Do recurso ao cravo no século XX em óperas de Ruy Coelho, Augusto Machado e Joly Braga Santos

Edward Ayres de Abreu

doi:10.5216/mh.v21.66931

Authors

Edward Ayres de Abreu Universidade Nova de Lisboa, Lisboa, Portugal, edward@mpmp.pt https://orcid.org/0000-0002-9235-3027

DOI:

https://doi.org/10.5216/mh.v21.66931

Keywords:

harpsichord, modern harpsichord, opera, organology

Abstract

When Ruy Coelho (1889-1986), possibly influenced by Wanda Landowska, included the harpsichord in the orchestration of his first opera, he became the first modern Portuguese composer to resort to this previously forgotten instrument. He would go on to use it in several other works, and would be one of few within the Portuguese musical milieu to do so. This paper seeks to reflect on the conceptual and musical background to this revival of the harpsichord, the associated technical and organologic obstacles, and ultimately the instrument’s raison d’être and significance in the dramatic and musical context of 20th-century Portuguese operas Serão da infanta (1913) and Rosas de todo o anno (1921) by Ruy Coelho, Rosas de todo o anno (1920) by Augusto Machado (1845-1924) and Trilogia das Barcas (1970) by Joly Braga Santos (1924-1988).

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Author Biography

Edward Ayres de Abreu, Universidade Nova de Lisboa, Lisboa, Portugal, edward@mpmp.pt

Edward Ayres de Abreu studied Piano at the National Conservatory, Composition at the Escola Superior de Mu?sica inLisboa, and Musical Sciences at the Faculty of Social Sciences and Humanities of the New University of Lisbon, where he argued in 2014 his Masters’ dissertation on “Ruy Coelho (1889 1986): o compositor da geração d’Orpheu”. Currently, he is a doctoral candidate in Historical Musicology with a fellowship from the Foundation for Science & Technology and a collaborator at the Center for Studies in Musical Sociology and Aesthetics(CESEM). He is a founding member and President of the Board of the Movimento Patrimonial pela Mu?sica Portuguesa (MPMP), an association created in 2009, under the auspices of which he has conceived of and coordinated several editorial projects and musical events. He won the Otto Mayer-Serra 2nd Prize (University of California, Riverside, 2017) and the Prize Joaquim de Vasconcelos (Portuguese Society of Music Research, 2019).