Aspectos práticos acerca da interpretação da “Sonata p.a Órgão” em Dó Maior de Arouca (começo do séc. XIX): Aspectos práticos acerca da interpretação da “Sonata p.a Órgão” em Dó Maior de Arouca (começo do séc. XIX): organologia x filologia musical

Marco Brescia

doi:10.5216/mh.v22.71262

Authors

Marco Brescia Universidade NOVA de Lisboa (CESEM), Lisboa, Portugal, marcobrescia@fcsh.unl.pt https://orcid.org/0000-0002-5789-4493

DOI:

https://doi.org/10.5216/mh.v22.71262

Keywords:

Arouca Sonata; Historic organ; Portuguese keyboard music; Critical editing; Historically informed performance.

Abstract

The “Organ Sonata” from Arouca is one of the most significant works of Portuguese keyboard repertoire from the beginning of the 19th century, due to its musical and interpretative interest and the required use of the organ. The sonata is directly related to the historic organ of the ancient Monastery of Arouca (1739), na exceptional instrument in the context of the Iberian and Portuguese organ-making. This article aims to reflect on the editorial and interpretative possibilities of Iberian historic keyboard music, focusing on the Arouca Sonata, under the light of the musical and organological sources inherent to its genesis.

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Author Biography

Marco Brescia, Universidade NOVA de Lisboa (CESEM), Lisboa, Portugal, marcobrescia@fcsh.unl.pt

Marco Brescia is a researcher at the Faculty of Social and Human Sciences integrated to the Centre for the Study of Sociology and Musical Aesthetics / Universidade NOVA de Lisboa, where he held a Postdoctoral Fellowship with a grant from FCT - Foundation for Science and Technology of Portugal. He completed in 2013 his joint PhD studies in Musicology at the Universities Paris IV - Sorbonne and NOVA de Lisboa, being awarded the maximum grade, très honorable à l’unanimité. In the same year, he completed an inter-university Masters in Early Music Interpretation / Historical Organ at the Escola Superior de Música de Catalunya / Universitat Autónoma de Barcelona, being awarded with the prestigious matrícula de honor. He holds also a Masters in Art History from the University Paris IV - Sorbonne (2008) and an Undergrad Diploma in Architecture and Urbanism from the Universidade Federal de Minas Gerais (2000). Brescia has presented his academic works at the most prestigious international conferences promoted by IMS, SEdeM, SPIM, Biennial International Conference on Baroque Music, etc., having also performed as a pianist, organist or harpsichordist at the most distinguished international music festivals in Italy, Spain, Portugal, France, England, Switzerland, Germany, Hungary, Slovakia, Brazil and Panama. His solo album "Zipoli in Diamantina: complete organ works" (Paraty, France, 2020) has been largely praised by international specialised musical magazines (Diapason, Early Music, ResMusica, Scherzo, Journal für die Orgel, Orgelnieuws, Rondo).