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Neoclassicismo, nacionalismo e latinidade em Luís de Freitas Branco, entre as décadas de 1910 e 1930
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Orientador(es)
Resumo(s)
Luís de Freitas Branco (1890-1955) esteve fortemente relacionado com o
Integralismo Lusitano, movimento monárquico que surge, na década de 1910, pelas mãos
de uma geração de estudantes portugueses a favor de uma monarquia antiparlamentar, com
ideais relacionados com o tradicionalismo, o regionalismo e a recuperação de valores
clássicos que se opunham ao romantismo, repudiado pelos integralistas por estar
relacionado com a Implantação da República. Ao longo deste período, Luís de Freitas
Branco participou activamente nos eventos e publicações do Integralismo Lusitano, como
as conferências promovidas pelo movimento na Liga Naval Portuguesa em 1915, e o
periódico A Monarquia: diário integralista da tarde, nos anos de 1917 e 1918, tendo
também composto obras que vão ao encontro dos ideais do movimento, como Viriato
(1916), poema sinfónico baseado num conto da autoria de Hipólito Raposo, Concerto para
violino e orquestra (1916) e 1ª Suite alentejana (1919). Apesar de ser descrita como uma
fase muito passageira da vida do compositor, esta parece ter tido, ao contrário do que é
referido e repetido pela historiografia da música portuguesa, influências fortes na produção
de Luís de Freitas Branco, tanto no que diz respeito aos seus escritos, na imprensa periódica
portuguesa ou de carácter mais privado, como na sua obra musical das décadas de 1920 e
1930, nomeadamente em obras como a 1ª Sinfonia (1924) e Madrigais Camonianos (1930-
43). Questionando principalmente de que modo pode uma obra musical reflectir os ideais
de um movimento político como o Integralismo Lusitano, e em que moldes se desenvolve o
neoclassicismo de Luís de Freitas Branco, o objectivo central da presente dissertação será
tentar estabelecer ligações entre dois períodos descritos, até hoje, como aparentemente
distintos, uma vez que se verificam, ao longo da produção de Freitas Branco, pensamentos
transversais relacionados com a recuperação de um classicismo, de um equilíbrio e de uma
sobriedade, segundo o compositor, profundamente relacionados com a maneira de ser
intrinsecamente latina e portuguesa. Estes valores, primeiramente verificados no contexto
das relações do compositor com o Integralismo Lusitano, surgem, então, em momentos
mais tardios da vida de Freitas Branco, o que nos permite estabelecer ligações para uma
melhor compreensão da sua carreira
Luís de Freitas Branco (1890-1955) was substantially associated with Integralismo Lusitano, a monarchic movement created during the 1910s by a generation of Portuguese students that fought for an anti-parliamentary monarchy, with ideas related to traditionalism, regionalism, and the recovery of classic values opposed to romanticism, which was associated with the establishment of the Portuguese Republic. During this period, Luís de Freitas Branco was a participant in events and publications of Integralismo Lusitano, such as the conferences at Liga Naval Portuguesa, promoted by the monarchic movement during the year of 1915, and the daily newspaper A Monarquia: diário integralista da tarde, from 1917 to 1918. Moreover, he composed, for instance, Viriato (1916), a symphonic-poem based on a tale by Hipólito Raposo, Concerto para violino e orquestra (1916) and 1ª Suite alentejana (1919), which share a few underlying ideas with the characteristic values of the movement. Although this period is described as a brief phase of the composer’s life, an idea that has been stated and often perpetuated by the Portuguese music historiography, these years influenced his later production, that is to say his writings in the Portuguese periodical press and private writings, and his musical work of the 1920s and 1930s, namely compositions like 1ª Sinfonia (1924) and Madrigais Camonianos (1930- 43), described as neoclassic works. By questioning how a musical work can reflect the ideals of a political movement such as Integralismo Lusitano, and in what ways neoclassicism is developed in Luís de Freitas Branco's work, this dissertation offers to establish connections between the two chronological periods, still described today as apparently different, given that, in both periods, we can notice Luís de Freitas Branco’s thoughts regarding the recovery of a certain classicism, balance and sobriety, values that, according to the composer, were connected with the latin and Portuguese way of being. These values, noticeable at first in the connections established between the composer and Integralismo Lusitano, arise, then, at later times of Freitas Branco’s life, a matter that allows us to establish some relevant associations, and consequently a better understanding of his career.
Luís de Freitas Branco (1890-1955) was substantially associated with Integralismo Lusitano, a monarchic movement created during the 1910s by a generation of Portuguese students that fought for an anti-parliamentary monarchy, with ideas related to traditionalism, regionalism, and the recovery of classic values opposed to romanticism, which was associated with the establishment of the Portuguese Republic. During this period, Luís de Freitas Branco was a participant in events and publications of Integralismo Lusitano, such as the conferences at Liga Naval Portuguesa, promoted by the monarchic movement during the year of 1915, and the daily newspaper A Monarquia: diário integralista da tarde, from 1917 to 1918. Moreover, he composed, for instance, Viriato (1916), a symphonic-poem based on a tale by Hipólito Raposo, Concerto para violino e orquestra (1916) and 1ª Suite alentejana (1919), which share a few underlying ideas with the characteristic values of the movement. Although this period is described as a brief phase of the composer’s life, an idea that has been stated and often perpetuated by the Portuguese music historiography, these years influenced his later production, that is to say his writings in the Portuguese periodical press and private writings, and his musical work of the 1920s and 1930s, namely compositions like 1ª Sinfonia (1924) and Madrigais Camonianos (1930- 43), described as neoclassic works. By questioning how a musical work can reflect the ideals of a political movement such as Integralismo Lusitano, and in what ways neoclassicism is developed in Luís de Freitas Branco's work, this dissertation offers to establish connections between the two chronological periods, still described today as apparently different, given that, in both periods, we can notice Luís de Freitas Branco’s thoughts regarding the recovery of a certain classicism, balance and sobriety, values that, according to the composer, were connected with the latin and Portuguese way of being. These values, noticeable at first in the connections established between the composer and Integralismo Lusitano, arise, then, at later times of Freitas Branco’s life, a matter that allows us to establish some relevant associations, and consequently a better understanding of his career.
Descrição
Palavras-chave
Integralismo Lusitano Latinidade Neoclassicismo Nacionalismo Imprensa periódica portuguesa Integralismo Lusitano Neoclassicism Nationalism Latinism Portuguese periodical press