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A produção musical de índole política no período liberal : 1820-1851
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Nesta dissertação pretendeu-se investigar e analisar a produção musical saída da
primeira metade do século XIX relacionada com a implantação do liberalismo em
Portugal. Com efeito, a ligação entre os movimentos políticos de determinadas épocas e
o seu reflexo na produção musical coeva é um assunto muito pouco estudado em
Portugal e, particularmente no que diz respeito ao século XIX, que, até muito
recentemente, foi sistematicamente inferiorizado e ignorado pelos investigadores da
música. E, todavia, do que se conhece, infere-se que foi um século muito activo
musicalmente, tanto do ponto de vista profissional, como amador, surgindo várias
sociedades de concertos, editores de música, abundantes publicações periódicas sobre
música e vários tipos de comércio musical, reflectindo uma intensa oferta e procura
deste tipo de bens.
Assim, escolheu-se o período que corresponde ao estabelecimento do
liberalismo em Portugal (1820 e 1851) por abranger um período de certa forma coeso,
agitado por forças políticas e convulsões sociais que implicaram partidarismos,
contestações e momentos de congratulação tão radicalmente antagónicos, que por duas
vezes conduziram a sangrentas guerras civis (1832-34 e 1846-47).
Foi essa multiplicidade de situações que apelou para o interesse particular dessa
época, no sentido de verificar a repercussão desse quadro agitado na produção musical
coeva e no contexto de uma sociedade em constante mudança, que se parece aproximar
cada vez mais de uma sociedade romântica. Encontrou-se, de facto, um novo tipo de
produção musical, na sua maioria independente das estruturas oficiais de produção (que
até aí eram, fundamentalmente, a Corte, a Igreja e a Ópera), traduzido num abundante
número de composições de inspiração partidária diversa, de conjunturas diferenciadas e
de estilos e práticas musicais variados, que acompanham quase a par e passo os
sucessivos momentos políticos da época, movimentos esses em que os músicos tiveram,
também, um importante envolvimento social e político.
Com isso cremos ter contribuído para uma nova compreensão da vivência
musical dessa época.
This dissertation intends to investigate and to analyse the result of musical production from the first half of the 19th century related with the implantation of the Liberalism in Portugal. In fact, the link between the political movements of certain times and its reflection on the coeval musical production is an issue which has been barely studied in Portugal. This fact has been systematically put down and ignored by music investigators, particularly regarding the 19th century. Nevertheless, as far as we know, we may infer that the 19th century was musically very active, either on professional as well as on amateur work. Several concert societies and music editors appeared and also abundant and periodical publications about music and many types of musical commerce came out, giving evidence of an intense offer and search of this kind of goods. So, we have chosen the period of time which corresponds to the establishment of the Liberalism in Portugal (1820-1851) because it includes a period of time somehow cohesive, disturbed by political forces and social convulsions reflected on parties' supportive movements, contradictions and congratulation moments so radically opposed to each others. This fact led to bloody civil wars (1832-34 and 1846-47). As a matter of fact, it was this multiplicity of situations which appealed to the particular interest on this epoch, in order to verify the repercussion of this agitated picture on the coeval musical production, in a constant changing society context, which seems to get closer to a romantic society. A new type of musical production was found, mostly independent from the official structures of musical production (which were until then, mainly the Royal Court, the Church and the Opera). Those productions were rendered on a plentiful number of diverse musical compositions inspired on political parties. They also came from differentiated conjunctures and from various musical styles and practices which go along with successive political moments of that epoch. Musicians also had an important social and political involvement on these movements. With this achievement we hope to have contributed to a new understanding of the musical experiences during that time.
This dissertation intends to investigate and to analyse the result of musical production from the first half of the 19th century related with the implantation of the Liberalism in Portugal. In fact, the link between the political movements of certain times and its reflection on the coeval musical production is an issue which has been barely studied in Portugal. This fact has been systematically put down and ignored by music investigators, particularly regarding the 19th century. Nevertheless, as far as we know, we may infer that the 19th century was musically very active, either on professional as well as on amateur work. Several concert societies and music editors appeared and also abundant and periodical publications about music and many types of musical commerce came out, giving evidence of an intense offer and search of this kind of goods. So, we have chosen the period of time which corresponds to the establishment of the Liberalism in Portugal (1820-1851) because it includes a period of time somehow cohesive, disturbed by political forces and social convulsions reflected on parties' supportive movements, contradictions and congratulation moments so radically opposed to each others. This fact led to bloody civil wars (1832-34 and 1846-47). As a matter of fact, it was this multiplicity of situations which appealed to the particular interest on this epoch, in order to verify the repercussion of this agitated picture on the coeval musical production, in a constant changing society context, which seems to get closer to a romantic society. A new type of musical production was found, mostly independent from the official structures of musical production (which were until then, mainly the Royal Court, the Church and the Opera). Those productions were rendered on a plentiful number of diverse musical compositions inspired on political parties. They also came from differentiated conjunctures and from various musical styles and practices which go along with successive political moments of that epoch. Musicians also had an important social and political involvement on these movements. With this achievement we hope to have contributed to a new understanding of the musical experiences during that time.
Descrição
Palavras-chave
Liberalismo Absolutismo Hinos Cartismo Setembrismo Regeneração Marchas Cancioneiro político Liberalism Absolutism Marches Political songbook