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A música contemporânea portuguesa vista pelo Opus Ensemble
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O Opus Ensemble foi um grupo de música de câmara português, fundado em 1980 pelos seus quatro iniciais integrantes – Ana Bela Chaves (viola d’arco), Alejandro Erlich-Oliva (contrabaixo), Bruno Pizzamiglio (oboé) e Olga Prats (piano). Em 1997, com o falecimento de Pizzamiglio, o grupo passou a ser um trio de viola d’arco, piano e contrabaixo, até que, em 2005, o oboísta Pedro Ribeiro passa a fazer parte do grupo, voltando à formação instrumental inicial. Este grupo musical teve uma vasta carreira nacional e internacional, sendo que vários compositores, de diversas nacionalidades, lhe dedicaram obras. Deste modo, o grande foco desta investigação é perceber que impacte teve o Opus Ensemble na música contemporânea portuguesa, procurando entender de que modo a difundiu e em que medida teve impacte na produção de novo repertório, devido à sua constituição instrumental inédita. Nesta dissertação, para além de se darem a conhecer um pouco da história do grupo, as suas intenções e os seus objetivos, são abordadas várias obras portuguesas, nomeadamente as dedicadas ao grupo por compositores portugueses, que o Opus Ensemble incluiu no seu repertório. Mais ainda, é explorada a difusão que o grupo fez destas mesmas obras, nomeadamente através da sua interpretação internacional em concertos, da discografia e da interpretação destas obras por outros grupos musicais. O grupo terminou a sua atividade em 2013 e este trabalho pretende explicitar a marca que deixou na História da Música em Portugal.
Opus Ensemble was a Portuguese chamber music group, founded in 1980 by its four initial members – Ana Bela Chaves (viola), Alejandro Erlich-Oliva (double bass), Bruno Pizzamiglio (oboe) and Olga Prats (piano). In 1997, with the death of Pizzamiglio, the group became a trio of viola, piano and double bass, until, in 2005, the oboist Pedro Ribeiro becomes part of the group, returning to the initial instrumental formation. This musical group had a vast national and international career, and several composers, from different nationalities, dedicated works to it. Therefore, the greater focus of this investigation is to understand what impact the Opus Ensemble had on Portuguese Contemporary Music, trying to understand how it spread and how it impacted the production of a new repertoire, due to its unique instrumental constitution. In this dissertation, in addition to making known a little of the history of the group, its intentions and its objectives, several Portuguese works are addressed, namely those dedicated to the group by Portuguese composers, which the Opus Ensemble included in its repertoire. Furthermore, the group's dissemination of these same works is explored, namely through their international interpretation in concerts, discography, and the interpretation of these works by other musical groups. The group ended its activity in 2013 and this work aims to explain the mark it left in the History of Music in Portugal.
Opus Ensemble was a Portuguese chamber music group, founded in 1980 by its four initial members – Ana Bela Chaves (viola), Alejandro Erlich-Oliva (double bass), Bruno Pizzamiglio (oboe) and Olga Prats (piano). In 1997, with the death of Pizzamiglio, the group became a trio of viola, piano and double bass, until, in 2005, the oboist Pedro Ribeiro becomes part of the group, returning to the initial instrumental formation. This musical group had a vast national and international career, and several composers, from different nationalities, dedicated works to it. Therefore, the greater focus of this investigation is to understand what impact the Opus Ensemble had on Portuguese Contemporary Music, trying to understand how it spread and how it impacted the production of a new repertoire, due to its unique instrumental constitution. In this dissertation, in addition to making known a little of the history of the group, its intentions and its objectives, several Portuguese works are addressed, namely those dedicated to the group by Portuguese composers, which the Opus Ensemble included in its repertoire. Furthermore, the group's dissemination of these same works is explored, namely through their international interpretation in concerts, discography, and the interpretation of these works by other musical groups. The group ended its activity in 2013 and this work aims to explain the mark it left in the History of Music in Portugal.
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Palavras-chave
Opus Ensemble Música Contemporânea Portuguesa Música de Câmara Difusão Portuguese Contemporary Music Chamber Music Diffusion