Furthermore, a mise en scne is implied on all the public appearances of His Royal Highness.Reeditado agora num novo formato, o cd Histrias do Som esta novamente disponvel no mercado.In Europe his notoriety was mainly due to the dramatic works, and particularly due to the opere buffe.
In Portugal and Brazil, however, his sacred music, of which we know more than 130 works, exerted an influence (still to ascertain in its entirety) that lasted for more than 100 years. Three of the most paradigmatic 19th century works were written by Marcos Portugal and remained in the churches repertoire until the beginning of the 20th century: the Great Mass in E b major (c.1782-90) P 01.09, the Te Deum in D major (1802) P 04.08, and the Matins of Our Lady of Conception in C major (1802) P 03.05. Isabel in Lisbon. He was the grandson of Joaquim Mendes Ferreira, musician at Freixial, and the son of Manuel Antnio da Assumpo or Ascenso, musician of the Santa Igreja Patriarcal (Patriarchal Holy Church). He was admitted to the Seminrio da Patriarcal in 1771, a music school founded by D. Joo V in 1713 responsible for the training of almost all of the best Portuguese musicians of the 18th and early 19th centuries. His first works including a Miserere from 1776 date from such time when Marcos Antnio was an intern student there. Ceclia (the musicians guild) on the 23rd of July 1783, Marcos Antnio (the variant of his name he used at the time) composed several psalms, two antiphons, and at least one Te Deum. The widespread recognition of his talent soon reached the Royal Family and, on the 4th of December 1782, the Queen D. Maria I commissioned a mass com instrumental (with orchestra) for S. Brbaras feast, usually celebrated with solemnity and devotion at the Royal Queluz Palace. This occasion was of the utmost importance since it marked the beginning of a closer collaboration between Marcos Portugal and the Royal Family, and particularly Prince D. Joo (later King Joo VI), a relationship that would condition the rest of his professional life, and even influence his style. In the second half of the 1780s he switched to another variant of his name, Marcos Antnio da Fonseca Portugal (Fonseca Portugal being his mothers surnames), and using the titles Music Master of the Teatro do Salitre, and organist and composer of the Patriarchal Holy Church. In that country he premiered at least 21 operas, a surprisingly high number for a period of only six and a half years. This unprecedented success was mainly due to the comic genre. A few years later he would also become Music Master of the Infantes Maria Isabel (born 1797), Pedro (born 1798), Maria Francisca (born 1800) and Isabel Maria (born 1801). These appointments attest the trust and admiration of the Prince Regent D. Joo took up residence after the aborted Autumn 1805 coup, and where he stayed until departing for Brazil. The repertoire for Mafra is particular since it is destined for the set of 6 organs and the voices of the monks. The strategy and motives of the Monarch, and the role he had reserved for Marcos, besides that of music master to his son and daughters, was more comprehensive, as can be inferred from the letter the composer received less than 4 months after his arrival. This applied not only to the Public Theatres, but also to the Royal Chapel.
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