Abstract
A number of private societies and clubs flourished in Oporto in the 19th Century, whose aim was to encourage in their members "benevolence relationships and good society" offering them "an honest and civilized leisure times". Clearly elitist, these nineteenth century recreational clubs had strict membership admission policies, which generally belonged to the higher echelons of society, more specifically the bourgeois, since the titled aristocracy was scarce in Oporto. It is worth mentioning here in parenthesis that Oporto was an essentially bourgeois, commercial city, unlike the capital, Lisbon, where the court "drags with it the whole official and unofficial world which conceitedly flutters around it". Each association organised musical concerts, balls and soirées musicales – weekly, twice a week or once a month – which also offered members other amusements, like conversation, reading, playing cards or dancing. Events of a musical character were normally performed by the club members, usually amateurs – referred to as dilettanti – who would be joined by prestigious Portuguese or foreign professionals. The purpose of this article is to describe the musical activity of the five main venues for private socialising in Oporto in the 1800s, and their contribution to the development of the musical taste of the city's society, taking into account both amateur and professional practice and particularly the repertoire performed.
Highlights
A number of private societies and clubs flourished in Oporto in the 19th Century, whose aim was to encourage in their members “benevolence relationships and good society” offering them “an honest and civilized leisure times”1
This article is based on a communication entitled “Music societies in Oporto in the 2nd half of 19th century”, presented to the 14th International Conference on 19th Century Music, held in Manchester, Manchester University, July 2006
Sociedade Filarmónica Portuense Thanks to the initiative of the pianist, conductor and composer Francisco Eduardo da Costa (18191855), and certainly inspired by associative models of a similar nature that proliferated in central Europe, this private association, called Sociedade Filarmónica Portuense, was founded on 13 March 18404 for “instruction and musical recreation through the performance of Vocal and Instrumental Music”5
Summary
La Caritá for 4 violins and piano Galope from concerto Adagio and minuet from String Quintet in B minor Promenade en gondole for violoncello Adagio in G for violin, violoncello and piano Scherzo from Piano Quintet, op. 114. La Caritá for 4 violins and piano Galope from concerto Adagio and minuet from String Quintet in B minor Promenade en gondole for violoncello Adagio in G for violin, violoncello and piano Scherzo from Piano Quintet, op. Emílio Augusto de Oliveira, Luciano Sollari Allegro, Miguel Alves, Guilherme Afllalo, Eduardo Freire, Augusto Suggia and João M. da Costa Lima with chamber music by Boccherini, Haydn, Mozart, Schubert, Weber and Mendelssohn, piano works by Gottschalk, Rubinstein and Chopin, and violin pieces by Sarasate, Wieniawski and Vieuxtemps.
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
