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Authors
Advisor(s)
Abstract(s)
Resumo - O arranjo de peças para os históricos seis órgãos da Basílica de Mafra requer que se determine
as partes que cada órgão toca. Este é um problema não-trivial, já que os órgãos são referidos
nos manuscritos como Órgão 1, Órgão 2, etc, embora sejam conhecidos pelos seus nomes:
Evangelho, Epístola, Conceição, Santa Bárbara, Sacramento, e São Pedro de Alcântara. É
preciso então responder à pergunta "qual dos órgãos é o Órgão 1?" Nesta tese procuramos
responder a esta pergunta de uma forma sistemática. Para isso, olhamos para três peças para
quatro dos órgãos de Mafra, escritas pelo compositor António José Soares (1783-1865).
Começamos por determinar a comunicação musical evidente a partir das partituras e, depois,
analisamos o posicionamento dos órgãos de tal forma que estes possam comunicar de forma
efectiva e eficiente. Também se tem em conta o nome dos registos que as peças requerem, e a
própria história dos instrumentos. A disposição final é testada em ensaio, a que se seguirá um
concerto público. Deste modo, estas peças serão tocadas novamente pela primeira vez em
quase 200 anos.
Abstract - When preparing to play pieces written for the historic six organs in the Basilica of Mafra, the first practical problem that arises is the question of which organ should play which part. This is because although the organs themselves are designated by actual names (Evangelho, Epístola, Conceição, Santa Bárbara, Sacramento, and São Pedro de Alcântara), in the manuscripts of music written for these organs they are simply known as Organ 1, Organ 2, etc. This begs the question, which organ is Organ 1? This thesis aims to answer this question in a systematic way, by looking at the musical communications evident in the scores of three pieces written for four organs by the Portuguese composer António José Soares (1783-1865). The organs are then placed in positions which allow them to communicate and play effectively together. Consideration is also given to the stop names asked for in the pieces, and the history of the instruments themselves. The resulting placement is then tested in rehearsal, and will culminate in a public concert; the works will be heard again for the first time in almost 200 years.
Abstract - When preparing to play pieces written for the historic six organs in the Basilica of Mafra, the first practical problem that arises is the question of which organ should play which part. This is because although the organs themselves are designated by actual names (Evangelho, Epístola, Conceição, Santa Bárbara, Sacramento, and São Pedro de Alcântara), in the manuscripts of music written for these organs they are simply known as Organ 1, Organ 2, etc. This begs the question, which organ is Organ 1? This thesis aims to answer this question in a systematic way, by looking at the musical communications evident in the scores of three pieces written for four organs by the Portuguese composer António José Soares (1783-1865). The organs are then placed in positions which allow them to communicate and play effectively together. Consideration is also given to the stop names asked for in the pieces, and the history of the instruments themselves. The resulting placement is then tested in rehearsal, and will culminate in a public concert; the works will be heard again for the first time in almost 200 years.
Description
Mestrado em Música
Keywords
Mafra Órgão de tubos António José Soares Performance practice Portugal Música para teclado do séc. XIX Pipe organ 19th century keyboard music
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Música de Lisboa