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1794: como compositores polifacetados e cantoras virtuosas fizeram de um antigo Mosteiro um grande centro de produção musical
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O Real Mosteiro de São Bento da Avé-Maria do Porto foi o mais importante
cenóbio feminino da cidade invicta durante o seu tempo de existência, do século XVI ao
século XIX. Como era de se esperar de uma instituição feminina de clausura desse porte,
a música desempenhava importante papel no cotidiano das monjas. Após a extinção do
Mosteiro, o edifício foi demolido para dar lugar à atual Estação Ferroviária de São Bento,
e seus manuscritos musicais foram transferidos para a seção de Música da Biblioteca
Nacional de Portugal. Dentro do espólio do antigo Mosteiro, há uma grande quantidade
de obras de finais do século XVIII e início do século XIX. Essas obras atestam um elevado
nível técnico musical, com um considerável grau de virtuosismo, sobretudo vocal. Têm,
ainda, a particularidade de serem obras comissionadas pelas próprias monjas, com seus
nomes em dedicatórias e partes cavas. Um estudo sistemático dessas obras nos mostrou
características particularmente interessantes no repertório comissionado para o ano de
1794, cuja quase totalidade das obras foi encomendada pela Mestra da Capela daquela
altura, D. Anna Felícia. Além disso, a maior parte dessas obras é dedicada a alguma
festividade específica, com especial ênfase para o Natal. A presente dissertação propõe o
estudo do repertório composto para o Mosteiro de São Bento da Avé-Maria no ano de
1794, com especial atenção para as festividades do Natal. Também propomos o estudo
das agentes que comissionaram e interpretaram esse repertório, as senhoras musicistas da
Avé-Maria, considerando o papel dessas mulheres no contexto do Porto e de Portugal no
final do Antigo Regime.
The Royal Monastery of São Bento da Avé-Maria in Oporto was the most important female monastic institution in the invicta city during its existence, from the 16th century to the 19th century. As one would expect from a female cloistered institution of this magnitude, music played an important role in nuns’ daily lives. After the monastery’s dissolution, the Building was demolished to make way for the current São Bento Railway Station, and its musical manuscripts were transferred to the Music section of the National Library of Portugal. Within the collection of the former monastery, there is a significant number of works from the late 18th and early 19th centuries. These works show a high level of musical technical skill, with a considerable degree of virtuosity, particularly concerning vocal parts. Furthermore, they have the distinction of being works comissioned by the nuns themselves, with their names in dedications and cue parts. A systematic study of these works revealed particularly interesting characteristics in the repertoire comissioned for the year of 1794, almost all of which was comissioned by the Chapel Master at the time, D. Anna Felícia. Additionally, most of these works are dedicated to specific festivities, with particular emphasis on Christmas. This dissertation proposes the study of the repertoire composed for the Monastery of São Bento da Avé Maria in 1794, with special attention to the Christmas festivities. We also propose to study the agents who comissioned and performed this repertoire, the female musicians of Avé Maria, considering the role of these women in the context of Oporto and Portugal in the end of the Ancien Régime.
The Royal Monastery of São Bento da Avé-Maria in Oporto was the most important female monastic institution in the invicta city during its existence, from the 16th century to the 19th century. As one would expect from a female cloistered institution of this magnitude, music played an important role in nuns’ daily lives. After the monastery’s dissolution, the Building was demolished to make way for the current São Bento Railway Station, and its musical manuscripts were transferred to the Music section of the National Library of Portugal. Within the collection of the former monastery, there is a significant number of works from the late 18th and early 19th centuries. These works show a high level of musical technical skill, with a considerable degree of virtuosity, particularly concerning vocal parts. Furthermore, they have the distinction of being works comissioned by the nuns themselves, with their names in dedications and cue parts. A systematic study of these works revealed particularly interesting characteristics in the repertoire comissioned for the year of 1794, almost all of which was comissioned by the Chapel Master at the time, D. Anna Felícia. Additionally, most of these works are dedicated to specific festivities, with particular emphasis on Christmas. This dissertation proposes the study of the repertoire composed for the Monastery of São Bento da Avé Maria in 1794, with special attention to the Christmas festivities. We also propose to study the agents who comissioned and performed this repertoire, the female musicians of Avé Maria, considering the role of these women in the context of Oporto and Portugal in the end of the Ancien Régime.
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Música conventual Mosteiro de São Bento da Avé-Maria do Porto Século XVIII Mulheres musicistas Cerimónia de Natal Conventual music Monastery of São Bento da Avé-Maria in Oporto 18th century Women musicians Christmas ceremony Porto Oporto