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Mensagens: Portuguese Music in the 20th Century

Published online by Cambridge University Press:  22 January 2016

Ivan Moody
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Extract

These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism. Other poets, particularly Mario Sa-Carneiro (1890–1916), and plastic artists, notably Amadeo de Sousa Cardoso (1887–1918) and Jose de Almada Negreiros (1893–1970), similarly reflect the strength of these patriotic and mystical ideas in Portugal during the country's deepening social crisis in the early part of the century. But Pessoa, who famously split himself into several persons, each with their own name, style and poetic output, may also stand as a symbol of the different currents Portuguese composers have ridden in search of their national identity.

Type
Research Article
Information
Tempo , Issue 198 , October 1996 , pp. 2 - 10
Copyright
Copyright © Cambridge University Press 1996

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References

1 This was (and is) a patriorical and mystical movement related to the death of King Sebastian at the Battle of Alcácer-Kibir in Morocco in 1578, and the legend that he would return. The myth has had an influence throughout the history of Portuguese art, from the time of the Spanish occupation following the king's death to the present day (for example, the work of the painter Lima de Freitas).

2 Novidades, 17 March 1911:2, quoted in Nery, Rui Vieira and de Castro, Paulo Ferreira: História da Música (Lisbon, 1991), p. 159 Google Scholar (author's translation). In this context, it may be worth pointing out that Portuguese music in the 20th century, even when seen as having a distinctly Mediterranean orientation, can in no sense be regarded as a ‘sub-department’ of Spanish music: there are parallels, but so there are with many other countries, and culturally Portugal has a quite distinct identity. It should perhaps also be said that the natural connexions between Portugal and Brazil are not, in general, manifested in reciprocal cultural influences. Though Pessoa's influence may be felt in the work of a number of Brazilian poets (and indeed, his importance was early appreciated in Brazil) one would look in vain in Portugal for followers of Villa-Lobos or Claudio Santoro.

3 See the extract from the letter he wrote to Vianna da Motta quoted in Nery, and de Castro, Ferreira, op. cit., pp.161–162 Google Scholar.

4 Notes to recordings of the Sonata for cello and piano and 10 Madrigais Camoneanos, EMI-Valentim de Carvalho 7544962, 1991.

5 See de Lima Cruz, Maria Antonieta: História da Música Portuguesa (Lisbon, 1955), pp. 252–253 Google Scholar, and de Magalhāes Lisboa, Isaura Pavia: Recordaçōes (Lisbon, 1995), passim Google Scholar.

6 For the most complete list of works, see Fernando Lopes-Graça, 75 Aniversário, 1981.

7 See the bibliographical index in Canto Cregoriano no.94, de Lisboa, Institute Gregoriano, 01/03 1980 Google Scholar.

8 An analysis of this work by Manuel Pedro Ferreira appears in Dez Compositores Portugueses: Panorâmica da escrita musical em Portugal no século XX (forthcoming).

9 See list of works and various essays in the Programme Book for the 20th Encontros Gulbenkian de Música Contemporànea, Lisbon 1996.

10 An analysis of this work by Gil Miranda appears in Dez Compositores Portugueses… (see note 8).

11 Note to the recording ‘Three Portuguese Women Composers’, EMI-Valentim de Carvalho 7243 5 55352 2 1, 1994; Ferreira also analyses this work in Dez Compositores Portugueses… (see note 8).

12 Notes to the recording ‘Monodia’, EMI-Valentim de Carvalho 7243 5 55354 2 9, 1994.

13 Ibid.

14 Ibid.

15 Composer's note on In Paradisum.

16 Interestingly, Carrapatoso studied with Capdeville and Peixinho and now himself teaches composition at the Lisbon Conservatoire and Escola Superior de Música; Azevedo similarly studied with Capdeville, and also with Christopher Bochmann (b.1950), a British composer long resident in Lisbon who has been extremely active as teacher and a conductor. There are two other British composers resident in or near Lisbon: Nicholas McNair (b. 1951), who has worked principally as a pianist and teacher, and the author of this article (b.1964).