent Seminar of the research group Historical and Cultural Studies in Music of INET-md intends to be a forum where all its members (integrated and collaborators), as well as other invited researchers from the academic, cultural and artistic circles, may present their work and discuss ongoing projects and research.
28-10-2024 | 5 pm | NOVA FCSH, Colégio Almada Negreiros (Campolide) | Room 209 | Zoom
Free access, in person and online.
Zoom Room
Meeting ID: 916 8180 4933
Password: 018862
Modern editions of Portuguese music from the 17th and 18th centuries: History, methodologies and problems
17th-century Portuguese organ music in modern editions
Célia Sousa Tavares | INET-md/NOVA FCSH
Over the last 90 years, the modern edition of 17th-century Portuguese organ music has become an integral part of the early music movement and has had major repercussions on the concept of heritage and its appreciation. The evolution of editions of this repertoire in Portugal reveals a growing concern with documentary sources, contributing to their study, cataloguing, digitalization and dissemination of early Portuguese musical heritage. There is a reciprocity in the change of criteria and values between the edition of scores, the early music movement and "historically informed performance". Between the first editions in the 1930s and the most recent ones, there is a variety of criteria and concepts associated with editorial activity. Paleography and codicology have become an integral part of editorial work, with critical editing predominating over practical editing and questioning the relationship between the authority of the composer and the authority of the publisher. The introduction of Musicology into the Portuguese academic context, the development of organ teaching, the growth of concert activity and the restoration of historical organs, has placed the publication of 17th-century Portuguese organ music in the domain of specialization of the musicologist-performer or performer-musicologist. In this talk, we will analyze the evolution of the editions of this repertoire from 1935 to the most recent editions, covering several aspects such as the identification of publishers and editors, the editorial context and the typology of the editions. Organ music has always had a prominent place in national editorial activity, and a case study will therefore be presented: the Obra ou Consonâncias de 1º Tom by Pedro de Araújo.
Célia Sousa Tavares | Organist a PhD student in Musical Sciences – Historical Musicology at NOVA FCSH. Her main fields of interest are Early Music and Music Performance Studies, with particular emphasis on the Iberian organ heritage. Célia Sousa Tavares completed her organ degree graduation at Escola Superior de Música de Lisboa (2008) and followed her studies with a Master's degree in Music, specializing in Organ, at the University of Évora (2010). She studied at the Hochschule für Künste Bremen in Germany (2010-2012) with Harald Vogel, Hans Davidsson and Edoardo Bellotti, in specializing in Organ and Historical Interpretation. She simultaneously received a scholarship from the Universidade de Évora. She was a guest student in 2011 at the Eastman School of Music in the United States and completed a Master in Music Teaching at the Escola Superior de Música de Lisboa (2017). Alongside her teaching activity, she has performed in solo recitals, with orchestra and with vocal/instrumental groups in Portugal, Italy, Germany, England and the United States. She was invited by the Instituto Camões and the Consulate General of Portugal in Manchester to perform an organ recital in the Cathedral of this city, as part of the celebrations on the Portuguese National Day 2018. Between 2016 and 2018 she was invited to perform commented recitals with the aim to value the pipe organ heritage of Mafra. She was artistic director of Ciclo In'Musica (2019), a cycle dedicated to baroque music held at Palácio de Mafra. Under the authority of Turismo do Patriarcado de Lisboa/Signinum, she was an organist in the Lunchtime Recitals project (2017-2020) at the Igreja da Conceição Velha (Lisbon), in which she performed commented recitals with Portuguese and European organ repertoire. She also collaborates with the Portuguese Symphony Orchestra at the São Carlos National Theatre.
Principles and Methodologies for the Preparation of Critical Editions: Discussion and analysis of the edition of Missa Piquena by Marcos Portugal
João Alexandre Dias | INET-md/NOVA FCSH
The editorial practice of eighteenth-century sacred repertoire in Portugal is of great interest to the musicological community and musicians. The aim of this communication is to highlight methodological guidelines to be considered when preparing critical editions of 18th-century sacred repertoire. As an introduction, some of the main guidelines found in international literature (by authors such as Carlos Alberto Figueiredo, James Grier, George Feder and Maria Caraci Vela) will be presented and discussed, followed by the analysis of a case study, consisting of the critical edition of the Missa Piquena (MarP 01.15, V1) by Marcos Portugal. This work has 25 specimens and four versions, distributed in various archives throughout Portugal. Until this study was carried out, all the existing information on the Missa Piquena was contained in the thematic catalogue of Marcos Portugal's sacred output by António Jorge Marques (2012): a composition of uncertain origin and date, with three versions, two of them with extended instrumentation. Subsequent research, which included surveying all the known manuscripts of the work and analysing them comparatively, made it possible to determine the probable year of the composition, the institution for which it was possibly produced, the dating and recording of its chronology, the various copyists involved in making the sources and the existence of a fourth version. Throughout the research into the manuscript sources and the preparation of the critical edition of this work, several problems and editorial issues arose that are transversal to this repertoire. The aim of this communication is therefore to expose and discuss some of these decisions and problems with the academic community and performers who work with this type of repertoire.
João Alexandre Dias | Born in 1998, João Alexandre Dias obtained an 8th Grade Diploma in Classical and Jazz Piano from Trinity College London in 2019. He graduated in Musicology from the Faculty of Social and Human Sciences at Universidade Nova de Lisboa (NOVA FCSH) in 2020 and earned an Master in Historical Musicology from the same institution in 2022. For his thesis, he produced a critical edition of Marcos Portugal’s “Missa Piquena” (MarP. 01.15, V.1). Currently, he is pursuing a PhD in Musical Sciences - Historical Musicology, at NOVA FCSH. As a researcher, he focuses on the philological and paleographic study of musical sources and their subsequent critical editing, with a particular emphasis on 18th and 19th-century repertoires. Through his dissertation project, titled Práticas Pedagógicas no Ensino dos Instrumentos de Tecla no Real Seminário da Patriarcal (1713-1834), he aims to investigate the teaching methods applied at the Real Seminário da Patriarcal, by examining didactic materials such as partimenti and “solfejos de acompanhar” written by Portuguese composers and foreign authors residing in Portugal. In connection with the project, he has participated in workshops organized by the Early Music Department of the Escola Superior de Música de Lisboa, as part of the “Laboratório de Partimento” course. At the same time, he has been active as a composer, and as a Piano and Music Theory teacher at the Coro de Santo Amaro de Oeiras. In 2019, his piece “The Flight of a Butterfly” for solo piano was awarded second place in the 10th Edition of the Fidélio International Composition Competition for Solo Piano, sponsored by Fidélio Editorial and the Taller de Músicos de Madrid.
