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Abstract(s)
Contrastando com o importante legado dos mestres organistas portugueses dos séculos XVI e XVII, a música portuguesa para órgão pós-1700 parece quase inexistente (excluindo raros exemplos, como as quatro sonatas para órgão de Carlos Seixas). Seja devido à destruição causada pelo grande terramoto de Lisboa em 1755, ou a outras causas, a ausência de fontes é surpreendente, considerando os testemunhos de actividade musical durante aquele período. Este artigo lida com uma fonte até hoje relativamente ignorada: o manuscrito CLI/1-4 nº 7 da Biblioteca do Palácio Ducal de Vila Viçosa (Versos / Sobre o Canto Chão / Para Orgão / De Fr. Jeronimo da M.dre de DS.). Esta colecção de vinte versos para órgão de Jerónimo da Madre de Deus é, de longe, a maior obra portuguesa para órgão da primeira metade do século XVIII até hoje conhecida. Claramente pensadas para o órgão, estas curtas peças testemunham a transformação da escrita para tecla em Portugal durante o reinado de D. João V (nomeadamente através da absorção de influências italianas) e fornecem informações preciosas sobre o tipo de instrumento em que eram tocadas.
ABSTRACT - In contrast with the rather important legacy of sixteenth- and seventeenth-century Portuguese organ masters, post-1700 organ music in Portugal seems almost inexistent (apart from few examples such as Carlos Seixas' four organ sonatas). Whether due to the destruction caused by the great earthquake of Lisbon in 1755 or to other causes, the absence of sources is surprising considering the reports of musical activity during that period. This article deals with an up till now fairly unknown source: manuscript CLI/1-4 nº 7 of Vila Viçosa Palace Library (Verssos / Sobre o Canto Chão / Para Orgão / De Fr. Jeronimo da M.dre de DS.). This collection of twenty verses for organ by Jerónimo da Madre de Deus is, by far, the largest Portuguese organ work from the first half of the eighteenth century known to this day. Clearly intended for the organ, these short pieces witness the transformation of keyboard music writing in Portugal under the rule of king João V (namely through the growing absorption of Italian influences) and provide precious information on the kind of instrument on which they were performed.
ABSTRACT - In contrast with the rather important legacy of sixteenth- and seventeenth-century Portuguese organ masters, post-1700 organ music in Portugal seems almost inexistent (apart from few examples such as Carlos Seixas' four organ sonatas). Whether due to the destruction caused by the great earthquake of Lisbon in 1755 or to other causes, the absence of sources is surprising considering the reports of musical activity during that period. This article deals with an up till now fairly unknown source: manuscript CLI/1-4 nº 7 of Vila Viçosa Palace Library (Verssos / Sobre o Canto Chão / Para Orgão / De Fr. Jeronimo da M.dre de DS.). This collection of twenty verses for organ by Jerónimo da Madre de Deus is, by far, the largest Portuguese organ work from the first half of the eighteenth century known to this day. Clearly intended for the organ, these short pieces witness the transformation of keyboard music writing in Portugal under the rule of king João V (namely through the growing absorption of Italian influences) and provide precious information on the kind of instrument on which they were performed.
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Keywords
Jerónimo da Madre de Deus Século XVIII D. João V Órgão e música para tecla Portugal Eighteenth Century Organ and keyboard music