Cristina Fernandes is an integrated researcher at INET-MD (FCSH-NOVA), where she developed a post-doctoral project on the musical practices and the ceremonial of the Royal and Patriarchal Chapel of Lisbon (1716-1834) with a research grant from FCT-Fundação para a Ciência e a Tecnologia (2011-2017). She is the coordinator of the thematic strand “Historical Approaches to Musical Performance” and teaches Music History of Portugal in the Department of Musical Sciences as invited professor. Born in Guarda (Portugal), she studied piano at the Conservatório de Música da Covilhã before graduating in Musical Sciences at FCSH-NOVA. She completed a Master Degree in Musicology at the same institution and received her PhD from the University de Évora (Portugal) in 2010. She took part of the research project “Studies of Instrumental Music in Portugal (1755-1834)” (University of Évora) and is a member of the research group “Music in Spain: Composition, Reception and Interpretation” (Universidad de La Rioja, Spain). She also integrates the research team for the project "PERFORMART- Promoting, Patronising and Practising the Arts in Roman Aristocratic Families (1644-1740). The Contribution of Roman Families’ Archives to the History of Performing Arts", directed by Anne-Madeleine Goulet (ERC Consolidator Grant 2015; host institutions: CNRS, École Française de Rome). She participated in conferences and research seminars in Portugal, Spain, Italy, United Kingdom, France, Belgium, The Netherlands, Austria and Brazil and is the author of several books and articles on XVIII century music and culture, among other subjects. She taught at music schools of different levels, including the Fundação Musical dos Amigos das Crianças, the Academia Nacional Superior de Orquestra (Metropolitana), the Escola das Artes – Univ. Católica Portuguesa (Porto) and FCSH-NOVA. She is a member of the Directive Board of SPIM-Portuguese Society for Music Research and music critic for the newspaper Público.
Music at the Lisbon Royal and Patriarchal Chapel: models, repertoires and performance practices
(1st triennium: April 2011 - March 2014)
The Royal and Patriarchal Chapel of Lisbon (1716-1834): international comparisons in the field of court ceremonial and musical practices
(2nd triennium: April 2014 - March 2017)
The current research project aims to study the musical practices at the Lisbon Royal Chapel from its promotion to the status of Patriarchal in 1716, on the initiative of King João V, up to the extinction in 1834 as a consequence of the rising of Liberalism and the collapse of the Ancien Régime in Portugal. During this period, the structures responsible for the sacred music of the Crown constitute the most important network of circulation of musicians and repertoires and had a strategic importance in the symbolic representation of the royal power. Supported by the huge investment from the Royal Household, sacred music had a far bigger impact on the Luzo-Brasilian cultural scene than any other musical domain. The research project represents a logical extension of my PhD thesis (The production system of sacred music in Portugal at the end of the Old Regime: the Royal Chapel and the Patriarchal Church between 1750 and 1807), encompassing now the entire period of existence of the institution and giving emphasis to issues that had not been fully developed during the doctorate. It is the case of the musical production itself (critical edition of scores and analysis of repertoires, compositional models, performance practice, etc.) and international comparisons, in other words, a contextualized study of the Portuguese Royal Chapel within the European panorama. This latter goal is the underlying theme for the 2nd triennium (approved by FCT in March 2013), entitled The Royal and Patriarchal Chapel of Lisbon (1716-1834): international comparisons in the field of court ceremonial and musical practices. The scientific approach involves the use of interdisciplinary methodologies, comprising not only musicology but also other issues related to social, politics, religious, cultural and art history. The comparative study between the Portuguese Royal and Patriarchal Chapel and other European Court Chapels (on which exists already an extensive bibliography) will take into account aspects such as the organization models that shape the musical departments of the monarchy; the liturgical ritual and the court ceremonial; specific musical genres and the circulation of international repertoires; the relation between functional context and performance practices; the repercussions of the Royal Chapel activity on the city’s musical life through the performance of their musicians in different spaces or the establishment of professional networks; the role of the monarchy and of the ecclesiastical authorities in the shaping of musical taste and aesthetical rituals.