9

INTRODUCTION
Thisresearchhasasitsmainfocusthepianoworkswrittenbetween1960and1980ofa groupofPortuguesecomposersthatarecommonlyregardedasavantgarde.Withthe exceptionofJorgePeixinho,deceasedin1995,andConstanaCapdeville,deceasedin 1992,theiractivityascomposers,musicprofessorsandperformersisstillmucheffective inPortuguesemusicallifeandabroad. Thecomposersare:FilipedeSousa(b.1927); Maria de Lurdes Martins (b. 1928), Clotilde Rosa (b. 1930); Armando Santiago (b. 1932);FilipePires(b.1934);ConstanaCapdeville(19371992);lvaroSalazar(b. 1938);CndidoLima(b.1938);AlvaroCassuto(b.1938);JorgePeixinho(19401995); EmanuelNunes(b.1941). Thefirstaimofthethesisistodefinethis(hypothetical)period/group/generation of composersandtheircharacteristicsinthecontextofPortugueseandEuropeancultural and musical activity: their contact with the worlds avantgarde (symbolised by the Darmstadtreference),theirevolutionasindividualcomposers,theircommonheritage andspirit,speciallybetween1960and198020yearsofreceptionanddevelopingofthe (nowhistorical)musicalavantgarde. The second aim is the knowledge and characterisation of a group of piano works conceivedbythesecomposers:thedifferentkindofapproachestoavantgardetechniques andthought,andparticularlytothepiano,theirimportanceinPortuguesecomposition, theindividualstylesand,therefore,theirlikelyunityasagroup. Theresearchplanhas3mainparts/chapters: Thefirstone(historiccontext)exposesthecontext(political,social,cultural

andmusical)inwhichthisgenerationgrewanddevelopedtheircareers.Forthe development of this part, the research will concentrate on the historic bibliographyalreadyexistent(Portuguesecontemporaryhistory)and,forfurther musicalmatters,onnewspapers,cataloguesandconcertprograms.Theresultwill

10 beasurveyofpoliticalandsocialcontemporaryhistorywithaspecialrelevance tomusicallife. Thesecondchapter(thepianoworks)willfocusonthepianoworksofthe

composers written till 1980 finding the manuscripts and the recordings available,analysingthemostimportantpieces(atleastonebyeachcomposer), comparingwithotherworksandinsertingtheminawidercontext. The third one (the composers) has as its main focus the composers as

individuals.Thispartwillbedevelopedbyinterviewswiththecomposersand other persons much involved in musical life, by bibliographic investigation (catalogues, concert programs and other periodical publications) and by comparingalldatawiththeanalysisreferredabove. The thesiswillconclude withanoverview having inmind thehistorical survey, the hermeneuticofthepiecesandtheircomposers,definingagenerationandthedifferent pathsamongthem.

11

CHAPTER I

THE PORTUGUESE DARMSTADT GENERATION

PORTUGAL AND MODERNITY IN THE 20 th CENTURY

12

"Modernmusicsacrificesitselftothiseffort.Ithastakenuponitselfallthedarkness andguiltoftheworld.Itsfortuneliesintheperceptionofmisfortune;allofitsbeauty isindenyingitselftheillusionofbeauty.Noonewishestobecomeinvolvedwithart individualsaslittlecollectives.Itdiesawayunheard,withoutevenanecho.Iftime crystallizes around that music which has been heard, revealing its radiant quintessence,music,whichhasnotbeenheard,fallsintoemptytimelikeanimpotent bullet. Modern music spontaneously aims towards this last experience evidenced hourlyinmechanicalmusic.Modernmusicseesabsoluteoblivionasitsgoal.Itisthe survivingmessageofdespairfromtheshipwrecked." Adorno,TheodorW.(1973):page133

13

The Estado Novo

POLITICAL AND ECONOMIC EVOLUTION FROM 1926 On28thMay1926amilitarycoupdtatledbyGomesdaCostaendedthedemocratic republicanregimecreatedbytherevolutionof1910.Thisregime,establishedby the abolitionofthemonarchy,neverdevelopeditselfintoastabledemocraticgovernment. Bombs,smallcoupsdtat,strikes,armedattacksandassassinationsofpoliticalleaders were normal. As in other European countries, there was a multitude of parties and politicalgroups(fromrightwingmonarchiststoarmedanarchists).Thedifferingfactions andleadersinthebigpartiesandtheconstantturnoverofprimeministerspreventedthe resolution of all the internal and external economic and social problems affecting PortugalandEuropeinthefirst20yearsofthiscentury. Theaimofthissuccessfulmilitaryputschwas,atfirst,vague,centredontheabolitionof the leading Republican Party (seen as the main cause of all problems), and in the necessityforamorestableregime.In1928themoreconservativemilitaryandcivil forcesofthenewregimeelectedCarmonaasPresident,andayoungUniversityProfessor OliveiraSalazarwasnominatedFinanceMinister,withveryenlargedpowers.In 1930thenewdictatorshipwasclearlydefined:anewconstitutionbasedontheconceptof organicdemocracy(aonepartyregime),areformofallstateadministration,anew colonial imperialism (with the development of the economy overseas), a strong intervention of the state in a corporative economy and an imposed (by the regime) collaboration between the social classes. The Estado Novo (New State) was institutionalisedin1933withtheplebisciteofthenewConstitutionandthefollowing undemocraticparliamentaryelections.
Wehavetoentrustlibertytoauthority,becauseonlyauthority canadministrateanddefendliberty()Thelibertythatthe individualists are asking and demanding is an expression of rhetoric,asimpleliteraryimage.ThelibertygrantedbytheState,

14
conditionedbyauthority,isuniquelypossible,abletoleadnotto thehappinessofoneman,butallmen.1

OliveiraSalazarwasthementorandleaderoftheEstadoNovo.HestudiedinaCatholic Seminarinordertobecomeapriest;helaterenteredtheUniversityandstudiedlawin Coimbra and was then nominated professor in this same University. He had been involvedsince1917inaveryconservativeCatholicgroup(togetherwithCerejeira,later thePatriarchCardinalofPortugueseCatholicChurch)formedinlinewiththetheoriesof LeBlonandMaurras.HiscareerfromFinanceMinister(1928)toPrimeMinisterand real dictator (from 1932 to 1968) was, at the beginning, established bya very strict controloftheStatesFinance,laterappliedtoallpartsofthesociety.Hefoundedthe onlyallowedparty(UnioNacional), the youthparamilitaryorganisation(Mocidade Portuguesa with help from Germans of the Hitler Youth), the civil militia (Legio Portuguesa,thesetwoorganisationswerealsoareactionagainsttheleftwing Spanishrepublic),thepoliticalpolice(PVDE, later PIDE and DGS,effectiveagainst democraticmovements2 andatsilencingallkindsofopposition).Heinstitutionalised censorship,whichwasimposedonnewspapersandonallkindsofculturaleventssuchas theatres,books,conferences,music,cinema,etc.3 Comparingthe EstadoNovo withfascisminItaly,thePortugueseregimewas,atfirst, very much the same, with an enormous importance given to Catholic traditional education,moralandvalues4.Overtheyears,andespeciallyduringandafterW.W.II,the regimewasinfluencedbytheshypersonalityofSalazar:therewasalimitedinterestin expansion(territorial,military,industrialoreconomical),alackofinterestinpolitical
Entreguemos,pois,aliberdadeautoridadeporqueselaasabeadministraredefender()a Liberdadequeosindividualistaspedemereclamamumaexpressoderetrica,umasimplesimagem literria.AliberdadegarantidapeloEstado,condicionadapelaautoridade,anicapossivel,aquelaque pode conduzir, nodigo felicidade dohomem, mas felicidade dos homens.Antnio Ferro(1933) quotedinOliveira,Csar(1990):page25.
1

Speciallybrutal(tortureandassassinations)againstallkindsofrepublican,socialist,anarchist,trade unionsandcommunistactivities
2 3 4

SeeOliveira,Csar(1990):p.13andfollowing. MorethantothehierarchyoftheChurch.

15 massevents.Itwas anunobtrusivewayof controllingcivilsociety.Bycontrast, the political and social propaganda of Mussolini and Hitler had in mind a very strong emotional effect on the population, with big overwhelming events, full of symbolic references.AlthoughSalazarandhisPropagandaSecretaryAntnioFerropromotedsuch events at the beginning of the regime, the dictator, somehow fearful of big demonstrationsandmassevents,hatingthepresenceofbigcrowds,imposedhimselfasa distantfatherofthenation5.InfacttheimageofOliveiraSalazarsdictatorshipcanbe seenasasoftfascism:anationalisminspiredbyGod,FatherlandandFamily;an activestruggleagainstallkindsofmultipartyregime,liberalismandsocialism, even againstfreemasonry.TherewasanactiveneutralityinWorldWarII,acontrolofthe economythroughthestateandlargeprivatefamilybasedtrusts 6.Itwasaneffective controlofallkindsofsocialbehaviour.Asoftbutefficientfascismand,asweknow, muchextendedintime. DuringWorldWarIIOliveiraSalazarmanagedtomaintainPortugalasaneutralcountry, inspiteofcloserelationswithboththeAlliesandGermany.Infact,thePortuguese economy, although in depression because of the war, took great profit from exports (wolfram,textiles,etc.)frombothsides7.Beinganeutralcountry,Portugalwasseenasa passagetoandfromEurope,asatransferforrefugees(e.g.Bartok,Casals)travellingto USAandSouthAmerica,andasanentrancetoGermanyandtheoccupiedcountries. Bothsidesof theconflicthadmanyrepresentativesinPortugal(embassies,military, cultural and business attachs, secret services), and they made many efforts with
Thefuturistinfluencespeciallythecultofthestrength,ofpower,ofthemachine,ofindustryand civilisationdidntreallyhappeninPortuguesedictatorship,althoughsomeinitialinterestsforsomekind ofmodernistdevelopmentsinartandculture.TheseinterestswerepersonifiedinAntnioFerro,amodern artistandfuturismadmirer,convertedtothe EstadoNovo andtothemuchmoreconservativeideasof Salazar,andchiefofthePropagandaSecretary. SeeGarnier,(s.d.):p.49,andVieiradeCarvalho,Mrio (1993):page222.
5

ThedictatorregimeinSpainborninthecivilwar,muchinfluencedandsupportedbySalazar,developed itselfintoamuchmoreeffectivesocietywithalargegrowthofeconomy,thedevelopmentofindustry,with amarketcentredadministrationandthegrowthofprivateconsume.

6

Despitetheincreasingpricesandrationingoffood,petrolandotherproducts,thePortugueseeconomy grew2,9%ayearinthesewaryears.(SeeRosas,Fernando(1949):p.301andfollowing).
7

16 propaganda,sometimescreatingdivisionsinPortuguesesocietybetweentheGermanand thealliedsupporters.Duringtheseyearspoliticaloppositiontotheregimedeveloped withtheinfluenceofdemocraticpropaganda,thegrowthofthecommunistpartyandthe worseningpovertyofthepopulation8. The years after the war were marked by slow economic development and by the continuedpoliticalandsocialcontroloftheState.PortugaljointedNATOin1949,the USAandtheUKsupportedbothpoliticallyandeconomicallytheregime,nowseenasa allyinthecoldwar;therewasaslow(controlled)developmentinindustryandcommerce
9

.EmigrationtoBrazilandAfricagrew(Portuguesecoloniesandneighbourcountries),

lateralsotoFrance,EnglandandGermany;theregimecontinuedtodenydemocracyand freedomofexpression.Thisdenialwasrelevantintwopresidentialelections(completely controlledandmanipulatedbytheregime)inwhichoppositioncandidates,withsupport from many sides of Portuguese society, tried to be elected: Norton de Matos (a republicangeneral)in1949andHumbertoDelgado(ageneralconnectedtotheregime) in1958.Bothcandidatesweremilitaryandhadsubstantialsupportfromthepeople,but bothweregoingagainstSalazarsandhispartyscandidate,andpromiseddemocratic changes;neitherweresuccessful.10

Veryrelevantwerethestrikesbetween1942and1944,causedbytherationingofgoodsandtheinflation ofprices.ThepoliceandtheNationalGuardwereruthlessintherepressionoftheseandothersocial movements.

8

Infact,after1950thereweretwolobbiesintheregime,oneveryconservativeandagainstallkindsof development,theotherveryopentoEuropeandtoaneconomicgrowthbasedonindustryandcommerce. Theregime,withthefiveyeareconomicplans,promotedthisexpansionbutcontrolleditataninternaland externallevel(withaveryeffectiveconditioningcouncilofindustryandastrategicfinance policy against imports and concurrence from foreign markets). (See Rosas, Fernando (1994): p. 419 and following).
9

GeneralNorton de Matos gaveupwhenhe understoodthatthe electionsweremanipulated bythe regime.GeneralHumbertoDelgado,afteracampaignunderstrongrepression(Police,NationalGuardand politicalpolice),losttheelections.Manypeopleallegedfraud.LaterDelgadowasmurderedinSpainby thepoliticalpolicePIDE.

10

17 CULTURE IN THE ESTADO NOVO TILL 1960 OneofthemaingoalsoftheEstadoNovoasanautocraticregimewasthecontrolofall kinds of social behaviour. Very important was the control of education, both in ideologicalandorganisationalterms.Afteragreatgrowthineducationmadeby the Republican revolution of 1910, Salazar's regime made relevant changes whose effect lastedfordecades:thereductionofcompulsoryeducationfrom5to4andlaterto3 years, the closure of some faculties and the conditioning of higher education development(muchslowerthanintherestofEurope)andtheimpositionofalltextbooks andmanuals11. The God, Fatherland and Family myth was practised in a very strict chain of obedience:allchildrenshouldobeytheirteachersortheirmothers,themothershould obeythefather,thelatterhissuperiorortheauthorities(police,administration,priest), withSalazaratthetopofthepyramid,onlyrespondingtohisconscienceandtoGod. Thefamilywasseenastheunitthenuclearunitofsocietysorganisation:the controlbythehusbandofhiswife(withnopossibilityofdivorce,separationorevenofa passport without the husbands consent) and of the children with the mother as intermediary.Thismodelwastaughtinthecompulsoryschoolbooksandreproducedat all levels of society. And this chain of obedience was taught in schoolbooks, in the officialpropaganda,andcommonlyacceptedasthebasisofmorality:theaimwasthe controlofordinarylifebytheregimeandtheiradministration. The administration of culture was given in 1933 to a propaganda secretary (S.P.N. Secretary of National Propaganda), being the president Antnio Ferro, a modernist (futurist)andadmirerofMussolini,convertedtothenewconservativeideas.Themain interestsofculturalpolicywereclear: 1. Venerationofhistoric(andsymbolic)heroes12;

11

SeeLoff(1994):p.11.

18 2. The cult of the Portuguese Empire Portugal (continental and overseas) was greater than all European countries together, with many peoples united by the Portugueserace13; 3. ThecultofthePortugueseruralvaluestraditionalsimplerurallifeandnational folklore14. The"ExhibitionofthePortugueseWorld"in1940,organisedbyAntnioFerro,wasthe firstbigculturaleventof theregimeandperhaps thebiggestinthe48years of the dictatorship. Manyveryimportantculturaleventswerenotofficialorsponsoredbythestate, comingfromsmallintellectualandacademicgroupsandfromworkingclassculturaland recreational societies. They were, sometimes, reflections and instruments of the intellectual,artisticandpoliticaloppositiontotheregime.Literaryandculturaljournals andmagazinesappeared(someofthemforonlyafewissues)andbecameplacesof discussionofaestheticandartisticmatters,hidingsometimespoliticaldiscussionsthat couldnttakeplaceinpublic.SearaNova(192115),Presena(192740),Manifesto(1936 38), Revista de Portugal (193740), Gazeta Musical 16 (1950) are some of the most relevant periodicals in Portuguese cultural life 17. Always struggling against the censorship,sometimescontrolledbyundergroundpoliticalorganisations(thecommunist

E.g.D.AfonsoHenriques(the1stKingandfounderofthecountryinXIIcentury),VascodaGama(who discoveredtheseawaytoIndiainXVcentury),PedrolvaresCabral(whodiscoveredBrazilin1500)and Cames(thepoetofthePortugueseeposinXVIcentury).

12

AsSalazarsaysPortugalwasnotacolonialcountrybutaunitedcountrywithprovincesin4continents. (SeeGarnier,(s.d.):p.90).
13

Thisfolklorewasnotunderstoodasagenuineartisticexpressionofthepeople:verylittleeffortwas givenbythestatetostudythediversityoffolksongsinallPortugal.Themaininterestwastoproducea nationalfolklore,asymbolofnationalism,ofsimpleruralvalues,alsointerestingfortouristsandaspart timeactivitiesoftheworkingclass.

14 15 16

Stillpublished.

MusicalGazette,laterwiththenameofMusicalandAllArtsGazette(GazetaMusicaledeTodasas Artes)
17

SeeReis,Carlos(1990):p.109andfollowing..

19 party,republicansandotherdemocraticopponentsoftheregime)theseperiodicalshad muchinfluenceontheartisticandintellectualmilieu,but, infact,verylittle on the generalpopulation:atleast60%ofthePortuguesepeople(thereisnoaccountofthe overseasprovinces)couldnotread18.

ART AND MUSIC IN THE ESTADO NOVO TILL 1960 Thesocalledcounterreformsineducationthereactionofthe EstadoNovo against therepublicanreformshadmuchinfluenceinmusic.VianadaMotta(18681948,a former studentof Liszt,composer and pianist)togetherwith Luisde Freitas Branco (18901955, the first Portuguese modernist composer) reformed the National ConservatoryofLisbon,tryingtoimprovemusiceducationatahigherlevel.Thisreform, recommendedbytheRepublicangovernments,wascharacterisedbytheintroductionof musicology matters (history of music, musicology, aesthetics, acoustics, etc.), by a compulsory secondary education for musicians, and by the establishment of new curriculaandprogrammesforallcourses. In1936,byorderoftheministerofeducation,allthesereformswerereevaluatedand dilutedforeconomicandpracticalreasons.Theconservatorycoursesbecamesmaller, easier,addressedonlytothepracticaleducationofmusicians19.Thiscounterreformled LuisdeFreitasBrancotoleavetheConservatoryandmarkedallmusiceducationtill 1973nootherreformwasmade,nonewpieceswereintroducedintheprogrammes, nootherdisciplinesweretaughtotherthan solfeggio,harmony,historyofmusicand acoustics,chambermusicandinstrumentalstudy(orcompositionforcomposers)20.Asa generalobligatorydisciplineforallinstrumentalists,2yearsofFrenchandofPortuguese weretaught,(thesesubjectswereusualfrom10to12yearsinthesecondaryschools).In 1938VianadaMottaretiredandanewdirectorwasnominatedforthenext3decades:
18 19

SeeReis,Antnio(1990):p.271andfollowing.

Infactonlyin1980wasfoundedthefirstmusicologycourseinPortugalandin1985wasintroducedthe obligationofacompletesecondaryschoolformusicalstudiesatahigherlevel.
20

AlsoItalianandGermanforsingers..

20 IvoCruz,aminorveryconservativecomposer,veryclosetothedictatorship.Underhis direction many former students and foreign teachers became staff members of the Conservatory:thecomposersArmandoJosFernandesandCronerdeVasconcelos,the pianistFernandoLaires(laterknownasaprofessorintheU.S.A.),theguitaristEmilio Pujol,theharpsichordistandorganistSantiagoKastner(veryimportantforhisworkon Portuguesebaroqueharpsichordmusic),theviolistFranoisBroos,etc.21 TheEstadoNovocreatedalsoculturalinstitutionsinordertopromotethe recentand mainlyrepublicantraditionof symphonicandchamber music 22.In 1933Salazar foundedtheNationalBroadcastingCompany(E.N.)and,belongingtothiscompany,was alsofoundedanorchestrawithtwobranches:onefortheclassicalrepertoire,andanother forlightentertainingmusic23.In1940theS.CarlosOperaHousewasreopenedasthe visitingroomofPortugal withthenationalist(antiSpanish)opera D.JooIV ofRuy Coelho.In1941AntnioFerro,presidentofthePropagandaNationalSecretarywasalso nominated President of the National Broadcasting Company (E.N.) and founded a Bureaufor MusicalStudies(GabinetedeEstudos Musicais) inordertoencourage Portuguesecomposition.Adancecompany(VerdeGaio)wasalsocreated,specialisingin therestylingofPortuguesefolkdances24. Itis,perhaps,difficulttospeakofaspecialmusicalstylecreatedfortheEstadoNovo.In fact,withtheexceptionofsomepiecesastheOratorioFtima(RuyCoelho,1931)25,the regimedidntcareforanystyleoranykindofmusicinparticular,beingonlyconcerned withthepoliticalbehaviouroftheartistsandthepossibleconnectionsofthemusicwith
21

SeeFreitasBranco,Joo(1982):page56. SeeVieiradeCarvalho,Mrio(1990a).

22 23

Lateralsoappearedanotherorchestraconcernedwiththenationalfolkloremusic(OrquestraTpicada E.N.).SeeNerye.a.,1991:p.167.
24 25

SeedeFreitasBranco,Joo(1982):page64.

FatimaisanOratoriobasedonthestoryofthreeshepherdswho,in1917,apparentlysawandspokewith theMotherofGodinavillagecalledFtima.Thepremiereofthispiecehadapoliticalcharacterbecause ofthepresenceofhighauthoritiesofthechurchandthegovernment,andbecauseofthedemonstrations thatfollowedit,againstthereddangercomingfromthenewSpanishrepublic.

21 political ideas the semantisation of music in the words of Mrioo Vieira de Carvalho26. Infact,especiallyaftertheendoftheW.W.II,themaininterestsofthedictatorshipon thesubjectofartwere: 1. Tomaintainanddevelopahighartfortheupperclasses(inmusictheexamples aretheoperaandsymphonicconcerts); 2. Theseartformsshouldbeasymboloftheeconomic,politicalandintellectual supremacyoftheseclasses(inmusic,thegreatimportancegiventothetraditional 18th and19th centuryrepertoire,withthepurposeofappealingonlytotraditional subscribers,excludingotherpublics27); 3. ToenhancepopularartformsbasedonPortuguesefolklorethatcouldsymbolise Portuguese nationalism and the simplicity of the traditional Portuguese rural people(e.g.themanyfolkloremusicanddancegroupsformedandsponsoredbya state working class organization, the National Federation Joy in the Work FederaoNacionalAlegrianoTrabalhoFNAT); 4. Toseparateanyart,artobject,eventorartist(eventhosenationalistsneartothe conservativeideologyofthedictatorship)fromanypossiblepoliticalmeaning(the exclusionofthecomposerandpianistLopesGraafromanymusicalinstitution, thecensorshipofoperaprogrammes,privatesubversiveconcerts,etc.).

Semantizationofmusic,forMrioVieiradeCarvalho,istheprocessofgiving(incorporating)ameaning a cultural, social meaning to apparently meaningless music (in semantic sense). The contrary process,speciallyusedbyfascistregimes,iswhatthisauthorcallstheaesthetisisationofpolitics:apolicy of incorporating art elements in propaganda, mass events and other political features. See Vieira de Carvalho,Mrio(1997).
26

Youngerpeople,newsubscribersandintellectuals.ItwascurioustheobligationofformalclothesinS. CarlosOperaHouse.
27

22 M ODERN ITY
AND TH E QUES TIO N O F A

P ORTU GU ESE M USIC

ThecomposersAlfredoKeil28,AlexandreReyColaoandVianadaMotta29canbeseen asthefirstdemonstrationsofmodernityinromantictermsinPortuguesemusical life.Theytriedtocreateattheendofthe19centuryaPortuguesenationalmusicbased ontheuseofsomePortuguesefolkloricrhythms,popularmelodiesandinstrumentation, adaptedtotheEuropeanoperaticandsymphonictradition. ButasLopesGraaexplained30,suchanintentwasartificial:therewasnoPortuguese music because there was no classical music tradition, no interest in popular music (almostunknownandneglectedbytheauthorities),nointerestinthedevelopmentofa nationalmusicallifeasitwasunderstoodinGermany,France,England,etc.ForLopes Graa,PortuguesemusicshouldnotbemerelyanykindofmusicmadeinPortugal,with orwithoutPortugueseelements:
The last criteria todefine anworkof art are alwaysaesthetic criteria;andtheexpressionPortugueseMusicmustbetaken, therefore, in an essentially aesthetic sense. I said above, however, that the formula Portuguese Music expressed an ethnicaesthetical relationship. (...) Does the ethnic factor have anyimportanceforthedefinitionoftheconceptoftheexpression PortugueseMusic?(...)Yesitreallydoesbutitisnotinany wayadefinitiveone.Oritcanbedefinitive,afterbeingreduced orassimilatedtotheaestheticfactor31

28 29

ComposerofoperaswithsomePortuguesecolour,andofthenationalanthem.

ThesymphoniePtria("Tothefatherland")isthefirstPortuguesesymphonicpieceafterBeethovenian models. SeeLopesGraa,Fernando(1989):pag.37.AMsicaPortuguesaeosSeusProblemasI,1989:and following,AMsicaPortuguesaeosSeusProblemasIII,1973:pag.72andUmartistaIntervm,Cartas comalgumaMoral,1974:page277.

30

31

Ocritrioltimodefinidordaobradeartesempreumcritrioesttico;eaexpressoMsica Portuguesahdesertomada,portanto,numsentidoessencialmenteesttico.Disseeu,porm,acima, queaformulaMsicaPortuguesaexprimiaumarelaotnicoesttica.(...)Ofactortnicotemouno importnciaparaadefiniodoconceitodeMsicaPortuguesa?(...)Temimportncia,sim,mas node maneiranenhuma definitivo.Oupoders lodepoisdereduzidoouassimilado aofactor esttico.SeeLopesGraa,Fernando(1989):p.41.AMsicaPortuguesaeosSeusProblemasI,1989:.

23 Portuguesemusic,influencedornotbypopularmusic,canonlybeseeninthe1940sand 1950's with the production of LopesGraa and the next generation of avantgarde composers.

Luis de Freitas Branco (1890-1955) LuisdeFreitasBranco(18901955)was,forhisinterestinWagner,inFrenchsymbolism andinthemusicofDebussy,thefirstPortuguesecomposertodevelophislanguage towards a change, far from the conservative (and very poor in the Portuguese case) musicaltradition.HewastheforemostmoderncomposerinPortugalatthebeginningof the20thcentury(e.g.thePreludesforpiano,thesongsforvoiceandpianoandtheworks for orchestra Vatek and ArtificialParadises 1913)32.Asalreadymentioned,Luis de FreitasBrancoalsohadagreatimportanceinmusicpedagogyandinmusiccriticism, havingmadewithVianadaMottaareformoftheNationalConservatoryandfoundedthe musicperiodicalArteMusicalin1940.HewrotetextbooksforuseintheConservatory, maderadioprogrammesandwasacompositionprofessorwithmuchinfluenceonLopes GraaandespeciallyonJolyBragaSantos.

The older generation and tradition As we have seen, Portuguese musical life was embryonic and very conservative in generalterms,inspiteofsomeeffortstoproducemoreconcertsandnewmusic.The followingcomposers,someofthemmusiciansofgreattalent,wereimportantfortheir influence on Portuguese musical life and especially for their work as composition teachers.Someofthemwereprofoundlyagainstallkindsofdevelopmentinmusic,some otherslessclosedtothenewideasthatcameslowlywiththeSudexpresstheexpress trainfromParis.

Afterthisperiod(thefirsttodecadesofthecentury),LuisdeFreitasBrancoassumedamuchmoreneo classicalmanner.Butalsointheselaterworksofanassumednationalism,heusedmodalsubstructures.
32

24
LUIS COSTA (1879-1960)

LuisCostawasacomposerwhoworkedinOportoandtaughtinthecitysConservatory. A student of Busoni, his works, especially those for piano, have an impressionistic atmosphere: he uses allegorical titles and corresponding sound structures; using pentatonicandhexatonicscales(likeClaudioCarneyro),heshowshisinterestinthe French tradition, Debussy and Ravel in particular. He is often seen as one of the Portuguese impressionists for his attitude of describing nature in music. His main accomplishmentslieintheeffortshemadetoimproveOportosmusicallife,asateacher and director of the Conservatory of Oporto andas the father of the brilliantpianist HelenaCosta.

RUY COELHO (1889-1986)

IntheearlydecadesoftheXXcentury,ayoungcomposerRuyCoelho(18891986) begantoproducesomenewcompositionsandwasseentobeveryclosetoartistslike AlmadasNegreiros,muchinterestedinnewartforms,especiallyinFuturism.Hewas thereforeconsideredamodernist.RuyCoelhostudiedinGermanywithascholarship, having Humperdink as teacher and making some contacts with Max Bruch and Schnberg33.Hisorchestralworks(the Ballet TheprincesswiththeIronShoesand SummerWalks)demonstrateawayofwritingclosetothelanguageofRichardStrauss. Hewasknownfortheoratorio"Ftima"andforotherworks,allfaithfultotheinterests ofthepublicandtheEstadoNovo.34

IVO CRUZ (1901-1989)

BestknownasthedirectoroftheNationalConservatory,hewasaveryconservative composerwithlittleinterestinthe20thcenturydevelopments.Hestudiedmusicandlaw inLisbonandthenwenttoMunichwherehestudiedorchestrationandaesthetics.His

33 34

SeeBlancdePortugal,Jos(1997).bookletoftheCDRuyCoelho,StraussPortugalsom,Lisboa,1997. SeeFreitasBranco,Joo(1995):page315.

25 musicembracesa19thcenturylanguage,speciallyinfluencedbyFrenchromanticism.His conservativeideasledhimtodevelopaninterestinwhathethoughtwasaPortuguese music, representing some kind of Portuguese race, culture and history. His most important work was related to the Renascimento Musical 35, having helped in the rediscoveryofancientPortuguesemusic(astheFrenchatendofthe19thcentury),much neglectedbythepublic36.HissonManuelIvoCruzwouldbe,afterthesixties,atalented conductor.

FREDERICO DE FREITAS (1902-1980)

FredericodeFreitaswasaverytalentedcomposerwhowroteworksforpiano,chamber ensemble,theballetandfororchestra.Someofthemshowaninterestinnewharmony andpolytonality.Buthismainworkandsuccesswasinwritingmusicinfluencedby Portuguese folklore and for the Portuguese Vaudeville (Revista Portuguesa). He composedmanysongsandfados37,someoftheminternationalhits.

ARMANDO JOS FERNANDES (1906-1983) and CRONER DE VASCONCELOS (19101974)

Thesetwocomposers,despitetheirdifferences,oftenappeartogetherbecauseoftheir closecontact,careerandsimilarwork.BothstudentsofStravinskyandespeciallyNadia BoulangerinParis,theywereveryactiveasprofessorsintheNationalConservatoryof Lisbon.Theirworks(ofallgenresfromsolopianotoballet)areanextensionofFrench romanticism, sometimes brought up to date with some modal (counterpoint based)

35 36 37

MusicalRenaissance. SeedeFreitasBranco,Joo(1995):page315.SeealsoPinto,Alfredo(1930):page43.

Portuguese folk song ofurbanorigin, foronevoiceand Portugueseguitars. Theword fado means destiny.Therefore,mostofthe fados areverysadandnostalgic,speakingofthehardnessoflife,ofthe belovedthathisfaroverseas(atraditionsincemedievalmenestrelsongs).Buttherearealso fados with jocosecharacter.Despitethefactthatmanypeopleoftheworkingclassandoppositionistssung fados, somewithwordsclearlyagainsttheregime,thisformofurbanfolklore(Lisbon,Santarmandnearby)was seenasalienationsongoftheregimebecauseofitssomehowdefeatingcharacter(thethreealienatingff wereFado,FtimaandFootball).

26 dissonances,andatothertimeswithsomeinfluencefromPortuguesefolklore.Their importancewasgreatinthe1950sand1960s,speciallyas,perhaps,themostrequested compositionteachersintheConservatory:almostallofthecomposersoftheavantgarde studiedwithatleastoneofthem.

New music in Portugal from 1940 to 1960 Besidessomeconservativecritics,independentperiodicalsandafewnewexperimentsin a more modern musical language (as described above), no special importance was attachedtooldortonewmusic,noaestheticdebatewasencouragedbystateinstitutions, noimportancewhatsoeverwasgiventothenewartformsthatappearedintherestof EuropeandUSA,especiallyaftertheWar.Therewasnopersecutionofnewartbecause noonecaredaboutit,creatingtheillusionthatitdidntexistatall.Thisculturalisolation wasveryrealandpartofthelargerpolicyofeconomic,socialandpoliticalcontrolthat begantofragmentaround1960andendedcompletelyonlywiththerevolutionin1974. The music teaching in the conservatories and other music institutions was very conservative, directed to a quick training of performers of the various orchestras instruments(atotalof5years).Forafewinstrumentssuchaspiano,violinandcello,the trainingwasabitmoreintensive,aimingattheformationofvirtuosi(6plus3yearsof superiortutoring).Inthe3yearsuperiorcourseofcompositionsomeattentionwasgiven tothestudyofancientpolyphonyandto19thcenturyharmony,butnevergoingfurther thanCesarFranckor,sometimes,earlyDebussy.

27
LOPES-GRAA (1906-1994) AND THE "SONATA"

OneoftheveryfewexceptionsintheverytraditionalPortuguesemusicallifewasthe composerFernandoLopesGraa(19061994).AcommunistandformerstudentofLuis deFreitasBranco,hefoundedin1942the Sonata,aprivatesocietywiththeaimof organisingconcertsshowingmodernmusictothePortuguesepublic.Upuntil1960the Sonata promoted85concertsincludingcomposers of the20th century.Amongmany others(Debussy,Ravel,Stravinsky,Bartok,Casella,FrankMartin,etc.)thefollowing

7 6 5 4 3 2 1 0
la es ur it h ek co x rg un M ie sl Pe an H rM V ic to in al D F. B to M in to W eb er n er g os et y n ae si co eu be sk ar tin lin ra n liv m nt pi aw lL tra i ll B ss i u de Jo Sa Je B la es A ut .P na

ly

de

Jo

ONTEMPORARYCOMPOSERSPLAYEDINTHE C SONATA

contemporary Portuguese and foreign (perhaps aesthetically more advanced) composerswereplayed: 1943LopesGraa;1944Martinu, Hindemith,Schnberg;1946JolyBraga Santos,Messiaen;1947JolyBragaSantos,Messiaen,Schnberg;1948Bartok, Petrassi; 1949 Krenek, Lutoslawsky,Luis de Freitas Branco, LopesGraa, Victor Macedo Pinto, Dutilleux; 1950 Jelinek; 1951 Daniel Lesur; 1953 Berg, Messiaen; 1954 Messiaen, Schnberg; 1956 Jolivet, Webern, Gunnaberg, Schnberg,Messiaen;1959Webern;1960Messiaen,LopesGraa,Dallapiccola, Schnberg.38
Materialcollectedintheprogramsandcriticsofthe Sonata concerts,propertyoftheLibraryofthe AcademiadeAmadoresdeMsicaLisbon.
38

Lu

is

Lu

28 BartokandStravinskyinfluencedLopesGraa.Althoughanadmirerofsomeof the musicofSchnberg,BergandWebern 39,itiswellknownthathewasopposed on aestheticandsociologicaltermstotwelvetonecomposition:

"[Twelvetone composition is related to] an art of the past expressionism an art with no relation to the current realities (not counting those characteristics that, as a system, reveal a kind of musical academicism)40

Nevertheless,asadirectoroftheSonata,hedidntaltogetherimposehisaestheticviews when devising the programmes. As the picture above shows, there was a great importancegiventocomposers of thesecondVienneseschoolandtoMessiaen, the spiritualleaderoftheDarmstadtgeneration. ItwasnormalintheseSonataconcertsthatanewordifficultworkwasrepeatedatthe endoftheconcert:
to permit the more interested listeners a better and perhaps more lucid knowledge of the work () [speaking about the ConcertoOp.24ofWebern]41.

Theconcertsofthe Sonatawerenotonlymusicaleventsbut,sometimes,alsopolitical events:LopesGraaandothermemberswerepoliticallyengagedasopponentsofthe regime,andtogotosuchconcertswas,forsomepeople,totakepartinapoliticalact. Thereissomeevidence42thatthepoliticalpoliceoftenwenttheretowatchwhomwas amongthepublic.Nevertheless,manyintellectualsofalargepoliticalspectrum,e.g. VianadaMotta,GuilherminaSuggia,lateralsoSilvaPereira,MacedoPinto,neorealistic

39 40

SeeLopesGraa,Fernando(1992):p.116.

aumaartepassada oexpressionismoaumaartesemrelaocomasrealidadessubstanciais actuais(semcontarcomoquenele,comosistema,relevadeumaespciedeescolsticamusical,()In LopesGraa,Fernando(1974),page257. afimdepermitiraosouvintesinteressadosummelhoreacasomaiselucidativoconhecimentodaobra ().SeeLopesGraa,Fernando(1992a),page117.

41 42

Accordingtopersonaltalks.

29 intellectuals and many other artists went there and applauded the programmes, the institutionanditsaims43. Togetherwithhisactivityasacomposerandorganiser,LopesGraawasapianistandhe leftanenormousvolumeofworkinthefieldsofmusiccriticism(theperiodicals Arte Musical,GazettaMusical,Presena, etc.),musichistoryandasatranslatorofforeign musicologytexts.HeoftentravelledabroadtorepresentPortugalintheInternational ContemporaryMusicSociety,tointerviewcomposersforPortugueseperiodicalsandto havediscussionswiththeleadingcomposersofhistime44. Becauseofhispoliticalviews,hewasbannedfromallkindsofteachinginschools(state and,in1954,privateschools),earninghislivingasachoirdirectorandasawriter. Althoughhisvastproductionasacomposerwasofverygoodqualityandverywell regardedinallmusiccentresinPortugalandabroad,hiscompositionsweresometimes bannedfrompublicconcerts 45.Nevertheless,hisworkswereconstantlyperformedin chamberandchoirconcertsbyprivatesocieties(e.g.AcademiadosAmadores)andlater bytheGulbenkianFoundation.Despitethefactthathewasamemberoftheunderground communist party, he never embraced the aesthetic theories of Stalin's USSR (the socialisticneorealism,stronglyenhancedbyallcommunistintellectualsinPortugal46), championinginsteadadvancednewartforms.Heevenpublished(inliteraryperiodicals) hisoppositiontosovietaestheticprinciplesandseverelycriticisedChostakovitchand Prokofievfortheirlackofnewmusicalideas47.

43

SeedeFreitasBranco,Joo(1943).

SignificanthisvisittoLondonin1955,wherehemadebroadcastsforthePortuguesesectionofBBC aboutEnglishcontemporarycomposition,andinterviewedAlanBushandHumphreySearle.Inthisperiod, hewasstillveryinterestedinthediscussionsabouttwelvetonecompositionandnationalmusic,having alwaystriedtoseethevariouspointsofview.

44 45 46 47

SeeLopesGraa,Fernando(1974):page343. SeePachecoPereira(1999):pag.337andfollowing.

SeeLopesGraa,Fernando(1986):page171.

30 LopesGraacomposedabout260worksandcollectionsofworksinallgenresfromsolo piano to chamber music, music for choir, for voice and music for piano and opera. Becauseofhisprolificworkasacomposeraswellasaneducatorandtheorist,hecanbe considered the leading composer and personality in Portuguese musical in the 20th century48. Hisvastknowledgeofartandcultureandhisinterestincontemporarymusicledhimtoa personaldevelopmentofhismusicallanguage,usingahighlyexpressiveharmonyanda musicalconstructionmuchinfluencedbycomposerssuchasBartok,Stravinsky,Milhaud andSchnberg.Buttheevolutionofhisworkswentalwaysawayfromthetwelvetone techniques and other international manners of the avantgarde composers 49, as he described them. Nevertheless his music moved towards the harmonies and the expressivenessofavantgardemusic,especiallyafterthe1960's50. The avantgarde composer Jorge Peixinho, in a lecture of 1993, remembered the Portuguese 17th century's polyphonic composers Manuel Cardoso and Joo Loureno Rebelo,comparingthemtoLopesGraainahistoricperspectiveofandtohisreactions towardsthenewtendenciesfromDarmstadt:
"Thesecomposers[ManuelCardosoandJooLourenoRebelo] persistinapostRenaissanceautochthonousIberiantradition,in atimedominatedbytheEuropeanmusicalbaroquestyle.But, duetotheircreativestrength,theyabsorbandexpressintheir ownwaythespiritofthetimewithanunquestionablebaroque feeling.InthesamewayLopesGraa,withinhisownaesthetical boundsandtheparticularitiesofhiscreativeuniverse,develops andexpandsprospectivelyhisinteriorworld;andtherehesafely exploresthepulseofthespiritofhis(andour)time."51
48

SeeCascudo,Teresa(1997).

49

SeeLopesGraa,Fernando(1973):pag.66andpag.304. Thereferencetoaninternationalart opposedtoaPortugueseartiscommontovisualartsandcomposersinthebeginingofthe1960s.

50 51

Heevenusedwritenclustersinthelastworks(e.g.6thsonata)

"Estescompositoresprolongam,numapocadominadapelobarrocomusicalEuropeu,umatradio autctoneibrica, de raz postrenascentista. No entanto, pela sua fora criadora, eles absorvem e exprimem,aseumodo,oespritodotempo,comumsensibilidadeinequivocamentebarroca..Deigual modo,LopesGraa,dentrodassuascoordenadasestticasedaespecificidadedoseuuniversocriador,

31 Althoughalwaysanopponentofexpressionismaswellasofstricttwelvetoneandof someoftheexperimentalismofthefifties(speciallyelectroacoustics),LopesGraawas verymuchawareoftheimportanceofthenewcomposers.Inanarticleof1966onwhat wouldbethemusicoftheyear2000,hewarnsfullofcynicismoftheappearance of

"(...) some dangerous agitators as, i. e., Machaut, Gesualdo, Monteverdi,Rameau,Beethoven,Wagner,Debussy,Schnberg, StravinskyorXenakis...Then,goodbyetobalanceandstability
52

TheinclusionofXenakisamongthese(necessary)"agitators"is,infact,atestimonyof LopesGraa'sopenmindtowardscontemporarymusicanditsevolution.

OTHER MODERN COMPOSERS IN THE FIFTIES

Someothercomposersmadeeffortstoassimilatemoderntechniques,whichhadtheir originsatthebeginningofthecentury.

Claudio Carneyro (1895-1963)

ClaudioCarneyrobegantolearnmusiconlyattheageof15,havinglearnedviolin,piano andcomposition.In1919hewenttoParisandstudiedcompositionwithWidorandPaul Dukas. He also lived 2 years in the USA where he married the American violinist KatherineHickel.HefoundedlaterastringorchestrainOportoandwasateacheranda director at the Conservatory of Oporto. His musical language sometimesapproaches modernmodalismandatonality(ArpaAeolicaforpiano,Khromaforviolaandorchestra andBrumaforviolinandpiano)andthereissomeevidenceofhisinfluenceonOportos

desenvolveeexpandeprospectivamenteoseumundointerior,seguramente,opulsardoespritodoseu(e nosso)tempo".SeePeixinho,Jorge(1995a). "(...) uns perigosos agitadores que se chamaram, por exemplo, Machaut, Gesualdo, Monteverdi, Rameau,Beethoven,Wagner,Debissy,Schnberg,StravinskyouXenakis...Ento,adeusequilbrioe estabilidade." SeeLopesGraa,Fernando(1992):pages157,148and152,andLopesGraa,Fernando (1992b).
52

32 youngercomposers(VitorMacedoPintoandFilipePires).Hisworkscoverallgenres exceptopera,hischamberworksbeingofthemostinterest.

Manuel Faria (1916-1983)

BorninS.MigueldeCeideBraga,inaunderprivilegedruralenvironmentofthenorth ofPortugal,ManuelFariasoonbeganalifefullydedicatedtoGodandtomusic.He studiedatfirstinthepriestsSeminarandlaterintheVatican,duringtheWorldWarII. Between1960and1962hehadascholarshipoftheGulbenkianFoundationtostudywith VitoFrazzi(Siena)andPetrassi(Rome).Thenheexperimentedandcomposedpieces usingtwelvetonetechniques. Heworkedmostlyasamusicteacher,asacomposerofchurchmusic,andasadirectorof amateur church choirs in the north of Portugal. Later he had the Carlos Seixas compositionPrize(1972),hefoundedachurchmusicmagazine53,andwasanassociateof theNationalRadio(E.N.).Hissacredmusicisverytraditional,manytimesalsoeasyto perform,havinginviewtheverysmallpossibilitiesofcountryruralcommunities.A closefriendofFredericodeFreitasandanadmirerofDebussyandAlbanBerg 54,he composedalsoorchestrapieces,songsforvoiceandpianoandchambermusic,atfirst usingfolkmelodiesanddances,lateralsowithmanydissonancesinaveryexpressive neoclassicstyle.Histwelvetoneworksforinstrumentsareyetunknown. Hehadaremarkableknowledgeofdifferentcompositiontechniques,whichheusedin someofhisworks.AsaresultheinfluencedverypositivelyPortuguesenewcomposers andmusicianswhohadtheopportunityofstudyingwithhim,s.a.CndidoLima.

53 54

NovaRevistadeMsicaSacra.

Hehadalsomanydoubtsabouttwelvetonetechniques.

33
Vtor Macedo Pinto (1917-1964)

VtorMacedoPintowasborninOportoandstudiedpianoandcompositionwithLuis Costa,VianadaMottaandLopesGraa.Hismusicallifeasaprofessionalwassomehow delayedandshortbecausetill1957hemadeacareerinthePortugueseForeignOffice.A brilliantpianist,hetookpartinconcertsoftheSonataplayinghisownworks.Amanof culture,headmiredtheworksoftheSecondVienneseSchoolandofBartok,Prokofiev, Honegger,Hindemith,StravinskyandMessiaen,andin1955hewasalreadyawareofthe developmentsof MusiqueConcrte55.Hiscompositions(manyofthemforpiano),are characterised

By the diversity of the topics he uses, by the eclecticism of thought and of processes. We find, hand in hand with Impressionism and Expressionism, examples of twelvetone technique, of the use of folklore, of melodies and rhythmical structures of Bartok, of Medieval and Hellenic evocations, sometimesmixedtogether.56

His compositions, mostly unknown, denote his interest for the experience of new techniques(s.a.SevenOldSongs1950,forvoice,fluteandpiano,FourStudies1964, forpiano,etc.).HisinterestinnewmusicalsoinfluencedhispupilsintheConservatories ofOporto,ofCoimbraandofBraga,especiallyinthewayheattractedthemtotheuseof newcompositionaltechniques.Atthetimehisprematuredeathin1964,theGulbenkian FoundationhadgivenhimascholarshiptomakefurtherstudiesintheUK.

Fernando Correia de Oliveira (1921)

The career of Fernando Correia de Oliveira is strongly attached to the fact that he inventedwhathecalls"SymmetricHarmony",atechniqueandawayofwritingmusic

55 56

SeeCarneiro,lvaro(1968).

caracterizasepeladiversidadedostemasabordados,peloecletismodopensamentoedosprocessos. Assim,apardoImpressionismoedoExpressionismo,encontramosexemplosdetcnicadodecafnica,de aproveitamento do folclore, tipos meldicos e estruturas rtmicas bartokianas, evocaes medievais e helnicas,sobrepondoseporvezesnamesmaobra.SeeFilipePires,quotedinCarneiro,lvaro(1968): page65.

34 thatallowsamorefreeuseofharmoniesandcounterpoint,inobservationofsomesimple transpositionprinciples.Hisworksmuchinfluencedbyhisinterestinchildrensmusic wereplayedinthesixtiesandseventiesinhishometownOporto,wherehealsoowns a school. They reflect his system of counterpoint and score writing and represent a simpleviewofthemusicoftheneoclassicism,perhapsclosetothesimplicityofOrff's Schulwerk.

Joly Braga Santos (1924-1988)

JolyBragaSantoswas perhaps, thefavouritecompositionstudent of LuisdeFreitas Branco.HestudiedalsoinItalyanddedicatedhimselffullytocomposition,conducting andteaching,coveringallkindsofgenres,includingOpera.Asymphonistofenormous soundresources,atfirstveryclosetothemusicstyleofRichardStraussandtoromantic harmony,helaterbegantodevelophisstyleapproachingthesonoritiesofChostakovitch. After1960hebegantoincorporateamorefreeuseofharmonyandmodality. Althoughhenevercomposedusingtechniquesoftheavantgardemusiciansofthe1950's and1960's,hemadegoodfriendshipsamongthem,especiallywithJorgePeixinho 57.He isconsideredoneofthebestcomposersofthe20thcenturyinPortugal.

SOME EVENTS

Someothereventsintermsofthenewmusiccanbeseeninthisperiod.Firstofallthere istheactivityofEmaRomerodaCmaraReisinorganisingprivateconcerts.Inoneof theseconcertsin1932PierrotLunairewasperformed.Secondly,theactivityofPedrode FreitasBrancoasaconductoranddirectoroftheRadioSymphonyOrchestra.Inhis programmes many works of contemporary composers were played, inserted in the normalseriesofthatorchestra.

HeevenorganisedaconcertwithworksofPeixinhoinItalyandconductedPolipticoasuccessionof4 smallpiecesfororchestrainanexpressionistmanner,dedicatedtoPeixinho'sprofessorPetrassi.
57

35 InadditiontheS.CarlosOperahouseproducedsomeoperasofPortuguesecomposers. RuyCoelhoclearlythecomposeroftheregimesawmanyofhisworksproduced (1927,1931,1940,1947,1950,1952,1953),withothersbyJolyBragaSantos(1959), Frederico de Freitas (1960) 58. As for foreign modern composers, there were performances of Stravinsky (1944 Histoire du Soldat) and Alban Berg (1959 Wozzeck).59

C OMPOSITIO N

IN

P ORTUGAL

TILL

1960

AN

E VALU ATION

ResearchingcompositioninPortugalintheperiodlocatedbetweenthebeginningofthe centuryand1960,itisclearthattherewaslittleinterestinmodernity,innewideas,even in possible transformations that could develop musical life in Portugal and musical composition. Infact,theyearsaroundtherepublicanrevolutionin1910broughtanincreasedinterestin chamber and symphonic concerts and in new music, specially represented paradoxicallybyWagner60.Buttheconservativeregimeimposedin1926,whosemain goalwastoputorderintoPortuguesesociety,alsoputorderintothemostcreative aspectsofthenewbornmusicallife.ThedictatorshipofSalazarwasconcernedonly with an art that might bolster its oligarchic behaviour: cherishing some nationalistic forms and, most of the time, repeating music which had been well known and appreciatedinthepast,alwaysexcludingignoringartthatcouldraiseanyquestion. Thenumberofmusicians(fortheoperaandthedifferentorchestras)grew,moreand more symphonic concerts were given and top international musicians were invited, speciallyaftertheseasonsof1957and1958oftheEmissoraNacionalandtheS.Carlos
61

.ThisevolutionresultedalsoinanincreaseofthenumberandqualityofPortugal'stop

58 59 60 61

LopesGraawasonlyplayedin1970. Othermoderncompposerswereplayedinthe1960'sand,specially,in1970's. SeeNery,RuyandFerreiradeCastro,Paulo(1991)andVieiradeCarvalho,Mrio(1997).

SeedeFreitasBranco,Joo(1995):page311.

36 musicians62, being already noticeable in the number of piano virtuosi like Fernando Laires,HelenaCostaandSequeiraCosta.Musicshouldentertain,bepleasantandpraise thegeniusofthegreatcomposersofthepast.Musiciansoughttobeguardiansoftheir heritage,withitsmastershonouredaspriestsofahighlycultivatedandspiritualisedart. Butnewideasregardingcompositiontechniques,differentwaysofperformingandnew waysofgettingpeopleinvolved(sociallyandpolitically)withmusichadnoplace.Asa criticwrote(aboutoneofthefirstConcertsoftheSonata),newsounds,newharmonies, newmusichadnoimportanceand,therefore,nofuture 63.Thiswas,inmusic,theso calledpolicyofthespirit,asdescribedbyAntnioFerro64. Therefore,withtheexceptionofLopesGraa(anoutsiderbanishedbytheregime)and the ephemeral or timid experiments of Luis de Freitas Branco, Luis Costa, Cludio Carneyro,VitorMacedoPinto,JollyBragaSantos,FernandoCorreiadeOliveiraand ManuelFaria,therewasnomoderncompositioninthefortiesandfiftiesinPortugal. Butintheseyearsanewgenerationwasborn:firstMariadeLurdesMartins(b.1926) and Filipe de Sousa (b. 1927) and later Clotilde Rosa (b. 1930), Armando Santiago (1932),FilipePires(b.1934),ConstanaCapdeville(19371992),lvaroSalazar(b. 1938),CndidoLima(b.1938),lvaroCassuto(b.1938),JorgePeixinho(19401995) andEmanuelNunes(b.1941).TheireducationwasmadeintheConservatoriesofLisbon andOporto,mostofthemwithArmandoJosFernandesandCronerdeVasconcelosas referredtoabove;thiswasthecultural,socialandpoliticalcontextfromwhichtheygrew. Butthechangesinthesociety,theircontactwithothermusiccentresandtheirinterest andtalentasmusiciansandcomposersledthemtodevelopnewtechniques,newideas newmusic,torepresentinPortugalthemusicoftheavantgarde.

62 63 64

OrforeignmusiciansworkinginPortugal. SeeDirioPopular,28thofMarch,1943,criticsignedS.F.

PoliticadoEsprito.AntnioFerroborrowedthisexpressionfromPaulValeryanduseditasthenameof aconference.Itbecamethedesignationofthestatepolicyonthemattersofartandculture.SeeLambert, Ftima(1997):page59.

37

38

New Music, Darmstadt and the Avant-garde

AN AESTHETIC AND HISTORIC PERSPECTIVE The evolution of music in Europe after the Second World War has been seen from differentperspectives.Theimportanteventsandtransformationsthattookplacepointto theemergenceofnewideasofsoundandofmusicconstruction,andtheexplosionofits consequences in all aspects of the musical life: expression, creation, performance, composition,etc. Thereareseveralparadigmaticaspectsthattogetherdevelopedmusictowhatitcannow beseenasthehistoricavantgarde. 1Thefirstparadigmisthehypotheticaldeclineofthetonalsystem,thefailureofa substructurethathadbeenthecommonbasisforallmusicofthelasttwocenturies, and had been understood by the public. This decline was seen as an historical consequence of the highly elaborated harmonies of Wagner and post Wagnerian composers, culminating in Debussy, Strauss and Schnberg65. This decline forshadowedtheuseofdifferentnontonalsubstructures(modal,exotic,popular,new scales)andthetwelvetonetheoriesofSchnbergandoftheothercomposersofthe secondVienneseschool(AlbanBergandAntonvonWebern). 2Thesecondandbasicparadigmistheidealofthenew.Thenewasan oppositiontotheoldand,later,toromanticismandtheromanticwayofexpression; thenewasasociologicalattitudetowardstheestablishedmusicmilieu;thenew as anawareness of the present situationin history and the new as an aesthetic criteriaforart:theconceptsofmodern,new,truthandtheavantgardeas definedbyAdorno.

65

NottoforgetalsoMoussorsky,Janacek,Bruckner,Liszt,Chopinandothers.

39 3Thesignificanceofthetwelvetonesystemwasimportant,notonlyasasubstructure forcompositionasinSchnbergbutalsoasabasicideafortheuseofallkinds ofseries,andfortheconstructionasanestheticalvalueinitself.Thisis,perhaps,the thirdparadigmoftheavantgarde:thedifferentuseoftheseriesanditsconsequences inthe1950sandafter,asseeninMessiaen,Boulez,Stockhausen,etc. 4 To experiment with sound, to play with sound objects and sound structures, to questionthematerialitselfandthewayitiswritten,toenjoyasanartisticprocedure anyexperimentwithsounds,isperhaps,afourthparadigmthattransformedthemusic ofthe1950sand1960s. 5Thefifthparadigmarisesasthecontinuationoftheevolutioninmodernhistoryand itstechnologicaldevelopments:themachineandthemechanicalspiritandallitsuses in music, from Musique Concrte to aleatory elements, compositional software, chance,liveelectronics,etc.

T HE A

END O F TONALITY

Themusicofsomeofthecomposersofthe19th andthebeginningofthe20th century containsaveryfreeuseofharmony,farfromthestrictcodifiedrulesmadebyRameau andusedbytheVienneseclassicalstyle.Wagneri.e.inthePreludeofTristanand Isolde was seen as a point of no return in the use of dissonant chords, free harmony and no resolution of dissonance. This evolution due to a hypothetical profoundaestheticneedalsohaditsrootsinsomepoliticalandsocialparticularities.

B The19th centuryandthefirsthalfofthe20th centuryweretimesinwhichsociety(the upperclassesandtheworkingclass),forvariousreasons,startedtolookandtobeaware

40 of other people, in political, cultural, geographical and social terms. Many political forcesofdifferentkindsfoughtagainstthesupremacyofothers:thesocialmovements enhancedbysocialandnationalistmovements,socialistideasofSaintSimon,KarlMarx andothers,thefightfornationalselfrecognitionandforfreedom(Greece,thedifferent Slavicnationalities,Italy,Poland,etc.).Thesecountriesfoughtforaseparationfromthe empiresintowhichtheyhadbeenintegrated,andthisfightwasalsoforthesurvivalof theirculturetheirlanguage,uses,religion,art,musicwhichtheystudied,cultivated andincludedinallkindsofartexpression.Alsoothercountries,Spain,Russiaandeven Germany,developedtheirownartandmusic,integratingfolkformsandstructuresinto artmusic.

C Withtheevolutionoftransport,commerceandthedevelopmentofcolonialism(forced byindustrialisationinEuropeandAmerica),manycivilisationsaroundtheworldwere discovered,studiedandexhibitedtothemetropolitansocietiesinEurope.Theirvariety, characteristics, their differentways of livingandof dealingwith the materials,their artisticformsinterestedtheEuropeanpublicandartistsnotonlyfortheirexoticismbut also for their possibilities in European art. Artefacts, dance and music of Bali, of different African and Asian peoples, of Australia and Polynesia and of the Native Americansbegantobeseenandheardininternationalandcolonialexhibitionsandtobe studiedtogetherwiththeirlanguage,philosophyandsocialbehaviour. So,fordifferentreasons,newscales,rhythmsandtimbresappearedinEuropeanand American concert rooms, as an exotic symbol or integrated in a new music, as a characteristicofapersonalstyle.AfterMoussorgsky,Wagner,Liszt,Albeniz,Janacek, themodernDebussy,Stravinsky,Bartok,MilhaudandMessiaenwentjustastepfurther intheuseanddevelopmentofmusicalsubstructuresdifferentfromthetonaltradition.

41 In the second half of the 20th century, this interest of composers in music of other civilisationsbecameveryimportant.Thequestionwasnothowtoincorporateforeign elementsinaEuropeanlanguagebuthowtofindtodevelopanewmusicinwhich foreign(exotic)materialsandstructurescouldbeusedatthesamelevelasthenewones createdinEuropeandtheUSA.AfterWorldWarIIcomposerssearchedfornewideas andnewconceptsofmusic,newsoundstoworkwithandusedthemnotasornamentsor symbolic elements (as Puccini, Milhaud and Debussy), or even as substructures for Europeancomposition(asMessiaen).Cage,Boulez,Stockhausenandothercomposers begantodevelopdifferentconceptsofmusic,newwaysofdevelopingmusicalideas,new notionsofrhythmandtime(notsimplyforeignrhythms)andnewrelationshipsbetween text,speechandsinging.Theyquestionedanddevelopedfurtherthespiritualityofthe music, the idea of time and duration, different pitch substructures and relationships (microtonality,relationsoftimbresandpitch),etc.66

M ODERN ITY , T HE N EW

AND TH E

A VAN T - GARDE

Theyearsbeforeandafter1900were,inthehistoryofEurope,yearsofgreatchangesin thewaypeoplethoughtaboutsocietyandart:Baudelaire,Rimbaud,Mallarm,Debussy, Satie,Stravinsky,Joyce,Picasso,Braque,Kandinsky,Schnbergandmanyothersmade substantialchangesintheirownformsofexpressionandinartingeneral:theyconceived newformsofart;theyinventednewwaysofdealingwiththematerialsandthestructures thatwereavailable.Theyrepresentedmodernityandthenewintheyearsbeforeand aftertheturnofthecentury. Theconceptofmodernityis,infact,areferencewhichdifferentartistsused.Inthe19th century,Baudelairereferredtotheimportanceofmodernity:QuiditRomantiqueditart

ItisinterestingtoviewthewordsofBoulezagainsttheAsianinfluenceinsomecomposers(Cage,for instance)and,ontheotherhand,hisinterestinGagaku,NotheatreandAsianmusicingeneral.Then,for Boulez,theanswerwasnotsimplyinusingforeignmateirals,structuresorevenconceptstheybelongto "perfect"and"dead"music,themusicofthosesocietiesbuttotranscendtheminalanguagethatwould answertothecomposer'spreocupations.SeeBoulez,Pierre(1986):page421andfollowingandpage449 andfollowing.
66

42 moderne67. The concept of modernity is a response to the transitory, to the circumstancesofthetime,totheneedsofmodernlife.Amodernartistwasthatonewho wasawareofthenewsocial,politicalandculturaldevelopmentsofthe19thcentury, assuminghisZeitgeistagainsttheacademyandtheestablishment.
Lamodernitcestletransitoire,lefugitif,lecontingent,lamoiti delart,dontlautremoitiestlterneletlimmutable.68

Soonitwasseenthatanyartformsconsideredmodernbecameoldforthefollowing generations,especiallywhensociety(themarket,thebourgeoisie)begantoacceptthose modernartists. Modernit begantobeasynonymof dcadence. Newformsemerged fromthenewgenerations,opposingtheirideastotheoldmodernity:Symbolism,the Nabis,ArtNouveau,theFauves(opposedtoimpressionismandtheAcademy),Debussy, RavelandSatie(opposedtoGermancomplexityandthe Conservatoire),atonalmusic (opposedtotonalmusic).Thenewwasanecessity,notonlyasanaffirmationofa generationbutalsoasacontinuoustransformation,proposingconstantlynewformsand newideas.Thenewreferedtothenow,inaconstantoppositiontothepast.
Because:ArtmeansNewArt.69

Anotherconceptemergingtogetherwiththenewwasavantgarde.Itwasfirstused inthemilitarytheninpoliticsandfinallyinart:avantgardesometimesreplacedthe conceptofmodernityandofnew.AlreadywithSaintSimon,the19thcenturyavantgarde artists created the concept of a socially and politically engaged art of the future70, opposed tothe present newart onlyengagedinitself 71and tothe oldforms, academic,modern,bourgeois.Thenewdevelopeditselftoadialecticofthenew,

67

QuotedinCompagnon,Antoine(1990):page29. BaudelairequotedinBoulez,Pierre(1966):page37. Schnberg,Arnold(1984):page115.

68 69 70

Thatshouldsomehowcometogetherwiththe"manofthefuture"ina"societyofthefuture",inarough paralellwith19thcenturyphilosophy.
71

artfortheart.

43 assumingasocialandpoliticaleminence,atleastanaestheticoneintermsofaconstant questioningofitsprinciples. Twokindsofavantgardecanbeseeninartsincetheendofthe19 thcentury:anavant gardewheretheartistswereengagedinapoliticalcause(fromZolatoBrecht,Weill,and laterChostakovitch), andanavantgardewheretheartistswereaestheticallyengaged (Rimbaud,Mallarm,Satie,Stravinskyofthe Sacre,Schnberg,Boulez).Someartists andmovementssuchasSurrealismandFuturismcanbeseeninoneortheotherkindof avantgarde.Thefirstkindofavantgardeespeciallyaftertherepressionofartists underStalindevelopeditselfintoapoliticallyengagedtradition,assumingartistic forms of the past with new ideological intentions (as Eisler). The second assumed differentrolesinWesternEuropeandtheUSA.EspeciallyafterW.W.IImanyartists questionedbothmaterialsandforms,eventhewayspeopleappreciatedartandthevery conceptofartitself.72

Adorno and the new music CharacteristicoftheuseofthissecondconceptofavantgardeisAdorno,amusicianand philosopheroftheSchoolofFrankfurt.Adorno,aMarxistwithmuchinterestinthe appreciationandproductionofartinsocialterms,theorisedabouttheevolutionofnew artformssinceBaudelaire. InAdorno,thenewthenewmusicimpliesacoherent(inideological,aesthetic andtechnicalterms)oppositiontothepast.Itisanoppositiontoasocietyofbourgeois structures, already established and confirmed through multiple symbols political, socialandculturalsymbolsthattendstobepreservedandvariedthroughtime.The newexistsintheoppositiontowellknowntechniques,toalreadyusedexpressions (and saturated by the repetition of its own expressive properties), to musical objects alreadytoomuchexplored.
Asresultsofthiswayofunderstandingavantgardeareconceptualart,happenings,trashart,andsome otherextremeapproaches.Cf.Compagnon,Antoine(1990).
72

44
"Inthisway,artbecomesthemereexponentofsociety,rather thanacatalystforchangeinsociety.Itthusgivesofficialapproval tothattendencyofthebourgeoisconsciousnesstodegradeall intellectualformulationstoasimplefunction,anobjectwhichcan besubstitutedforsomeotherobject,orinthefinalanalysisan articleofconsumption"73

Thenew is the nostalgia for the new 74. As a basis for the so called "negative aesthetic", this concept of new art implies an attitude of permanent discovery and experimentationofnewexpressivemeansandaconstantmovement,aconstantchange, in opposition to the established. The new must also be in contradiction with the society,as,intheAdorno'saesthetics,capitalismtendstoassimilatethenewtothe marketofart.
"No artist is able to overcome, through his own individual resources,thecontradictionofenchainedartwithinanenchained society 75. The most which he can hope to accomplish is the contradiction of such a society through emancipated art, and eveninthisattempthemightwellbevictimofdespair."76

The new implies truth in art, in opposition to false. Again,for Adorno, these conceptshavetobeunderstoodnotonlyinaestheticterms,butalsoinhistoricaland socialandterms.Musicalobjectsarefalseortruenotbecauseoffashionbutduetotheir implicationsinadialecticperspectiveoftheartandsociety.Truthimpliesthenovelty orrecurrenceofthematerialstheirmoreorlessexpressivepossibilities.
"Even the more insensitive ear detects the shabbiness of exhaustion of the diminished seventh chord and certain chromaticmodulatorytonesinthesalonmusicofthenineteenth century.Forthetechnicallytrainedear,suchvaguediscomfortis transformedintoaprohibitivecanon.Ifallisnotdeception,this canontodayexcludeseventhemediumoftonalitythatistosay, the means of all traditional music. It is not simply that these
73 74

Adorno,TheodorW.(1973):p.25.

Adorno,TheodorW.(1982a):p.45.

Perhapsawrongtranslationoftheoriginal"der entfesselten Kunstzur gefesselten Geselschaft" (see Adorno,TheodorW.(1997):page102.Ipropose"contradictionof unenchainedartwithinanenchained society".

75 76

Adorno,TheodorW.(1973):pages105and106.

45
soundsareantiquatedanduntimely,butthattheyarefalse.They no longer fulfil their function. The most progressive level of technical procedures designs tasks before which traditional soundsrevealthemselvesasimportantclichs"77

Thus,inAdorno,thenewartistthenewmusicianmusthaveadiscussionwiththe past,adialecticattitudeofconfrontationwiththesoundmaterials,withtheforms78.Even a confrontation with a possible urge for stability a resignation with its own discoveries.
"Musicisnottobedecorative;itistobetrueandArtdoesnot arise out of ability but rather out of necessity 79. With the negationofillusionandplaymusictendstowardsthedirectionof knowledge".80

Finally,this(negative)aestheticandthissocialimperativeespeciallyintwelvetone music, and as a consequence of its own formal and expressive content takes a somehowtragicfacet,asconsideredbyAdornoalreadyin1949:itsimportanceforthe future,asamessageinabottle,isincontrastwithitsinevitabledistancefromthepresent andfromthepublic.
"Modernmusicsacrificesitselftothiseffort.Ithastakenupon itselfallthedarknessandguiltoftheworld.Itsfortuneliesinthe perceptionofmisfortune;allofitsbeautyisindenyingitselfthe illusionofbeauty.Noonewishestobecomeinvolvedwithart individualsaslittlecollectives.Itdiesawayunheard,withouteven anecho.Iftimecrystallizesaroundthatmusicwhichhasbeen heard,revealingitsradiantquintessence,music,whichhasnot beenheard,fallsintoemptytimelikeanimpotentbullet.Modern music spontaneously aims towards this last experience evidenced hourly in mechanical music. Modern music sees

77 78

Adorno,TheodorW.(1973):page34.

ThiscriticwasalsoaddressedtoSchnbergandlaterthetotheserialists,intheirpossibledogmatic attitudeinwhatconcernstheusethefetishismeofcompositionaltechniques.Adornodefendeda kindofnewdialecticconfrontationofthecomposerwiththematerials(includingthetechniques,theform, the rhythm patterns, etc.). Boulez later made the same critic pointing to other paths of musical development(SeeAdorno,TheodorW.(1982b)).
79 80

ArnoldSchenberg,ProblemedesKunstunterrichts,quotedinAdorno,TheodorW.(1973):page41. Adorno,TheodorW.(1973):page41.

46
absolute oblivion as its goal. It is the surviving message of despairfromtheshipwrecked."81

TheimportanceofAdornosideasremainsnotonlyinthecriticalobservationsaboutthe newmusicemerginginEurope(thefirsteditionofPhilosophiederNeuenMusikwasin 1949)butasanideologicalbasisfortheevolutionoftheavantgardetillthe1960s.Cage, Brown,Feldman,Stockhausen,Boulez,BerioandNonoweresomeoftheartistswho wereinvolvedinthisviewofmodernart82. Despitethedifferencesoftheconceptshereexplained,artistsandartisticmovements usedthetermsModern,NewandAvantgardewithlittleaccuracy.Nevertheless, thedifferencescanbedistinguishedbythecontextandbyacriticalviewoftheartistic productions. Adorno'sinfluenceonmusicofthesecondhalfofthecenturycontinued,asacritic againstsomeofthenewideasofcompositiongrowinginDarmstadt,andlaterinthe sixties,inhisarticle"Versunemusiqueinformel" wherehereconsiderstheideasof Boulezandproposesasortofwayoutofthealreadydeadserialism.

T WELVE - TONE

MUSIC AND TH E SER IES

ThediscoveryofthetwelvetonesystembySchnbergisillustratedasanhistorical necessity,whichcouldalreadybeseenintheprogressiveemancipationofthedissonance intheromanticstyle.Thissystemimposedanewwayofdealingwithtonerelationships: thestricthierarchicrelationsoftraditionalharmonywerereplacedbyanewconcept theserieswhereeachpitchhadaspecificandequalplaceamongtheothers.Each series in each piece determined the harmonic and melodic possibilities, as a super motive,unifyingitspartsinamuchmoreefficientwaythanthetonalsystem,evenmore soinextendedworks(symphonies,operas).83
81

Adorno,TheodorW.(1973):page133.

TheinfluenceoftheaestheticofAdornoisstillmuchseeninmanycomposers,especiallythosewhowere influencedbyserialismandDarmstadt(Peixinho,Salazar,EmmanuelNunes,etc.)
82 83

SeeSchnberg,Arnold(1975):page244.

47 Thetwelvetonesystemwasseenasakindofnewcommonbasisthatwouldreplacethe old tonal systemin its universal character. Itwas seen even as a system that would ensurethesupremacyofGermanmusic84. But in 1952, Boulez Schnberg est Mort explained his ideas about a misunderstandingofSchnbergsseriesanditsimportanceinnewmusic.Boulez,inthis text 85 as in others of the same period, contradicts the relevance of Schnbergs understanding of the series, accusing him of not having exploited thoroughly its possibilities. According to Boulez, Schnberg simply replaced the old tonality and enlargedthethemebasedstructuresbythepitchseries.ForBoulez,Schnbergdidnt developnewformsnordidheexpandtheseriestocoverrhythm,timbre,etc.86 ForBoulez,theseriesshouldbethebasisnotonlyforthenotesand/orintervalsbutalso forallparametersinthepiece.UnlikeSchnbergandBerg,thecomposersshouldavoid anyuseofoldforms(sonata,waltz,etc.)andassumeeachpieceasanewformthat emergedfromtheseries.
(...)demmequelesmodesoulestonalitsengendraientnon seulementlesmorphologiesmusicales,maisapartirdelles,la syntaxe et les formes, de mme le principe sriel recle de nouvelles morphologies (...). Il faut bien avouer que nous ne trouvonsgurechezSchnbergunetelleconscienceduprincipe srielgnrateur.87

Theserieswasnotonlyarowofdifferentwaysofusingeachmusicalparameter(rhythm, pitch,texture,dynamics,etc.).Itimpliedthespiritofatotalcontrolofallparametersin the music, the spirit of absolute objectivity and determination: in the creation and transformationofthematerials,inthelogicofthestructure,inthecreationoftheform.

84 85 86 87

SchnbergquotedinMacdonald,Malcolm(1976):p.35. AvantgardeinthetermsofAdorno. AdornoalsocriticisedSchnbergfornotcontinuingtodevelopthesurchforthenewhissystem.

Boulez,Pierre(1966):page17.

48
Becausemathematicsisthesciencewiththemostdeveloped methodologyatthepresenttime,Ihavetakenitasexamplethat mayhelpustofillthegapsinourpresentsystem.88

Sometimes,theworksresultingfromtheseideaswerehighlycomplexanddifficultto performandtounderstand,consideredmoreasdocumentsthanasworksofart,butthe resultswereundoubtedlyminorinthefaceofthecomposingprocedures.89 Pierre Boulez and many composers in the 1950s and 1960s adopted compositional techniques close to this serialism, believing again in the historical importance and necessityofitsprocedures.Andtheseproceduresexcluded(aswecanseeinthewritings ofSchnberg 90 andinthepracticeofBoulez,Berio,Pousseurandothers)theuseof traditionalchords,scales,octaveintervals,etc.TheprincipleinlinewiththeAdornian theories was toprevent the use of any traditionalmusical object, substructure or structure, even to avoid a traditional romantic, classic or neoclassic way of appreciating music. The terms romantic and neoclassic were used as insults, referringtoalessmodern,lessnew,lesscontemporaryorlessavantgardecomposer.
Whatwewerelookingforwasnotsimplyafashiontobeworn for a single season (...) but a real language and longterm solutionsofformalandlinguisticproblems.Someofoursolutions werenodoubtexaggeratedlystrictincharacter,adisciplinethat irkedbutrepresentedanecessarystage.91

Infact,asBoulezwiselysaidinthistextof1968,theattempttocreateanewcommon languagedidnthavemuchsuccess,aswithSchnberg30yearsearlierwiththetwelve tonesystem.Differentpersonalwaysofcompositionanddifferenttendenciesappeared, some of them based on the aesthetic principles described, some others backward looking,notsomuchtendenciesinfactasnostalgiainthewordsofBoulez.92

88 89 90 91

Boulez,Pierre(1986):page98. SeeBoulez,Pierre(1966):pages17,265andfollowingandBoulez(1986):page200. SeeSchnberg,Arnold(1975):page207. ItisinteressantthefollowingtextofCompagnoninfaceoftheideasofBoulezinthe1950's.

Boulez,Pierre(1986):page446.

92

49 E X PER IMENTIN G All20thcenturyartisalsomarkedbyideaswhichappearedbeforeW.W.IIindifferent groups of artists: Der Blaue Reiter, Dada,Futurism, Surrealism,etc.Some of these groupsweremerelynihilistic,otherstriedtoexperimentwithnewformsofartandnew formsofartreception,orproposedasocialengagement.Theeffectofthequestionsthat theseartistsandintellectualsraisedaboutform,expression,the(unexpected)useof materials,aboutperformanceandtherleofthepublicwasdevastating.Newsounds andnewinstrumentswereexperimented,newformsofartisticappearance(inthetheatre, involvingthepublic,etc)appeared,newconceptsweretriedintheirrelationtothepublic and to the social context. The music for "noisy intoners" of Russolo, the theatre of CabaretVoltaire,theworksandideasofSatie,allareexamplesofthisimpulsetowards experimentation.TheycreatedthebasisfortheexperimentalworkofPollock,Varse, Cage,Stockhausen(especiallyinthe1960s),Kagel,Schnebelandothers. Theidea,completelynewinthefaceofallancientart,wasoftotalfreedom,freedom fromconceptslikemasterpiece,highart,fromanyartisticlaws.Theseartistshad theneedoftrying,transforming,developinganddiscussingallmattersofart.Inmusic, someofthefirstworkshavingthischaracterwerethepianopiecesofHenryCowelland Antheil,thepercussionpiecesofVarse,theexperimentswithpreparedpianosmadeby Cage, the experiments with electronic sounds (Stockhausen, Boulez, etc.) and the MusiqueconcrteofPierreSchaefferandPierreHenry.Laterthisconceptwasrelatedto happenings(eventsinthewordsofJ.Cage93),tomusicaltheatre(Kagel,Schnebel94), to the use of all kinds of objects to make sounds (Cage, electronic and Musique

Cestcedestininsupportablequelesavantgardesontconjurense faisanthistoriques,donnantlemouvementindfinidunouveaupourun dpassementcritique.Pourconserverunsens,poursedistinguerdela dcadence, le renouvellement doit sidentifier une trajectoire vers lessence de lart, une rduction et une purification. Compagnon, Antoine(1990):p.48).
93 94

InPortugualJorgePeixinho.

InPortugalConstanaCapdeville.

50 concrte),toimprovisation(interactingwiththepublic,groupimprovisation,solo,etc.), tomanykindsofartisticandsomehowmusicalexpressionthatwasmeantnotto presentsomethingcomplete,finished,afinalworkthatwouldalwaysberepeatedinthe sameway.95 Theinfluenceofthisexperimentalspiritwasverystronginthe1960s,injazzmusic (freejazz),inschoolmusic(MurraySchaferandJohn Paynter),cinema,theatre and dance(nouvellevague, LivingTheatre,MerceCuningham,MarthaGraham),ensemble experimentsandgroupimprovisation. Mostimportantwerethenewmethodsofmusicnotation.Inmanyworksofthisperiod thescorewasnotconsideredasaclosedencryptedlanguage,reflectingtheconcrete soundintentionsofthecomposer,butasaproposalforfurthermusicalinvention,giving more or less rough "graphic" instructions. The new "graphic notation" was less concerned, most of the times, with traditional parameters such as pitch and rhythm, tryinginsteadtoemphasisesuchotherparametersasthetimbreevolutionofthesounds, therelation(interaction)betweenthemusicians,orthegreaterorlesserdensityofsound events.Sometimesthescorewasjustanimageoragroupofwritteninstructionsthatthe musicianscouldinterpretastheywanted96.

F ROM D ETERMIN ISM

TO ELECTRON ICS

The aesthetics of twelvetone music and serialism must be understood in a historic context.Infact,sincethe17thcentury,Europeshistoryhasbeenmarkedbyanenormous evolutionofempiricalmethods(machinery,chemistry,andphysics),ofpositivismandof sciencesthatwereimportantforthedevelopmentoftheindustrialrevolution.Alsothe social and human sciences and disciplines were influenced by this positive spirit of
SomeofthemoreinterestingexperimentsarethoseofCage,MurraySchafer,Stockhausen,Maurizio Kagel and Dieter Schnebel. In Portugal, the experimentation and "events" of Peixinho (with other musiciansandwithErnestodeSousa,laterinthegroup AlternativaZero)andthemusicaltheatreof ColectViva(ConstanaCapdeville),bothafterthe1960's,were,perhaps,themostimportant.
95 96

AsinStockhausensAusderSiebenTagenandCage'spianoconcerto.

51 objectivity, organising themselves or adapting the new methods to their specific objectives.Thiswasthecaseinmusicology,sociology,epistemology,languagestudies, psychologyandpsychiatryandofeducationstudies. Thisattitudemarkedalsothemusicofthe20thcenturyintwoways,thefirstthroughthe developmentofnewwaysofproducingsounds,thesecondthroughtheuseofwaysof composingwhichwerehighlydeterminist,withconsequencesbothininterpretationand composition.

Electronic music
TherewasatimewhenIhadannouncedtheendofinstrumental musicbecauseIfeltthatthetraditionalmechanicalinstruments could no longer serve the further development of all the parameters: the refinement of dynamics, of degrees of frequencies; refinement in microscales, macroscales; the expansions, contractions of scales; the projection of sound in space.97

Inthebeginningofthecentury,withtheevolutionofelectricity,someexperimentswere madetryingtocreatenewelectricinstrumentswiththepropertiesoftheacousticones (Telharmonium 1906, Theremin 1920, OndesMartenot 1928, Trautonium 1930, Hammondorgan1934).TheFuturistsdefendedinamanifesto98anewmusicthatcould reflect modern life, using noises (rumori) made by specific new instruments (noise intonators).LaterVarse(Hyperprism1922,Ionisation1929)andCage(Construction inMetal1939)intensifiedthisappetitefornewsounds.Butitwasonlyin1948thatthis evolution became autonomous, with the use of tape recorders, in what was called musiqueconcrte.PierreSchaefferandPierreHenry(GroupedeRecherchedeMusique Concrte,later GroupedeRecherchesMusicalesdeRadioFrance)wereinterestedin experimentingandusingconcretesoundsandtransformingmanipulatingthem, creatingthemusicdirectlyonthetape.
97 98

InStockhausen,K.e.a.(1997). Cf.Marinetti(1978):page204.

52 Inthe1950smanyotherelectronicstudiosappeared,creatingandtransformingsounds withelectronicdevicesthatcouldchangethedifferentparametersofsound. 1948 Groupe de Recherche de Musique Concrte, in 1958 Groupe de Recherches Musicales de ORTF (Schaeffer, Bayle, Varse, Stockhausen, Xenakis,ArmandoSantiagoin1960,FilipePiresin1970)99 1951ColumbiaPrincetonElectronicMusicCenterN.Y.(Babbitt,Varse) 1951 Studio fr Elektronische Musik Cologne (Eimert, Stockhausen, EmmanuelNunesin1965) 1953StudiodiFonologiaRAIMilan(Berio,MadernaNono) 1956PhilipsResearchLaboratoriesEindhoven(Badings,Varse) 1957StudiofrElektronischeMusikSiemensMunich(Riedl) 1958StudiodeMusiqueElectroniqueBrussels(Pousseur) 1960InstituteofSonologyoftheRoyalConservatoryinTheHague(Peixinho in1960) 1962InstituutvoorPsychoakoestikenElektronischeMuziekGhent(Pousseur, Peixinhoin1972) 1976InstitutedeRechercheetdeCoordinationAcoustique/Musique(IRCAM) Paris(Berio,Boulez,Globokar,CndidoLimain1977) Determinism and Aleatoric Music Theparadigmofastrictlogicappliedtomusiccanbeseeninthedevelopmentsof twelvetonemusicand,inthe1950s,inserialism.Infact,someofthemusicofthis period(StructuresofBoulez,KlavierstckeItoIVofStockhausen,SequenzaofBerio, Herma of Xenakis, etc.) reflects the spirit of serialism in the determination of all parametersofcomposition.Theirscoresshowextremelyaccuratedeterminationsinwhat concernsthetempi,dynamicsandtherhythmicflow,sometimesinawaythatitbecomes questionableifthoseindicationshavetobeorevencanbeunderstoodintheirexact meaning,asispossibleinelectronicmusic.100
99

ThenamesanddatesinboldrefertoPortuguese composers.

For instance the extremely accurate indications in the tempi of Stockhausen's Klavierstcke are, sometimes,resultsofstrictmathematicoperations,modifiedbyindicationsofritardandoandaccelerando.
100

53 Withthearrivalofthecomputer,thisprocessofdeterminationinmusicbecamemore intense,permittingtheuseofcomplexmathematicsandgeometricmethodsand,atthe sametime,enablingrandominflectionsinperformance.Infact,oneoftheconsequences oftotalserialismwastheuseofaleatoryproceedingsincompositionandperformance(I Ching in Cage, Boulezs 3rd sonata, Stockhausens XI Klavierstck, Pousseurs Caractres1a,1b),sometimesincludedinstrictstructures,sometimesincludingchance procedures.In fact theuse of chancehad manymeaningsaccordingtothe different composers.ForCageitwasanannihilationofthesubjectiveformalaspectsof composition,raisingthetranscendentspiritofthework.ForStockhausenandBoulez,the useofchancewaspartofthepredeterminedstructureofthepiece,givingtheinterpreter thepossibilityofchoosingonefromseveralpermittedwaysofperforming:thepiece wouldn'tsufferanychangeinitsmostimportantfeatures.Otherusesofchancemethods incomposition,proposingpermutationsamongagroupofnotes,oranindefinitenumber ofrepetitionsofapassage,werecommonandareinconformitywiththeentropytheories ofUmbertoEco101.

DARMSTADT - AN INTRODUCTION TheDarmstadtcourseswerefoundedin1946.ThefirstyearsofDarmstadtweremarked bytheenormousdifficultiesofacountrythatwastryingtosurvivealostwar,divided intomilitarysectors,whereitwasverydifficulttoarrangealmosteverything,including materialssuchasscores,instruments,eventocrossfromonetotheothermilitarysector toanother102.Theteachersandthestudentswerefromtheneighbouringtownsandthe intentionwastorestoretheevolutionofnewmusicinterruptedbytheNaziregime. Fromthebeginningaprioritywasgiventotwelvetonemusic103(threelecturesofHeiss). In 1947, Heiss continued with About the Audibility of Twelvetone Music and
101

Cf.Eco,Umberto(1979). Eventhenumberofcaloriesforstudentsandteacherswasmeasured.

102 103

SometimesmoreaboutHauer'stheoriesthaninthemusicoftheVienneseschool,consideredsomtimes asallexpressionismasoutofdate.

54 StuckenschmidtgavealectureLeadingComposersoftheNewMusic,wherethetheme wasthemusicofSchnberg. Someeventswererelevantintheseyearstotheevolutionofnewmusicandtheavant garde.Messiaenwasheardin1948(ThmeetVariations)and1949(VisionsdelAmen) andgavealectureintroducinghiswork104.In1950Varsegavealectureonelectronic music. In this year Messiaen (in records, in a lecture about new French music Messiaen and Milhaud) and Nono (Variazione Canoniche sulla serie dellop.41 di Schnberg)werealsoheardinDarmstadt.Theinterestontwelvetonemusicgrewtill 1951in1950thedirectorW.Steineckewasalreadyaccusedoffavouringitwhen SchnbergsoperaMosesundAaronwasheard.Thelastyearswerefullofcompositions madebyyoungcomposersthatusedanddevelopedindifferentwaysthetaughttwelve tonetechnique:in1949H.W.Henze(ApolloetHyazinthusandVariationforpiano)105,in 1950 Maderna's Composizionen II and Nono's Variazione canoniche sulla serie dell'op.41diSchnberg.Schnbergwasexpectedtogivethecompositionmasterclass butwasreplaced(forhealthreasons)byanAdornomasterclassonmusiccriticism 106. ThemainideaofthedirectorWolfgangSteineckehadbeentoinstallaleadingcomposer asaresidentprofessorinDarmstadt. In1952theDarmstadtcourseswere,inthewordsofSteinecke(andsurelyformany composers),makinghistory.Inthisyearbeganalsowhatcanbedescribedastheserial period of Darmstadt 107.Messiaen gavea composition courseand presented his new QuatretudesdeRythme108;Boulez,StockhausenandGoeyvaerts109appearedthereand begantoimposetheirideas.Althoughthecompositioncoursesmaintainedalmostthe
104
105

InthisyearLouisSaguerafriendofLopesGraataughtintheDarmstadtcourses.

AsitiswritteninBorio(1997):vol.1page187,theseworksresultedofthecoursesgivenbyLeibowitz andRufer.ThislastcomposerwouldlateralsoteachthePortuguesecomposerlvaroCassutoandwould havemuchinfluenceinhisfirst(twelvetone)works. In1950SchnbergtoldSteineckehisconcernsaboutthemovementagainsthismusic,especiallyagainst aDarmstadtpremireoftheSurvivorfromWarsaw.Steineckeassuredhimthatonlyaverysmallminority ofpeoplewereagainsthismusic.SeeBorio(1997):vol.I,page87.

106 107

SeeBorio(1997):vol.I,page90.

55 sameformatandthesamestaff(Heiss,Fortner,alsoStuckenschmidtandScherchen), someworkshopsonanalysis,interpretationandcompositionalsotookplace. In 1953aconcertwithworksofWebernwas given,followedinthenextdays by a StudioabendewhereworksofBoulez(Polyphonie),Stockhausen(Kontrapunkte),Nono (Epitaffio)andotherswereheard.OlivierMessiaenspokeaboutBoulez,HermannHeiss onStockhausenandMaderna,AntoineGoladirectedadiscussionon"Positionsand possibilitiesinthenewmusictoday".110WiththeseeventstherebeganinDarmstadt a yearafterBoulezarticle Schnbergestmort whatcanbecalledthepostWebernian era.TheyoungcomposersstudiedanddiscussedthoroughlytheworksofWebern.
"InWebernweretested(Nono,Stockhausen,Boulez,Pousseur) concepts,thathadbeendevelopedfortheirownwork,orcreated new ones that, on the other hand, had been related to serial techniques."111

Alsointheseyearstherebegantobeusedthetermsstaticmusicandpointillism, referringtothemusicoftheyounggeneration. In 1954 Bruno Maderna gave the Internazionale Arbeitsgemeinschaft Jungen Komponiste, andagain in1955withBoulezandHenze.In1956Haba 112 (microtone harmony) and Rufer113 gave theory courses, together with an Internazionale Arbeitsgemeinschaft fr Komposition und Interpretieren (with Boulez, Maderna and David Tudor). In 1957thiscoursewascalled InternazionaleArbeitsgemeinschaft fr

TheimportanceofthesenewtudesofMessiaenwasenormousonwhatbecametheserialtechniques. ThisgroupofpiecesinfluencedthenextworksofStockhausen,BoulezandGoeyvaertsfortheirsystematic workwithseriesofdynamics,rhythmandpitches.

108 109 110 111

AndNonoaswell.

Cf.Borio(1997):vol1,page214.

"AnWebernerprobteman(Nono,Stockhausen,Boulez,Pousseur)Begriffe,diemandrdaseigene handwerk entwickelt hatte, oder schuf neue, die sich wiederum auf die serielles Verfahrensweisen bertragenliessen."Cf.Borio(1997):vol.1,page215. ThereissomenoticeoftheimportanceofHaba'sharmony(microharmony)onthemusicofPeixinho andSalazar.
112 113

ProfessoroflvaroCassutoinBerlinsomeyearslater.

56 Komposition und Analysen, with Jennitz, Scherchen, Pousseur, Nono, Jacobs and Stockhausen.114 In 1958 the Internazionale Arbeitsgemeinschaft fr Komposition, Analyse und InterpretierenwaswithKrenek,Maderna(whowaslivinginDarmstadt),Blacher,John Cage115andKolisch.
Stockhausen:(...)Iwasstrangelycuriousatacertainpointin mylife,whenIhadtogiveseminarsattheInternationalMusic CoursesinDarmstadt.Isurprisedmycompositionstudents,who hadcomefromallovertheworld,bysaying,Tomorrowthereisa seminar at threethirty in the morning. They looked at me stunnedifyouwouldhaveseenhowtheyappeared[all laugh] andwhattheyunderstood.Ihadimaginedthisbeforehandand wenttosleepquiteearly.IntheearlymorningIwascompletely awake and fresh and had already made all the necessary preparationstobealert,buttheyweretherelikelike Auretta:drunkwithsleep! Stockhausen:Yes.ThenIannouncedthenextseminarnever saying what would happen the next day for sixthirty in the evening,andthateveningtaughtuntiltwooclockinthemorning, stayinginthesameroomwithoutabreak.InDarmstadtIgave seminarsforsix,sevenhourswithoutastopinalargetownhall. Therewereseveralhundredpeoplewhowentoutandin,drank, ate.Isawthatandjuststoodthereandenjoyedmyselfandwas talking, explaining, and playing music from tapes. I know that breaking through the routine of time makes things reveal the mystery.116

Thesecoursesoftheyounggenerationofcomposersbecameofgreatimportanceforthe newcomposerscomingtoDarmstadtorsimplytakingnoticeofwhatwashappening
ThereisareportinthisyearinBorio(1997):vol.1,page357,ofBoulez'soppositiontothepresenceof LeibowitzasateacherinDarmstadt.Boulez,althoughinvited,didn'tgotothecourses.Thiswas,perhaps, one of the major moments of aesthetic and power confrontation between the old composers and musicologists(fromSaguer,Rufer,HeisstothedodecaphonistsStuckenschmidt,andLeibowitz)andthe newserialists,especiallyBoulez.
114

ThefirstCagecoursesinDarmstadthadmuchinfluenceontheevolutionofsometendenciesofthe avantgarde.ButhisinfluenceinEuropeanavantgardemusicmustbeseenmuchearlier.Hisfriendship withBoulez,theperformanceofhispianoworksandhisvisittoParisandMessiaen'sclassesintheyears ofQuatretudesduRythmeandintheearly1950'swereveryimpressive.SeetheNattiez,J.J.(1993).

115 116

InStockhausen,K.e.a.(1997).

57 there.LaterBoulez,inaninterviewpublishedin LeMondedelaMusique of1968 117, acceptedthatthesetechniquesandaestheticsofmusichadcometoanend:

Thislanguagedevelopedinawaythatmighthaveresultedina newacademism118

T HE D ARMS TAD T S CHOO L The"Darmstadtschool"wasagenerationofyoungcomposers.Influencedbythemusic oftheStravinskyofLeSacre,ofWebern(morethanbytheexpressionismofSchnberg) andbyMessiaen(tudesdeRythme),thisgroupofcomposersdevelopedtheirviews with a profound analysis of works of those composers, with the development of techniquesusingdifferentkindsofseriestoconstructthestructureofmusicalworks, experiencedthenewelectronicstudiosanddespitetheirdifferencesformedakind ofcommonspirit,an(almost)schoolofcompositionthatspreadallovertheworld.In factBoulez,Stockhausen(andJohnCage,toacertainpoint),Nono,PousseurandBerio becamesymbolsofastylethatinthe1960sand1970swassupportedbytheirstudents and cultural (private and state) institutions. It even became a subject for study in Academies, Universities, Conservatories and other music courses. Their language developed and is now, in some cases, very far from the strict serialist methods: nevertheless,manycomposersremainedfaithfultosomeoftheprincipleshereexplained and that defined what now is known as the historic avantgarde. "Avantgarde" becauseitwasdrivenbythe(avantgarde)ideasofAdornoandothertheorists;"historic", becausetheirworksandtechniquesbecameacademic,almosttotalitarian,becomingthe establishmentincompositionalterms,andthereforeobsoleteasavantgarde.Alsomany ofthecomposersofthisgenerationbegantocreatedifferentexperiences,usedifferent techniques,sometimesfarfromthespiritofDarmstadt.
Thegoodunitythatseemedapossibilitytwentyyearsagohas provedamyth,asnareandadelusion;whatwehaveinsteadis differentpersonalitieseachtakingtheirowncourses,sometimes
117

IncludedinBoulez,Pierre(1986). Boulez,Pierre(1986):page445.

118

58
inviolentoppositiontoeachother(...)Therearealotofdifferent tendencies but I must eliminate from the start all that are backwardlooking, all restorations, which are not so much tendenciesinfactasnostalgias119.

ThetendenciesheredescribedbyBoulezdefinetheDarmstadtSchoolthehistoric avantgarde in music. And this aesthetic school of thought, of composition and interpretationexcludes,ashealsosays,restorations,nostalgias,alltendenciesnow knownaspostmodern;asthepostmodernthoughtincludesasanaestheticprinciple allrestorations,nostalgias,eventhosecomingfromthehistoricavantgarde.120

119

Boulez,Pierre(1986):pag.447.

Infact,thetendencyofthishistoricavantgardetobeanewacademicismwasvorseeninAdorno's PhilosophyofNewMusic.AndtherethereissomenoticethatAdornorejectedtherigidityoftheserialism asunderstoodbytheyoungStockhausenandbyBoulezinthefifties.

120

59

Portugal after 1960

AvMaria

"Hail Mary Ave Maria, Hearus,andbring TheSantaMaria; Comenotinvain, AndbringusGalvo; Soundandunharmed BringusDelgado; Noonewillcry IfyoutakeSalazar; Returntous TofetchThomaz; Andyoullmakenomistake IfyoutakeCerejeira.122

AvMaria TrsoSantaMaria Novenhasemvo EtrsoGalvo Semseramachucado TrsoDelgado Semgrandepesar LevaoSalazar Voltaatrs ElevaoThomaz Enofazesasneira SelevaresoCeregeira"121

Theyearsbetween1960and1980haveaspecialsignificanceinanoverviewoftwentieth century history. They bear social, cultural and political changes that transformed considerablythewaypeoplelivedandthought.EuropeandAmericawitnessedtheend ofahugepostwareconomygrowth,popculture,social(moral,sexual)revolutionsand transformations, student unrest, the evolution of science and communication (new aircraft,roads,Tv,satellites,computers,cars,etc.),localwars(thecoldwar,thefight fordemocracyinEasterncountries,theanticolonialandneocolonialwarsinAfricaand Asia,Vietnam,etc.).

Poemhandwritteninasmallpieceofpaper(date,authorunknown),foundamongJorgePeixinhos personal papers. Humoristic political prayer of popular origin (containing obvious orthographic mistakes)withreferencestotheshipSantaMariaseizedbyHenriqueGalvo,toHumbertoDelgado(an oppositioncandidatein1958),tothePrimeMinisterSalazar,tothePresidentThomazandthePortuguese CatholicCardinalCerejeira.
121 122

TranslatedbyProfessorRuiCarvalhoHomem(Fac.Humanities,UniversityofOporto).

60 InPortugal,thedictatorshipofSalazardidntembracetheevolutionthatcharacterised EuropeafterW.W.II.Theregime,aswehaveseen,wasclosedtoculturalsocialand politicalchangesthatcouldhelptodevelopintoawesterndemocracy,andwasalsonot very convinced of the benefits of an open market economy and of an industrial development.Buttheyearsaround1960containtransformationsofgreatsignificance thatwouldbeimportantintheevolutionofPortuguesesocietyandculture.

THE POLITICAL SITUATION T HE F IGH T D EMOCRACY

FOR

In1958GeneralHumbertoDelgado,unifyingmostoftheoppositionandmanynew supportersfromdifferentlevelsofPortuguesesociety,lostthepresidentialelections123. ButPortuguesepoliticschangedwithwhatiscalledtheearthquakeofDelgado:there wasapossibilityofademocraticchangewithoutviolence,inlinewithwesternEuropean democracies.Alsotheinternationalpressandforeigngovernmentsbegantobeinterested inGeneralDelgado(USA,BrazilandotherSouthAmericacountries,UK,France,etc.) andtosupporttheideaofademocraticchangeinPortugal. In1960,theshipSantaMariawasseizedbyPortugueseoppositionmilitaryofficersin theCaribbeanSea,tryingtogotoAngola(aPortuguesecolony)andtobegintherea militaryputsch.Theseofficers,callingforademocraticevolutioninPortugal,gainedthe attentionoftheinternationalcommunityandhadsomesupportfromthegovernmentsof USA,Brazilandothercountries.HavingsurrenderedtotheBrazilianauthorities,they werewelcomedinBrazilasheroes. In1961,whensomenewspapercorespondentswerestillexpectingthearrivaloftheship Santa Maria in Angola after being seized, African nationalists attacked a prison in Luandatoliberatepoliticalprisoners.Somemonthslater,amilitarygroupcalledUPA (United People of Angola), having some support from USA, began attacks against
123

Withmanipulationofthestateauthorities.

61 Portuguesecolonialinterests(massacresofcolonianfarms):thiswasthebeginningof thecolonialwar. In 1962, a military group commanded by the highest military authorities (the CommanderinChief,theDefenceMinisterandmanyotherSuperiorOfficers124),with supportfromtheUSAEmbassyandtheCIA,triedtomakeanultimatumandtodepose Salazar(PrimeMinister)callingforhelpthePresidentAmricoThomaz.Salazar,fully supportedbythePresident,thepoliticalpoliceandotherextremeconservativeforces, managedtopostponeanyanswerfromthePresidenttotheofficers,dismissedthemand theirsupportersandsecuredfirmlyhisandhissupporterspositionsinthearmyandin thegovernment.125 In1962andthenextyearstill1968,studentmovements,strikesandunrest,aimingat democraticchangesandagainstthecolonialwar,intensifiedthepopulationsneedfora politicalchange,anddrovethegovernmenttoincreasetherepressionofallkindsof opposition.Differentoppositiongroupswereflourishing(thenewCatholicdemocrats,a liberalwinginthegovernmentsparty,thesocialists,etc.),thecommunistpartywas spreading its influence in the society, and new left wing movements were formed, especiallyintheuniversities126. Thecolonialwar,nowveryintenseinthethreebigcolonies(thewarsbeganinAngolain 1961,inGuineain1963,andinMozambiquein1964),intensifiedthediscontentofall sectorsofthepeople,withaclamourforachange,especiallyintheunderdevelopedand weakenedcontinentalhomeland.Thesocalledterroristmovementshadfullsupport frommanywesterndemocracies(i.e.Sweden,France,etc.),butalsofromChinaand fromothercountriesoftheWarsawPact.Killingmanyyoungpeople(morethan8.000 soldiers)andleavingmanyothersinjuredforlife,thecolonialwarcreatedaverystrong
Appealingtothemodernisingofthecountry,thereformofthestateandaprogressiveautonomyofthe colonies.
124 125 126

ThisattemptiscalledAbrilada,becauseitwasmadeinApril. SeeMattoso,Jos(1994),vol.VII:page530andfollowing.

62 urgeinthepopulationforapoliticalchange127.Butitwasascandalinthecontrolledmass mediawhen,inthe(undemocratic)electionsofOctober1965,somelegalcatholicand monarchicgroupsissuedadocumentinfavourofaselfdeterminationforthecolonies. This(hardlyliberal)documentwaspromptlyandwidelycriticisedbytheauthorities, institutions,pressandindividualsandtreatedasnationaltreason. InfactthesituationinAngolaandMozambiquewasverydifferentfromthefirsthalfof the century. The vast investments and the emigration from Portugal were creating developedterritories,modernisedandindependent(white)societies 128 withenormous potential (agriculture, industry, mines, business, etc.), with modern substructures, administration,schools(lateralsouniversities),andotherculturalinstitutions,presenting many more possibilities than the socially and politically conservative, traditional, weakenedhomeland.Rhodesiabecame,somehow,anexampleforthenewPortuguese Africanwhiteellite,carefullycriticisedbythegovernment'sforeignandhomepolicyin Lisbon.

T HE

ECONOMIC AND SOC IAL CH ANGES

Inthe1960s,asaconsequenceofthedevelopmentplansbegunin1953,therewassome growthinindustryandcommerce.Thepostwarpolitics129forcedPortugueseindustry todevelop,especiallythoseheavyindustriesconsideredbasicforthecountry.Atfirst,the interestwasessentiallythesubstitutionofimports,butthispolicychangedinthe1960s, especiallywiththeassociationwiththenewbornEFTAandtheagreementswithGATT andtheIMF130.Portugalwasentering10yearslaterthantherestofWesternEurope theinternationaleconomiccommunity.Butthisdevelopmentwasbasedonverylow salariesandtherepressionoftheuneducatedworkers,onacontrolled(favouringbig

Infact,thePortuguesecolonialwarkilledandinjuredproportionallymoresoldiersthantheVietnam War(Americansoldiers).
127

Although with the segregation and repression of the vast majority of the native people and their autonomousambitions.
128 129 130

Andsome(minority)politiciansoftheregime,interestedinthedevelopmentofthecountry.

Alltheseagreementswerein1960.

63 trusts)policyofthegovernmentandonanextensivegrowthoftheeconomyinAfrican colonies131. Alsointhe1960s,therewasamassiveemigrationmovementfromPortugaltoother Europeancountries(France,GermanyandUK).Morethan1millionpeople(circaone tenth of the population) left Portugal in this period, most of them from the rural underdeveloped interior provinces, working hard as low paid casual workers in the buildingindustryandsendingbackmoneytotheirrelativesinPortugal132.Thesemoney remittanceswereveryimportantforPortuguesestateeconomy133.

M ARCELLO C AETANO

AND TH E EX PEC TED REFORMS

In1968,Salazar,alreadyaveryoldmanbutholdingallpowerandfearedbythepeople, hadanaccident(hefelloffachair)andunderwentsurgerywithonlypartialsuccess. MarcelloCaetano(amanoftheregime,fomerleaderoftheNationalYouthM.P. anduniversityprofessor)wasnominatedPrimeMinister.Theliberalsandsomesectors ofthepopulationsawinhimachanceforademocraticchange.TheMarcellosspring, asitswascalled,promotedthedevelopmentandrenewalofindustry,theopeningto foreigninvestment,thedevelopmentofinternalandforeignmarketsandtheincreasingof exploitationinAfrica(speciallymineralsoil,diamonds,etc.).ButMarcelloCaetano wasnotademocrat,norevenaliberal,makingonlysomesmallchangesintheeconomic sector,withnoparallelinthesociety.Thepoliticalpolicewasreformedbutonlytobe moreeffectiveagainstoppositionmovements,thecensorshipofthemediacontinued,the

Infact,Portugueseindustrydidntdevelopitselfwithinvestmentsinnewmachinery,newmarketsand products, being quickly obsolete. Also the internal market, kept underdeveloped through a lack of concurrenceandofalowconsumecapacityofthepopulation,didnthelpthenecessarymovementof developingandofupgradingoftheindustry.
131

Most oftheseemigrantswenttoFrance.These numbersdont refertoemigrantsthatwent tothe PortugueseprovincesinAfrica.

132 133

SeeMattoso,Jos(1994),vol.VII:page419andfollowing.

64 onepartyregimemaintaineditsstructureuntouched,onlywithanothername:theformer U.N.(UnioNacional134)becameA.N.P.(AcoNacionalPopular135). Butsocietywaschanging:theeconomic,socialandculturaltieswithEurope,especially withFrance,weregettingstronger.ThereweremanycontactswithEuropeancountries throughemigration,theactivityofpolitical(andmilitary136)refugees,andthroughthe influenceofintellectualswhomoreandmorewentabroadtostudy,totravel,orsimplyto gotoconcerts,cinema,theatres,etc.ThePortuguesepopulationwasstillbeingkeptout oftheEuropeansocialandculturalevolution,butwasmuchmoreawareofwhatwas goingonculturally,andofPortuguesepoliticalandculturalisolation. In the seventies, the colonial war was very intense, especially in Guinea, where international representatives and journalists visited some territories liberated by the PAIGC (Guinea and Cape Verde's independent movement). The unfulfilled political reformsandtheeconomiccrisisworldwide(especiallytheoilcrisis),togetherwitha growthofdiscontentandinstabilityinthearmy,acceleratedthecontradictionsinsociety, thepoliticalcrisisandtheexpectedfalloftheregime.137

1974 T HE

REVO LU TIO N

In25April1974,aftermorethanayearofrequests,themilitaryforcescommandedby youngofficershavingregard,atfirst,totheirowncareers,andlateralsotosocialand politicalmatterstookpowerandexiledthePresidentAmricoThomaz,thePrime MinisterMarcelloCaetanoandhisministers.Themainintentionswereanewregime

134 135 136

NationalUnion PopularNationalAction.

Manyyoungpeoplerefusedtocombatinthearmy(forpoliticalreasonsorjustafraidofdyinginawar difficulttounderstand).AstheyweredesertersofthePortuguesearmy,theywentabroadasrefugees. Portuguesesocietywasbeingshakenbynewleftwingmovements(influencedbytheeventsin1968and after),evenarmedmovements,byconstantriotsanddemonstrationsinthestreets,Universities,bystrikes, oppositionpublications,andbythealwayspresentrepressioncommitedbythepoliticalpolicePIDE.

137

65 withdemocraticgovernment(electedindemocraticelections),ademocraticeconomy andtheendofthecolonialwar. Oneweeklater,onthefirstofMay,hugedemonstrationstookplacealloverPortugal.For the first time underground politicians (especially socialists and communists) and organisationsappearedinpublic.Oneoftheimmediateconsequenceswasthelegalising ofpoliticalpartiesandofthetradeunions,theabolitionofcensorshipandtheendofthe politicalpolicePIDE/DGS. After the revolution Portuguese politics went through big transformations with the attemptofpoliticalgroupstogainpower(mostactivewereextremeleftandextreme rightwingpoliticians138). InApril1975aConstitutionalAssemblywaselectedandinJuly1976,aftertheapproval ofthenewConstitutionandnewgeneralelections,MrioSoares(thegeneralsecretaryof thesocialistparty)wasnominatedPrimeMinister.In1977negotiationsbeganwithother EuropeancountriesinordertomakePortugalafullmemberoftheEuropeanEconomic Community.Afteraperiodofrecessionandstrongeconomicmeasuresimposedbythe IMF, Portugal began to develop and became a full member of the EEC (now EC EuropeanCommunity)in1985.

Thenationalisingofbigindustriesandofthebanks,andtheruralreforminAlentejo,werethemost visiblechangesoperatedbyleftwinggovernmentsin1975.Duringthisperiodthereappearedarightwing armedorganisation(MDLP)thatcarriedoutbombingsandmurders,andwasinvolvedinattacksagainst leftwingparties.Oneoftheconsequencesofthese2yearsofpostrevolutiontransformationswasthe independenceofAngola(incivilwar),Mozambique,GuineaBissau,CapeVerdeandoftheSaoTomeand PrincipeIslands.ThisquickprocessofindependencedrovehundredsofthousandsofPortuguesepeopleto return back to Portugal, sometimes from very difficult civil war situations (e.g. from Angola). Later IndonesiaoccupiedtheTimorLesteterritoriesrecentlyindependant:theIndonesianmilitaryforcesand theirmilitia murdered,during the25years ofoccupation, onethirdof thepopulation. TheTimorese BishopD.XimenesBeloandDr.RamosHortahadtheNobelpricein1998,fortheirstruggleforfreedom inTimor.TheproblemofTimorlestenowTimorLorosaewasresolvedonlyin2000aftertheendof theSuharto'sregimeinIndonesiaandwiththeinterventionoftheUnitedNations.
138

66 CULTURAL LIFE - ART Theperiodbetween1960and1980isaperiodofexplosion.Thepolitical,culturaland socialawarenessoftheintellectuals(especiallyaftertheDelgadoearthquake)drove themtoanactivepursuitofthenewideasandexperiencesthatappearedinEuropeafter thewar:thecontactswithexiledPortuguese,thejourneystoParis,studyabroad(many times with scholarships from the government and the new Gulbenkian Foundation) becamevital. OneofthefirstavantgardemovementsthatflourishedinthePortugueseartisticmilieu wassurrealism.SurrealismbeganinPortugalwiththeworkofthepainterAntnioPedro (19091966),whenhewasatranslatorforthePortuguesesectionofBBCduringthe W.W.II.SurrealismmovementfoundsomesupportersinPortugalafter1945,bringing togetherartistsandwriterswithdifferentartisticaims(MrioCezarinydeVasconcelos, AlexandreONeill,JosAugustoFrana,Vespeira,FernandoAzevedoandothers).The waysurrealismquestionstheuseofeverydayobjects,thesubjective(psychoanalytic) relationwiththeirsocialandculturalcontextevenwithartitselftheconcernwith theartisticevent(performance,happening),thesequestionsinspiredadeepinterestin Portugueseartiststhatwouldbeimportantinthe1960s(eveninmusic139)andstillis noticeableinsomeartists140. But,asinthepoliticaloppositionsphere,themostimportantchangeswouldappear intheyearsoftheturnofthedecade50/60.In1959,anAcademicartistEduardoMalta wasnominatedasdirectoroftheNationalMuseumforContemporaryArt.Thisfact produced much protest from the younger avantgarde artists, which saw in this nomination a provocation from the regime. But the SNI (the National Secretary for Information),the SNBA (the NationalBeaux Arts Society) and the new Gulbenkian

139 140

I.e.theperformancesmadebythecomposerJorgePeixinhointhe1960sand1970s.

ThesurrealistpoetandpainterMrioCezarinyisstillalivingreferenceforthenewgenerations;Lima deFreitasdeceasedin1998.TheartistslvaroLapa,EuricoGonalvesandAlbertoCarneiroprofessors inArtSchoolsarestillverynearsomeoftheaestheticalfoundationsofsurrealism.

67 Foundation (initiated in 1956) promoted competitions and exhibitions for the new generation141.Theavantgardeartistssurrealists,expressionist,abstractionists,etc,that wereagainstthetraditionalrepresentationalacademicartists begantoberecognised andpromotedbytheseorganisationsandbyapublicthatbecamemoreandmoreaware oftheculturalandpoliticaltransformationsincontemporarysociety. AsAntnioRodriguessays,referringtotheneedofPortugueseartiststobeintouchwith internationalmovements,
Theplaceofartoverlaystheplacewhereitismade.142

Manyartistswentabroad(Paris,Munich,London)andstudiedand/orlivedtherefor manyyears.PerhapsthemostfamouswasVieiradaSilva(19081992),apainterwho livedmostofherlifeinParis,settinganexampleforthenewgenerationsinPortugal. After her, many others went abroad (Bertholo, Costa Pinheiro, Nadir Afonso, Paula Rego, Lurdes Castro, Menez, Eduardo Luis, Jlio Pomar, etc.). Together with Jlio Resende(whoseearlypaintingswerestillinaneorealisticmanner),JaimeIsidoro,Jos Rodrigues,ArmandoAlves,ngelodeSousa,HenriqueSilvaandothers.Theseartists modifiedthewaypeopleusedtolookatartandchangedthewholepanoramaofvisual arts inPortugal. Theypromoted manyexhibitions,theycreated happenings and also created some scandal 143. But what was of most importance was their attitude of discovery,ofexperimentationindifferentstyles,andlaterthewaytheytaught(someare stillteachinginPortugueseschools)andtheydevelopedvisualartstoapointthatisstill havinganeffecttoday144. TheideaoftheseartistswasnotsomuchthetransformationofPortugueseartthrough theinfluenceinternationalmodelsperhapsinordertoputPortugalintheworldart
141

TheindependentexhibitionintheSNBAwasoneofthemostimportant. Olugardaartesobrepeseaolocaldasuarealizao.InRodrigues,Antnio(1994):p.7. Someofthemmoreofasocialanedocticalthanofartisticaestheticalimportance.

142 143

OneofthereflectionsofthisartboomistheactualflorishingmarketofartingalleriesinLisbonand Oporto, and the internationalisation of these and younger artists in Europe and USA (and the internationallyrecognisedqualityoftheirproduction).SeeGonalves,RuiMrio(1990):p.301.
144

68 movementsbuttoputartmadebyPortugueseartistsintotheworldartmovement, withnoreferencetothecountrywhereitismadeorwheretheartistisborn.Theidea wasnottomakeanewPortugueseartwithanyexplicit"Portuguese"valuesbut simplytomakenewartwithnewvalues. Alsoveryimportant(especiallyinthe1960s)wasJosErnestodeSousa(1921/1988). Hewasaveryopencharacter,contactingallkindsofartistsinPortugalandabroad.He foundedthegroupAlternativaZero145in1977,heinterviewedtheGermanartistBueys, he painted, designed, created and organised artistic and multimedia events, cinema, happenings, some of them involving also music and young composers (Armando Santiago and Jorge Peixinho). Ernesto the Sousa was, perhaps, the most important personality in Portugal in these years in what concerns new experiences of artistic production.Mentionmustalsobemadeoftheimportanceofexperimentalandconcrete poetryE.M.deMeloeCastro,HerbertoHlder,PedroTamen,AntnioArago, SaletteTavares,AnaHaterly,JosAlbertoMarques,etc.intheiruseofgraphics,of thesoundsofthevoiceandthenoveltyoftheirproposals. Butallthesetransformationsmustbeseeninthelightofthetotalitarianregime.In1964, inaspeechthatisveryinterestingbecauseittalksironicallyandwidelyabouttheartistic movement and repression, Moreira Baptista (the Secretary of the S.N.I. National InformationSecretary)said:
"(...)crisisinthetheatrer,crisisinthecinema,crisisintheart, crisis,crisis,slogansthrownbyapartofthesocallednational intelligensia,inliterarypages,inbooks,circularsandsomany other papers. (...) explained by and based on reasons and argumentsthataregoingalwaystofindtheiroriginsintheso called reactionism of the regime, a bourgeois conception of intellectualexpressions,anoppressionofthefreeexpressionof thought. (...) I should recall an aspect that deliberately is forgotten:wehavebeenmakingarevolutionfor36years146.We
145 146

Zeroalternative.

Referring to the "Estado Novo revolution" that ended the democratic republic in 1926, to the stabilisationofthefascistregimewiththeelectionofCarmonain1928,andtothenominationofSalazar

69
haveadoctrine;wedefendmoralvaluesandlegalrulesthatwe havebeenestablishing.Thetruth,however,isthattherevolution hasn'tyetreacheditsendandfightstoaccomplishitsaimsof social justice, based on principles that we don't want to be neglected. That is, we don't want a revolution to replace our revolution.(...)Ifwhatisintendedistocreate, aposteriori,the new revolution, it seems that it is absolutely correct that the Regimedefendsitself,andwithallthemorevigour asweare living in an abnormal period, a period of a war coming from abroad 147,andwhichsomepeoplealthoughfewsupport frominside."148

Inthissession,theSecretaryMoreiraBatistagaveamedaltothecomposerRuyCoelho, electedasamodelforhiscontributiontoPortuguesemusic.Otherprizesinmusicwere giventoFernandaWandschneider(pianist)Suggiaprize1963andFredericode Freitas(composer)CarlosSeixasprize1963.

A NEW GENERATION AND THE NEW MUSIC THE PORTUGUESE AVANT-GARDE I NTROD UCTION Portuguesemusicallifeinthe1960sis,insomerespects,thecontinuationofthe1950s. Howevertherearesomefundamentalchangesthatlaidfoundationsforthedecadesto come.

asFinanceministerinthesameyear.
147

Referringtothecolonialwar.

"(...) crise no teatro, crise no cinema, crise nas artes plsticas, crise, crise, so slogans atirados por um sector da chamada inteligncia nacional, em pginas literrias, em livros, circulares e tantos outros papis. (...)explicados e fundamentados com razes e argumentos que vo encontrar sempre a sua origem no chamado reaccionarismo do regime, uma concepo burguesa das expresses intelectuais, uma opresso da livre expresso do pensamento.(...)Entendo que deverei relembrar um aspecto que deliberadamente esquecido: estamos h 36 annos a fazer uma revoluo. Temos uma doutrina, defendemos valores morais e regras jurdicas, que temos vindo a institucionalizar. A verdade, porm, que se trata de uma revoluo que no atingiu o seu termo e que luta pela realizao de objectivos de justia social dentro de princpios que no estamos dispostos a que sejam postergados. Isto , no queremos que uma revoluo se substitua nossa revoluo. (...) Se o que se pretende criar, a posteriori, a nova revoluo, parece que absolutamente correcto que o Regime se defenda e com tanto mais vigor quanto certo que estamos a viver um perodo anormal, que o da guerra que de fora nos movem e que, dentro, uns quantos ainda que poucos apoiam".Cf.DiriodeNotcias18/12/1964.
148

70 ThefirstchangewasthecontactofyoungPortuguesecomposerswithnewcompositional techniquesandideasinEurope:almostallyoungcomposersuntiltheendofthe1970s had the chance tostudyin European musical centres, schoolsand electronic studios (Paris,Hanover,Rome,Salzburg,Vienna,Berlin,Darmstadt,etc.).Theirinfluenceon Portuguesemusicallifeisstillverystrong,astheydevelopedtheircareersnotonlyas composersbutalsoasorganisers,asteachers,conductors,musiciansandadministrators. The second change was the beginning of the activity in Portugal of the Calouste GulbenkianFoundation.ThisprivatefoundationestablisheditsmainservicesinPortugal after the death of Calouste Gulbenkian,and begantodevelopactivityinart, music, sciencesandsocialcare.TheGulbenkianFoundationbegantoorganisemusicfestivals (the first in 1958), invited foreign composers, orchestras and musicians to play in Portugal, supported the study of Portuguese composers abroad, commissioned new works and promoted the performance of Portuguese music in the different music internationalcentres.

T HE R ECEPTION Till 1958

O F TH E

A VAN T - GARDE

ThemusicalavantgardeappearedinPortugalintheendofthefiftiesasaresultofnew ideasemergingfromDarmstadtandothermusicalcentres.Butbymusicalavantgarde wasmeant,intheverytraditionalPortugalofthelatefifties,merelyatonalandtwelve tonemusic.Itmeantthemusicthatwasrejected(and/orunknown)bythetraditional teachersintheConservatoryandbythebourgeoispublic:theavantgardeartistsand theiractionlookedlikesimplyanihilistmovementopposedtothestatusquo,including even the far from avantgardist ideas of LopesGraa. LopesGraa knew thoroughlythemusicofthesecondVienneseSchoolandofthenewgenerations149,but

149

HewasafriendofLouisSaguer,aDarmstadtProfessorin1949.Cf.Borio(1997):vol.1,page291.

71 althoughrecognisingthegeniusofSchnberg,BergandWebern 150hehadsome reservationsconcerningtheexpressionisttwelvetonesystemandthemusicofMessiaen andBoulez:

Butwecantignorethatfromthatgroup[JeuneFrance]came twoofthemoststrongandoriginalpersonalitiesofcontemporary music: Andr Jolivet, a powerful musical creator, and Olivier Messiaen, a much discussed composer, but also a stimulating renewerasmuchinapracticalasatheoreticalpointofview;an orientatorofthenewgenerationofFrenchmusicians.Wecan, perhaps, not follow entirely this tendency and we feel apprehensive about the systematically experimental tendencies associatedwithextremedodecaphonyandthesocalledconcrete music, proclaimed by the youngest composers headed by the combativePierreBoulez;butifmusiciansofthegoodpedigreeof aSergeNiggorofaJeanLouisMartinetalreadyarefreedfrom thefascinationfortherigiditiesofthetwelvetonesystemandof thelaboratoryexperimentsofconcretemusic,perhapsthereis noreasonforgreatalarmandwecanbesurethat,despitethe tensionofthisactualmoment,fullofquestionsinrelationtothe future of music a true and dramatic historical crossroad Frenchmusicwillknowhowtoregainitstraditionalbalanceand itsauthenticphysiognomy151

ThemusicalavantgardewasstrongintheEuropeanmusicalcentresvisitedbyyoung Portuguesemusiciansofthetime.FilipedeSousawas,perhaps,theveryfirstofthese composerswhohadtheopportunityofbecomingacquaintedwiththeEuropeanavant garde.HewenttoMunichin1954whereheshowedsomeofhispiano sonatinas to

150 151

SeeLopesGraa,Fernando(1992 a):pages208,214andfollowing,

"masnohquedesconhecerquedessegrupo[JeuneFrance]saramduasdaspersonalidadesmais fortes e originais da msica contempornea: Andr Jolivet, um poderoso criador musical, e Olivier Messiaen,ummuitodiscutidomas,sejacomofor,estimulanterenovadortantosobopontodevistaprtico comoterico,orientador,emgrandeparte,danovssimageraodemsicosFranceses.Podese,enfim, no seguir esta inteiramente e sentirmos certas apreenses quanto s endncias sistemticamente experimentaisassociadasaododecafonismoextremoechamadamsicaconcreta,seguidaspelasmais jovenscompositoreschefiadosprlocombativoPierreBoulez;massemsicosdaboacepadeumSerge NiggoudeumJeanLouisMartinetjdafascinaodosrigoresdododecafonismoedasexperincias laboratoriaisdamsicaconcretaselibertaram,talveznohajamotivosparagrandesalarmesepossamos estarsegurosdeque,malgradoatensodoactualmomento,cheioddeinterrogaesquantoaofuturoda msica,numaverdadeiraedramticaencruzilhadahistrica,aartemusicalfrancesasaberencontraro seutradicionalequilbrioeasuaautnticafisionomia"inanartcileof1955,LopesGraa,Fernando(1992 a):page208.

72 Jacobi.HewentthentoVienna,wherehestudiedconductingandhadtheopportunityto hearperformancesofnewmusic.Hewasstronglyimpressedbyaperformanceof Le MarteausansMatre,conductedbyBoulez,buthadmixedfeelingsabouttheworkand aboutthescandalmadeintheveryconservativeViennesemusicalmilieu152. Also Filipe Pires, in 1957, had the opportunity to discover the new music as a compositionandpianostudentinHanover,andinhisconcerttoursinGermany,Austria, BelgiumandDenmark(withmuchsuccessinbothcareers).Butinfactthemaininterest of these composers was in musical aesthetics linked to the neoclassical style of Hindemith,Stravinsky,Poulencandothers.Neverthelesstherewasastrongfascination fornewsounds,newinstrumentsandnewtechniques.

Year: 1958 and 1959

Darmstadt 1958: Krenek, Cage, Blacher, Kolisch, Maderna, Stuckenschmidt. Darmstadt1959:Nono,Pousseur,Fortner,Stockhausen,Haba, Ligeti.

TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

MusicallifeinLisbonwas,attheendofthefifties,becomingmoreandmoreatthesame levelofothermajorcitiesofEurope.In1958theGulbenkianFoundationorganisedthe firstMusicFestival.In1959,thesecondFestivalinvitedmajorartistssuchasIsaacStern, John Barbirolli, Walter Ssskind, Brailowski, Starker, Giulini, Arturo Benedetti Michelangeli,andothers.ThisFestival,withconcertsinLisbonandothercities,would berelevantinthedevelopingofallkindsofmusicinPortugal. Intheyearsof1958/59yearsofbigpoliticalmovementsagainsttheregime,andof remarkablechangesinartisticlifeitseemsthattheinterestinandthecontactwith
152

Personalstatment.

73 contemporarymusicgrewamongPortugueseyoungmusicians.Somespecificaspects wererelevant: Twelvetonemusicandnewmusicingeneralwerebeingmuchmoreplayedand discussed both in articles and interviews153, in lectures by Joo de Freitas Branco,lvaroCassutoandFrancineBenoitintheJ.M.P.(PortugueseJeunesse Musicale); MusiqueConcrte andelectronicmusicbegantobeplayedanddiscussedin Portugal, when Maurice Bjart came to Portugal to dance Pierre Henri's Symphonie pour un Homme Seul, and when Joo de Freitas Branco gave a lectureaboutelectronicmusicLisbon1959154; The first twelvetone and/or expressionist compositions appeared in 1959 (lvaroCassutosShortSymphonyn.1,SonatinaforpianoandJorgePeixinhos FiveSmallPiecesforPiano); Thepremiereof Mrope ofJolyBragaSantosand Wozzeck ofBergintheS. Carlos Opera House in 1959; LopesGraa's symphony was played in the GulbenkianFoundation,alsoin1959. Tillthen,onlyafewpeoplethecomposerLopesGraa,themusicologistJoode FreitasBrancoandsomefewaroundthemwereawareofthechangesinmusicthat appearedinEurope.Butafter1959,Stockhausen,Boulez,Nono,Maderna,Eimert,Pierre SchaefferandPierreHenrywerenolongerstrangenamesforthemusiciansandstudents whoreallywantedtoknowmoreaboutnewmusic,thetexts,thelecturesandconcerts.

PORTUGUESE MUSICIANS AND COMPOSERS

In1958,MariadeLurdesMartinsleftforGenevatorepresenttheJ.M.P.,andthereshe hadtheopportunitytolistentothemusicofStockhausen 155.Thisverysameyearlvaro CassutowonascholarshiptoworkwithKlussmannintheConservatoryofHamburgand withJoseph Ruferaformerstudentof SchnbergandDarmstadtProfessor in

SeeArteMusical(1958n.3),interviewwithMariadeLurdesMartins;seeCassuto,lvaro(1958)and Cassuto,lvaro(1959),papersofaboutthetwelvetonesystem;seeLopesGraa,Fernando(1992a):page 116.

153 154

SeeArteMusical(1958n.3). SeeArteMusical(1958n.3).

155

74 Berlin:hewroteanabstractonhisteachersbookDieKompositionmitZwlfTnen156. Hepresentedin1958/59averylongandthoroughpaperandalectureonthetwelvetone system(itis,perhaps,thefirstPortugueseworkoftheoryonthissubject)157.In1959he wroteaSonatinaperpianoforte(withamixtureoftwelvetonetechniqueandneoclassic harmony158)andSinfoniaBreven.1(inatwelvetonemanner).Thefollowingyear(1960) he published another paper in Arte Musical about the twelvetone system and its possibilities159. In1959,JorgePeixinhobegantostudycompositioninthe AcademiaSantaCecilia in RomewithBorisPorena.Inthesummerofthisyearhewrote FiveSmallPiecesfor Piano: five atonal pieces using techniques approaching the twelvetone music, the expressionismofthesecondVienneseSchoolandsomeverynew(avantgarde)piano techniques160.MariadeLurdesMartinswenttoMunichwhereshestudiedcomposition withHaraldGenzmer.Thereshemadealsothefirstcontactswiththe OrffSchulwerk methods,whichwouldbeofgreatimportanceinhercareerasateacherandcomposer.

WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

lvaroCassuto: ShortSymphony n.1; Sonatina161 forpiano(dedicatedtoMaria JooPires);Ouvertureforstringorch; ArmandoSantiago:3songsforsopranoandharp;Sonataforfluteandharp;Trio forpiano,violinandcello; FilipePires:astringtrio;

156 157

SeeArteMusical,(1958n.3). Seefurtherinthisresearchtheanalysisofthispiece. SeeArteMusical(1960n.9).

SeeArteMusica,(1959n.5/6).

158 159 160 161

Seefurtherinthisresearchtheanalysisofthesepieces.

Seeanalysis.

75 JorgePeixinho: TwoExpressions fortrumpetandharpsichord(usingatwelve tone system unifying a confrontation between chromatic and diatonic harmonies); Fivesmallpiecesforpiano (inanexpressioniststyle,oneofthe pieces uses sound effects harmonic resonances); Fascination for violin, Tripticfor2violins,choirandensemble; Maria de Lurdes Martins:12 harmonisations for choir; Pezzo Grotesco for orchestra;pianotrio;Sonatinaforwindquintet;

Year: 1960
Darmstadt:Boulez,Ligeti,Maderna,Pousseur,Heiss. (lvaro Cassuto,MariadeLurdesMartins)

TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

The musical milieu was in fact changing: there was a natural growth in traditional musicalproductions,withmoreconcertsofgreatperformerssuchasPollini,Gendron, TaniaAshot162,Oistrakhandothers. In1960DallapiccolacametoPortugalandgaveconcertsinLisbonandOporto.Lisbon hostedlecturesaboutnewmusicbyJoodeFreitasBranco,concertswithworksofOrff, Pepping,Ristler,Webern,JolyBragaSantos163,somenewoperaproductions(Jenufa of Janacek, Marouf of Rabaud), concerts of the young composer Antnio Vitorino de AlmeidaandofFilipedeSousa(conductingtheLisbonSymphonyOrchestra). TheGulbenkianFoundation,inits3rdMusicFestival,presentedafewpiecesofmodern Portuguese music, and of Hindemith and Bartok, including also the great choral
ThepianistTaniaAshotprizewinnerintheWarsawChopinCompetitionplayedinPortugalforthe first timein1960.LatershesettledinPortugalwhereshestillteachesandplays.Sheisnowoneof Portugalsmosthighlyregardedpianistandpianoteacher.
162

Fivepiecesop.10,playedtogetherwiththefirstperformanceofthenewviolaconcertoofJolyBraga SantosbytheLisbonSymphonicOrchestra.
163

76 symphonicpiece TragicMaritimeHistory of LopesGraa.TheFoundationpromoted also courses with new ideas on Musical Education and Musical Didactics (Teresa MacedoandLuisaRodrigues).

PORTUGUESE COMPOSERS AND MUSICIANS

In 1960 the pianists Sequeira Costa and Helena Costa were becoming more involved in concerts in Portugal and abroad. Another pianist, the 15-year-old girl Maria Joo Pires won a prize in Berlin. Antnio Vitorino de Almeida, another young pianist and composer,presentedhimselfasasoloistandinapianoduo,playing,amongotherpieces, someofhisownworks.TheviolinistVascoBarbosaandtheviolaplayerFranoisBroos continued their careers as excellent virtuosi, playing solo, chamber music, and in orchestras.TheconductorAntniodeAlmeidabegantobenoticedinPortugal.Hewould be invited as guest conductor of orchestras such as the Berlin Philarmonic, London Symphony,etc. In1960lvaroCassutoandMariadeLurdesMartinswenttotheDarmstadtcourses. ThissameyearMariadeLurdesMartinsgaveinLisbonanOrffSchulwerkcourseinthe GulbenkianFoundation.JorgePeixinhoworkedwithBoulez,StockhausenandKoening intheAcademyofBasel.HealsometLuigiNonoinVeniceandtookpartinaworkshop intheBilthovenElectroacousticStudioinHolland164.Hisorchestrawork Polptico dedicatedtoPetrassiwasperformedinItalyconductedbythecomposerJolyBraga Santos.ArmandoSantiago,afterfinishinghiscompositioncourseinPortugal,studied conductingwithHansMnchandFrancoFerraraand musiqueconcrte in Pariswith PierreShaefferinvariousmasterclasses. FilipePiresbecamemoreinterestedinthenewcompositionaltechniquesafter1958and wasnominatedprofessorofcompositionattheOportoConservatoryofMusicin1960. HewontheAlfredoCasellacompositionprize(Naples)withhistrio.Thenhebeganto

164

KnownnowastheInstituteofSonologyoftheRoyalConservatoryinTheHague

77 neglecthispianocareerinfavourofcomposition.Thischangewould"leadtothefirst dodecaphonicexperiments,boundornottoserialtechniques.165

CONTEMPORARY COMPOSERS PERFORMED IN LISBON

lvaro Cassuto, Antnio Vitorino de Almeida, Benjamin Britten, Vitor Macedo Pinto, Messiaen, Giselher Klebe, Lopes-Graa, Joly Braga Santos, Nikos Skalkates, Hans Otte, Orff, Pepping, Ristler, Webern.

WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

lvaroCassuto:ShortSymphonyn.2,Variationsfororchestra; ArmandoSantiago:aSonnetfromCamesforbaritoneandorchestra;aSuitefor bassoonandpiano; FilipePires:pianotrio; JorgePeixinho:EpisodesandEvocationforensemble;Superpositions,dedicated toPetrassi(firstpiecefororchestra,closetotheexpressionismofWebernand Schnberg);Polyptycfororchestra,asuccessionof4smallpiecesdedicatedto JolyBragaSantos,closetothepostWeberniantechniques; TheGriffon'shead forviolin,(1stversion); Maria de Lurdes Martins: Children Pieces for piano; 3 waltzes for piano; 3 cantigasdeamigoforvoiceandstringquartet.

Year: 1961
Darmstadt:Stockhausen,Tudor,Messiaen,WalterLevin,Ligeti, Stefan Wolpe, Maderna, Engelmann. (Maria de Lurdes Martins,lvaroCassuto)

165

StatementinPires,Filipe(1978)OriginalwordsinEnglish.

78
TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

Differentorganisationsinvitedgreatperformers:Kempf,Gilels,Starker,Fournier,Antal Dorati,FernandoLaires166,etc. Lisbonhostedmanylecturesandconcertsofcontemporarymusic(JolyBragaSantosin the Italian Institute on Petrassi, Jacques Chailly in the Gregorian Institute, Nuno Barreirosoncontemporarymusic).TheGulbenkianFoundationinvitedYvonneLoriod andMessiaentotheFestival:TroisPetitesLiturgiesandRveildesOiseauxwereheard, andMessiaengavealectureonmusicandornithology167. InNovember1961amajoreventhappenedinLisbon:concertsbyStockhausenandDavid Tudor.TudorplayedworksbyFeldman,Bussoti,Hidalgo,IchiyanagandJohnCage,ina recitalwithintroductorywordsofJorgePeixinho.Stockhausengave(November22nd)a concert with instrumental and electroacoustic works, with music by Caskel (the composeralsopresent)andStockhausen(KlavierstckeVIIandVIII,Refrain,Kontakte). Theseconcertswerepreceded(20thNovember)byalecturegivenbyArmandoSantiago (togetherwiththemusicologistGilMiranda)intheLisbonConservatory.Bothsoldout, withnoisyoppositionfromsomepartofthepublic.Theyhadanenormousimpacton someoftheyoungmusicianspresent:theyoungmusicstudentEmmanuelNuneswas overwhelmedbythesoundsandideaspresentedintheseconcerts.Fromthisday,he begantosearchfornewmusic,records,scores, andfinallywentabroadandstudied thoroughlythemusicofStockhausen.168 ThisvisitofStockhausenledalsotoaTVprogramme.ThecomposerFilipedeSousa, whowasworkingintheRTP(thePortugueseTelevisionCompany),producedalarge

166 167

APortuguesepianistlivingsince1956intheU.S.A.

The composer Ruy Coelho, in a critic in Dirio de Notcias, speaks about modal parametres in Messiaens'smusic.SeeDiriodeNotcias20/6/1961.
168

Cf.Nunes,Emmanuel(1998):page13.

79 programme(withmusicandinterviews)aboutthisGermancomposer.lvaroCassuto translatedthisinterview.169

PORTUGUESE COMPOSERS AND MUSICIANS

InthisyeartheyoungpianistMariaJooPiresgainedherDiplomaintheConservatory ofLisbon.Herbrilliantinternationalcareerwasalreadybeginning. In1961AntnioVitorinodeAlmeidawenttoViennaandJorgePeixinhocompletedhis DiplomaofcompositionintheAcademiaSantaCeciliainRome. MariadeLurdesMartinswentagaintotheDarmstadtCourses.InasmalltextforArte Musical 170,shetellsusabouttheviolentexperienceoftheDarmstadtcourses:the contactwithStockhausenandhisideasinalectureaboutformandtime;thecontactwith DavidTudorandthemusicofChristianWolff,Cage,Bussottiandothersandofthe possibilityofhearingmusicofmanyavantgardecomposers. lvaroCassuto,onthecontrary,hadaverydifferentattitude.Ashewasalreadyfamiliar withtwelvetoneandotheravantgardetechniques,hehadamoreanalyticalperspective, sometimesinoppositionto"extreme"pathsofavantgardecomposers.Hedefinesavant gardeas:
(...) that music that has its roots in the Viennese school, especially as a continuation or exploration of aesthetic and technicalideasintheworkofAntonWebern(18831945),and,on theotherhand,ofthatmusicthatresultsfundamentallyfromthe ideasoftheAmericancomposerJohnCage(b.1912)".171

169 170 171

AccordingtopersonalconversationswithFilipedeSousa.

SeeArteMusical(1961n.13/14).

"tratase,porumlado,daquelamsicaqueprovmdaEscoladeViena,integrandoseespecialmente nacontinuaoouexploraodasideiasestticasetcnicascontidasnaobradeAntonWebern(1883 1945), e, por outro lado, daquela msica que resulta predominantemente das ideias do compositor americanoJohnCage(n.1912)".SeeArteMusical(1961,n.15):page535.

80 Cassutowasawareofthesetwomaindirectionsofthemusicinthe1950sand1960s, onespringingfromanhistoricalperspectivepostWebernianserialismtheother influencedbyitsmostcharacteristiclivingcomposerJohnCageandhisexperimental ideas.OnanoticeaboutaMerceCunnigham/CarolynBrowndanceperformance(with livemusic)intheMusicFestivalofBerlinin1960,Cassutotellsushisreaction:

"Unusually for me, I couldn't help laughing for half of the performance (...) Only one explanation: accompanying the dancersweretwopianistsnamedJohnCageandDavidTudor. The NorthAmerican John Cage is known as an avantgarde <<musician>> and his <<prepared piano>> was already well known...andwasadmiredbythosepeoplethatliketogotothe circus".172

Cassuto explains his perplexity at some of the developments of the avantgarde, especiallytheoppositionbetweenfulldeterminismandrandomnessofthesounds.In Darmstadt,whenhewasconfrontedwithdifferentcompositionalexperiences,he"gotan ideaofwhatheshouldnotdo"intermsofcomposition.Hefelthimselfimpelledto develophisownpath:
"Somepiecesmighthavegivenmeideas,perhapssomecourses gavemeenlightenmentfortheresolutionofcertainproblems,but nothingmademebelievethatthereisonlyonepathintoday's music, and all we composers should impel our efforts on its conquest"173.

Contraomeuhbito,nopudedeixardepassarcercademetadedotempoquedurouoespectculoa rirsgargalhadas.(...)Bastaumaexplicao:acompanhavamosbailarinososdoispianistasJohnCagee DavidTudor.OnorteamericanoJohnCageoconhecido<<msico>>davanguardaeosseu<<piano preparado>>obteveumajgrandepopularidade...eadmiraodapartedosquegostamdeiraocirco. SeeArteMusical(1960n.11/12):page403.

172

"Certasobrasmeterodadosugestes,certasliesmeterodadoluzsobrecertoproblema,masnada mefezcrerquehsumnicocaminhonamsicadehojeequetodosns,compositores,devamosfazer incindirosnossosesforosnasuaconquista".SeeArteMusical(1961n.15):page535.

173

81 lvaroCassutobeganhiscareerasconductorinthisyear(Oporto'sRadioSymphony Orchestra), and was appointed assistant conductor to the Gulbenkian Foundation ChamberOrchestra(heremaineduntil1968). Aninterestingarticleaboutthisyear'sGulbenkianFestivalappearedinthemagazine ColquiooftheGulbenkianFoundation.WrittenbyJoodeFreitasBranco,thisarticle wasaboutaconcertofatriothatplayedmusicofthesecondVienneseSchool. He observes:
(...)thefactthatthepathsoriginatedintheanarchicalatonality ofthebeginningofourcenturyarebeingcrossedinavertiginous way, while in Portugal the echoes of these novelties can be countedbythefingersofonlyonehand.174

And,aboutthevisitofAaronCoplandandMessiaen,JoodeFreitasBrancocriticises theveryneworthodoxserialists:
Althoughitmeansalottothemostpuritanserialistsandtotheir orthodoxy,somemusicalrealitiesoutoftheSchnbergianpath compel us to put in doubt that this [Schnbergs twelvetone system]istheonlyonepossible.Twoofthoserealitieshad,inthe lastGulbenkianFestival,amajorplace.Itwasnotjusttheusual appearance of one or more works played by competent musiciansbuttheactualpresenceofthecomposers:theNorth AmericanAaronCoplandandtheFrenchOlivierMessiaen.175

Ofactodeoscaminhosoriundosdaatonalidadeanrquicadeprincpiosdonossosculoestarem sendopercorridosvertiginosamente,enquantoemPortugalsecontampelosdedosdeumasmoosecos dessasnovidades.SeeColquio(1961n.14):page50.

174

"Pormuitoquecusteaosserialistasmaispuritanosemsuaortodoxia,algumasrealidadesmusicais, exteriores(aindaqueporvezestangentes)sendaSchnbergianaobrigamapremdvidaqueestaseja o nico caminho transitvel. Duas dessas realidades tiveram, no ltimo Festival Gulbenkian, representaomuitodenotar,porquantosenotratouapenasdahabitualpresenadeumaoumais obras,confiadasaintrpretescompetentes,massimdapresenadosprprioscompositores:onorte americanoAaronCoplandeofrancsOlivierMessiaen.SeeColquio(1961n.14):page50.
175

82 Ibelieve,however,thattherewerenoorthodoxpuritanserialistsinPortugalatthat time. Joo de Freitas Branco was referring, perhaps, to composers like Boulez and Stockhausen,ortosomeexperimentsbythenewcomposersemerginginthePortuguese musicalscene:Cassuto,Peixinho,Peixinho,ArmandoSantiagoandFilipePires.These composerswere,aswehaveseen,stillexperimentingwithnewtechniques,amongthem twelvetone music andserialism. Although the publicstatements of these composers were, perhaps, militant and orthodox especially these of Peixinho due to the overflow of energy and youth, the goal was not to master these (already old and academic)techniquesbutsometimesinaveryloosewaytodiscovertheirown ways of expression using new sounds, structures and compositional materials. Jorge Peixinhospeaks176 ofa"virtualserialism"and"paraserialism",wheresomeaesthetic basesofserialismcametogetherwithafreeuseofdifferenttechniques.

TWENTISTH-CENTURY AND CONTEMPORARY COMPOSERS PERFORMED IN LISBON

Berg, lvaro Cassuto, Antero da Silva Pereira, Armando Santiago, Bussotti, Cage, Copland,CronerdeVasconcelos,Feldman,Hidalgo,Ichiyanag,JolyB.Santos,Lopes Graa, Lutoslawski, Messiaen, Ruy Coelho, Satie, Schnberg, Stockhausen, Victor MacedoPintoandWebern

WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

lvaroCassuto:stringsextet; FilipePires:EternalComebackforbaritoneorrecitantandorchestra(withpoems ofRuiCinatti); MariadeLurdesMartins:apieceforfluteandxylophone; Jorge Peixinho: 2 small studies for Aldo Hans, for 2 violins; a Concert for Saxophone;SoundImages,for2harps177;SymmetricSuccessionsforpiano.
176

InterviewedforaTVprogram(R.T.P.).Cf.Ferreira,Srgio(1993)of1993 ComposedfortheharpistsClotildeRosaandMrioFalco.

177

83 Year: 1962
Darmstadt: Boulez, Ligeti, Pousseur, Stockhausen, Maderna, Wolpe,Heiss

TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

Continuingtheevolutionofthelastyears,musicinLisbondevelopedwithhelpfromthe Calouste Gulbenkian Foundation. In 1962 Alfredo Kraus, Boris Cristof and Fischer DieskausangintheOperaandinrecitals;RudolfSerkin,AndresNavarro,SandorVegh, Szering,TamasVasaryandmanyothersappearedinrecitals,concertsandmasterclasses. TherearereportssayingthatitwaspossibleonPortugueseTVtoseemanyorchestraand chamberconcerts,somewithrecognisedqualitybothasmusicalperformancesandas TVprograms178. Duringthe FestivalinMai andJune, the GulbenkianFoundationbroughtsome new music to Lisbon. The Foundation organised a concert with the flautist Gazzelloni (Castiglione,Berio,Fukushima)and,forthefirsttimeinPortugal,theinstrumentOndes MartenotwasseeninaconcertwhereworksofJolivet,Charpentier,Bondon,Messiaen andMilhaudwereheard.ArthurBlissandJoaquimRodrigogavelectures,andlaterin December,alsoNunoBarreiros(aboutcontemporarymusic).

PORTUGUESE COMPOSERS AND MUSICIANS

ThereweresomePortugueseleadingnames,especiallypianists,beginningtoappearin concertsinPortugalandabroad:MariaJooPires,SrgioVarellaCid(6th prizeinthe VanCliburnCompetitionandconstantlyperforminginPortugalandabroad),JosCarlos Picoto,NinaMarquesPereira(importantinspreadingtheworksofPortuguesemusic frombaroque,traditionalandmorecontemporarymusic),andthealreadywellknown HelenaCostaandSequeiraCosta.

178

SeeRelvas,Mrio(1962).

84 In January of this year, the Gulbenkian Foundation, together with other Portuguese officialentities,promotedaseriesofconcertswithPortuguesecomposers: January7thsongsforvoiceandpianoofFilipePiresandMariadeLurdesMartins, togetherwithothersbyIvoCruzandRuyCoelho. January14thstringquartetsbyCassuto,Peixinho,togetherwithClaudioCarneyro. January16thsongsbyFilipedeSousa.

AlsoinJanuarytherebeganalargecourseofcontemporarycompositionwithLouis Saguer(whotookpartasalecturerinthe1950'sintheDarmstadtcourses),andthe participationofPortuguesemusiciansandComposers(Peixinho,J.B.Santos,Cassuto, etc).Thiscourse,withsessionsspreadoverseveralmonths(andcontinuingthefollowing year)servedasaplacewheremanypieces,fromtheSecondVienneseSchooltomore contemporarycomposers,wereheard,analysedanddiscussed.AlsomanyPortuguese pieceswerepresented,sometimesaccompaniedbyadiscussionwiththecomposers(e.g. theOperaMropeofJolyBragaSantos,whenthisworkwasrepeatedinLisbon).Among hisstudentswereEmmanuelNunes179. In1962theharpistClotildeRosagotascholarshipfromtheGulbenkianFoundation (lateralsotheDutchGovernment)tostudyharpinAmsterdam.TogetherwithJorge Peixinho (piano), Mario Falco (harp) and Hugo Casais (singer), she took part in concertsdedicatedtocontemporarymusic(Boulez)andPortugueseMusic.Thischamber music activity was developed in association with Carlos Franco (flute), Luisa Vasconcelos(cello)andAntnioOliveiraeSilva(violin).Thisgroupofmusiciansplayed worksfromthebaroquetocontemporarymusicandexperimentedwithimprovisation. Undoubtedly,inthecontemporaryrepertoire,thedominantpersonalityofthisgroupwas JorgePeixinho.Hisactivityasacomposerandasaperformer(pianist,conductor,alsoas performer in happenings) began to characterize the image of contemporary art in
179

Cf.Nunes,Emmanuel(1999),p.9.

85 Portugal, especially contemporary music. Later in 1970, this group would form the GMCL 180(ContemporaryMusicGroupofLisbon),thefirstandperhapsthebest knowncontemporarymusicgroupinPortugalintwodecades. ThisyearalsosawthesuccessfulpremireofthefilmDomRobertoofErnestodeSousa withmusicbyArmandoSantiago(the30thMay).ArmandoSantiagohadascholarship fromthePortugueseandfromtheItalianGovernment,studying(asJorgePeixinho)in RomewithBorisPorenaandGoffredoPetrassiattheSantaCeciliaAcademy. AntnioVictorinodeAlmeida,studyinginViennasince1961,presentedapieceGiestas deMonsanto inaconcertofsymphonicpoemsdedicatedtoLisbon,withworksofthe more traditional composers Armando Jos Fernandes, Croner de Vasconcelos and FredericodeFreitas. lvaroSalazargraduatedintheLawFacultyinLisbon.

TWENTIETH-CENTURY AND CONTEMPORARY COMPOSERS PERFORMED IN LISBON

The following composers were played in Lisbon, in concerts organised by the Gulbenkian Foundation, the J.M.P. (Portuguese Jeunesse Musical) and other organisations:lvaroCassuto,AntnioVitorinodeAlmeida,ArmandoJosFernandes, Berio,Blacher,Bliss,Bondon,Castiglione,Charpentier,CronerdeVasconcelos,Henze, Jolivet,JolyB.Santos,LopesGraa,Lutoslavsky,Peixinho,Webern.

WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

lvaroCassuto:Permutationsfororchestra; Armando Santiago: the music for the film Dom Roberto, directed by Emesto de Sousa (mention spciale at the Cannes Festival in 1963);

180

"GrupodeMsicaContemporneadeLisboa".

86 JorgePeixinho: Collage (completedin1965)fortwopianos(perhapsoneofthe more"paraserialist"worksofPeixinho); MariadeLurdesMartins:AutodeNatalforvoiceandOrffinstruments. FilipePires:Snapshotsballet

Year: 1963
Darmstadt: Boulez, Berio, Pousseur, Stockhausen. (Filipe Pires,EmmanuelNunes,ClotildeRosa,Peixinho)

TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

The musical milieu in Lisbon received great names of the international scene with enthusiasm:theKontarskybrothers(inMarch,inaconcertwithmusicnotgoingany furtherthanMilhaud),AlfredoKraus(aconstantnameintheS.CarlosOperaHouse), Gerard Souzay, The Prague Quartet, Samson Franois (these last in the Crculo de CulturaMusical),ClaudioArrau,CharlesMunch,VladimirAskenhazy,RudolphSerkin, etc. The Gulbenkian Foundation invitedtoits Festival Carl Orff as guestcomposer. The Kontarsky brothers came again in June and gave, in a concert which included a Portuguese group, a contemporary programme with works by Zimmermann (Perspectives)Boulez(Structures),Stravinsky(Concertfor2pianossolo)andBartok (piecesfromMikrokosmos). AlsotheE.N.Orchestra,intheendoftheyear,presentedworksofJolivet,LopesGraa, Petrassi,ZilligsandWagernheim.

87
PORTUGUESE COMPOSERS AND MUSICIANS

SrgioVarellaCidwonthefirstprizeintheBilbaopianocompetition.AntnioVitorino deAlmeidaappearedagainasapianistwiththeE.N.orchestra.AlsothepianistManuel WhitfieldBrazowonaprizeintheU.K. ContinuingtobeseenastheleadingnameinPortuguese"official"composition,Ruy Coelhocelebratedwithpompin1963his45yearsofactivity. The Gulbenkian Festival presented some premieres of Portuguese composers: Pezzo Grotesco ofMariadeLurdesMartins, Sinfonieta ofJolyBragaSantos,thequartetof LopesGraaandDiafoniaofPeixinho. FilipePires,EmmanuelNunesandClotildeRosawenttoDarmstadt.Nunesstudiedwith PierreBoulezandHenryPousseurandClotildeRosawithBoulezandStockhausen181. ClotildeRosareportedhavingheardandbeingmovedbythemusicofDieterSchnebel, Kagel,Stockhausen,Maderna,Berioandothers. Alsothisyear(18thJuly)thepieceDominobyJorgePeixinhowasplayedinaDarmstadt concert flute recital with Gazzelloni: Gazzelloni (flute), Haedler and Caskel (percussion). lvaroSalazarstudiedconductingwithHansSwarowskyinVienna. InthisyearthestudentCndidoLima(24yearsold)madehisfirstexperimentswith twelvetonemusicwhenstudyingwithVictorMacedoPintoinBragasConservatory.

TWENTIETH-CENTURY AND CONTEMPORARY COMPOSERS PERFORMED IN LISBON

Pierre Boulez, Croner de Vasconcelos, Dukas, LopesGraa, Peixinho, Petrassi, Zimmermann,Zilligs,Wagernheim

181

ShebegantostudycompositionwithJorgePeixinho.

88
WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

lvaroCassuto:InmemoriamPedrodeFreitasBrancofororchestra; ArmandoSantiago:Episodifororchestra;windquintet; CndidoLima: Burlesque forpiano4hands(ananecdotalpiecein3partsin which Lima inserts quotations of different styles and composers classic, modern,romantic,folk,Poulenc,Stravinsky,etc.) MariadeLurdesMartins:Skeletonsforflute,oboe,violaandpiano; JorgePeixinho: Diaphonia fororchestra; Domino forfluteand2percussionists (played in Darmstadt by Gazzelloni, Haedler and Caskel); Morfocromia for ensemble;Sequenceforensemble;Structureforensemble;

Year: 1964
Darmstadt:Babbit,Ligeti, 182 Dahlhaus,Pousseur,EarlBrown, Kagel, Caskel, HaubenstockRamati, Palm, Kontarsky. (EmmanuelNunes)

TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

In this year the Gulbenkian Foundation founded their professional choir, which togetherwiththeorchestraandlatertheballetcompanywouldincreasesubstantially thelevelofartisticproductioninPortugal. Lisbon's music milieu continued to invite internationalrecognised musicians: Renata Scotto, Nicolau Ghiaurov, W. Kempf, Czifra, Ashkenazy, Sandor Vegh, Fournier, ChristophvonDohnanyiandRostropovitch.

ThenextcomposersandmusicologiststookplaceinDarmstadtaslecturersintheCongressfornew notationinmusic.
182

89 Contemporary music witnessed an important development this year. In January continuingtillAprilaseriesoflecturesonmodernmusicbegan,organisedbythe StudentsUnionoftheLawFacultyofLisbon.Theorganiserwastheyounglawstudent MrioVieiradeCarvalho.Later,MrioVieiradeCarvalhowoulddevelopacareerasa musicologist, becoming a leading personality in music aesthetics, sociology and Portuguese contemporary music. The lecturers were Joo Cochofel183 (on music and literatureinthe20th century),LopesGraa(onfolkmusic),JorgePeixinho(onavant gardemusic),JooPaes184(onFalla'sopera RetabullodeMaestroPedro),SilvaPereira (onimpressionism),JosAtalaya185(onneoclassictendenciesinmusic),JosBlancde Portugal186, lvaro Cassuto and Joly Braga Santos (performanc of Portuguese contemporaryworks).TheSNBA(theBeauxArtsNationalSociety)hostedalecture givenbyMaritainandPeixinhoonthesequenceofacourseofcontemporarymusic, theyalsoorganisedtwoconcertsofcontemporarymusic187.Thesecoursescontinuedto have a great importance not only as an introduction to contemporary compositional techniques but as a way of introducing new music. In fact, many new composers (Portugueseincluded)wereplayedandstudiedinthesecourses. IntheGulbenkianFestivalmusicwasperformedby,amongothers,Auric(whoalsogave alecture)andBritten.Stuckenschmidtgavealecture(intheGoetheInstitute)onGerman contemporarymusic(worksofBlacher,StockhausenandHenzewerealsoheard)and RamonBarceamemberoftheSpanishavantgardegroupZajatthattimetalked fortheJ.M.P.aboutnewpossibilitiesinmusic. JoodeFreitasBranco,inhis"InitiationtoMusicHistory"courseintheGulbenkian Foundation,organisedaveryinterestingdebateoncontemporarymusic.TheDiriode
183 184 185

Musicandliteraturecritic. Musiccriticandcomposer,directoroftheS.CarlosOperaHouse.

MemberanddirectorofthePortugueseJeunesseMusical,alsoknownbyhisTVprogramsonclassical music.
186 187

Artcritic.

OrganisedbytheAcademiadeAmadoresdeMsica.

90 Notcias (551964) lists the main topics that were discussed: the problem of the integrationoftheartistinsocietyandhisdutyto"getdown"tothepublic, versus a processofpubliceducationinordertoenhancethepublicsacceptanceofnewmusic.In fact,themainquestionwasavantgardemusicandthepublic,witheagerparticipationby everyonepresent,especiallyMariadeLurdesMartins188andJorgePeixinho.

PORTUGUESE COMPOSERS AND MUSICIANS

ThecomposerRuyCoelhocontinuedhisofficialcareerascomposer.Inthisyearhe composed an Opera Orfeu em Lisboa (Orpheus in Lisbon) which includes different scenesofpopularLisbonandofitsoldquarters,somehowinthetraditionofPortuguese Vaudeville(RevistaPortuguesa). SomePortuguesenamescontinuedorbegantobeprominent:theItalianbornpianist NellaMaissa(alsoveryimportantasaperformerofPortuguesemusic),theviolinist MosesSequerra(whowonaprizeinParis),SrgioVarellaCid(whowontheCasella prize)andalsoMariaJooPiresandAntnioVitorinodeAlmeida. TheinfluenceofJorgePeixinhocontinuedtoincrease,asacomposer,asateacherandas aperformer.Heorganisedaconcert(6th November)withworksbySchnberg,Cage, Holliger,Varse,Gorecki,Fukushima,Peixinho(excerptsofDomino),EmmanuelNunes (premireofConjuntosI 189).AslvaroCassutoreports190,abigdebategrewaboutthis concert:Cassutoreferstotheneedforastrongandeffectivemusicaleducationofyoung people.Infact,theJ.M.P.(Portuguese JeunesseMusicale)organised(December9th)a debatesessionchairedbyJoodeFreitasBranco,whichdiscussedmainlyJohnCageand hiswork.AttheendofthissessionsomerecordingsofCage'sworkswereheard.

That,asthenewspapersays,"havinggonetoDarmstadt,doesn'tagreetothemoreradicalinnovations". Cf.DiriodeNotcias5/5/1964.
188 189 190

Aworknowoutofcatalogue.Cf.DiriodeNotcias7/11/1964,ArteMusical(1967n.25/26). Cf.DiriodeNotcias7/11/1964.

91 FilipePiressawinNovemberhisnewworkAkronosplayedbytheE.N.orchestra.Partof thepublic,accordingtoRuyCoelhoactingasacriticreactedinprotestagainstthis piecewithhissingandhooting.InareviewintheDiriodeNotcias,RuyCoelho,after givingasubstantialaccountaboutmusicwithoutbarlines,saysthat

"It's written without barlines (...) far too monotonous and anti musical(...)".191

FilipePireswasthisyearinvitedasArtistinResidenceinBerlin(6months)alongwith otherartistsandcomposers(i.e.XenakisandElliotCarter),attheinvitationoftheFord Foundation. ArmandoSantiagofinishedhisstudiesabroadwiththeDiplomaofCompositioninSanta CeciliainRome.EmmanuelNunesmovedtoParisandattendedtheDarmstadtcourses (PierreBoulezandHenryPousseur). Inanewgraduatecomposer'srecitalintheConservatoryofLisbon,theyoungcomposer ConstanaCapdevilleheardsomeofhermusicperformed 192.LaterinSeptember,she wouldalsobeperformedchildrenpiecesinarecitalof theIIIEstorilSummer CoursesbystudentsofthemasterclassofHelenaCosta.CndidoLimabegantostudyat Lisbon's Conservatory, piano (Cristina Pimentel) and composition (Croner de Vasconcelos).Till1966hecomposedsongsafterthestyleofFaur,Moussorsky,Bartok andBerg. Infact,1964isasummitintermsoftheappearanceofnewmusic:manynewpiecesand composerswereheard,manylecturesanddebatesoncontemporarymusicweregiven, reviewswerediscussedinthenewspapers,manyPortuguesenewworkswereperformed, composerslikePeixinhoandFilipePiresappearedwithnewpiecesandideas,Emmanuel NunesandConstanaCapdevillewereheardforthefirsttime.Inthe3lastmonthsofthis
191

Cf.DiriodeNotcias9/11/1964.

Theworksperformedwere:Musicforfour(cl.,ob,fl.andpiano)VariationsonI.Stravinsky'snamefor organ),SonataConcertante(fortromboneandpiano).
192

92 year,newworksofE.Nunes,Peixinho,FilipePireswereheard,aswellaspiecesof Schnberg, Dutilleux, Cage, Holliger, Varse, etc., open discussions on avantgarde music,lecturesweregivenbyStuckenschmidtandBarceandapianorecitalentirelyof contemporarypieces.And,atthesametime,RuyCoelho'snewopera OrfeuinLisbon appearedtotheapplauseofthestateandthepress.InDecemberRuyCoelhowaseven givenamedalbytheS.N.I.NationalInformationSecretary,inasessionwherethe Secretary,inhisspeech,proposedacounteroffensiveagainstnew"revolutionary"art193.

TWENTIETH-CENTURY AND CONTEMPORARY COMPOSERS PERFORMED IN LISBON

lvaro Cassuto, Auric, Britten, Blacher, Boulez, Cage, Charles Ives, Constana Capdeville, Dallapicolla, Dutilleux, Maritain, Emmanuel Nunes, Filipe Pires, Fukushima, Gieseler, Gorecki, Henze, Holliger, Koellreuter, Joly B. Santos, Lopes Graa, Maritan, Messiaen, Peixinho, Schnberg, Stockhausen, Varse, Webern, ChristianWolf,B.A.Zimmermann,

WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

ArmandoSantiago:MusicaPerOrchestra; Cndido Lima: Studiesfor theyoungpeople/ChildrenSuite, Five Twelvetone Studies,RhythmicStudies forpiano; ImpressionistPoems forvoiceandpiano (poemsofS.daGamaandF.Pessoa),LiturgicalSonata(endedin1969)forcello andpiano,MomentsMemoriesI(endedin1985)forpercussionandpiano; Filipe Pires: Akronos for string orchestra (entirely using dodecaphonic techniques),Snapshotsfororchestra(ballet13piecesofhumorouscharacter); Jorge Peixinho: Macbeth (Shakespeare), music for theatre, cinema and Multimedia.

193

.Cf.DiriodeNotcias,18/12/1964.Seeinthisworkthechapter"CulturalLifeArt".

93 Year: 1965
Darmstadt: Boulez, Maderna, Hiller, Brn, Koenig, 194Adorno, HaubenstockRamati,Ligeti,Kagel,andDahlhaus.(Emmanuel Nunes)

TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

As in previous years, great musical names were invited by the Crculo de Cultura Musical (TheCulturalMusicCircle ), J.M.P.,GulbenkianFoundation,E.N.Orchestra, TheS.CarlosOperaHouse,etc.ThesenamesincludedYvonneLoriod,VitoriadeLos Angeles,Kempf, Markevitch,Starker,RenataScotto,NelsonFreire,NikitaMagaloff, Friedrich Gulda, Van Cliburn, Askenahzy, Stern, Charles Mnch, Jorg Demus, and others. TheGulbenkian's ChoirandOrchestrawererecognisedtobealreadyatanexcellent level,beingthesupportingmusicgroupsofmostoftheFestivalandotherGulbenkian concertsduringtheyear. Onthe7thJanuary,agroupofartistsproduceda"ConcertandPictorialPerformance",in theDivulgaoGalery195inOporto.ItisthefirsthappeninginPortugalasreportedby E.M.deMeloeCastro196. Theartists wereMeloeCastro,AntnioArago,Salette Tavares, Manuel Baptista, and the musicians Clotilde Rosa, Mrio Falco and Jorge Peixinho.Theprogrammedemonstratesthecharacteroftheevent: CartridgeMusicJohnCage
IntheFirstIntervalwillbeheard,asbackgroundmusic,TheFuneroofAragal197AntnioArago

Piece59(negativemusic)E.M.deMeloeCastro(worldpremiere)

ThenextcomposersandmusicologiststookplaceinDarmstadtaslecturersintheCongressforFormin theNewMusic.
194 195 196 197

NowtheLeiturabookshop. Cf.MeloeCastro(1977):page59. AplaybetweentheFuneralandthenameoftheauthorArago.

94 TheBlackDoorJorgePeixinho Zzzzzzz.................Rrrrrrr!...(thispiecewouldnotbepresentedbecauseitprovokessleepiness) SuiteforToyPianoJohnCage ElectrowailsJorgePeixinho "SonataaoLu...ArLivre"198(thispiecewillnotbepresentedherebecausethereisno"arlivre"199)

IntheSecondInterval:SpotlightandNoise

MeterConcert;BalophoniawiththeparticipationoftheHumanSpirit Bidographic
Extra.program(ifthere'sanextra):

AriatotheCriticSaletteTavares(performerandauthor)
Thesequenceoftheprogramwillbechangedforthefollowing(un)previewedmotives:

____ ____ ____ Interpreters:AntnioArago,ClotildeRosa,E.M.deMeloeCastro,JorgePeixinho, ManuelBaptista,MrioFalco,SaletteTavares. Melo e Castro reports that Jorge Peixinho played violin with a firearm and drunk champagne from a bidet, Salette Tavares sang an aria to the cricricritic, Antnio Aragoplayedlyingdowninacoffin,andMeloeCastroturned1000Wattsspotlights ontothepublic.Theimprovisationwasincredible,aswastheexcitementand/orangerof thepublic.

198 199

FreeMoonlightAirSonata freeairopenair

95 Withthesamekindofprovocation,thegroupZaj200organisedonthe27thofFebruaryin Lisbon an exhibition of the artist Millares and a concert with works by Hidalgo, MarchettiandBarce. TherearealsoreviewsandmemoriesofanextraordinaryconcertinOportoin Aprilthisyear,withPeixinho(piano),GretaVermonlen(flute)andMrioFalco(harp). TheprogramwasDebussy's Syrinx, Elis byHolliger, Musicforpianon.1 byGilberto Mendes, Tre Pezzi Brevi by Norma Beecroft, the op. 19 of Schnberg, Symmetric Successions by Peixinho, Diagramme by Grecky, the flute Sequenze by Berio and CartridgeMusicbyCage.AswiththeconcertinLisbonayearbefore,thisonedivided thepublicintwoopposingparties,onedefendingthenewcontemporarymusic,theother notevenconsideringtheseeventsasmusicalperformances.201 TheGulbenkianFestivalwasdedicatedtothe20th anniversaryofthedeathofBartok. Bluebard's Castle, The Miraculous Mandarin and other works were played. The Kontarskyduoalsogaveaconcert,playingBartoks Sonata (withCaskelandHoezel) andpiecesbyStravinsky,StockhausenandBoulez(StructuresII) 202.Thereisalsoa reportofalectureonelectronicmusicbyEimert. OthermajoreventsinLisbon'scultural milieu wasaperformanceofMauriceBjart's companyinMayandaperformanceofKabukitheatre(S.Luistheatre)inOctober,also organisedbytheGulbenkianFoundation,whichhadarealimpactonthepublicandthe press.

ASpanishgroupofcontemporaryartistsofdifferentdisciplines,connectedwithJ.Cage,D.Tudor,neo Dadaist and Surrealist groups and artists. Some of the participants in Zaj performances (exhibitions, recitals,"concertparties","events",etc.)wereJohnCage,DavidTudor,WalterMarchetti,RamonBarce, JuanHidalgo,TomsMarco,AlejandroReino,ManoloMillares,JosCorts,ManuelCorts,Eugenio Vicente,etc.
200 201

Cf.ComerciodoPorto7/4/1965,andJornaldeNotcias,9/4/1965. Itisreportedthatthisconcertwasanenormoussuccess,theKontarskybrothersplayedtwoencores.

202

96
PORTUGUESE COMPOSERS AND MUSICIANS

InNovembertheDiriodeNotciasreportedthatRuyCoelhocontinuedhissuccessful careerabroad,withverygoodreviewsinthepress(TheTimes)andpraisedbysuch musicpersonalitiesasFalla,Cortot,RomainRolland,Clarendon,Dumesnilandothers. AntnioVitorinodeAlmeida,continuinghisstudiesinViennaandhadgreatsuccess withapianorecitalinAustria. lvaro Salazar started his military service (3 years). He managed to serve only in PortugalduetohisexperienceintheForeignOffice.ThisyearlvaroSalazaralsobegan topresenthismostimportantpiecesintheseandthenextyears:theseriesPalimpsestos (PalimpsestoI forpiano,scorelost,neverperformed, PalimpsestoII forflute,asmall piece close to the sound world of Damrstadt, using many unusual soun effects, PalimpsestoIIIforrecitante,voiceandchamberensemble,onlyfinishedin1974). lvaroCassutogainedhisconductingDiplomaattheViennaConservatory.Emmanuel Nunes continued to live abroad and developed his studies in Darmstadt with Pierre BoulezandHenryPousseur.Till1967hewouldattendcoursesintheMusikhochshulle Kln,compositionstudieswithPousseurandelectronicmusicstudieswithJaapSpek andHeike. ArmandoSantiagobeganteachinginLisbon(till1968).JorgePeixinhoalsobeganto teachcompositioninOportosConservatoryofMusic(until1966).Inthistownhewould alsohaveanextraordinaryinfluenceonyoungmusicians,asateacherandaperformer. In 1965 Maria de Lurdes Martins won the National Composition Prize (Gulbenkian Foundation)withtheOperaOEncoberto(TheHidden). FilipePiresappearedasapianistandorganiserofvariouscoursesofcompositionand musicalanalysisinPortugal(alsointheEstorilcourses).

97
TWENTIETH-CENTURY AND CONTEMPORARY COMPOSERS PERFORMED IN LISBON

Barce,Bloch,Boulez,Britten,HerbertEimert,Hidalgo,Jolivet,Marchetti,Stockhausen, Peixinho.

WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

MariadeLurdesMartins:TheHidden,operaforsoloists,choirandorchestra; CndidoLima:CanzoniLiricheforviolinandpiano(alsoflandp),Slowsongfor choirandpiano(PoemofF.Pessoa),HymnandSmallNocturneforpiano; JorgePeixinho: InhabitedHeart forvoice, Kinephonies (finishedin1968) for stringorchestraandtape; FilipePires:Perspectivesfor19instruments(aseriesof9tonesand9values 19musiciansdividedin3groups,thefirstand3rdboundtothe2ndbypiano andharp);

Year: 1966
Darmstadt: Ligeti, Stockhausen, Adorno, Brn, Kagel, 203 Manzoni,Schnebel,Metzger,MilkoKelmen,KarlKoch,Hans Helms,CarlosVeerhoff.

TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

OnemajoreventinJanuary1966wasthefirstperformanceofthenewballetgroupofthe GulbenkianFoundation.Togetherwiththechoirandtheorchestra,theywouldformthe basisfortheperformingartspolicyoftheFoundation,andastandardfordanceand musicinPortugal.

ThenextcomposersandmusicologiststookplaceinDarmstadtaslecturersintheCongressforNew MusicNewTheatre.
203

98 ThemostimportantmusicalnamesofclassicalmusicpresentinLisbonthisyearwere Seeman, Schneiderhan, Reine Gianoli, Miguel Angeles Estrella, the duo Kontarsky (playing classical and romantic music), Barenboim, the Amadeus quartet, Nikita Magaloff, Rudolph Serkin (a regular envitation of the Crculo de Cultura Musical), AlfredoKraus(alsoveryofteninS.Carlos),VladimirKrainev,SamsonFranois,A. Benedetti Michaelangeli 204, Cherkarsky, Moura Limpany, Paul Tortelier, Szering, JaquelineduPrandStephenBishop. The J.M.P. presented an orchestral concert (E.N. Radio Orchestra), directed by Joly Braga Santos, with works by Penderecki, (Threnody for the victims of Hiroshima), Ginastera, Cristobal Halfter, Cassuto (In Memoriam Pedro de Freitas Branco) and Peixinho(Sobreposies),withverygoodreviews 205.The ConcertinoinCMajor by Cassuto had its premire in April, with Helena Costa and the Gulbenkian orchestra directedbythecomposer. IntheGulbenkianFestivalGazzelloniplayedasasoloistwiththeorchestra.Butthemost importanteventinthisfestivalwasthepresenceofStravinsky,directing OedipusRex. TheGulbenkianpresentedalsoanewchildrensoperabyFrancineBenoit,206TheHunter andthePrincess. ThepianistNinaMarquesPereiraorganisedaFestivalofPortugueseMusicwithmany chamberconcertsofPortuguesecomposers(excludingavantgardeones). MerceCunnigham'scompanyperformedseveraltimesinLisbon,CoimbraandOportoin November accompanied by John Cage and David Tudor. On the 17th November the

204

TheselasttwopianistswereinPortugalalsofortheVianadaMottaPianoCompetition. Cf.DiriodeNotcias10/1/1966.

205 206

AFrenchcomposer,teacherandcriticlivingandworkinginLisbonformanyyears.Thiscomposerhad agreatinfluenceinthedevelopmentofcontemporarymusicbecauseofherwayofteachingthenew tendenciesofEuropeanmusic,ofhercollaborationwithLopesGraa,ofheractivityascriticandauthorin newspapersandmusicmagazines,andofhercontactswiththemostadvancedintellectualsinPortugal.Cf. GazetaMusical(1997,anoXXV,5srie,n.1):page5.

99 GulbenkianFoundationorganisedameeting(thathappenedtolastfor3hours) with thesetwomusicians. In1966therewasacelebrationofLopesGraa's60thanniversary,atwhichseveralofhis works(solo,chamberandorchestra)wereperformed.InDecember,duringanexhibition ofthePortuguesepainterVieiradaSilva,hewaspresentedwitharecordingofsomeof hispieces.

PORTUGUESE COMPOSERS AND MUSICIANS

TheOperaOEncobertoofMariadeLurdesMartinswasperformedintheGulbenkian FestivalinMay. InDecemberAntnioVitorinodeAlmeidapresentedhimselfintwosolorecitals,with extraordinarysuccess.Inthefirst,(intheFacultyofLetters),heplayedonlyhisworks: Sonatina,10preludes,Fantasy,Sonatan.2,MusicBox,andInterferedTarantella.Atthe endheaskedthepublicforatheme,andthenheimprovisedvariations(thethemewas thewellknownPortuguesefolkdanceOhMalho).Inthesecondrecital,besidesSousa Carvalho,CarlosSeixas,Mozart,Beethoven,Granados,AlbenizandFalla,heplayedhis RomanticStudyandCapricho. CndidoLimabeganhismilitaryserviceinGuinea(PortugueseAfricancolony,nowthe RepublicofGuineaBissau)thatwouldendonlyin1968.

TWENTIETH-CENTURY AND CONTEMPORARY COMPOSERS PERFORMED IN LISBON

lvaroCassuto,AntnioVitorinodeAlmeida,BorisBlacher,Britten,Cage,Cristobal Halffter,Henkmans,FrancineBenoit,Ginasterra,JolyB.Santos,Liebermann,Lopes Graa,MLurdesMartins,ManuelFaria,Peixinho,Penderecki,Varse.

100
WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

CndidoLima:Staticsongs(endedin1971)forviolinandorchestra; ArmandoSantiago:Symphonyforviolin,alto,cello,harpandpercussion; JorgePeixinho:DiaryofaMadman(afterGogol),musicfortheatre,cinemaand Multimedia,Situations66forensemble,TheHunchbackandtheShadow(after RaulBrando),musicfortheatre,directedbyErnestodeSousa; Filipe Pires: Partita 1953, version for string orchestra, Metronomia for flute, viola and harp, Study for percussion.

Year: 1967
Darmstadt: Becker, Brown, Ligeti, Pousseur Stockhausen, (ClotildeRosa,JorgePeixinho).

TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

At the beginning of this year, Lisbon hosted some major musical events: the Well TemperedClavier(firstbook)playedbyHelenaCostaandthenewOperaseason.Operas performedwereRussalkabyDvorak,Mozart'sMagicFlute,SiegfriedbyWagner,"Amor Industrioso" by Sousa Carvalho.207, Orfeo by Gluck, Gounod's Romeo and Juliet, Giordano's Andre Chenier, Norma by Bellini, The Masked Ball by Verdi, Madame ButterflybyPucciniandMassenet'sManon. TheflourishingmusicalseasoninLisbonhadthepresenceofPatane,AlfredoKraus, LorinMaazel,the Guarnieri quartet,ArturRubinstein,RobertCasadessus,PeterPears, Britten,ErnstHaeflinger,SandorVegh,Schneiderhan,VitoriadelosAngeles,Nelson Freire, Elizabeth Schwartzkopf, Francisco Mignone, Messiaen, Yvonne Loriod,

IngenuousLove,bythePortuguese18th/19thcentury'scomposerJoodeSousaCarvalho.ThisOperawas conductedbyFilipedeSousa.FilipedeSousawouldalsoin1967conductthe Requiem ofDomingos Bontempo.

207

101 Bashkiroff,PaulToretelier,SamsonFranois,Krainiev,Buchbinder,amongotherforeign musicians. Incontemporarymusic,ArmandoSantiagogavealectureonthe21st Februaryabout MusiqueConcrte,showingaperformanceofPierreHenry'sOrphe.Thefollowingday the Gulbenkian orchestra gave a concert with, among other works, Schnberg's TransfiguredNightandFilipePiresPartitatheworldpremiereofthestringorchestra versionofaworkoriginallyforpiano. InApriltherebegananother"IntroductionCoursetoContemporaryMusic",withFilipe deSousaandJorgePeixinhoaslecturers,organisedbytheGulbenkianFoundation.This FoundationintroducedaseriesofpremieresinitsannualMusicFestival,withworksby Joly Braga Santos (Concertant Variations), Cassuto (Brief Synphony III), Peixinho ("Kinetofonia"), Filipe Pires (Perspectives) Francine Benoit (Sequence, Choral and Ricercare"),CamargoGuarnieriandFranciscoMignone.Thisyeartheinvitedcomposer wasBenjaminBritten(WarRequiem);FranciscoMignonewasalsoinLisbon. AlsoinApril,anObjectLecturewasmadeinLisbon:thiswasahappeningwhereAna Haterly,actingaslecturer,wasinterruptedbyagroupofpoets(AntnioArago,Jos AlbertoMarquesandMeloeCastro)andthemusicianJorgePeixinho,whowereamong thepublic.208 InJuneFilipePiresgavearecitalinLisbonJ.M.P.withworksbySchnberg, StockhausenandWebern,amongothers. In September the Argentine avantgarde composer Alicia Tersian gave a lecture on Armenian music209. Later in November, Messiaen came to Portugal to hear his TurangalilaSymphonyplayedbytheE.N.orchestra.

208 209

Cf.MeloeCastro(1977):page59. Shewouldcomeinlateryearsasacontemporarycomposer.

102 Ruy Coelho, prized by the S.N.I 210, saw some of his works recorded in Spain. He reportedinareviewtheexpressivenessofMessiaen'swork,despitetheuseofavant gardemethods,"Becausetechnique,alone,isnotenough". TheGulbenkianFoundationinvitedaJapanesecompanytogivea No performancein Lisbon. Thisevent,whichfollowedthe Kabuki performance in 1965, also hadsome impactinLisbon'spublic,enhancingtheinfluenceofFarEastcultureinPortugal.

PORTUGUESE COMPOSERS AND MUSICIANS

TherewasanimportantannouncementatthebeginningoftheyearbytheGulbenkian Foundation about a new series of commissions for new pieces by: Armando Jos Fernandes, Croner de Vasconcelos, Joly Braga Santos, Constana Capdeville, Jorge Peixinho. ClotildeRosaandPeixinhowenttotheDarmstadtcourses,workingwithStockhausen (lectures on proportions). Cndido Lima recieved his piano diploma at the Lisbon Conservatory.InNovemberCro(mono)foniabylvaroCassutowasplayedforthefirst time.

TWENTIETH-CENTURY AND CONTEMPORARY COMPOSERS PERFORMED IN LISBON

lvaro Cassuto, Baird, Britten, Camargo Guarnieri, Filipe Pires, Francine Benoit, Francisco Mignone, Joly Braga Santos, LopesGraa, Messiaen, Peixinho, Schatt, Schnberg,Stockhausen,Webern,WernerEgk.

210

"GrandePrmioNacionaldeArte"GreatNationalArtPriseoftheNationalInformationSecretar.

103
WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

lvaro Cassuto: Cro(mono)fonia for 20 strings (first piece of a new free tonalitysymphonicperiod,afterthefirstdodecaphonicpieces); MariadeLurdesMartins:Divertimentoforwindquintet; Cndido Lima: Pauis for voice, violin and piano (first important avantgarde work,accordingtoastatementbythecomposer),Songsforvoiceandpianoand Songsfortheyouthforchoirandpiano; JorgePeixinho: Ensemble (aprojectwithStockhausen), Harmonics foroneor morepianosandecho,Nomosfororchestra,SynchronyObjectfortape.

Year: 1968
Darmstadt: Becker, Caskel, Karkoschka, Stockhausen, Ligeti, Dahlhaus,Helms,Stephan,(JorgePeixinho).

TRADITIONAL, MODERN AND AVANT-GARDE PERFORMANCES

Renata Scotto, Giusepe Tadei, Jennifer Smith, Kempf, Emilio Pujol, Itzak Perlman, Eschenbach, Julius Katchen, Karajan, Szering, Menuhin, Cathy Berberian, Bruno Canino,MishaDichter,Firkusny211,TerezaBerganza,Oistrach,Barenboim,Jacquelinedu Pr,Ashkenazy,Tortelier,NikitaMagaloff,FernandoLaires,RudolphSerkin,Elizabeth Schwartzkopf,LeonidKoganandtheCzectrioperformedinPortugal. The University of Lisbon promoted lecturerecitals, with Filipe de Sousa and Jorge Peixinho.Peixinhogaveanotherrecitalplaying,besidessomeofhisownworks,pieces bySchnberg,Webern,HolligerandGilbertoMendes.

Inaconcertorganisedbythe MocidadePortuguesa(thePortugueseYouthOrganisation).ThisYouth organisation promoted many concerts in this decade, with Portuguese and foreign musicians, mainly pianists.Theseconcerts werenotreallydedicatedtoavastyoungpublic,buttothe"normal"Lisbon public,especiallytheregimeofficialsandtheirfamilies.
211

104 The Academia de Amadores de Msica de Lisboa a private music school much influencedbythecomposerLopesGraaorganisedamusicanalysiscourse(from MarchtillJune)withLouisSaguer. TheGulbenkianFoundationpromotedanewcourse,anintroductiontomusichistory (the5th),givenbyJoodeFreitasBranco,andalsoissuednewcommisionstoPortuguese composers:JolyBragaSantos,FilipePires,ArmandoSantiago.TheGulbenkian'sMusic Festival,inthespring,hadasguestcomposer DariusMilhaud.Avisitbythegroup DomaineMusicaleconductedbyGilbertAmyandCathyBerberianwasexpected.Only CathyBerberiancameandgaveaconcertaccompaniedbyBrunoCanino,whereshe sang,amongothers,worksofBerio,Weill,Cage,AndriessenandsongsbytheBeatles. ThecriticAlexandreCoelho,intheDiriodeNotcias,referredtosomeoftheworksas "antimusic"212. RuyCoelho,sidebysidewithhiscompositioncareer,continuedhisactionasacriticof avantgarde.ReferringtoaconcertinMarchwhereworksofWebern(5piecesop.5)and Chostakovitch(Scherzo)wereputsidebyside,hewrote:
"Sotosee,inthesameprogram,the<<fivepiecesop.5>>of Webernandthe<<Scherzo>>ofChostakovitch,constituteda practicalexamplethatChostakovitch,acontemporarycomposer, didn'tneedatalltofollowthestyleandthetechniqueofWebern to be a modern composer. To be modern, after all, doesn't consistofusingcertainformulas"213

Other major events were the XXII International Congress of the Jeunesse Musicale organisedbytheJ.M.P.,thevisitofMauriceBjart's Balletdu20me Sicle214 andof
212 213

Cf.DiriodeNotcias31/5/68

"Colocar,assim,nomesmoprograma,as<<cincopeasop.5>>deWebern,eo<<Scherzo>>de Chostakovitch,constituramumprticoexemplodequeChostakovitch,compositoractual,noprecisoude maneiranenhumadeseguiroestiloeatcnicadeWbernparaserumcompositormoderno.Sermoderno, afinal,noconsisteemempregarcertasedeterminadasfrmulas".Cf.DiriodeNotcias14/3/1968.

214

ThepieceVariationsforaDoorandBreathofPierreHenry.

105 MargotFonteyneandNureyev.ThepianistNinaMarquesPereiraorganised,attheendof theyear,the2nd FestivalofPortugueseMusic,excludingagainthenewtendenciesof contemporarymusic.

PORTUGUESE COMPOSERS AND MUSICIANS

InthesummerPeixinhowentagaintoDarmstadtwherehetookpartinStockhausen's collectivepieceMusikfreinHaus. The pianist and composer Antnio Vitorino de Almeida, who had recently his compositionDiplom,playedhis1stpianoconcertoinLisbonwiththeE.N.orchestra. In1968Portugalsawthreeyoungcomposersandconductorsgoingaway:lvaroSalazar enteredthediplomaticcareer(till1972)andwenttoBrazil(RiodeJaneiro);Armando Santiago emigrated to Canada (Quebec) beginning a new career as a teacher (composition, ear training and conducting), composer, conductor, and education administrator(hewouldbedirectoroftheConservatoryofTroisRiviresandlaterofthe ConservatoryofQuebec);lvaroCassutobeganhisinternationalcareerasaconductor intheU.S.A,beingnominatedassistanttoLeopoldStokowski. Cndido Lima began to teach in the Conservatory of Braga and to attend the undergraduatecourseofPhilosophyattheCatholicUniversityofBraga. Filipe Pires won the Calouste Gulbenkian composition prize with the work PortugaliaeGenesis.Peixinho'swork, Re-loved Euridice, also in the competition, was specially commended by the Jury, which included Berio.

TWENTIETH-CENTURY AND CONTEMPORARY COMPOSERS PERFORMED IN LISBON

Berg,Andriessen,AntnioVitorinodeAlmeida,Berio,Cage,Engelmann,FilipePires, GilbertoMendes,Hashagen,Henze,Holliger,JolyBSantos,Link,Milhaud,Otte,P. Henry,Peixinho,Penderecki,Riedl,Schnberg,Stockhausen,Webern.

106
WORKS COMPOSED IN THIS YEAR BY PORTUGUESE AVANT-GARDE COMPOSERS

lvaro Cassuto: Frei Luis de Sousa for percussion, (music for the Almeida GarrettDrama,inaTVproduction),Canticumintenebrisforsoloists,choirand orchestra; Armando Santiago: La reine... symphonic scherzo for orchestra, Sonata 68 for flute, two pianos and percussion (a very complex work using many percussion instruments, in an avant-garde "para-serial" way); Jorge Peixinho: Musik Fr Ein Haus (collective project with supervision of Stockhausen, with Globokar, Messias Marguasca, Michel Portal, Tomas Marco, etc.), Re-loved Euridice for four voices, choir and orchestra, Four Seasons (Arnold Wesker), music for theatre, cinema and Multimedia for trompete, cello, flute, viola and harp; FilipePires: PortugaliaeGenesis for baritone,choirandorchestra,(Gulbenkian CompositionPrizein1968,aworkusingoldchurchmelodies,sometimesclose totheaestheticsofCarlOrff),FigurationsIforflute(thispieceismadewitha twelvetoneseries.Ithas26parts,beingthefirstwithall12notesandreducing tothe12thjustonenote).

M US IC

IN

P ORTUGAL

BETWEEN

1958

AND

1968:

AN OV ERV IEW

Between1958and1968,musicinPortugal,especiallyinLisbon 215,wassubjecttoan enormousdevelopmentduetoanincreasingnumberofconcertsandtothepresenceof moremusiciansandgroupsofaninternationalstandard.Infact,Lisbonbecamemore andmoreinthemiddleoftheinternationalclassicalmusiccircuit,wellservedinterms oftheworld'smostfamousoperasingers,concertpianistsandviolinists.

ThedatathatwascollectedforthisresearchreflectsmainlywhathappenedinLisbon.Infact,therestof thecountryhadnorelevanceconcerningcontemporarymusic.
215

107 The Opera Manyassociationsorganisedvariouskindsofmusicperformancesbetween1958and 1968.TheproductionsoftheS.CarlosOperaHousewere,asinthelastdecade,reserved tothehighsocietyofLisbon.Itfollowedtherepertoireofothermajoroperahouses (mostly traditional, with some national and/or contemporary pieces), and with well knowninternationalguestmusicians(AlfredoKraus,RenataScotto,GiusepeTadei,the conductorFrancoPatane,etc.).Portuguesesingerswerereservedforthesecondaryroles and the "Popular Season". After the renovation of the Trindade theatre in 1967, the productionsofthePortugueseOperaCompanysucceededthis"PopularSeason"ofthe Coliseu. These productions were controlled by the FNAT 216 and were aimed at the middle class public who couldn't afford (economically or socially) the S. Carlos productions.217

The Orchestras The main operatic season had its symphonic counterpoint in the Radio Symphonic OrchestraoftheE.N.andthePhilharmonicOrchestraofLisbon(directorIvoCruz).The SymphonicOrchestraofLisbon(directorFernandoCabral)producedwhatcanbeseen asthe"popularsymphonicseason".Thesetwolastorchestraswereconfinedtoavery conservativerepertoire,despitetheartisticmeritandtheinterestinPortuguesesoloists andsomeverytraditional Portuguesecomposers(e.g.RuyCoelho).The E.N. orchestra developed a big annual season and other specific productions with the collaborationof othermusicsocieties.Mostof therepertoirewasstandard, with the inclusion of some Portuguese and contemporary music (i.e. Penderecki, Messiaen, LopesGraa, Joly Braga Santos, etc.).. The level was according to reviews and

"FederaoNacionalAlegrianoTrabalho" (NationalFederationfortheJoyinWork),theregime's organisationfortheleisureoftheworkingclass,withmuchinfluenceinfolkloremusic(creationofa "national"floklore).

216 217

Cf.VieiradeCarvalho,Mrio(1993),page255.

108 personalstatementsveryhigh,continuingtheworkoftheformerlegendarydirector PedrodeFreitasBranco(18961963)218.

THE CALOUSTE GULBENKIAN FOUNDATION

TheCalousteGulbenkianFoundationfoundedin1956begantoorganiseMusic Festivalsin1957.ButthesupportoftheGulbenkianFoundationalsocoveredfinancial assistance to many events organised by other societies. The productions of the Foundationgrewinthe1960's,becomingthemostimportantorganiserandsupporterof musicalandofallkindsofartisticeventsinPortugal:concertswithitschamber orchestra and choir, concerts with foreign guest orchestras, conductors and soloists, chambermusicwithPortugueseandforeigngroups,nonwesternmusicperformances (Armenian and other Near and Far East cultures), modern dance companies (Merce Cunnigham,MauriceBjart,MarthaGraham),theballetcompany,etc. The Gulbenkian Foundation had also a large influence in Portuguese music for its supportofyoungartistsstudyingabroad.TheFoundationgavescholarshipstoyoung musiciansandcomposers,permittingmusicstudentsthecontactwiththemusicschools of their choice. These scholarships made possible to conductors and performers as lvaroCassuto,MosesSequerra,AntnioVitorinodeAlmeidaandMariaJooPiresand almostallcontemporarycomposerstostudyandmakecontactsinParis,Vienna,Rome, Darmstadt,etc.TheGulbenkianPrizesforcomposition,themanycommissionsofnew works to Portuguese and foreign composers219, the music courses (music history, contemporarymusic,instrumentcourses,OrffandWillemsmusiceducationmethods), thesupportofPortuguesemusicschools(thenewbuildingsoftheConservatoriesof AveiroandBragaweremadebytheFoundation,otherschoolshadvariouskinds of

PedrodeFreitasBrancowasagreatconductorwithaPortugueseandaninternationalcareer.Someof hisperformancesofmoderncomposersbecamefamous(Ravel,R.Strauss,etc.).
218 219

Cf.FondationCalousteGulbenkian(1998).Commandesd'OuvresMusicales.

109 financial aid) marked music in Portugal and helped to increase the enormous transformationsthatmusicsufferedinthe1960's.

The Musicians Aswehaveseen,theseorganisations,togetherwiththeJ.M.P.,the CrculodeCultura Musical,theSociedadeNacionaldeConcertos,theItalianandGoetheInstitutes220,and othermusicsocieties,managedtoinvitegreatperformersespeciallypianiststo Lisbon'smusicalseason.Infactmanyverygoodpianistsmostofthemalsobornin PortugalwerelivingandworkinginPortugalatthistime:HelenaCosta,Sequeira Costa,FernandoLaires221,NellaMaissa,SrgioVarellaCid,MariaHelenaAmadoda Cunha222,MariaJooPires,AntnioVitorinodeAlmeida,NinaMarquesPereira,Jos CarlosPicotto,etc.Andsince1957,SequeiraCostaorganisedinLisbonthe Vianada MottaCompetition, whichundoubtedlyenhancedLisbon'sappetiteforpianists.Other Portuguesemusiciansmusthaveaspecialreference:theconductorAntniodeAlmeida andtheviolinistsVascoBarbosaandMosesSequerra,whichhelpedtomakePortugal betterknownabroad. Unfortunately,itmustbesaidthatveryfewdedicatedmuchinteresttocontemporary(or anykindof)Portuguesemusic.Theexceptionsare,perhaps,theinterestofHelenaCosta inthePortuguesecomposersofhergeneration(herfatherLuisCosta,ArmandoJos Fernandes,CronerdeVasconcelosandLopesGraa).Alsonotablewasthededicationof Maria Helena Amado da Cunha to Portuguese and foreign contemporary repertoire. SequeiraCostawasdedicatedtohisteacherthepianistandcomposerVianadaMottaand NinaMarquesPereira,whoplayedconcertsandorganisedfestivalsinOportoandLisbon totally dedicated to Portuguese music. Some foreign musicians living in Portugal dedicatedpartof(orallof)theirworktothediscovery,thestudyandtheperformanceof
220 221

TheGtheInstitutemademanyconcertspresentingmodernandcontemporarymusicfromGermany.

LivingintheUSAsince1956.

WhoworkedinthefiftiesinclosecollaborationwithLopesGraa.Cf.GazetaMusical(1997,anoXXV, 5srie,n.1):page4.
222

110 thePortugueserepertoire.MacarioSantiagoKastner(harpsichordistandmusicologist) wasmostimportantinthestudyofthePortuguesebaroquemusic,NellaMaissa(an ItalianbornpianistwhoperformedmuchoftheworkofDomingosBontempo,Lopes Graa and many others), Francine Benoit (a composer, teacher and critic living and workinginLisbonformanyyearshadagreatinfluenceonyoungergenerationsinvolved in modernand contemporary music223) and Louis Saguer (notliving in Portugal but invitedmanytimes),acomposerandlecturerintheearlyyearsofDarmstadt,andteacher onseveralcoursesinPortugal1962and1968veryinterestedinPortuguesemusic, havingwrittenasmallbooklet"EmdefesadaMsicaPortuguesa"224). TheconductorsSilvaPereira,JolyBragaSantos,lvaroCassuto,andFilipedeSousa, following the tradition of Pedro de Freitas Branco, dedicated a great part of their repertoiretoPortugueseandcontemporarymusic.Thefactthatmostofthemwerealso composersisanimportantfactor.

Pop and Entertainment Music Simultaneouslywiththisgrowthinclassicalmusic,therewasangrowthinentertainment musicandjazz.Intheyearsbetween1958and1968theregrewthesocalledYeYemusic or "modern music" (referring to pop music) in competitions and performances, with extendedsignificanceinthesociety,radio,newspapersandmagazines.Alsoimportant werethesongsfor(orinthestyleof)theTVsongcontests(Eurovisionsongcontests), praised or feared by the political regime225. These TV contests (the Portuguese and variousEuropeancontests)mobilisedthepeopleandthemedia,makingpossiblea(still incipient)recordindustry.Alsojazztill1960onlyknownbyrecordingsandafew performancesbegantoappearmorefrequently,themostimportanteventsbeingthe
223 224 225

ShetaughtalsoEmmanuelNunes. InDefenseofPortugueseMusi.Saguer,Louis(1969).

Thiswascalledthe "Nacionalcanonetismo" (national singing),foritskitshstyleandcollaboration withtheregime.Butintheseventies,someofthepoemsofthesongshadapoliticalsense(codifiedin metaphorsbecauseofthecensorship)thatwasunderstoodtobeagainstthetotalitarianregime.

111 concertsgivenbyLouisArmstrongin1965,EllaFitzgeraldandDukeEllingtonin1966 andtheactivityoftheHotclub(aJazzclubopenedin1950).

PERFORMANCES AND THE PUBLIC

ApositiveevolutioninmusicalperformancescanalsobeseeninastudybyAntnio BarretoonPortuguesesociety226,whichshowsanincrease(almosttriple)inmusic,ballet andmusichallperformancesbetween1960and1968.

Performing Arts - music, ballet and music-hall

1000 800 600 400 200 0 1960 1961 1962 1963 1964 1965 1966 1967 1968

perform

public*1000

public/performance

Unfortunately,thegraphshowsthatthisincreasedidn'tmeanmorepeoplegoingtothese performances.Theculturaldevelopmentofthecountrydidn't,perhaps,coincidewith simultaneous social and economic development: there were more, new and better performances,butthepublicwasthesame,itsfunctionmorerepresentationalthan culturalinsocietywasalsothesame. The changes that occurred in this decade didn't have, in fact, much importance in Portuguesepeople'sdailylife.Nevertheless,IbelievethattheTVprogrammesdedicated tomusic,theRadioconcerts,thechangesinthemethodsofteachingmusicinsome schools227, the courses, performances and other actions in concerts, films, theatres, happenings andotherevents, theirpublicityinthemagazinesandinthenewspapers,

226 227

Cf.Barreto,Antnio(1996).

The teaching of the young composers in the conservatories and of new Orff, Willelms and Ward methodsinregularschools.

112 altogetherhelpedtoenlargethenotionofnewartandnewmusic,althoughconfined mostlytothemoreadvancedintellectuals. Despite the political enclosure of Portuguese politics, the country was socially and culturallyslowlyopeningtotherestoftheworld.Butmanyintellectualswerealready muchadvancedinexperiencingtheculturaltransformationsoccurredinthelastyears, someofthemlivingabroadanddedicatingthemselvestonewartforms,inopencontrast to the traditional institutions, and very far from what they saw as the domestic mediocrity.

THE COMPOSERS

The Portuguese leading contemporary composers were occasionally played by the differentorchestrasandsoloists.ArmandoJosFernandes,CronerdeVasconcelos,Artur Santos,IvoCruz,BertaAlvesdeSousa,ManuelFaria,VitorMacedoPinto,Fredericode Freitas,LuisCosta,CludioCarneyroandotherswereplayedjustafewtimesinthis decade(bysoloists,inchambermusic,butinveryfeworchestrapieces).Amongthe traditionalcomposers,RuyCoelhowasperformedconstantlyinPortugalandabroadand alsorecorded;hewaspraisedbytheregimewithmedalsandprizes.Thiscomposerand conductorwas,infact,aconstantintheS.CarlosOperaandinsymphonic(alsochoral

1958/68 - Modern and contemporary composers

20 15 10 5 0
Al ba Al n An va Be ro t. rg Vi to C as rin su o de to Al m ei da C ag Fi e lip e Pi re s H en Jo ze ly B Sa nt Lo os pe s G ra a M es si ae n Pe ix in ho Sc h nb St er oc g kh au se n W eb er n Ba rto k Bo ul ez Br itt en

113 symphonic)concerts(SymphonicOrchestraofLisbon):everyyearthereisareferenceto symphonicandchoralsymphonicpiecesplayedinPortugaland/orabroad;alsoin1960, 1964and1966newoperaproductionsofdifferentworkswereperformed. Amongmoderncomposers,therelevanceofthemusicofJolyBragaSantosandLopes Graamustbeconsidered,playedmanytimesbytheE.N.andtheGulbenkianorchestras, inchambermusicconcerts,bysoloists,choirsandintwooperas.And,fortheyoung generation,lvaroCassutoandJorgePeixinho,followedbyFilipePiresandAntnio VitorinodeAlmeida. Among the foreign composers, the performances of works by Webern, Schnberg, Stockhausen, Cage, Henze and Boulez were important, together with Messiaen and Britten,reflectingthetrendoftwelvetonemusicandtheDarmstadtSchool.
1958/68 - Different modern and contemporary composers performed 30 25 20 15 10 5 0 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968

Theevolutionfrom1958to1968mustalsobeconsidered.Thepictureaboveshowsthis increaseintermsofthenumberofmodernandcontemporarycomposersperformedin lisbon,showingsomeparticularyears:1961,1964and1968.

Portuguese Avant-garde music TheperformanceofavantgardemusicinPortugalmusicfromandaftertheSecond Vienneseschoolbegantobeseenintheearlysixties,intheperformanceofWozzeck (1959),intheconcertsofDallapiccola(1960),Messiaen,DavidTudorandStockhausen (1961),inthelecturesandreviewsofJoodeFreitasBrancoandinthemusic,thetexts

114 andthecommentsinconcertsofFilipedeSousa,MariadeLurdesMartins,FilipePires, lvaroCassutoandJorgePeixinho.Thesecomposerswerealreadycharacterisingwhat undoubtedlymarkedthisgenerationofthePortuguesemusicalavantgarde. ButtheseyearscorrespondalsotoenormoustransformationsinPortuguesepolitics,in society, in the economy and in other arts (Humberto Delgado elections, the lost of PortugueseIndiacolonies,theSantaMariaaffair,thebeginningofthecolonialwar,the Abrilada, the independent artists exhibition of S.N.B.A., the appearance of a whole generation of avantgarde painters and sculptors, concrete and experimental poetry, enteringEFTA,etc.). Intermsofmusic,threefactorshadamajorinfluenceonthewholedecadeandmarked thedevelopmentofPortuguesenewmusic. 1. First,theideasofJohnCagewerepresentedintheperformancesofTudorandof PeixinhoandtheperformancesofMerceCuningham'sDanceCompanyinPortugal. Theseideaswerediscussedwidelyinmagazinesandmusicsessions.Theopinionsof lvaro Cassuto an expert on twelvetone techniques against the extreme musicalapproachesofthisAmericancomposerarerelevant. 2. Secondly, the increasing information on electronic and concrete music, with Stockhausen,Eimertandthelectures(andmusicsessions)ofArmandoSantiago, JorgePeixinhoandJoodeFreitasBranco. 3. And,atlast,thepresenceofPortuguesecomposersinDarmstadtandothermusic centres,andtheirreturntoPortugalasteachers,ascarriersanddevelopersofthese newtechniquesandaestheticideas(FilipePires,Cassuto,Peixinho,MariadeLurdes MartinsandArmandoSantiago).Alsoothercomposersandperformers,whowould havesomeimportanceinthefutureofPortugueseavantgardemusic,appearedinthis decade: Emmanuel Nunes (a young composer living in Paris, already played by Peixinho in 1964), Cndido Lima (recently graduated from the Conservatory),

115 ConstanaCapdeville(graduatedandheardin1964),ClotildeRosa(alreadyaknown harpist,takingpartinmanyavantgardeeventsandbeginningtostudycomposition withPeixinho),lvaroSalazar(activeasaconductor). Somecharacteristicswerealreadyconspicuousinthisemergingavantgardegeneration: some(sometimesfaint)oppositiontotheoldergenerations(fromtheacademic teachersoftheConservatorytothemodernLopesGraa). agreatinfluenceofthenewtechniquesandideascomingfromabroad;firstof alltwelvetone,thanserialism,experimentswithnewsounds,newgraphicsin musicandchancetechniques; astronginterestinelectronicandconcretemusic; themixtureofcomposingandperformingorothercareers,oneofthemevenfar fromthemusicalworld(FilipedeSousaconductorandpianist,Mariade LurdesMartinsschoolmusicteacher,FilipePirespianist,lvaroCassuto conductor,Peixinhopianist,lvaroSalazarconductoranddiplomat, CndidoLimapianist;ArmandoSantiagomusicologist); thechoiceofanindividualpathinmoderncomposition,absorbingtheinfluence ofsomeofthenewmusicaltechniques(sometimesscarcelylearnedinsummer coursesandselfeducation),excludingothersmoreextremeormoretraditional, and assuming slowly an autonomous evolution, apart from other fellow composers,groupsorschoolsofcomposition. Infactthesecomposers,perhapsbecauseoftheirdifferentcareersasstudentsinPortugal andabroad,oroftheirdifferentinterestsinmusic,neverformedagroupaschool with similar characteristics. Their attitude towards their fellow composers was very tolerantandhelpful,performingtheircolleaguesworks(Peixinho,Cassuto,FilipePires,

116 FilipedeSousa,EmmanuelNunes),buteachofthemformedakindofshell,sometimes withtheirownideas,aesthetics,techniques,friends,public,followers,eveninstitutional interests,thatpreventedanyaestheticunion.OnlyintheseventieswouldtheGMCL (directedbyPeixinho)havesomerelevanceinbringingtogethersomeofthePortuguese avantgardecomposers. AsfarasLopesGraaisconcerned,despitehisenormousmusicalknowledgeandhis leadingpositionasamoderncomposerandasademocratinopenoppositiontothe regime,somenewcomposersconsideredhimaconservative(neoclassic),becauseofhis criticismof thetwelvetonesystemandbecauseofhisdefenceofamusicbased on Portuguesetraditionsofanykind. Thetimewasnotfortraditionalmusic,orevenincreatingaspecificPortuguesemusic: the avantgarde wanted to be part of the European evolution, to participate in the developmentofnewtechniques,towhichPortuguesetraditionasanyotherEuropean tradition had no relevance. As in visual arts, they didnt want to be Portuguese composersbutavantgarde,new,moderncomposers.228Nevertheless,theesteemofall theyoungergenerationforLopesGraaspersonalityandhisworkstayedunchanged229. Other composers Filipe de Sousa, Maria de Lurdes Martins, Filipe Pires, even Cndido Lima to acertain point feltalways somehow bound to their Portuguese teachersintheConservatory(ArturSantos,CronerdeVasconcelosandArmandoJos Fernandes),despitetheveryconservativeprogrammesandwaysofteaching230.Inmy view, when the new composers faced the emerging new music, they became very impressedandtriedsomeofthosenewmusicalandestheticalprinciples.Butsomeof thembecamealsonostalgicforamusicallanguagetheywouldleavebehind,alanguage thatwascodifiedandunderstoodbyeveryoneandthattheyhadalreadymastered.The

228 229 230

SeeLopesGraa,Fernando(1973):pages68and304. SeeVieiradeCarvalho,Mrio(1988):page31. Cf.interviewwithMariadeLurdesMartinsinArteMusical(1998n.10/11).

117 peacefulandpredictableworldof(neo)romanticand(neo)classicmusic:theworldof ArturSantos;CronerdeVasconcelosandArmandoJosFernandesbasedontraditional harmonyandclassicalforms,sometimeswithapopularPortuguesecolour,supportedby thesocietyand(poorly)enhancedbytheregime;thePortuguesesimplewayoflifeas itwasunderstoodbySalazar.231 Someofthenewcomposersonlypartiallystudiedthe newtechniquesthat,inthemiddlesixties,werealreadybeingputinquestionsbynew composers,evenbynewstatementsbytheDarmstadtcomposers.Thereforetheinterests ofthesecomposersstayedalwaysapartfromanyavantgardegroup,tryingtoreconcile traditional, twelvetone, serial and the most novel means of composition in a very personalway. Onecomposerseemedtobelostintheaestheticchangeoftheseyears.FilipedeSousa alittleolderthantheothers(closertothegenerationofLopesGraaandJolyBraga Santos)hehadalreadybeenabroadtostudy(1954)andcouldn'tquiteembracethe newideasthathehadtheopportunitytolearn.Inthe1960's,hewrotenopiecesusing twelvetoneorotheratonaltechniques232.Buthisdedicationtocontemporarymusicwas very intense, as a TV music director, and especially as a pianist and a lecturer on contemporarymusic. Someofthenewcomposerswerealsoactiveinsocialmovement.ProminentwasJorge Peixinho,activeamongagroupofartists(painters,sculptors,poets,andperformers)that influencedavantgardeartinPortugal,workingfortheatre,happenings,exhibitions,etc. SomeofthemwerealsoactiveinoppositionpartiesEmmanuelNunes,declaredhe wasamemberoftheCommunistPartyintheearly1960'ssomeotherstookpartin

Infact,asalreadyexplained,thePortuguesesocietyanditsinstitutionswereonlyinterestedinsome verytraditionalrepertoire:theXIXcenturysymphonic,operaticandthevirtuosolikerepertoire.Butitwas notactiveagainstnewmusic:theyjustignoredit.

231

Therearesomereportsthatheburnedmostofhisold(neoclassical)scores.Laterhewouldcompose twopiecesusing thesetechniques: Monlogo forviolinandtaperecorderand Caleidoscpio forsolo violin,bothfrom1981.

232

118 culturalandsocialeventsthatwerestronglyagainsttheregime233.Infact,newartand democratic events were very close, many times organised and attended by the same people.

Itseemsthat1968isawatershedinPortugueseandworldhistory:Salazar'saccidentand the emergence of the new Portuguese PrimeMinister Marcelo Caetano, the student unrestsinPortugal,FranceandU.S.A.,theoccupationofCzechoslovakiabytheRed Army,thepreparationsatN.A.S.A.forthevoyagetothemoon(in1969).InPortuguese music, three composers of this young generation, for various reasons, stayed out of Portugal for some years: Armando Santiago moved to Canada where he had much success(hewascompletelyforgottenbythePortugueseinstitutions);lvaroCassuto begantoworkasaconductorintheUSAandhiscomposingcareerbegantofade;lvaro Salazar, still more a conductor than a composer, went to Brazil as a diplomat. The influenceofthesetwomusicianswouldbeimportantinthemiddleseventies,thefirstas aconductorandthelastasacontemporarymusicorganizerandconductor,andasa compositionandanalysisteacher. If, in Portuguese avantgarde music, 1958 till 1968 was, perhaps, the decade of the receptionofavantgarde,withtheemergenceoflvaroCassuto,FilipePires,Mariade LurdesMartinsandJorgePeixinhoasleadingnames,thenextyearswouldbemarked undoubtedlybythealreadyveryinfluentialpersonalityofJorgePeixinhoandthe emergenceofhisGMCL(theContemporaryMusicGroupofLisbon).

Therearereportsoftheparticipationofyoungcomposersinculturalandpoliticaleventsthatcaused unrestandthereforethepoliticpersecutionoftheregime.
233

119 C ONTEMPOR ARY

MUSIC A FTER 1968

From 1969 to 1974 After 1969, the number of performances of contemporary music steadily increased. Manyinstitutionsweremoreinterestedincontemporarymusic,whichfollowedthetrend ofmoredevelopedcountriesinEurope. Itwas,infact,awidemovementofchange,ofexploringnewwaysofexpression,that embracednotonlycontemporarymusicbutalsoJazz(thefirstbigjazzfestival,Cascais Jazz, was in 1971), Rock (still insipid in Portugal), baroque music on original

1958/73 - Different contemporary composers performed 50 40 30 20 10 0

58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 73

instruments,theatre,poetry,cinemaandvisualarts.

THE GULBENKIAN FOUNDATION

TheCalousteGulbenkianFoundationassumedmoreandmoreofaleadingroleinthe developmentofcontemporarymusic.Supportwasgiventocomposers(performances, scholarships,compositionpricesandcommissions)andtoperformersofcontemporary music(totheG.M.C.L.,lateralsotoCndidoLimasMusicaNovaandlvaroSalazars OficinaMusical).Theysponsoredalargenumberofevents(concerts,conferencesand courses) and invited leading composers and performers (Stravinsky, Cage, Messiaen, Milhaud,Berio,Britten,PierreSchaeffer,Xenakis,CathyBerberian,VinkoGlobokar, Stockhausen,CristobalHalffter,ClaudeHelffer,Kontarsky,etc.).Allthisdemonstrated theinterestoftheadministrationinthedevelopmentofcontemporarymusic.

120 ThecomposersthatplayedintheGulbenkianFoundationbetween1969and1973were: 1969: Berg, Alicia Terzian, C. Capdevile, Ives, Filipe Pires, Messiaen, Penderecki,Webern,Xenakis; 1970: 4 curso, lvaro Cassuto, Astor Piazzola, Ives, Halffter, Edwin Dugger, Fortner,Henze,JHorowitz,JolyBSantos,LopesGraa,MariusFlothius,P. Schaeffer,Penderecki,Schnberg,Webern; 1971:lvaroCassuto,Capdevile,GuntherBecker,Henze,LopesGraa,Ligeti, MarlosNobre,Peixinho;PereiraLeal; 1972:AlvaroCassuto,AndreAlmuro,Berio,Boettner,Boulez,Capdevile,Cage, Claudio Santoro, Filipe Pires, Joly Braga Santos, Kagel, Maria de Lurdes Martins,Peixinho,Penderecky,Schnberg,Stockhausen,Stravinsky,Webern; 1973: Berg, lvaro Cassuto, Aperghis, Berio, Boucourechliev, Cage, Halftter, EmmanuelNunes,Rzewsky,Henze,JoanaBruzdowicz,Kabelac,LopeseSilva, Maria de Lurdes Martins, Ohana, Maderna, Martinu, Peixinho, Scherchen, Schnberg,Serocki,Tabachnik,Taverner,Webern,Xenakis. ItisevidenttheimportancegivenbytheGulbenkianFoundationtotheDarmstadtand postDarmstadtcomposers.

Years 1969 1970 1971 1972 1973

Composers invited and performed in the F.C.G. Messiaen(inLisbon) PierreSchaeffer(GRM,inLisbon) Peixinho,lvaroCassuto Berio,Stockhausen Xenakis (in Lisbon), Emmanuel Nunes, BrunoMaderna,Peixinho

TheactivitiesoftheFoundationbecameveryintenseanditsinfluenceinPortuguese societybecamesopowerfulthatitsinterestwasalsoseenasa(successful)plantocontrol theproductionofmusicinPortugal.MadalenaPerdigo,founderand directorofthe musicservicesandwifeofthepresidentoftheFoundation,hadastrong,demanding, evenauthoritarianandcertainlycontroversialcharacterdespiteherloveformusicand

121 musicians, her extraordinary working capacity and her progressive ideas234. The FoundationwasthebestemployerformusiciansinPortugal(thebestsalaries,thehighest artisticlevel,thebestproductions)andthepromoterofthemostimportant(thebiggest) events. Thissaid,theparticularinterestsoftheFoundationdidn'talwaysmatchtheinterestsof themusicians,anddidn'talwayscorrespondtothesomeofthemoreadvancedcultural andpoliticalneedsofadevelopingsociety. Asreportedinprivateconversations,the composer,ArmandoSantiagoemigratedtoCanadain1968becauseofaconflictwith MadalenaPerdigo.HecompletedhiscompositionstudiesinRome(withascholarship of the Gulbenkian) and became a (poorly paid) musicology researcher for the Foundation; after his resignation and emigration to Canada in 1968 his name was forgottenbythesameGulbenkianFoundation(theprivateandunique"CultureOffice"in Portugal). ThemaincriticismintheseventiesoftheGulbenkianFoundationanditsmusicservices refereedtheunequaltreatmentgiventoforeignandPortuguesemusicians,thestrictrules fortheorchestramembers,theconventionalprogrammesandconcertproductions,the conservativepolitics,andthepoweroftheFoundationovercultureandmusic.Manyof thecriticismswerereportedinnewspapersafter1970,especiallybyMrioVieirade Carvalho, which led to some controversy235. These conflicts forced musicians to a difficult ententecordiale thatpermittedthemtodeveloptheirownactivitiesandideas outsidetheGulbenkianand,atthesametime,totakepartandtocollaboratewiththe Foundation,itsstrictrulesandtoprofitfromitssponsorship. But, despite all the criticism, the influence of the Foundation in the seventies on contemporarymusicevenonallPortuguesecontemporaryartwasveryimportant:
In the seventies she was also leading the reforms of music teaching in the conservatories for the government.Thesereforms,initiatedaround1971,arestillmarkingPortuguesemusicteachingpracticeand itsstructures;thelastmusiceducationreformstillinpracticecontinuesthepolicyofMadalenaPerdigo.
234 235

SeeVieiradeCarvalho,Mrio(1974).

122 itseconomicpowerandthequalityoftheproductionswereareferencepointandatarget forallPortugueseartists.

1969/74 CONTEMPORARY MUSIC-MAKING AND PORTUGUESE COMPOSERS

Otherorganisationscontinuedtoperformandpromotecontemporarymusic:theJ.M.P. (Portuguese JeunesseMusical),theE.N.SymphonyOrchestra,the CrculodeCultura Musical 236,The AcademiadeAmadoresdeMsica, theUniversityofLisbon,andthe German,French,ItalianandBritishEmbassiesandCultureDepartments. AlistofthemostplayedcomposersinLisbon(numberofworks/monographicconcerts) showstheimportanceofPortuguesecomposers suchas JorgePeixinho,FilipePires, LopesGraaandlvaroCassuto237.

Composers played in the "Encounters" 10 8 6 4 2 0

A. Berg Scelsi E. Nunes H. W.Henze C. Capdeville Clotilde Rosa Lopes e Silva J. Villa-Rojo Schoenberg Filipe Pires F. Eldoro L. de Pablo Messiaen J. Peixinho Boucourechliev B.A.Zimmermann Cristobal Halffter Tristan Murail Stockhausen Paulo Brando Tomas Marco M. Constant Xenakis J. Cage Bozay Schwarz

236 237

"MusicCultureCircle",aprivatemusicorganisationpromotingconcertsinLisbonandOporto.

lvaroCassuto,althoughcontinuingtoappearasacomposer,wasmostlyaconductor,invitedmany timesbyPortugueseOrchestras.

123 Amongothers,theperformancesofthesecondVienneseschool(Schnberg,Bergand Webern) togetherwith Stockhausen andXenakisare relevant.It isalsoimportant to notice that two new Portuguese composers appeared: Constana Capdeville (3 performances)andEmmanuelNunes(4performances). In1971,amuchneglectedcomposerwasreferredto,RuiClementePaz,whowentto studyintheParisConservatory238.AlsointhesameyearPereiraLeal,afutureemployee anddirectoroftheGulbenkianFoundation,appeared(forthefirstandonlytime)asa composerusinggraphicnotationonacontemporarymusiccourse.In1973,thefirstpiece byLopeseSilva "Dialog" forguitarandharpwasperformed239.JorgeLimaBarreto, workinginOporto,maderelevantcontributionsduringthistime,asaperformerand improviserathappenings240. The creation of the GMCL in 1970 was, in fact, very significant for Portuguese contemporarymusic.Thisgroup wasformedbyanumberof musicianscongregated aroundJorgePeixinho,whowerealreadyforseveralyearsplayingtogether,improvising and experimenting with the personal support of Madalena Perdigo and the music serviceoftheGulbenkianFoundationwhichshedirected.Thegroupwasestablishedin 1970foraseriesofconcertspromotedbytheGulbenkianFoundation.Theactivitiesof its members were not only as performers but also as cocreators, developing their knowledgeofcontemporarytechniquesandevenemergingascomposers.Thecomposer ConstanaCapdevilletookpartinsomeoftheevents.TheguitaristLopeseSilva(1973) and the harpist Clotilde Rosa (1974) were initially performers, developed their own composingcareersfromthiscollectivepracticeintheGMCL,inclosecontactwithJorge Peixinho.
RuiClementePazlivesandworksinEssen,Germany.Hisworkasacomposerisconcernedwith multimedia,theatreandinthecreationof(musical/object/multimedia)installations.
238 239 240

LopeseSilvawasaguitaristwhoworkedwiththeGMCL.

JorgeLimaBarretowasimportantasamusiccritic,asaminimalistandanexperimenterwithdifferent techniques.Heisstillveryactiveasamusician(freejazz,electronics,improvisation,etc.)andasamusic critic.

124 The work of Portuguese composers was also concerned with educational matters, developingcourses,lectures,concertswitheducationalpurposesandinmagazinessuch as Arte Musical and Colquio Artes. The more advanced composers were already spreadingavantgardeideasandtechniquestotheintellectualmilieuinLisbon,tothe youngergenerations,eventooldercomposerswhocontinueddowntheirownpath.In 1972,thereisareportintheDiriodeNotcias241announcingthatFilipePireswasgoing toteachcompositionandelectroacousticmusicintheNationalConservatoryofLisbon. Thismeantthatthenewgenerationwerealreadybeinginstitutionalisedandabsorbedby traditionalinstitutions. After1969,differentcomposersdevelopedtheircareersindifferentways: FilipedeSousa appearedasaconductor,asamusicologistandasapianist,often withJorgePeixinho.HewasalsoaproducerforPortugueseTV,havingmademany programmeswithLopesGraa,StockhausenandPeixinho.Hiscompositioncareer stoppedattheendofthefifties. MariadeLurdesMartins wasmoreconcernedwitheducation,developing Orff Schullwerk andmoremodernviewsaboutmusicinschools.In1970,shewentto Kecslmt,Hungary,tostudyKodalysmethods.ShewontheGulbenkianPrizein 1971(Litoral)andbeganteachinginLisbonsConservatory;in1972shefoundedthe APEM(PortugueseAssociationforMusicalEducation). ClotildeRosawasaharpistwhowasveryinterestedandinvolvedwithcontemporary musicespeciallyattheGMCL;shewouldbegintopresentherworksin1974; lvaroCassutocontinuedapromisingconductingcareerinPortugalandabroad.In 1969hewontheKussevitzkyPrizeattheTanglewoodFestivalandin1970thePress PrizeinLisbon(Operaconducting).HewasthennominatedsubdirectoroftheE.N. SymphonyOrchestrainLisbonandin1974hewenttotheUniversityofCaliforniaas orchestradirectorandProfessorofMusic. lvaroSalazarwasintheDiplomaticCorpinBrasilfrom1968untilheresignedin 1972; he began to teach at the Lisbons Conservatory. From 1973 until 1976 he studiedelectronicmusicattheGroupdeRecherchesMusicalesinParis,conducting atthecoleNormaleandanalysiswithGilbertAmy. Armando Santiago, has lived in Qubec, Canada, since 1968, where he taught composition and conducting at the conservatory of Trois-Rivires. From 1974 until 1978 was director of this conservatory and then professor in Quebec's Conservatory;
DiriodeNotcias17/12/1972.

241

125 FilipePires wasacompositionteacheratOporto'sConservatory.From1973until 1975 he taught at the Lisbons Conservatory, from 1972 until 1974 he was also directorofthemusicdepartmentofthisinstitution.HewasatDarmstadtin1969,and attheO.R.T.F.from1970till1972; CndidoLima taughtcompositioninBraga'sConservatoryfrom1968until1973 (directorin1972and1973).HecompletedthecompositionDiplomawithFilipePires ashisteacheratOportosConservatoryin1970whereheimmediatelybegantogive lessons.HewasatDarmstadtin1970and1972; JorgePeixinho.AfterhavingtaughtinOporto'sConservatory,hewasinvolvedin contemporary music courses, especially at the Gulbenkian Foundation. After his experiencein1967and1968withStockhauseninDarmstadt(Ensemble and Musik fr ein Haus collective piece) he began to encourage similar experiences in Portugal.HewasdirectoroftheGMCLfromitsfoundationin1970alsobeginning an international career both as a soloist and with his group, including works of Clotilde Rosa, Lopes e Silva and Constana Capdeville. In 1972 Jorge Peixinho workedinBelgiumattheIPEMstudioofGant(withascholarshipfromtheBelgium Government). In 1974 he won a composition prize awarded by the Gulbenkian Foundation; EmmanuelNunes.From1970until1974hestudiedattheSorbonne(Paris)writinga thesis on Webern. In 1971 he had the Premire Prix in Aesthetics at the Paris ConservatoryandwasgivenaspecialscholarshipbytheGulbenkianFoundation. From1976until1977hetaughtattheUniversityofPau(France)andin1978and 1979hewasComposerinResidenceinBerlin(DAAD). ConstanaCapdevillewasheardforthefirsttimein1964;shecollaboratedwiththe GMCLandbecamecompositionteacherattheConservatoryinLisbon.Later,she becameinterestedincombiningmusicwithdifferentartformsinmusicaltheatre, especiallyinherownmusictheatregroups.

1974 and the years after the Revolution

In a cultural life submitted to politics, () freedom of speech wouldntbeacomfortforall,norahope.Itwouldconvertitself easilyinatranspositionofpoliticallifeintotheworldofculture.
242

TheimpactoftheRevolutiononcontemporarymusicisyettobeunderstoodintermsof themusicallifeinPortugal.Itisimportanttosaythatfreedomgaveanewlifetothe
Numavidaculturalsubordinadavidapoltica,odiscursoculturaldopoder(...)noserparatodos umconforto,nemumaesperana.Transformarsecomfacilidadenatransposiodavidapartidria paraomundodacultura,inDionsio,Eduarda(1993):p.178.
242

126 transformations in new music especially in terms of a more open and profound discussion.Butthesediscussionsbecamethenunderminedbyimmediatepoliticaland socialmatters,andwereignoredbythemediaandpublicinstitutions,notinterestedfora longtermculturalpolicy. DuringthefirstmonthsandyearsaftertheRevolutionthemainthemestobediscussed andputintooperationwere: 1. Atapoliticallevel,thefreedomofspeechandpresentationimportantinterms ofsongsandmusicwithpoliticalconcerns,andinEasternEuropeanmusicand musicians;243 2. Ata professional level tocreate democratic trade unions of musicians, to reformanddeveloptheorchestrasinordertocreatebetterworkingandartistic conditions and to develop more opportunities for musical performances (new orchestrasandsupportofothermusicgroups).Thisalsomeantthereformof National Radio (E.N.) and of the Gulbenkian music service (directed by MadalenaPerdigo),institutionswherethemainorchestraswerebased; 3. Ataneducationalleveltocreatenewinstitutionsandtoreformtheolderones (conservatories). To renovate programmes and curricula (this meant also the resignation of Madalena Perdigo who was heading the commission for the reformofartseducation); 4. Atanaesthetic/socialleveltodeveloptherelationshipbetweenart,musicand thepublic,especiallycontemporaryart.Toquestiontherelevanceofthemarket (thetraditionalproductionentitiesandthetraditionalpayingpublic)inmusic creation.Animportantthemewasalsothebalancebetweenentertainment,pop,

MauriceBjart,pushedoutofthecountryin1967bythepoliticalpoliceduringtheperformanceofthe BalletsduXXmeSicle,cameagainwithRomeoandJulietandstayed3daysatthebigColiseu.
243

127 folkloreandclassical/contemporarymusicinthemediaandinpublicproductions (usingpublicgrants); 5. Atasocialleveltoputintoactionaseriesofprojectsinvolvingtraditional music (folklore), concerts and educational programmes (especially in the undevelopedinterior)andtocreatetherightconditionstodevelopmusiccentres, groupsandschoolsintheinterior(culturaldecentralisation).244 Lisbon'sconcertlifecontinuedin1974and1975asinpreviousyears,withtraditional opera,concertandballetseasons,includingmoremusiciansfromEasternEuropeand, duetobudgetcuts,withfurtherfundingdifficultiesincontractingexpensiveproductions fromtheWesternEuropeanmarket.Thetraditionaloperaandconcertseasonhad,infact, beenlesspopular,asthetraditionalupperclassesthatsupportedtheseproductionsflew toSpainandBrazilorstayedathomefrightenedofmassmovements.But,intheseyears of 1974/75, many other concerts with orchestras, chamber groups and choirs were successful due to the involvement and the participation of different institutions and public sectors (students, the middle classes, younger people, newly politicised intellectuals).Theseprogrammesincludedcommentsbyfamousmusicologistsandnew piecesandcomposerswereheardbyawiderandculturallyhungrypublic(alsomodern, contemporaryandearlymusic).245 The influence of the Portuguese Communist Party already with strong cultural (underground)structuresbeforetheRevolution wasverypowerfulduringthistime: thepartyandothersmallerleftwingpartieshadmanyartistsandmusiciansasmilitants, engaging themselves in all cultural matters. Many technicians and middlelevel employees in government cultural offices were also Communist Party members, influencingstronglyculturalpolicy;infact,many(perhapsthemajority)ofthemost importantmusiciansinPortugalwere,atthattime,Communists.
244 245

SeeCDE(1973),andDionsio,Eduarda(1993)pages148andfollowing.

SeeDionsio,Eduarda(1993):pages214andfollowing,p.232andp.258.

128 FernandoLopesGraa,Portugalsmostimportantlivingcomposerandamodelinterms ofthestruggleagainsttheregime,wasalsoamemberoftheCommunistParty.Afterthe Revolutionin1974hebegantobepopularisedalloverPortugalandtookpartinmany importantmusicalevents.Butafter1976,hewouldberegardedsimplyasacommunist composer (the epithet Portuguese Bartok was more a recrimination than a critical statement).Hisworkbecame,inmyopinion,toomuchconnectedwiththeCommunist Party and leftwing productions. He was, therefore, neglected by the institutions, musicians and the less conscientious public, and not honoured and regarded as the greatestlivingPortuguesecomposerofhistime.246 TheRevolutionwasveryimportantandfruitfulinmanyways,particularlyincultural terms.Yet,someofthetransformationsinmusicthatwerealreadybeingputintoaction beforetheRevolutionhavebeenreversedintherevolutionaryyearsof74and75.They wereforcedtostoportransformedbypoliticaldiscussionsforvariousreasons:thepolicy and influence of the parties, the unfruitful discussions about popular and bourgeois culture247,theinvolvementofmusiciansandcomposersin,perhapsmoreimportantissues otherthanmusic.Thefinancialcrisisintheseandthefollowingyearsalsohelpeda concentration of the most important contemporary music events at the, superficially untouched,GulbenkianFoundation. The step back was visible especially in music education: the reforms of Madalena Perdigo,activesince1972asapedagogicexperience,stopped;LisbonsConservatory closed;musiceducationstructures(curricula,programs,etc.)remainedundevelopedfor almostadecade.JustpriortotheRevolution,atthebeginningof1974,areportwas
Curiously,thisroleofnationalcomposerwas,after1976anduntilrecentyears,evidentlynotoccupied byanylivingcomposer,demonstratingalackofsupportandofinterestforcompositionbytheinstitutions, moreinterestedinthefashionableculturefiguresthanincultureitself.Perhaps,EmmanuelNunes(more than the irreverent Jorge Peixinho), supported by the Gulbenkian Foundation and internationally recognised,wouldbeseenintheninetiesasapossiblenationalcomposer,butifso,onlyamongarestricted group of informed persons. Only in 2000 would he have the highest cultural prize in Portugal, the FernandoPessoaPrize.
246

TheChineseCulturalRevolutionandtheoldquarrelsbetweenavantgardeandneorealismdefenders werenotfarfromthesediscussions.
247

129 publishedannouncinganewPianoandanewMusicologyCoursesattheConservatory ofLisbon,tobeimplementedatuniversitylevel.Thesehighercourses,previewedin 1972,onlybeganin1980(Musicology UniversidadeNova ofLisbon)andin1987 (performanceandschoolmusicintheHigherSchoolsofEducationandofMusic). Butanymusicalrevolutioniftherewasonewas,infact,duetotheappearanceofa new sound worldon radio and TV. Thiswas led bygroups and performers of pop, entertainment and jazz music (later, rock groups) and in particular by the music of CantoresdeInterveno(interventionsingers,chanteursengages).Thesesingerssang and played ballads and other simple songs accompanied by guitar, with an explicit politicalleftwingcharacter,influencedbyPortuguesefolklore,SouthAmericanmusic, Africanmusic,pop,rockandjazz.248 In1976,duetotheendofleftwinggovernmentsandthestabilisationofdemocratic institutionsinPortugal(constitutionalanddemocraticelectionstookplace),musicallife seemedtonormaliseandcontinuedwhatwassomehowbrokenbythe1974Revolution. CantoresdeInterveno(interventionsingers)gaveplacetopopandrockintheradios, musicandentertainmentbegantobeseenmoreasabusiness,classicalmusiclifetriedto surviveaneconomiccrisisvisibleinthebudgetcutsofpublicgrants,barelycopingwith eventsintraditionalinstitutionsinthedevelopedEurope. Notsurprisingly,theGulbenkianFoundationseemedtoquicklyprevailoverthesocial crisisofthepreviousyearsandtocontinuemusicaldevelopment,clearlyovercomingthe nationaleconomiccrisis.

CONTEMPORARY MUSIC MEETINGS OF THE GULBENKIAN FOUNDATION (1977-1979)

TheEncontrosdeMsicaContempornea249oftheGulbenkianFoundationassembledin afewweeksthedifferentcontemporarymusicproductionsthatwerebeingmadeduring
248 249

SeeDionsio,Eduarda(1993). ContemporaryMusicMeetings.

130 theGulbenkianFestivalandinotherconcertsallthroughtheyear.Thesemeetingsbegan in1977andstillcontinuetoday.TakingplaceinMay/June,theyarethemainforumfor hearinganddiscussingcontemporarymusicinPortugal. At first, with very little public support, the Foundation decided to give special scholarshipstoenablePortuguesestudentsfrommusicschoolsaroundthecountryto cometothemeetings.ButdespitetheeffortsoftheFoundation,andwiththeexception ofseveralmuchpublicised(and/orsocial)events,thesemeetingscontinuedtoattracta smallpublic. The Foundation's options and interests were demonstrated in the meetings with commissions, invitations for foreign groups/soloists and composers, concerts with Portuguese groups/soloists and conferences, lectures and workshops. The following pictures,showingthecomposersandnumberofpiecesplayedbetween1977and1979, revealthepoliticsoftheseEncounters:

Firstofall,therewasgreatinterestinPortuguesecomposers, clearlyseeninthe numberofperformancesofJorgePeixinho,ClotildeRosaandEmmanuelNunes.

Stockhausen,XenakisandtheSpanishcomposerTomasMarcowerethemostplayed (besides Peixinho). Providing evidence of the influence of Stockhausen on Portuguesemusic(directlyandthroughhisstudents)andalsoofXenakis(perhaps more evident in the relationship between music and mathematics, broadly documented since 1971, and in the use of electroacoustical means). The predominanceofthesecomposersin Encounters is,inmyview,aconsequenceof theirinfluenceinGulbenkianproductionssincethesixties.

Composers played in the "Encounters" 10

131
8 6 4 2 0

B.A.Zimmermann

Cristobal Halffter

Boucourechliev

Tristan Murail

Paulo Brando

T omas Marco

C. Capdeville

Clotilde Rosa

Lopes e Silva

H. W.Henze

Schoenberg

Filipe Pires

M. Constant

Stockhausen

J. Villa-Rojo

L. de Pablo

J. Peixinho

E. Nunes

A. Berg

F. Eldoro

Messiaen

AlsoevidentistheinterestoftheGulbenkianFoundationincomposersfromSpain: TomasMarco,LuisdePablo,JesusVillaRojoandCristobalHallfterwereallinvited, promoting contacts and exchanges between composers of the two neighbour countries,alreadyfruitfulsincethesixties.

TheimportancegiventoJohnCageandOlivierMessiaen,alreadyinvitedbythe Foundationonpreviousoccasions.

These Encounters served as a very broad demonstration of contemporary music techniques,composersandperformers,givingyoungpeoplethechancetobeintroduced to music from the great contemporary music centres of Europe. It was also an opportunityforPortugueseandforeigncomposerstoexchangeideasandperformance possibilities,andforyoungmusicianstolearnaboutnewtechniques(onperformance andcompositioncourses)andtodiscussnewmusicopenly. Butthe Encountersbroughtaboutthefusion,inasmallperiodoftime,of(almost)all Gulbenkian contemporary productions. They became a kind of ghetto for the avant garde, neglecting other smaller contemporary music productions (even of other institutions)andenlargingthegapbetweennormalconcertlifeandcontemporarymusic. TheinfluenceoftheseearlyEncountersandoftheGulbenkian'smusical(andaesthetic) policyisstillveryeffective.StockhausenandXenakishadacentralplaceinthenineties, manySpanishandforeigncomposersmostrplayedintheseyearscontinuedtobepresent

Xenakis

Schwarz

J. Cage

Bozay

Scelsi

132 at the following events, not only in the Gulbenkian but also in the repertoire of Portuguesecontemporarygroups.

133

CHAPTER II

THE PORTUGUESE DARMSTADT GENERATION

THE WORKS

134

Whatwewerelookingforwasnotsimplyafashiontobewornforasingleseason(...) butareallanguageandlongtermsolutionsofformalandlinguisticproblems.Some ofoursolutionswerenodoubtexaggeratedlystrictincharacter,adisciplinethatirked butrepresentedanecessarystage. Boulez,Pierre(1986):page446

Thischapterconsistsofaseriesofanalysisofpianopieces,which,inmyview,arethe mostrepresentativeofthecomposerspianoproductionintheseyears.

Analysisof
1959 1959 1969 1969 1970 1971 1973/74 1977 1979 1980 Sonatina FiveSmallPiecesforPiano MmoiredunePrsenceAbsente FigurationsII Sonoritperunpianista LitaniesduFeuetdelaMerII Meteorites VariedSong ProjectedGame Iliam lvaroCassuto JorgePeixinho JorgePeixinho FilipePires MariadeLurdesMartins EmmanuelNunes CndidoLima FilipePires ClotildeRosa CndidoLima

135

LVARO LEON CASSUTO Sonatina per pianoforte

1959,Pianosolo Support:scoremanuscript,3sheets,5writtenpagesbytheauthor. Dedicated(signed)toMariadaGlria250(MariadaGlriaEsteves,afriendofCassuto andapianoteacherattheConservatoryofOportointheseventies) Thescoreisdividedintotwomovements.Thefirstis =60and,afteradoublebarin system4, =56;thesecondis =92.

Analysis - Methodology:
INTRODUCTION Thispieceappearstouseintervalsinatraditionalway,reminiscentofthetypeoffree modalharmoniesandcounterpointusedbyLopesGraa(teacherofCassuto).But,after a closer look, it is possible to see that Sonatina is a piece that uses twelvetone techniques.

PLAN 1. Strictmusicalapproach: 1.1. Substructureofthepiece 1.2. PartsofthePiece 2. SomeHarmonicDetails 3. HermeneuticPerspective:

250

"ParaaMdaGlria,amigvelmente,[assinatura]Porto,11460"

136 4. Conclusion 5. Relationshiptoothers(worksbythesamecomposer,style,Zeitgeist,etc.)

Analysis:
STRICT MUSICAL APPROACH:
BASIC

SUBS TRUC TURE

Thispieceisconstructedwiththefollowingseriesofpitches:g,d,c#,a,c,b,f#,f,g#,e, d#,a#. Abriefanalysisofthisseriesshowsthatithasverysimilarintervals.

m2

M3

m3

m2

m2

m3

M3 m2 4

Thepitcheswiththenumber1to6appeartransposed(alsoinvertedandretrograded)by the sequence of pitches number 12, 11, 10, 9, 8 and 7 of the series. This way of constructingtheseriesenablesCassutotousethesameharmonieswhenheemploysthe seriesasarepeatedmotif.Thisharmonycanbeconsideredasadominant7thchordwith a4thinsteadofa5th,orasasuccessionof5thsanda2nd(c,g,d,a,c#,b).

137 S TRUC TURE

O F TH E P IECE

Motiv a

First part: Introduction

Motive1

ThefirstpartoftheSonatinabeginswiththischordconstructedof2successive5thswith a2nd.Itbecomesamotif,beingthentransposedanddevelopedinthefirst14bars.This motif is characterised by an opposition between repeating fifths and a shorter ornamentlikethird(major,laterminor).Thismotifisdevelopedinawaythatforms thefirstpartoftheseries(g,c,db,f,d,eb,ab)251.Thispartcomprises,inmyview,the introduction( =60),wherethecomposerrevealshisharmonicperspectiveandone motif.

Second part: Prelude Then,anewpart( =56)begins,usingtheseries,inatwovoiceostinatointhebass, basedonthemotif.Thewaythismotifistransformedatthispointshowsthedivisionof theseriesintotwosimilarparts,eachoneatransposedretrogradeinversionoftheother. Overthisostinatobasscomesamelodyconstructedfrompartsoftheseries.Thismelody beginsasasmallpartoftheseries252,theninbar22continueswithalmostallpitches andcontinuesuntilabigcrescendocompletedinbar24.Inbar31theostinatopassageis playedonceinbothhandsastheclimax(andtheend)ofthe2ndpart.

Third part: Sonatina Thispartmuchlongerthantheothersbeginswiththeseriesplayedinbothhands, forthefirsttimewithaspecificrepetitiverhythm,thenfollowedbyitsretrogadeform.

251

ThiswayofusingtheseriesdoesnotagreewiththeaestheticandtechnicalpropositionsofSchnberg. Theseriesinaninversionifitiscombinedtoincludesomeofthenotesofthebass.

252

138 The series then functions as a theme,includinganewrhythmic cell( Theme ).

Just after this theme, a 4 bar

phraseappearswithadevelopmentofmotif1.Then,frombar45tobar53,thetheme appearsrepeatedinbothhands253,inthelefthandjustonce,extendedtothedoublevalue oftherhythmicfiguresandintherighthand6timesinadescendingdirection(crossing thelefthand)usingonlyquavers. Between bar 54 and bar 65, the right hand plays a long melody (the series), as a continuationofthelastpartofthelefthand.Thelefthandusestheseriesinshorter forms.Afterbar59particularly,Cassutousestheseriesmuchmorefreely,repeating notesandconstructingthemusicthroughthedevelopmentoftherhythmiccell. Inbar65thereisfurtherdevelopment;theseriesappearssplitinbothhands,asamelody (righthand)withanaccompanyingpart.Duringthesebars(until72)itisinterestingto note that the series is used more freely. This suggests that the composer was more interestedinthedevelopmentofthemelodicandharmonicpossibilitiesofthetheme(as presented at the introduction and in the first part) than in the use of a strict serial technique. Inbars73and74theseriesappearsinbothhandsinaformclosetothatofbar45.After atransitionalbar(75)wherethereisafreeruseoftheseries,theseriesappearsagain, thistimeasaunisonpart(similartothebeginningofthismovement)withtheseriesand itsinversionwithrepeated(ornamental)notes.Infact,afterbar76theexpositionofthis Sonatinabegins,withchangesintheorderoftheparts.

253

Theseriesisindifferentforms

139 Thepieceendswithtwounisonphrases,oneusingmaterialfrombar45andtheother withatranspositionofthefirstbarsofthismovement.Theschemeofthestructureof thislastmovementisthefollowing:

TH M1

Devel a
45 50 55

Dev b
60

Dev c
65 70

Dev a'

Th var

Devel a''
80 85 90

Dev b'
95 100

M 1'

Dev a'''
110

Th'

35

40

75

105

115

THtheme/series;Thvarthemewithmodifications(asinDev.B);Ththemetransposed; M1motif1; Devela(a,a,a)firstdevelopmentformofthetheme/seriesandmodifications(seriesinshort figuresinonehandwithlongfiguresintheother); Devb(b)seconddevelopmentformofthethemeandmodifications(serieswithmodifications, inshortfiguresinonehandwithlongfiguresintheother); Devcthirddevelopmentformofthetheme(freeharmonicuseofthetheme/series).

S OME H ARMON IC D ETAILS This piece, although serial in some of the procedures, reflects a harmonic care that doesntcorrespondtothetechnicalideasofSchnbergandtwelvetonetheory.Infact, throughoutpiecethereisinakindofC(minor)tonality.Theintroductionbeginswitha (c,g)chord;thesecondpartbeginsinthelefthandwithasuccessionfromthechord(g, d)to(eb,bb)(fromadominantchordtoaparallelmajorchord);therighthandbeginsin c;thelastmovementbeginswiththenotesgandc,endingthisfirstphrasewithag. Thisconcernwithharmonyismoreevidentinhisworkwithmotif1(intheintroduction, bars40to44andbars104to106)andintheharmonicstructureofthepiece.Itis importanttonoticethatthedifferentpartsappearinginthereexposition(afterbar76, the exact middle of the last movement) are in an interval of a third away from the exposition: thelastappearanceofthetheme(Th)isaminorthirdhigherthantheoriginalatbar34
254

254

Itseemsthatthepieceendsinthemajorparalleltonality.

140 inthedevelopmenta(Develabar82),thelefthandisaminorthirdlowerthanthe originalatbar45; inthedevelopmentb(Devbbar92),bothhandsareatadistanceofaminorthird (onehigher,theotherlower)fromthesimilarpartinbar54. ItisalsointerestingtonoticehowcarefulCassutoisabouttheharmonicevaluationof some mechanical procedures of the twelvetone technique. Regarding this, there is a mistakeintheorderofpitchesinbar52:the4thand5thnotes(EandG)intheupperpart arechanged.ThischangeofnotesiscausedbytheappearanceofanEinthelowerpart, iftheseriescontinuedwithoutchange,wewouldhearanoctave.

HERMENEUTIC PERSPECTIVE: Inmyview,theSonatinashouldbeunderstoodonmultiplelevels: 1asanexperienceoftwelvetonetechniques; 2asapieceofmusicstrongmanifestinmusicalgestures,characteristicofpianomusic fromthepreclassicstotheearlytwentiethcentury; 3asaclassical atleastaneoclassical piecewithtypicalharmonicand structuralcharacteristics. Thecharacterofmotif1,beginningwithaperfectfifth,isclassicalinaveryprofound andhistoricalsense;itismadefromaperfectconsonanceinthespiritofallclassical thought,fromPythagorastoBeethoven.Thismotifresemblesthebeginningofapieceby LuisdeFreitas Branco(thefirstsongofthecycle AIdeia of 1943) wherethe poet (AnterodeQuental)invokestheGods:
BecausetheancientGodsandancientdivinedreamsvanishin theair(...)255 "PoisqueosDeusesantigoseosantigosDivinossonhosporessearsesomem"inAIdeia,songcycle forhighvoiceandpianobyLuisdeFreitasBrancowithatextbyAnterodeQuental.
255

141 Thissolemnair,commontoLuisdeFreitasBrancoandthismotif,ischaracteristicofthe wholepieceandofCassutosintentionstowardsclassicismandtwelvetonetechniques. Infact,hisworkwiththeseries(initsinventionanddevelopment)isconsistentwitha structuratingclassical(orneocalssical)gestureaSonatinawithanintroduction.

C ONCLUS ION TheanalysispresentedherereflectstheaimofCassutotomakeapiecethat,although using twelvetone technique (sometimes strictly), has a harmonic and neoclassic perspective, at least as understood by Portuguese contemporary composers256 as LopesGraa.Becauseofitsstructureandcharacter,thispieceis,inmyview,akindof Toccata.Afterabriefintroductionwheretheharmonicmaterialispresented,thepiece continueswithaslowmovementgraduallytheseries(prelude).Thelastandmain partisinquicktempo,wheredifferentvariationsofthetheme(thesameseries)occurin a repeated way, exploring the piano by using different attacks and dynamics, with extreme opposingoctavesincounterpointandthefrequentuseofmelodieswith both hands in unison. Sonata form becomes significant in the appearance of development257(ofthemotif,themeandcell),thereexpositionandthoughtheharmonic relationshipbetweentheparts. Therefore,theattitudeoftheperformerofthispieceshouldbe,inmyview,coherent with all these aspects of the music: taking an expressive view of harmony (perhaps sometimesmoresolemnthanintensivelyexpressive),distinguishingbetweenthemain melodies(longerfiguresinnonrepeatedrhythms)andaccompaniments(shorterrepeated figures),andrevealingthecharacteristicsofaToccatathroughitsinstrumental(virtuoso like) features.Thetwelvetone techniqueused willarisemoreas part of thesurface

256 257

Inthelatefifthies.

Inclassicalsense.

142 structureinthethemeanditsharmonicfeaturesthanassubstructure.Infact,this pieceistonaltosomeextent,distantlyapproachingCminor.

R ELATIO N

TO O THERS WORKS

The Sonatina was written at a time when lvaro Cassuto was studying twelvetone techniques.In1958,hestudiedcompositionwithJosephRuferinBerlinandwrotea reviewofhisteachersbookDieKompositionmitZwlfTnen258:Inthesameyearhe presentedaverylongandthoroughpaperandaconferenceonthetwelvetonesystem 259. In1959theyearoftheSonatinaperpianofortehewrotetheSinfoniaBreven.1 (alsoindodecaphonicstyle).Thenextyear(1960)hewenttotheDarmstadtcoursesand published another paper in Arte Musical about the twelvetone system and its possibilities.260 ThepreoccupationsofCassutoforthetechniqueandtheaestheticsoftwelvetonemusic emergeinthispiece.If,inhistextsettings,heassumestheneedforatonalityanda techniquetostructureit,intheSonatinaheassumesonlythetechnicalfeaturesoftwelve tone music and combines it with the aesthetic and expressive thought of the (neo) classicalworld.261Later,afteraphaseofexperimentation,hewouldoncemoreapproach tonalandmodalharmoniesinworkscomposedafter1967.

258 259 260 261

See Cassuto, lvaro (1958).

SeeCassuto,lvaro(1959). SeeCassuto,lvaro(1960).

Thismixturewas,infact,alreadyusedinDarmstadtaround1951,inworkssuchasSonatinaforcelloby B.A.Zimmermann,HansUlrichEngelmann'sPianoSonataandArminSchibler'sSymphonicVariations. SeeBorio(1997):vol.1,page187.

143

JORGE PEIXINHO Cinco Pequenas Peas para Piano 262

1959,Pianosolo Support: score manuscript,8 sheets, 6written pages with music bythe composer, outsidecoverwithseries(page7),frontcoverwiththetitle,fullnameofthecomposer, date(Rome,28thJune13thJuly1959)andduration(5m30s).

ThesepiecesarethefirstpianopiecesinPeixinhoscatalogue,writtenwhenhewasin Rome whilst studying at the Academia Santa Cecilia. Each piece reveals further information: 1. thefirstisdatedthe2830ofJuneandtheduration55seconds; 2. thesecondisdated13ofJuly(1m.15seconds); 3. onpage3ofthethirdthereisatwosystemdraftofpiece3;thefinal(full)scoreisin page4,dated68July(1minute); 4. thefourthisdated810July(55seconds); 5. thefifth1013July(1m.5seconds).

Analysis - Methodology:
INTRODUCTION Aseachpieceiscompleteinitself,itwillhaveacompletelyseparateanalysis.Intheend acomparisonwillbemadeofallthedifferentpieces.
262

Fivesmallpiecesforpiano.

144 Thisgroupofpiecesappearstouseharmonic,melodicandserialtechniques.Therefore, serial, melodic and harmonic analyses will be made and compared. The structure is apparently quite simple, deriving from its harmonic and melodic development. The avantgardepianotechniquesarealsobeadressed.

PLAN 1. Foreachpiece: 1.1. harmony,series,melodies,rhythms; 1.2. structure; 1.3. otherfeatures; 2. Comparisonofthepieces; 3. Hermeneuticapproach.

Analysis:
FIRST PIECE

T HE

SERIES

IECEONESERIES P

Thefirstpiecebegins,intherighthand,withatwelvetoneseriesthatwillbedeveloped usingtranspositions.

145

ERIESHARMONY S

This series features minor thirds separated by augmented fifths and minor seconds. Pitches1to4(C,Eb,B,D),3to6(B,D,C#,Bb),7to11(E,G,F#,A),and9to12(F#, A,F,Ab)areveryclose,forminggroupsofenchainedthirds;pitches5to9(C#,Bb,E, G)formadiminishedseventhchord. Theseriesispresentedintherighthand,endinginbar3(thelastF).Thenitappears varioustimesindifferenttranspositions(seefigure"Bars1to11Series"). Afterthesepresentationsoftheseries(frombar11)itseemsthatPeixinhopreferredto workwiththeseriesasatheme,developing,transposingandtransformingsectionsof
Bar 1 A A

4 8 7

6 9

11 12 10 A 9

9 10 11 12=2 1 3 C 5 6 4

6 2 1

8 3

10 9 10

12 11 iK 12 11 10

Bar 6

3 8

6 7 6

8 4 5

iK 9 10 11 12=12 11 10 2 1 3

A 8 7 ?

9 8 7

6 5

Bar 12 9 7 8

10 9 11

12 3 2 4

ARS1TO11SERIES B

thesebars.

T HE

MOTIF AN D ITS DEV ELOPMEN T : THE STRUC TURE

Thispieceisnotbasedonatraditionaldevelopmentoftheseries.Infact,thisseriesis also treated as a motif with specific characteristics of rhythm and harmony. It uses descendingthirds,sometimeswithaninthandacrochet/semicrochetrhythmtogether

146 with duplets. All these characteristics are developed throughout the piece, giving its specificexpressivecharacter. Theseriesisexposedasadevelopmentofthemotif,formingawholesentence(section A). Thefirstnotesformamotif,whichischaracterisedbyrhythmandmelodyandharmony based on descending thirds. These melodic/harmonic traits are, as we have seen, characteristicofthetwelvetoneseries.Thismotiveisimmediatelydeveloped(enlarged, transposed,etc.)inalongpassageuntilbar8.Thefirst8barsformanantecedent(a), afterwhichtheharmonyandmelodychange.Theharmonicrhythmbecomesquickerand theselast4barscorrespondtotheconsequentofaclassicaltwopartsentence(b).

IECE1MOTIF P

AlongsilenceisfollowedbysectionB,whichconsiststwo2barsofdevelopmentofthe motif(thirdswithamajorninth)(c). Inbars11to15themelodyappearsinthelefthand(induplets),usingtheseriesvery loosely,nowwithonlyitsmostcharacteristicmelodicandharmonicfeatures(d). Inbar15/16whatappearstobeareexpositionofthefirstsectionbegins(a'),largely modified.Then,inbar19/20,thebeginningofsectionB(c)ispresented(transposed), followedinbars22to24byarepetitionofsubsection(b),butwithinvertedparts. Thepieceends,afteranotherlongsilence,withanotherdevelopmentofsubsection(c).

Bar 1 2 3 4 5 6 7 8

147
Bar 9 10 11 12 13 14 15

B
Bar 16

c
17 18 19

d
20 21 22 2324 25 26

A'

a'

c'

b'

c''

The structure (A B A a b c d acbc) is very interesting for the inclusion of subsectioncinthereexposition,unifyingthewhole.

SECOND PIECE T HE

SERIES

Thesecondpiecebeginswiththepresentationofaseries.

IECE2SERIES P

Thisserieswillbeusedveryloosely,sometimesinitsoriginalform,sometimeswith exchangedpitches. AsPeixinhodidn'ttransposetheoriginalseriesandusesitrepeatedly,itseemsthatthe piecealwayshasthesamesequenceofnotes,althoughsometimeshejustusesafew notesoftheseries.

T HE

MOTIF

TH E MELODY AND TH E H ARMONY

Theconstructionandtheuseofthisseriesistied toharmonicandmelodiccellsthataredeveloped andrepeatedthroughoutthepiece.

IECE2HARMONICCELLS P

Prevalentthroughoutisachordbasedonathird

andadissonance(C,Eb,BorBb),aseventhchordD,F,AbC#andanotheronewitha

148 seventhandaninth(G,F#,A).Theseharmonicfeaturesappearrepeatedly(transformed asamelody,combinedBC,ABC,transposedandtransformedinotherchords A*).Thesechordsformtheseries,excludingthelastpitch.

Bar1 A,B B,C Bar7 BC,A Bar12 A*,BC,A Bar17 D A,B B,C A A BC BC,A BC,A D B,C,A A,A A*,B B A A,BC BC,A A,B

Peixinho,importantly,usesseveralspecificmelodicandrhythmicfiguresrepeatedly:the brokenchordsometimeswithsustainingnotes(e.g.bar1);thesuddenattackofachord inanirregularpartofthebar(e.g.bar2);thebrokenchordalternatedinbothhands(e.g.

IECE2MELODIC/RHYTHMICFIGURES P

bar4).

149 T HE
STRUC TURE

Thispieceseemstoflowfreelylikeashortsong,presentingnovisiblebreaksordifferent sections.Thesequenceofdifferentbutcloselyrelatedelements(chordsA,BandC,the different melodic/rhythmic figures) creates the sensation of flowing time, even of improvisation,usingonlyasmallnumberofelements.Neverthelessitisimportanttosay thatthepieceseemstofollowaclimbingmelodicpathuntilbars9and12(themiddleof thepiece),descendinguntiltheend,inbar21.

THIRD PIECE T HE

SERIES

HIRDPIECESERIES T

Thethirdpiecebeginswiththeseriesinthelefthand.Thisseriesisusedasacolour263 thatappearsincanoninbar2,intherighthand,andinotherplaces(seethefollowing diagram).

IECETHREESERIES P

263

Amelodicpatterntoberepeated,asinthemusicoftheMiddleAges.

150 T HE R HYTHM
AN D

D YNAMICS

Therhythmofthispieceismadeoflongnotes(atleastadottedquaverh)followedbya shortone.Peixinho,infactusesonlythefollowingrhythmicfigures:

IECETHREERHYTHMICFIGURES(THEWHOLESANDSFORANYLARGENOTE) P

These rhythms, reinforced by articulation, accents and by dynamic marks, also form repeating models (like the medieval talea, but not as a sequence of units as in the colour). Peixinho uses very distinctive dynamics, one for each note. These dynamics show a kind of series, a different one for each pitch: p, mf, pp, mf, p, mf, f, p, pp, mf, pp, f. But these dynamics are not repeated unchanged, as they form a kind of graphic of dynamics that will be (more or less) transposed in the piece with different twelve-tone repetitions. But the basic relationships (more or less forte than the former pitch) stay invariable.

10 11 12

151 T HE H ARMONY Peixinho seems to be aware of the harmonic possibilities of the series, using the intervals formed by the first pitches. He uses harmonies that change from dissonance to

ARMONY H

consonance maintaining (almost always) one note in one of the two parts. It is important from a performance point of view, given the mixture of harmonic and melodic features particularly in bar 6 and in bar 19, that the 2 parts of the piece are combined together, so that playing the piece at the proposed tempo (Allegretto) gives the impression of only one melody.

T HE

STRUC TURE

This piece can be divided into several parts in accordance with the pauses and the way Peixinho uses the series and the rhythmic figures (a kind of melodic periodic structure). Accordingly, the first section ends at bar 9 (a strict canon using the colour described above); the second ends at bar 14 (a first development of the theme/series); the third section ends at bar 18 (a second development of the theme); a fourth and last section which is slower (fewer pitches, longer notes) creating the sense of ending. Bar 1 First Bar 10 section Bar 15 Bar 5

152 Second section Bar 19 Fourth section Third section

FOURTH PIECE T HE M O TIFS ThispieceisconstructedwithaseriesofmotifsthatPeixinhooftenchanges; o MotifAisasinglechordusingminorseconds.Itappearsinbars1,4,5,8and10,11; o MotifBischaracterisedbyitsrhythmandintervals.Itisusedinbars1,5and9. o MotifCappearsasachordonaweakpartofthebeatafterasemiquaverorquaver pauseinbars2,3,5,7,9and10. o MotifD,definedbyitsrhythminbothhands,appearsinbars3,6,7,and10.

IECE4MOTIFS P

o Motif E veryexpressiveandperhaps,characteristicofthispieceappearsin bars3,4,6,7,andbars12/13. o Motif F alreadya development of other motives is salientbecause of the openingthirdanditsrhythminbothhands(bars6,and9).Thesemotifsalsoappear incombinationsandextensivelymodified.

153 Bar 1 A, B Bar 10 A A (*) (trm) E E

* : mezzo tasto resonance. trm : tremolo.

Bar 5 C C, D, E A, E A, B, C, D, E, F C, D, E A B, C, F

Itisalsoimportanttonotethesoundeffectsinbar10and11,anEthathastoberepeated mezzo tasto (another way of depressing the resonance pedal as in piece 2) and the tremoloinonehand(withdifferentdynamicsfromtherighthand).

T HE

STRUC TURE

Althoughthepieceisveryshort(only13bars)andflowsconstantlyuntiltheend,it seemsthatinthelast4bars,apointisreachedwhereonlydifferentformsofexpression (effects)couldresolvethisconstantrepetition/developmentofthemotifs.Thepieceends withitsmostdistinctivemotifE. FIFTH PIECE T HE S ERIES Onthelastpageofthismanuscript,Peixinhogivesusaclueabouthiswayofworkingat that time. He gives the series (D) and the transformations he uses (inverted C, retrogradeRP;invertedretrogradeCR). Theuseoftheseriesinthislastpieceisdescribedinthediagramattheendofthe analysisofthispiece.

IECE5SERIESGIVENBYPEIXINHO P

154 T HE H ARMONY /
CELLS

Acloselookatthispieceshowsmotifs,cellsorjusttexturesthatarecharacteristicby theirrhythm,harmonyorbytheirpositionwithinthepiece:

IECE5MOTIVES P

o CellAasimpleandveryloosemelody(bars15,bars1316and1921); o cellBaninth/seventhinterval(bars2,4,5,6,7,8,9,10,11,12,13,14,15,16,17, 18,19,22,23,24,25,26,27); o cellCachordwithathirdandadissonance(bars5,6,7,9,10,11,12,17,18,22,23, 24,25,26); o cellDtheuseofunevenparts,oftripletsandquintuplets(allbarsexceptbar1); o cellEtherepetitionofachord/interval(bars5,10,11,16,27); o cellFachordwithonenotemuchlonger(bars22,23,24,25,26); o cellGtheclusterasresonance(bars1to4,18to21). Bar1 G Bar8 B,D Bar15 A,B,D Bar22 Bar5 A,B,D,G B,C,D,E

A,B,D,G B,C,D A,B,D,E

A,D,G

B,C,D, A,B,D A,D,G

B,C,D A,B,D A,D,G

Bar12 B,C,D,E B,C,D,E B,C,D B,C,D Bar19 B,C,D,G A,B,D,G Bar26

155 B,C,D,F B,C,D,F B,C,D,F B,C,D,F B,C,D,F T HE S TRUC TURE Morethanadistinguishablestructurewithdifferentuseofmusicalobjectsorwith sections with precise ways of development Peixinho wanted a contained and continuousflowofexpression,withelementsthatappearanddisappear,someofthem constant,othersverysparse.Thiscanbeseeninthewayheusesthemotifs/cells,the smallunitsthatthecomposerpresentsanddevelops,constructingthecontinuumofthe music, with no development, no different or repeating sections. But it must also be pointedoutthat,inthemiddleofthepiece(bar18),thetextureissimilartothebeginning (aresonanceclusterinthelefthandandamelodyusingmanysilences). PerhapsinthiswayPeixinhofoundamethodtomakewhatcouldbeunderstoodasare exposition,orjustanexpressivebreathingpointinthemiddleofthepiece. B,D,E

156
D bar 1 1 2 3 4 5 6 7 8 9 12 12 12 11 11 11 1 1 1 1 1 2 2 4 3 4 3 4 3 4 3 4 3 4 3 4 4 4 3 3 3 10 11 12 4 3 4 3 4 3 5 4 5 4 6 7

7 5

7 6

C 5 4 bar 9 6 7 9 10 11 8 2 1 1 3 2 4 7 5 6 9 8 10 10 10 10 11 11 11 11 12 12 12 12 9 9 8 8 2 5 1 3 3 2 5 2

9 9 9 9 9 9 9 12 12 12 12 12 12 12 2 2 2 2 2 2 2 D 1 2 2 3 4 5

6 7

C 8 bar 16 6 7 12 12 12 10 10 10 9 11 11 1 3 2 5 7 4 8 6 9 5 7 4 1 2 3 4 7 5 6 7 5 6

12 11 10

12 10 8 1 9 11 11 11 5 8 2

5 6 8 7 4 9 1

7 5 6

9 8

11 11 11 12 12 3 10 10 2 1 1 2 2

C 12 10 5 7 bar 25 1 2 4 3 R 8 9

C CR 6 12 9 5 2 12 8 10 11 11 * 3 1 3 2 CR 4 2 2 1 7 1 6

C 10 8 7 12 4 9 6 2 1

4 5

2 1 2 1

* - if bass cleff

Piece5Theseries

COMPARISON OF THE PIECES / HERMENEUTIC APPROACH The present group of pieces were composed in the summer of 1959, the same year Peixinhoa19yearoldstudentwenttoRometostudywithPorena.ItisPeixinho himselfwhotellsusabouttheimportanceofthisstudy,ifhehadntmadethischangeand studycompositionabroad,hewouldntbeacomposer.264 Thatheusesatwelvetoneseriesinthisgroupofpiecesisinteresting.Thiswasmost probably a technique that was quite new to him: in composition studies at Lisbon Conservatorytherewasnoplaceforsuchnewmanners.Therefore,thewayheusesthe series,takingadvantageofitsharmonicfeatures,correspondsperhapstoahistoricand an academic way of approaching the series, using the aesthetic values of Berg, Schnberg,Webernandothers.Infactitseemsthattheseriesiswritteninordertobe
264

SeePeixinho,Jorge(1995b).

157 usedasatheme,orasatechniquestronglyattackedbyBoulezandothercomposersof theDarmstadtvanguardinthefifties.Infactalltheambienceofthesepiecesisofstrong romantic/expressionistlikeexpression. Theseriesarebuiltwithitsharmonicpossibilitiesinmind,usingtheintervalsinorderto makedifferentchords.Thesechordsare,then,theharmonicbasiswithwhichPeixinho constructshismusic,oraretheharmonicresultoftheseriesasamelody.Thesechords andmelodicsuccessionsaretheunits(motifs,cells,andthemes)thatwillberepeated,

SMALLPIECESSERIESUSED 5

anddeveloped. Theuseofthesesmallunitsis,insomepieces,veryinterestingbecausetheyaretheonly contentofthepiece:theyarerepeatedinadifferentorinthesameorder,combinedin counterpoint, transposed, but never losing the harmonic, textural and melodic characteristics. This is, perhaps, an approach to structures based on the Wagnerian Leitmotiv,asinpieces2,4and5. Itisalsoimportantthatthesepiecesuseavantgardewaysofdealingwiththepiano (melodiesthatcovermanyoctaves,theuseofsilentattacks,harmonics,sustainedchords and notes), clearly demonstrating the interest of the composer for the use of these possibilities. And in these early pieces Peixinho presents some of his own stylistic

158 standards: the trill as reinforcement of the dynamic, the use of contrasting rhythmic gestures (e.g. syncopations and straight beats), the very expressive use of intervals (sevenths,tritones,etc.). Because of their contained expressiveness, these 5 Small Piano Pieces are surely influencedbytheop.19piecesofSchnberg,theop.5ofBergandbyWebernpieces. Theyalsopointtosomeotherfeatureshisworkwiththemotifsandcells,theloose useoftheseries,theuseoftheinstrumentthatwouldbedevelopedinfuturepieces andcharacterisePeixinho'smusicandmodernity.

159

JORGE PEIXINHO MMOIRE DUNE PRSENCE ABSENTE

1969,Pianosolo Support:scoremanuscript,4sheets,7writtenpagesbytheauthor. Thescoreisdividedintonumbers(notincommonmetricbars)from1to19.Thefew existent bars (some in dashed lines) divide not metric units but different blocks, or differentwaysofdevelopingorplayingoneblock.

Analysis - Methodology:
INTRODUCTION Itisevidentthatthispiece,withitsrecurrentcharacter,ismadefromverywelldefined materialthatisrepeated,developed,combinedtogetherordetachedincontrastedblocks. Thereforeanalmostclassicalanalysiscanbeusefulforafirstapproachtothepiece.

PLAN 1 Strictmusicalapproach: 1.1 1.2 1.3 1.4 2

265

basicsubstructure(harmony,melodic,theuseofseries,scalesandtypes ofchords) definitionofrepeatedmotives265,cells266,andtheirdevelopment. formalstructure(successionandrelationofthemotives,blocks,etc.) others(apparenttension,oppositions,etc.)

Theperformanceapproach:

Smallestmusicalunit(withharmony,rhythm,metre,etc.);importantbecauseofitsapparentunity,its repetitionand/ordevelopment,oroppositiontoothermotives. Smallestunityinoneofthemusicalparameters(notamusicalunity,butonlyaspecificrhythm,an intervalorsuccessionofintervals,achord,anumbersuccession,etc.)

266

160 2.1 2.2 3 typesofmotionparticularities apparenttensions,oppositionsandtheirpossiblepsychophysiological context

StylisticandHermeneuticapproach: 3.1 3.2 anunderstandingoftheinternalsignificanceofthework relationtoothers(worksbythesamecomposer,style,zeitgeist,etc.)

Analysis:
STRICT MUSICAL APPROACH: B AS IC S UBS TRUCTURE 267 Thepiecehastwobasictonal/harmonicstructures: Pitches:C Db D
n.app: 14 4 3

Eb E
3 4

F
2

F# G
2 6

G# A
3 4

A# B
4 0

OTESINNUMBER1.NUMBEROFOCCURRENCES N Substructure A: its formed by the scale C, D, E, G, A, with the opposed (Db), Eb, Gb, Ab, Bb a kind of white pentatonic scale (and underlying harmony) opposed to black pentatonic. Thissubstructureappears: 1.asaseriesofintervalsoffourth(DACGandEb Abinn.1); 2.asachordbuiltinfourths(EADGorBbEbAbDbin n.11); 3.developedasasuccessionoftremolochordsinn.15; 4.asthebasisforasimplemelody(n.1,thehighersinglenotes).
(orn.) A (D ) D E E G A

UBSTRUCTUREA S

267

Thebasicgroundthebasictonalmaterialofthepiece.

161 Itcanalsoappearwithvariousornaments(insmallerfigures)thatcanbeseenasa substructureofthebasicharmony. SubstructureB:isaseriesof10to12differenttones(n.2).SubstructureBappearsas variable (and flexible) permutations, written and improvised, appearing divided in groups,alsowithornaments.

M O TIV ES , C ELLS ,

ETC .

Peixinhouses4Motives: MotiveAMotiveAisformedbythefirstnotes,builtwith
OTIVEA M

the substructure A succession of fourths, between two fourth intervals (Eb Ab and Eb Bb), in a quick motion

towards a long note (Ab). It is normally not loud (p, mp), but is louder when developed (A and A). This motive embodies a fourth interval cell. MotiveB ThismotiveisbuiltwithsubstructureB,asitappearsinn.2.Aspecific

OTIVEB M

rhythmiccellcharacterisesthismotive:thesuccessionofquicksemiquavers,someof shortened(withasmalltransversedash),makingnonmetricsequencesupto12note in length. Thismotiveisbrokenintogroups: 1.thelefthandgroup(F#FAbC)appearswithnochanges(with1or2ormore repeatednotes);

162 2.therighthandfirst(Eb DC#E)andsecondgroups(BbA BG),subjectto permutations. Normallyithasdynamicsfrommftof.ThismotiveisrelatedtomotiveAbythefactthat ithas,asitsmainintervals,seventhsandninths:thefirstandlastintervalsinmotiveaare sevenths(EbDandBbA).

OTIVEC M

Motive C - a very simple and quiet

melody in large notes (sometimes just a few notes), with a calm character. It is made with the tonal substructure A, enlarged with ornaments and the notes B and F, to an 8 note scale.

RISTANANDFOLLOWINGCHORD T ) 16

Motive D - The Tristan chord (F# C E A), with a seventh (F). In this piece, the Tristan chord can be understood as a chord built with fourth intervals (F# B E A), but with the B changed to C. It occurs only once, resolving to a series of other (fourth interval) chords (A# D# G# C# F#), (A# F# D-E), (A D# G C# F) and (C - B268 - F# E A D G#).

F ORMAL S TRUCTURE ThepieceisconstructedaroundtheoppositionofmotivesAandB(thebasicformal motives),theirrepetitionsanddevelopments.Atnumber11,themotiveAappearsina verydifferentway,(asA)withaspecialcharacter.Althoughhavingthesametonaland harmonicprinciplesasmotiveA,AshareswithmotiveB(speciallywiththelastpartof B,asitarisesinn.5,n.7andn.14)thesameenergywithitsquickchangeofnotes.

268

InatrillwiththeC.

163 So,itismyopinionthatthismotiveA'isthebeginningofthesecondpartofthepiece.It

UMBER16MOTIVEA' N

ispossibleand,perhaps,oneoftheperformerschoices,toemphasisethedivisionofthe pieceintwopartsatnumber11.Themusicflowscontinuallydespitethe fermatas or contrastingmotives.But,infact,Ahas adifferentcharacter.Itseemsthatafterthe clusterinnumber9,andthefinalrepetitionsofthefirstmotive(A),themusicseemsto seekforaresolution,anend.Itwouldalsobepossibletodividethepieceinthreeparts, withthemiddlesectionbeingnumbers1114,butthisoptionwouldonlygiveemphasis toaverysmallpart,makingadivisionthatisnotheardinthemusicanddoesn'treally exist.269

THE MOTION AND ITS CHARACTER Trying to understand the motion of the piece (in terms of rhythm, harmony and character),aplanwasmade,dividingMmoireintoequaltimeunits(approximately45 seconds,whichistheproposedtimetoplaymotivesAandCthebeginningofthe piece). Asitcanbeseenintheplan,themotionofthispiecepointstoacontinuedandrepeated slowmovement(),therepetitionanddevelopmentofmotiveA,itsrepetitionsand permutations,brokenbyamuchmoreactivemotiveB(////).SometimesmotiveBisalso

Adivisioncouldalsobemadejustbeforen.15,usingtheverylarge fermata inthatplace,butthis solutionwouldnotputasidethedevelopmentofmotivea(A')innumber11.

269

164

repeatedandpermutated,becomingmoresimpleintermsofnotes(only4notes),more staticinrhythmandmuchclosertoA(///). In fact, the real character changes are the clusters (a possible endproduct of the everlastingrepetitionsofA)andthechordsequenceinn.16(motiveD).

STYLISTIC AND HERMENEUTIC APPROACH In my view, the two formal motives A and B have different symbolic meanings: Motive A - based on the substructure A (a simple succession of fourths in a narrow chord position, or two pentatonic scales) this motive points to a stable (and almost traditional) diatonic harmony and almost no harmonic movement. The rhythm is (unless in A) always calm, scorrevole as writes Peixinho, recurrent, punctuated by fermatas and simple melodies (motive C). Appearing sometimes in free permutations, it has a regular and slow motion, showing a constant flow of time. Motive B is a series of 10 to12 different notes, played in alternate hands. The rhythms are always unexpected, with shorter notes and ornaments creating an unstable character. It points to modern music perhaps to pointillism to a free use of dissonance, time and rhythm. But it is also repeated, permutated, creating a more active but also everlasting flow of time. And when it is condensed to just 4 repeated notes, (as in n. 5 and n.14), its character, though calmer, is still dissonant (major sevenths) and hard. Alsocrucialtotheunderstandingof Mmoireisalsothepassageinn.16,whatIhave calledmotiveDtheTristanchordandthefollowing2bars.

165 The present piece places together different compositional and aesthetic principles, using the following techniques: 1 theuseof"historic"substructures,simple,almostdiatonicharmonies(asinmotivesA andC,withsubstructureA); 2 theuseofaseries(oftentotwelvenotes)anditscompositionalproperties,asin avantgardemusic(asinsubstructureB,variationpermutation,reduction); 3 repetition(upto50times)asanimportantstrategyofconstruction,sometimesalso withpermutationofnotes; 4 theuseofimprovisation,evenifsometimesitisonlyafreepermutation; 5 thequotation,inthiscase,ofWagner; 6 theuse(inthesamepiece)ofdifferenttechniquesandsubstructurescomingfrom differenthistoricaltimes. In 1969 Jorge Peixinho was already aware of the rise of new ideas and methods of composition coming from America and Europe. Terry Riley worked in the ORTF in 1962, his music and La Monte Youngs were beginning to be played in Europe in the early sixties (even in Darmstadt); Kagel and Ligeti were appearing with some new ideas to a broader public; Stockhausen and other composers were already getting far from strict serialist thought. The year of 1969 was already distant from the rigid structures of the 1950's and early 1960's, even from the post-serialistic approaches that Peixinho and other Portuguese composers experimented in these years ("virtual-serialism", or "para-serialism" in Peixinho's own words270). Peixinho had already used serial techniques (Collage for 2 pianos in 1962/65), improvisation271, collective composition (Darmstadt 1968,

270 271

See the TV Program Jorge Peixinho, Personagens. C.F. Ferreira, Srgio (1993).

At that time collective improvisation was a common practice in a group of musicians that played also written music and formed in 1970 the G.M.C.L. (Contemporary Music Group of Lisbon - director Jorge Peixinho).

166 Stockhausens master course), multimedia and theatre music (as in Four Seasons and in other pieces made in collaboration with Ernesto de Sousa). The discussion about avant-garde, about the future of art in general and music, about ways of composing, was a crucial one at that time, and specially for a 29 year old composer with already much experience of different kinds of music. The Portuguese musical scene was already changing, in a great part because of Peixinho's influence not only as a composer but also as a performer as a pianist, as a conductor, as the main spirit in a group of musicians playing contemporary music (they would form in 1970 the GMCL 272), as a performer in happenings, neo-Dada events, etc. The quotation was in the words of Peixinho himself typical of his music of the sixties and seventies: he included quotations in his piece Four Seasons (from Vivaldi, Haydn, himself, etc.) and in Re-loved Euridice (Gluck and Monteverdi), both from 1968
273

. The Tristan chord was also included in other works as Lov I (1971) for piano and tape

(also Lov II and Love III), and Glosa I (1989/90) for piano solo. It is my opinion that, in Mmoire d'une Prsence Absente, the Tristan passage (threequarters of the way though the piece) symbolises a kind of harmonic and stylistic "island" (a kind of lost paradise?), coming from a cluster in the upper part of the piano and resulting on a (scorrevole) trill in an almost tonal harmony; a chord from which (in a historic and a symbolic way) many new different techniques of dealing with music grew, or a chord which is the place where old techniques met. In fact Peixinho's interest in Wagner's music is documented in a small paper of 1963, published in 1964 in the magazine Arte Musical274. Under the name of The Climax, Peixinho gives an overview of the importance of Wagner's music, of the leit-motives, of his harmonic, instrumental and formal achievements. He explains the title (The Climax)
"Because Wagner is the summit of the western music in the nineteenthcentury,asummitduetothebeautyofhisworkandto
272 273 274

GrupodeMsicaContemporneadeLisboaContemporaryMusicGroupofLisbon. SeePeixinho,Jorgee.a.(1995b):p.11and12.

SeePeixinho,Jorge(1964).

167
its historical function: his contribution and renewal in the aesthetic,formalandlinguisticfields."275

For him, Wagner symbolised the end of old music and the beginning of the transformations that would lead to avant-garde. This piece embodies a constant opposition: between the two formal motives A and B. But it has also an opposition between various kinds of musical aesthetic thought, from pentatonic to improvisation, repetition, pointillism, or twelve-tone series. Perhaps Peixinho was not quite aware of all these things when he wrote the piece: Mmoire dune Prsence Absente is, according to some informations from friends, a kind of love piece for a Belgian girl, Christine Rasson, whom he met in Italy. But, nevertheless, at this time these aesthetic preoccupations were, certainly, on his mind. Mrio Vieira de Carvalho, in a paper dedicated to this piece 276, quoting a letter Peixinho wrote to Christiane Rasson in 1973
277

, explains the concern of Peixinho for the place of

art and music in society and his complete dedication to new music.
"Ifeelquitealotofdifficultiesinexpressingmyself,whenItryto demonstrate the function, the place, or the importance (that already implies an engagement of value) of music in the contemporarysociety,inthehistorytocome,inthepresent,in thefuture(...)andallofasuddenIfeel,inmybody,inmyblood, in my feelings, this beauty, this exaltation that confers inexplicably,butalsoinawaythatcan'tbeexplored,asenseof myexistentialvocation,ofmywill(Iwillalsosaymycommitment) tolife."278

I think that this piece symbolises also a change and a new vision of a new music: a change of time, calling for memories of the past (the Belgian girl? Wagner?), a recall for
275 276

SeePeixinho,Jorge(1964). SeeVieiradeCarvalho,Mrio(1998):pages121to148.

AndneverarrivedbecauseitwasconfiscatedbythePoliticalPolice(PIDE/DGS).AsMrioVieirade Carvalhoreports,PeixinhowasinfactfollowedbytheDGSbecauseofhispoliticalattitudestowardsthe regime.

277

J'prouvepas maldedifficultsm'exprimer,enessayantdedmontrerla fonction,la place,ou l'importance(quiimpliquedjunengagementdevaleur)delamusiquedanslasocitcontemporaine, dansledevenirhistorique,dansleprsent,dansl'avenir(...)ettoutd'uncoupjelasens,dansmoncorps, dansmonsang,dansmessens,cettebeaut,cetteexaltationquiconfreinexplicablement,maisaussi inexorablement,unsensmavocationexistentielle,mavolont(jepourraidireaussimonengagement) devivre.QuotedinVieiradeCarvalho,Mrio(1998):page137.

278

168 past ways of making music (diatonics, tonal chords, Tristan and Isolde, together with twelve-tone serial structures). And, in the end, I think it symbolises a new aesthetic where past and future can meet: a kind of new beginning from the ashes of Wagner and serial music. Jorge Peixinho never recognised himself as a post-modernist: in fact, he was always more interest in the works and the ideas of Boulez, Stockhausen, Ligeti, Berio, Nono, than in any "nostalgias", to use the words of Boulez
279

; I think he even disliked post-

modernism in the social and cultural terms it then appeared. But perhaps Peixinho tried with Mmoire d'une Prsence Absente a first approach to this post-modern aesthetic. Or, as Mrio Vieira de Carvalho suggests, an approach to what Adorno called informal music.280 But infact Adornotold us that this"informalmusic" should befree from stylistic deposits:
"J'entendsparmusiqueinformelleunemusiqueQuiseserait affranchitdetouteslesformesabstraitesetfigesQuiluitaient imposesdudehors,maisQui,toutenn'tantsoumiseaucune loi extrieure trangre `as propre logique, se constituerait nanmoinsavecunencessitobjectivedanslephnomnelui mme. Une telle libration suppose en outre, pour autant que celasoitpossiblesansunenouvelleoppression,qu'onliminedu phnomne musical les dpts qu'y laisse tout systme de coordonns.281 (...) "Il ne suffit plus, pour qu'une musique soit exprimentale,qu'elleignoretoutidiomedjconstitu;ilfaut que dans le processus mme de composition elle reste imprvisible."282

FollowingthecontactsofPeixinhoinItaly,perhapshewasnotsomuchinterestedin repealingthe(musicalandstylistic)dustofthepastinatotallyinformalmusic,buttried anadditionalsteptowardsamusicfreeoftheformalrestrictions,butrecognisinghimself asaconsequenceastylisticresultofthatpast,enablinghimtouseitsstylistic properties,evenquotations,asBerioproposedinhisSinfoniaandinDarmstadtin1963

279

SeeBoulez,Pierre(1986):page447. SeeinVieiradeCarvalho,Mrio(1998):page134.SeealsoAdorno,T.W.(1982b):page289. Adorno,T.W.(1982b):page322.

280 281

Adorno,T.W.(1982b):page294.

282

169 (following the thought of Eco): heproposed an informalwork an opera aperta slightlydifferentfromAdorno,usingintentionallystructuredgestures:gesturesas motionandasculturalobjects:
"l'undesnombreuxobjetslinguistiquesquenoustrouvonsprts notre arrive dans un monde dj en possession d'un langage"283

283

SeeBerio,L.(1963)quotednBorio(1997)vol.1,page468.

170

FILIPE PIRES Figuraes II

1969,Pianosolo. Support:scoreEditionCurzi,Milan,1976. Premiere:Munich,1969,FilipePires(piano). ThispieceispartofaseriesofworkscalledFigurations. FigurationsIforsoloflute(1968,premieredbyCarlosFranco,Lisbon,1968)iswritten usingatwelvetoneseries;ithas26sections,thefirsthavingall12pitcheswhichreduces tojustonepitchinthe12th.Pirestheninvertstheschemeandfromthe14thtothe25th sectionsthenumberofpitchesineachsectionincreases.The13thandthe26th sections presentall12pitches. FigurationsIIIfor2pianos(1969,premieredbyF.PiresandJ.Peixinho,Lisbon,1974) usesalmostexclusivelysoundsmadeintheinteriorofthepianos. FigurationsIIforpianosolousestwelvetonetechniques(thesameseriesasFigurations I)andfeatures12sectionswhichhavetobeplayedtwiceinrandomorder.Withthe approvalofthecomposer,ithasalsobeenplayedsimultaneouslywithFigurationsI(for flutesolo).
284

Analysis - Methodology:
This piece, one of the few Portuguese piano pieces which adheres to twelvetone methods,requiresacloseanalysisoftheseriesineachsectiontogetherwithanharmonic andamelodicanalysis.Itwillalsobenecessarytocomparethesectionsinordertoplan theperformance'ssequence.
284

Figurations.

171 PLAN OF ANALYSIS 1. Series,harmony,cells,motives,melody,texture,time,etc.(foreachsection). 2. Differencesandsimilaritiesbetweenthesections. 3. Hermeneuticapproach.

Analysis
ANALYSIS BY SECTION T HE S ERIES This piece uses the same series as Figurations I for flute. The series appears in its originallayout(A),transposedonesemitonehigher(B)andamajorsecondlower(K).

ERIES S

Thecomposeralsousestheseseriesbackwards. InsomesectionsFilipePiresusestheseriesquitestrictly,notrepeatinganypitchor takingapitchfromoutsidethetwelvetonerow.Inothersectionsheusestheseriesina freerway,dividingitinto2hexachordsandusingthemasamelodicand/orharmonic basis. Infact,theseriesandallitstransformationsaremadeinsuchawaythateachhexachord, disregardingtheorderofthenotes,correspondstoanotheroneinthetable: 1sthex.ofA=2ndhex.ofiB285=2ndhex.ofD=1sthex.ofiE=1sthex.ofG=2ndhex.of iH =2nd hex.of J=1st hex.of iK.Fromthisperspectivethereareonly6different hexachordsdistributedasshowninthefollowingtable.
285

FirsthexachordofseriesAcorrespondstothesecondhexachordoftheinversionofseriesB.

172

nd Series 1sthexachord 2 hexachord Inversion

A B C D E F G H I J K L

1 5 3 2 6 4 1 5 3 2 6 4

2 6 4 1 5 3 2 6 4 1 5 3

nd 1sthexachord 2 hexachord 3 4 iA 2 1 iB

iC iD iE iF iG iH iI iJ iK iL

6 4 1 5 3 2 6 4 1 5

5 3 2 6 4 1 5 3 2 6

(Thehexchordsusedindependentlyareinbold). Theuseoftheseriesineachsectionisfullydemonstratedintheappendix(FilipePires, FigurationsII,Series).Althoughtheuseofhexachordsisimportant,inthisappendixall notes have been analysed in terms of their inclusion in the series, or in one of its transformations.Infact,onlythehexachords1,2,5and6areused,disregardingthe hexachordsresultingfromtheinversionoftheseries.

S ECTION 1 StrictuseofseriesA.Thissectionfeaturesoneharmoniccellmadewiththepitchesof thebeginningoftheseries.Thiscell(a)isusedindifferentwaysinalmostall13sections ofthispiece. The cell has as its main intervals the fourth (perfect and augmented fourths) and a semitone;itisdevelopedbyaugmentationoftheintervals.Thesefeatureswillmarkthe harmonyandthemelodiclayoutofthepiece.

173

AND ' A A

S ECTION 2 ThesecondsectionusesthefirsthalfofseriesB(hexachord5)asachord,thenotes being released step by step, from the bottom to the top, at decreasing intervals of duration.

S ECTION 3 Sectionthree uses blocks of sixpitches from series B as chords (particularly hexachord6).Thesechordsclearlycomefromthecella,withitscharacteristicmixture offourths(augmented)andsemitones(alsoasappoggiature).Attheendofthissection thetwochordsformacompleteseries.

S ECTION 4 Cellaalsoappearsinsection4usingthewholeofseriesAandB(hexachords1,2,5and 6)andbrokenpartsofA(hexachord1).Eveninthemelodythatbeginsinthelefthand andrisestotheendofthesection,theharmonyofaispresent.

S ECTION 5 Filipe Pires uses series B melodically, as can be seen in the table of series in the appendix.Theuseoftheseriesatthebeginningofthissectioniscurious;pitches7to12

174 (hexachord6)intheuppervoice,togetherwithpitches1to6(hexachord5)inthelower, adoptingthedivisionoftheseriesintwohalves.

S ECTION 6 HereFilipePiresusesonlythefirstsixpitchesofseriesA(hexachord1),formingthe completeacell:(C,Gb,F),(F,Bb,B)and(Bb,B,E).

S ECTION 7 Thissectionalsousesgroupsofsixortwelvesounds(hexachords6and5),someasa melodysomeothersaschords.Afterasixnotemelody(hexachord6)twochordswith ornamentsappear.Theresemblancebetweenthemderivesfromthesixpitchseries(also hexachord6)towhichtheybelong. The last part, including the tremoli, is constructed from the wholeofseriesK.Herethechords
PART

(theharmony)clearlyindicatethe

influenceofcella.

S ECTION 8 Withveryfewharmonicchanges,thissectionusesonlyhexachords2and6(thesecond halves of series A and B).Presenting again a development of cell a,thissection is markedbyseconds(transformedintoseventhsandninths)andbyaugmentedfourths.As inothersections(section1,3and7),thewayFilipePiresusesthegroupsofpitches(the samehexachords)givesplacetorepetitionsand(distorted)mirrorforms.

175 S ECTION 9 The composer uses only the series K in hexachords (5 and 6) and the harmonic possibilitiesalreadydescribed,asinsection4.

S ECTION 10 Afterthesilentcluster,thecomposerusesthewholeofseriesKmelodically.

S ECTION 11 FilipePiresagainusesseriesKbackwardsatthebeginningand,bymeansofamirror (slightly inexact) plays with pitches 1, 2 and 3, in the middle of the section (see appendix).

S ECTION 12 AgainseriesKisused,atfirstcomplete(dividedintwohalves,oneforeachhand)and thenasamirrorunderatrill(pitches11and12)intherighthand.

S ECTION 13 Inthissection,theseries(AandB)areusedagainintwohalves,oneineachhand.The motionofonehandistheoppositeoftheother,formingamirroreffect.

THE DIFFERENCES AND SIMILARITIES BETWEEN THE SECTIONS

Section 1 2 3 4 5 6 7 K B A,B B 1 6, 5 Whole series A hexac melo harmo hords dic nic 2 1 5 6 1 1 1 1 1 1 1 1 1 1 a 1 1 1 1 1 1 1 1 1 1 1 counter mirrors point or rep. 1 quick Slow forte 1 1 1 1 1 1 1 1 1 piano

176
8 9 10 11 12 13 K K K K A,B TOTAL: A B K 3 4 5 6 2, 6 5 1 1 1 1 8 5 1 1 1 1 1 1 1 1 12 1 1 4 1 1 1 8 1 1 1 1 1 1 1 9 4 1 8 5 1 1 1 1 1 1 1

A comparison of the different sections gives us helpful information about their characteristics.Thevariablesusedare:theuseofthewholeseriesandofpartsofthe series;melodicorharmoniccharacteristics;theuseofcella;theuseofcounterpoint;the useofmirrorand/orrepetitiontechniques;thecharacteristicsofquickorslowtempiand ofpianoorforte. Itisdifficultsometimestodecideifonesectionismoreharmonicthanmelodic,orifit hasasloworquick, piano or forte character. Somesectionshave,simultaneouslyor consecutively, both elements of the opposing pairs. But such taxonomy, although subjectiveanderroneous,canhelpwiththecharacterisationofeachsectionand,inthe end,canhelptodecidethesequenceofsectionsintheperformance. There are 5 sections using series A (or hexachords 1 or 2), 6 sections using B (or hexachords5or6)and5usingseriesK(orhexachords5or6).Fourofthemusetwo series(A/B,B/K).10usehexachord5orhexachord6(onlysixpitchesorincludedin seriesBandK),only4usehexachord1orhexachord2(onlyinasixpitchesgroupor includedinseriesA). Allsectionsusecellaindifferentways,withthepossibleexceptionofsection5,where thisharmoniccellisnotsoobvious.Mostofthemalsousemirrorand/orrepetition techniques(8),haveamoremelodic(8),aquick(9)oraforte(8)character.

177 TherearenospecialcharacteristicsamongthesectionsusingseriesA,orB,orKorthe hexachords.OnlyKappearstobemoremelodicandquick.Infact,themelodicsections arequicker,theharmoniconesslower. Itisalsoimportanttonotethesimilaritybetweensections4and9(harmonic,slow,using mirrortechniques),andbetween2and6(slow,usingonlyonehexachord).2and6,if played in close proximity, would create an effect of repetition and/or development, especiallyconsideringthattheinterpretermustplayallthesectionstwice,asspecifiedin thescore.

HERMENEUTIC APPROACH I think that Filipe Pires wanted, with this piece, aside from any aesthetic urge for expression,tomakean etude usingmethodsthat,althoughcommonamongtheavant gardecomposersatthattime,werestillquitenewinPortugal.Heusedtheseriesdivided intotwoparts,asatheme:asamelodicbasis,asaharmonicambience,asanessential motive(theimportanceofcella)andasasubstructureforcomposition(theseriesasa sequence of pitches). Therefore he was able to make a piece that can be viewed in different ways, one more traditional and the other more modern. The indeterminate aspectofthecomposition(theorderofthesections)givestheinterpreteranopportunity toexperimentwiththerelationshipsbetweenthedifferentsections. ThefactthatFilipePireswasapianistisevidentinthispiece:thathewenttoGermany inthefiftiestostudyprimarilypiano,andthatheknewboththeclassic/romanticandthe modern(evensomeavantgarde)repertoire.Thiscanbeseeninthefollowingaspects: 1. Theuseofmirrortechniquesdrivenbyphysical(pianistic)intentions(section 3),byexpressive(sectionX)and/orbycompositionalconcerns. 2. Theuseofsmallernotes,"asquickaspossible"(sections1and7),resonance chords(sections3,4,9)andclusters(section10)symbolsofthepiano avantgardesometimesinaverypianisticway(thehandmoveswithno tensionfromonepositiontotheother).

178 3. A continuing interest in expression (almost a romanticlike expression) evident in the harmonic development, the use of melody/accompaniment texturesandofdynamicchangesclosetotheromantictradition. FigurationsII is,therefore,acharacteristicpieceofthemusicofFilipePires,showing thecontradictionsofoldandnew,oftraditional(romanticandneoclassical)andmodern (avantgarde)thought,presentinmuchofhismusic. ItisalsoimportantforitsnoveltyinthePortuguesepianorepertoire286in1969andlast but not at least, for being a very interesting piano study in the use of twelvetone techniques,incelldevelopment,andinchance.

In1969,hepresentedthepremiereofhisacclaimed1968Gulbenkianprize, PortugaliaeGenesis, for baritone,choirandorchestra,composedthepreviousyear.HealsowenttotheDarmstadtSummerCourse onascholarshipfromtheGulbenkianFoundation

286

179

MARIA DE LURDES MARTINS Sonorit per un pianista 287

DedicatedtoFernandoLaires288 1970,pianosolo,usingalso2woodblocksand1cymbal,playedwithhardfeltmallets, woodblockmallet,triangle(metal)malletandjazzbrush. Support:manuscript5pagesandafrontpageinsizeA3. This piece clearly uses not only the piano in its traditional way, also some modern techniques andtwoother percussion instrumentswith differentmallets.Thescore is arrangedonfourstaves,oneforthetwowoodblocks,oneforthecymbalandtheother twoforthepiano.

Analysis - Methodology:
Theanalysisofthispiececanbeunderstoodbymeansofthedevelopmentofsmall structuralelements(melodies,motives,cells,chords/harmony,rhythms,etc.),thetimbre (pianoandpercussioninstruments)andthedialoguebetweenthedifferentinstruments.

PLAN OF ANALYSIS 4. Searchfor melodies,motives,cells,chords/harmony,timbre(relationbetweenthe instruments),rhythmandtexture. 5. Structure.

287

288

ItalianforSonoritiesforapianist. PortuguesepianistlivingintheUSA.

180 6. Hermeneutic.

Analysis:
MELODIES, MOTIVES, CELLS S ECTION 1 Thispiecebeginswithamelodydispersedintheloweroctavesofthepiano,forminga smallaabperiod:onebasicmelodiccell(a)istransposed,followedbyanendingsection

ONORIT S PERIOD,CELLS(TRANSPOSED)

whichcontainsa diminished seventhchordcell (b) resolvingin F(possible f minor)byadevelopmentofthesamecell. Thecell(a)isformedbytwoimportantintervalsamajorthird 289andaminorsecond thatwillbeexploredintherestofthepiece. ItisinterestingthatMariadeLurdesMartinsdoesn't use thismelodicperiodagain. Sonoritisbasedonthesuccessionofcontrastingsectionsofdifferentsounds,intervals, chords,timbresandrhythms,usingcells(a)and(b). Thisfirstsectionendswithlongsoundsofthecymbalinthesecondsystemofthefirst page.

S ECTION 2 Thissectionbeginswiththeuseofminorsecondsandendsonthesecondpage,second system,afterthelongcymbalnoteandfollowinglongchord.

289

Inoppositiontotheminorthirdsofthefollowingdiminishedseventhchord,insectionBofthisperiod.

181 Thefollowingitemsareimportant: 1. Thechangebetweenpianoandwoodblockparts,withsomecymbalsounds. 2. Arhythm,characterisedbyshortnotesonthepiano,almostimitating the followingsoundsofthewoodblock. 3. Theinclusionofclusterlikechordsandbrokenchords.Theformerappearas a consequence of the use of minor seconds, reinforcing the percussive treatmentofthepiano(firstpagethirdsystemandsecondpage);thebroken chordsveryquickremindusalwaysoftheuseofcells(a)and(b).

ECTION2INTE S CHORDS

The rhythm is very clear especially in the woodblock part, perhaps because of the characteristicsofthepercussion(noresonance)andinconsideraionofthedifficultyfor thepianistofquicklypickingupamalletandplayingthepercussion.

S ECTION 3

RHYTHM

Thissection,beginningonthelastsystemofpage2,endswiththelastnotesofpage3 (thelastff cymbalsound, lasciarevibrare).Itisformedbyasmallpianosequence(in seconds),a tremolo andsomeotherpercussionsounds,anotherlongerpianosequence

182 (alsosecondsandrelatedintervalsandtheappearanceofcell(a)F,Ab,E)andanother tremolo. Theuseofsecondsandrelatedintervals(7thsand9ths)continuestobecharacteristicinthe pianopart.Butmostimportantinthisandthefollowingsectionarethelongtremolion thepiano(page3)imitating(andimitatedby)thecymbal.

S ECTION 4 Thislastsectionbeginsonpage4andlaststilltheendofthepiece.Afterapiano sequencethereisatremoloalongwoodblocksoloandachordsequence. HereMariadeLurdesMartinsusesagainthecell(a)(adevelopmentofcell(a),enlarged andtransposedinbrokenchords)andintervalsofasecond.

ASTSECTIONCHORDS,DEVELOPMENTOFCELL(A),INTERVALS L

Thechordsthatbeginthissectioncanbeunderstoodasaremembranceofthecomposer's interest in tonality, specifically G (major). In the end, the chords resemble (or are) clustersthankstotheuseofclosedsemitoneintervals. Therhythmofthewoodblockseemstouseelementsalsoemployedinsection2.

STRUCTURAL AND HERMENEUTIC APPROACH Thedivisionoverviewedaboveresultsfromtheperceptionthatthesoundsinthecymbal are very characteristic, much louder and longer than the others more salient dividingthepieceintodifferentparts.Butinfactthissmallpiece(circa4minutes)could beunderstoodasawhole,withnobreakswhatsoever.Itseemsthatthesecondtremoloin page3(system2)isakindofclimaxofthepiecebecauseofitsdynamicandduration.

183 Someitemsareimportantinthiswork,inthecontextoftheavantgardeandof the authorsidiosyncrasies. 1. ItissignificantthatthecomposerincommonwithotherPortuguesecomposersof thesamegenerationmadeanefforttouseharmonicprinciplesotherthanthose comingfrom the traditional tonal system. Thisis relevant in the insistent use of seconds(orseventhsandninths)andofcomplexclusterlikechords.MariadeLurdes Martinsawardedaprizein1965forheropera OEncoberto 290 wasalready awareofthenewmusicthatwasbeingmadeintheDarmstadtcoursessheattendedin 1960and1961. 2. Alsoimportantistheexperimentalattitudewithsounds,usingthecymbalandthe woodblocks,resonancechordsandsinglesounds,largeelectronicliketremoli, clusters,etc. 3. Butthispiece,besidesbeinginterestingforitssoundexperiments,revealsalsoher interest for Orff Schulwerk: it is my opinion that the use of the cymbal and the woodblocksisalsomotivatedbythefactthatMariadeLurdesMartinshassince1959 stayedinclosecontactwithOrffinstruments,didacticsandaesthetics,beingoneof thefirsttointroducethiskindofmusicteachinginPortugal.Eventherhythmsused bythewoodblockaswellasbythepianorevealsomeofthesimplicityofOrffs schoolmusic. 4. Butalthoughsimple,therhythmhassomedisturbingfeaturesthat,Ithink,were addedinordertopreventanyclearaudiblesimplicity.Sheaddedorsubtracted rhythmic figures and pauses as in Messiaens Valeurs Ajouts, or transformed 4 eightsintoquintuplets,etc. 5. Alsotheharmonyandthemelodyhavebothcontemporaryandtraditionalelements: themelodicstructureofthefirstnotes,togetherwiththeuseofbigdistancesbetween
290

TheHidden.

184 them(differentoctaves);theuseofclusterlikechordstogetherwithtonalelements; theuseofclassicaldevelopingtechniques(transpositionandaugmentation)andsome avantgardefeatures(e.g.resonancechords);theuseofverycomplexandoftonal centredharmonies. Sonorit isasmallstudyinsonorities,composedmuchinthestyleofanimprovised workforpiano,withthehelpofcymbal,woodblocksandseveralkindsofmallets.Oneof itsperformancedifficultiesliesinthechangeofinstrumentsandinthecapacityofusing simplemusicalelementsinamorecomplexinexpressivetermspiece. Thispiecealsoinvitestheunderstandingofmusicasgestureandmovement:thegestures ofthecomposer(thedifferentuseofthecells,therepeatedrhythms,thetremoli,etc.)and thegesturesandmovementsoftheperformer,somerelatedtothoseofthemusic,some othersjusttopickupthemallets,playthepercussioninstruments,andcomebacktothe piano.

185

EMMANUEL NUNES Litanies du Feu et de la Mer II

1971,Pianosolo Support:scoreeditedbyJobert,Paris,1978.11writtenpages,1sttitle,lastreading andperformanceindications. Thescoreisdividedinrehearsalnumbersfrom11to28.

Analysis - Methodology:
INTRODUCTION Thispieceisthesecondofthe LitaniesduFeuetdelaMer.IntheJudaeoChristian traditionlitanyisaliturgicalprayer:aseriesofrepetitiveinvocationsand/orsupplications sungbythepriest,pointedbyshortresponsesfromthecongregation291.Thetitleitself Litaniesdufeuetdelamer,suggestsananalyticalapproach:thisLitanieisapiecewith somesortofinsistent,perhapsmythicalcharacter,withacontrastbetweentwoopposite levels(fireandsea). Foranunderstandingofthemethodologyofanalysisofthispiece,thefollowingpoints mustbeunderstood. 1ItiswellknownthatNunes,afterbeinganattentivestudentofStockhausensand Boulezs serialism, aims at a personal way of composing that is not far from the Darmstadtschool.Hismusicincludesnomotivesandcellstobedeveloped,norepetitive rhythms,norecurrentsections,asinthemusicofthe19thcenturyandofthefirsthalfof the20thcentury,butsoundstructuresofapointillistkindandnonmetricrhythms.Itcan beassumedthatthisreflectstheaestheticviewsofthehistoricalvanguardthathasits
291

SeeHuglo,LeHuraye.a.(1980).

186 rootsintheDarmstadtcoursesgivenbyMessiaen,Boulez,Stockhausen,etc.,andinthe developmentofelectroacousticaltechniquesinmusic. 2Thismusicisperhapsbasedonsomenumericalrelationships(asinintegralserialism and compositions influenced by this technique). As the aim of this analysis is the understandingofthepieceasamusical(sound)eventandnotasacompositionalexercise
292

theseabstractstructureswillbeanalysedonlywhenrevealingasignificantmeaning

inthewaythemusicsoundsorinthewayitcanbeunderstood. 3Therepetitivecharacterofthesoundsasinalitanyisevidentonhearingthispiece. Thereforeananalysisofthetonalsubstructureanditsevolutionthroughoutthepiecewill beinterestinginordertodeterminetheharmonicevolution. 4Althoughthecharacterofthepieceiselusive,Nunes,asinotherpieces293 ,uses spatial and time dimensions that are evident and can be seen in the contrasts of dynamics,registers,inthesuccessionofdifferenttextures,pitches,rhythms,tempi,etc.

PLAN 1. Strictmusicalapproach: 1.1.basictonalsubstructure(harmony,melody,theseries,chordsused) 1.2.harmonicstructureandevolution 1.3. material organisation (definition of different rhythms, time relations, textures,dynamics,tension,oppositions,andstructure) 2. StylisticandHermeneuticapproach: 2.1.litany 2.2.thefireandthesea 2.3.relationtootherworksofthesamecomposer,style,Zeitgeist,etc.
Theaimofthisanalysisisabetterauditionand/orperformanceaprimarily estesic viewnotthe understandingofthetechniquesusedontheactofcreationasapoieticact.OnthismatterseeMauser, Siegfried(1994).
292 293

SeeMacias,Enrique(1991):p.54.inColoquioArtes,881991:page54

187 3. Theperformanceapproach.

Analysis
STRICT MUSICAL APPROACH B AS IC T ONAL S U BSTRUC TURE C# D D# E F# G G# A Bb 133 210 141 202 97 215 96 173 This piece has only a selected number of pitches, appearing in differentoctaves.Thesepitchesarethefollowing294. Nunesusesonly10pitchesofthe12possible,excludingcompletely CandF.Fromthese10,onlyfourappearmorethantheaverage (154): D, E, G, A and Bb. These pitches form a kind of preponderantharmony,sometimesveryevidentasinthebeginning ofthepiece,atothertimesmixedwithotherpitches.

228 B 51 PitchesUsed

H ARMON IC S TRUCTURE

AND

E V OLU TION

Thistableshowsthepitchesandthenumberoftimesplayedineverysectionofthescore dividedbyrehearsalnumbers.Itshowsalso(inbold)thepitchesusedatleastasmany
11- 11b- 12.- 13- 14- 15- 1611b 12 13 14 15 16 17 2 6 6 11 8 12 9 24 7 15 5 8 7 12 1 4 8 9 6 10 12 26 8 14 3 11 14 12 0 1 0 4 4 11 8 21 8 11 8 11 12 11 0 0 1 1 4 2 7 23 6 11 2 5 7 7 26 8 14 3 11 15 11 0 0 0 4 11 12 3
12 5 8 5 8 10 9

C# D D# E F# G G# A Bb B
average

1718 7 6 3 6 5 5 3 4 6 2
5

1819 6 14 8 17 6 17 10 17 20 0
12

1920 4 11 7 8 4 2 4 4 12 1
6

2021 4 10 4 9 2 8 4 7 9 0
6

2122 5 5 6 8 2 8 6 8 9 0
6

2223 18 32 21 14 2 38 23 34 34 0
22

2324 7 9 9 9 13 9 6 6 11 2
8

2425 8 10 8 6 10 8 5 7 8 6
8

2526 2 10 9 10 10 10 7 3 0 5
7

2627 7 6 7 7 5 9 4 10 12 2
7

27- 2828 end 5 6 11 9 5 4 10 10 4 6 10 9 6 4 9 3 11 8 2 1

7 6

timesastheaverage.

294

Thiscountwasmadewithnohelpfromelectronicmeans.Thereforeitmaycontainsomeerrors.

188 Thenextexamplemakesclearthatthedifferencesbetweenthepitchesusedinthescore showaclearharmonicevolution295.Thefollowingpitchesarethoseusedatleastatthe averageforeverynumber296.

AINPITCHESUSEDEACHSECTION M

Inthefaceofthisdataitispossibletoseeanevolutionandtofinddifferentharmonic patternsdistinguishablebythepitchesconcernedandbythedifferentwaysofusingthem harmonicsections.

A Thefirstharmonicpatternisfoundinthesectionbetweennumbers11to13.Itsharmony isbasedonthepitchesD,E,G,AandBb,pointedbyothersustainednotes.Inthelast barsofnumber12,Nunesproposesanimprovisationwiththeseoriginalfivemainnotes, followedbyalongrepetitionofG#297apossibleoppositionbetweenthisnoteandthe mainD,E,G,A,Bbharmony.Infactthesemainnotesseemtocontrastwiththemuch lessusedbutverysalientC#,D#andG#(firstnotesofthepiece,sostenutonotesin11B and12).

295 296 297

Aswillbeclarifiedlater,thesesectionsbetweenrehearsalnumbersdontdelimitsectionsofthepiece. Number11isdividedinto11and11Bbecauseofthelengthofthissection. Thispitch,althoughrepeatedfor13seconds,isjustcountedonce.

189 Afterthefirsttwonotes(C#,D#)atthebeginningofthepiece,andtilln.11B.,thepiece hasalongseriesofquickandstaccatopermutationsofthepitchesD,E,G,A,Bbinthe upperhalfofthepiano.Then,in11B.,somesinglenotes(C#)orchords(onechordwith D#,Bb,C#andA,anotheronlyGandA,lateranotherwithD,G,EbandC#)appear, sustainedbythepianopedals.Sometimesintheloweroctaves,ormixedintheupper octaves,thesesustainedchordscreateacontrastwiththesharpstaccatoofthecontinuous quicknotes. Itisimportanttonoticethat themainharmony(madeby thepitchesD,E,G,A,Bb)is
OSTENUTONOTES S

always put in opposition

withothersounds,whicharelesscommonlyused,butaremaderemarkablebytheway theyappear(repeatednotes,longnotes,insostenuto,etc.).

B Thenextsectionofthepieceappearstobeverydifferentastoharmonyandcharacter, implyingprimarilyC#,D,D#,E,GandBb,withsomeF#andB.

Thissectionbeginsatnumber13andendsat18ofthescore(number18beginswith otherwaysofvaryingthepitchesD,E,GandBb). Innumber13anotherkindofvariationbypermutationappears,withthepitchesexactly fixedatthesameregister(chord1akindofharmonicfieldthatlookslikeadistorted sequenceofharmonicseries).

190 Groups of one or more of these notes are permutated, forming always different
1

combinations. And these combinationsservealsotoset

in vibration a chord (G, Bb, D, A, C#) that is hold (almost without attack) in the sostenuto pedal. Whatisheardisaconstantvariationand,simultaneously,aconstant repetition: the notes are always the same, the harmony is always the same, the combinationsofthesoundsarealwaysdifferent. Threebarsbeforenumber14thenoteg#1isadded,inthenextbarthenotesaand bb,andlaterab1andaappearsagain(3,4and5barsafternumber14).These notes, out of the restricted number of notes selected for this section, at first only emphasiseitsrepetitivecharacteranditsharmonicatmosphere.Butlater,thenotesbegin graduallytobeverydifferentfromthoseproposedin13,approachingmoretheharmonic fieldofnumber15.Thesectionfromfourbarsbefore15tillfourbarsafter15worksis, inmyview,atransition,leadingtoagroupofnotesthatwillbeused(chord2). It is interesting to see that, according to the properties of the
2

sostenuto pedal, the strings can

vibrateinsympathy,reinforcingtheovertonesofotherstrings.Butifanotesustainedby thispedalisdirectlyplayed,itwillproduceaveryloudsoundthatwillcertainlyprevail likeastrongpedaloverothernonsostenutonotes.Thisdoesnthappenuntilfour barsbefore15,whereBbandG(thenextbar)arerepeated.Afternumber15,manymore notesmaintainedbythesostenutopedalarerepeated,(C#,A,BbandG),reinforcingnot onlythechord2(themainnotesofthispassage)butalsothesostenutochordfromthe beginningofsectionB.

191 After16,therebeginsasectionthatinsistsonaseriesofchords.Thelasttwochords(7

and8)appearalone,withnoothernotessurroundingthem,butwiththesamecharacter astheprecedingsix.Chord7(C#,F#,G#,D#)andChord8(D,E,G,A,Bb main pitchesoftheentirepiece)haveaspecialsignificanceinthefollowingsections,asthey arethetwoopposedharmonicfieldsofthepiece. Someofthesechords(3,4and5)appearinaquicksequenceinthelastbarofnumber 17,showingamelodiccharacterintheuppernotes(D,D#,E)andlookingtobeakindof shortresumeofthissection.

C Betweennumbers18and23anotherseriesofvariationsontheD,E,G,A,Bbharmony

ARMONICSECTIONC OSTENUTO HORDS H S C

begins. In number 18 to 19, very quick notes, sometimes in a kind of tremolo, are superposedoverdifferentsostenutochords(seetremoliA/Ein2ndbarafter18,Bb/Gin 4thand5thbars,Bb/Ein7thbar,Bb/Dinnumber19,andD/Bbin3rdbarafter19).From numbers 20 to 21 these chords disappear, but the repetitive character is actually intensified(intremoloandsimplerepetitionsofnotesandchords). At22anewsostenutochordisintroduced(withnoattack):thisbeginsapassagewhich isrhythmicallyverydifferent,butwhichmaintainsthesamegeneralharmonicidea.Itis

192 interestingtherelativelysmallnumberoftimesthatthepitchEappears.Butbecauseof thesostenutoeffectdescribedearlier,Esoundsveryprominentamongothers:whenitis played,itbecomesapedaloverallothernotes. In bars 12 to 15 after number 22, in continuation of the repetitive character of this section,thereisarepetitionofachordformedbythenotesBb, D,GandA:together withE,thesearethebasicpitchesofthewholepiece. Inthelastbarofthissectionadoublebarappears.Inmyview,EmmanuelNuneswanted thatthereshouldbenodoubtaboutamaindivisionatthispoint,dividingLitaniesIIin two separate main big sections. And this division is, perhaps, placed exactly in the middleofthepiece:inarecordingavailable 298 thesetwosectionsofLitanyIIhave approximatelythesameduration10minutes.

D Fromnumber23to27thepiecehasadifferentcharacter,markedbytheuseoflong notesand/orchords,intheformofpedalsorpermutations.Nunesusesagreatervariety ofpitchesthaninsectionsAtoC,asitcanbeseeninthefigurespresentedearlier.

EDALSAND(MAIN)CHORDSIN P REDUCED)

Fromnumber23to24F#inthelefthandisrepeated,lateralsoaBb.Thesenotesserve asdronesbasspedalsfordifferentmelodiesthatoccuraboveit.Theappearanceof thechordC#,F#,G#,D#inthe6thbarafter23andalsolaterisinteresting.Thischord

298

Cf.Nunes,Emmanuel(1992).

193 (whichalsoincludesthenoteF#)seemstobethekeychordofthissection,opposingthe prevalentD,E,G,A,Bbchord(themainnotesofthepiece).Bothchordsappearinbar9 after23.Thesechordscorrespondalsotochords7and8thatappearedinharmonic sectionB. In number24alongseriesofdifferentchordsintheextremeregistersofthepiano

UMBER24CHORDSREDUCEDTOONLY2REGISTERS N

(combinedintherightpedal)seemtoillustrateacharacteristicofsectionD:gettingaway fromthenarrowharmonicpossibilitiesduetotheuseofjustafewnotes.Thesechords, in my view, present the 2 harmonic fields presented above: different version and transformationsofchord7,surroundingthechord8,inthelefthandandinthemiddleof the bar, but very salient among the others (much more loud and in the right hand register). Afewbarslater(scorenumber25),afteralongsilenceof14seconds(withnoresonance chords), new harmonic ambiences appear with long repetitions and permutations of mainly three different chords. These chords are again a mixture of the two main harmonies.

MARKED)

194 E Innumber27,aseriesofverylongchordsinbothhandsappearsfollowedbyalong repetitionofthenotesBbandD.Innumber28,asostenutochord(notplayed),presented

REGISTER)

assuperposedfifths(F#,C#,G#,Eb, Bb),willcreateakindoffloatingharmonythat dominatestheendofthepiece. Thesechordsinnumber27showagainaninterestofNunesintheuseoftheD,G,A,Bb harmony(thebasicpitches)nowmixedwithotherpitches.Hisintentionis,perhaps,to opposeamorepercussiveideabasedonthebasic(D,E,G,A,Bb)harmonytothenew sostenutochordofsuperposedfifthsthatwillappearinnumber28,speciallyasanecho ofthesingle(staccato)notesplayedintheverylowerregisteroftheinstrument. ThefollowingpictureshowsthepitchesusedineachsectionfromAtoE,withthemore frequentlyplayedonesinbold.

195

pitches/p A 11-13 B 14-18 C 18-23 D 23-27 28-end E 27- end arts C# D D# E F# G G# A Bb B

average

14 46 13 48 1 40 1 40 48 0
25

47 38 40 46 32 47 17 25 46 32
37

37 72 46 56 16 73 47 70 84 1
50

24 35 33 32 38 36 22 26 31 15
29

6 9 4 10 6 9 4 3 8 1
6

11 20 9 20 10 19 10 12 19 3
13

ITCHESUSEDINEACHSECTION P

M ATER IAL O RGAN IZATIO N Duringtheanalysisofthepitchesandnotes,whichhadthepurposeofexplainingthe harmony that underlies the piece and its different sections, it became evident that LitaniesduFeuetdelaMeratleastthefirsthalfcanbeseenasasuccessionof variations.Thesevariationsuseas(thematic)basicmaterialthesubstructureformedby the selected pitches, which aremostoftenused;thissubstructureisthentransformed, variedandpresentedinvariousways. Thispiecehasalsoaspecificfeatureinthedomainofrhythm:theuseofverydifferent rhythmicand tempo patterns ("as quicklyas possible",freerhythm insomespecific tempoindications,verystrictmeasuredrhythm,improvised,repetitions,etc.),thatare organisedinaccordance(orinoppositionto)a9secondtimeunit.Thisideaundergoes varioustreatmentsinthedifferentvariations.

Variation I Harmonic section A Thefirstvariationrunsfromnumber11to13. Thebasicprocessesare:

196 1. arhythmicpatterndefinableasanextendedsuccessionoftime,tobeplayed veryquicklyorasquicklyaspossible,interruptedbyverylongnotes,very slowand/orveryrepetitivesections,usingtimeunitsof9seconds; 2. permutationsappliedtothepitchesused(D,E,G,A,Bb)speciallyinthe extreme high octaves, forming sometimes (after 11B) very repetitive ostinatolikemelodies; 3. anoppositionbetweenthebasicpitchesandC#andD#andthemainharmony. C#andD#areplacedatthebeginningofthefirstvariationandelsewhere,also beingusedinthesostenutopedal, 4. theuseofdifferentplanesofaccentuationanddynamics.Theseplanescreatea sense of spatial dimensions (far, near, right, middle, left, farright, etc.,) depending on the dynamic level and accents and on their position in the differentregisters. Asanalysedabove,thisfirstpartusesmainlythepitchesD,E,G,A,Bb.Butitmustalso besaidthatpitchesC#andD#(orEb)muchlessoftenusedappearinprominent ways:thebeginningofthepieceandjustbeforetherepeatingpassage3barsbefore13; longnotesinthemiddleofaquicksequence(4seconds,justbeforenumber11B);very loud and sustained notes. It seems that these two pitches already form an opposing harmony,aswillhappenlaterinthepiece. The spatial dimensions viewed in this variation are, in my view, the result of the contrastinguseofextremedynamics(creatingthesensationsofnearandfar),andof differentregisters(sensationofleft,middleandright).

197 This can be understood graphically through the following picture, where only notes playedmfandlouderarewritten,eachnotewithanimage(appearinglargerorsmalleron thepage)correspondingtoitsdynamiclevel(fromthesmallestmftothebiggestsfffor fff).

OTESWITHDYNAMICSFROMMFTOFFF N

Variation II Section B Theprocessinthesecondvariationisbasednotonlyonspecificpitchesbutalsoon specificchords,someheardasawhole,othersdistributedovermanybarsandothers, specially,heldinthesostenutopedal. Thissecondvariationischaracterisedby

198 1. the use of specific chords that appear in different forms, the first chords distributedbythenotesplayedinthefirsttwobars(chord1) 299,thesecond appearinginbar11afternumber15300,theothersappearingasinnumber16 andafter); 2. theuseofalimitednumberofnotesincloserepetition; 3. the use of permutations to vary the chords (written and also improvised permutations),togetherwiththeuseofotherpitches; 4. arhythmbasedondifferentshortgroupsformedbysemiquaversandsmaller values,separatedbyverylongpauses(inordertoclearlyheartherightpedal andthe sostenuto chords),andcreatingakindof rhythmicuncertainty.This willbechangedinnumbers16to18whereNunesagainusesregular9seconds units; 5. the use of different planes based on accentuation/dynamics as in the first variation,andalsobasedonthenotes/chordsplayedandtheirresonanceinthe sostenutochord,especiallyinthepauses. These two planes, formed by the notes actually played and by their resonance, are perhapsthemostsalientcharacteristicsofthebeginningofthisvariation:thelongpauses serveasaharmoniccontinuumorpedalfortheresonanceofoneormorenotesof thesostenutochord(G,Bb,DAD#atnumber13).

Exp do novo pc

299 300

Closedtothesostenutochordappearingjustbeforenumber13. Agroupforimprovisation.Seechord2.

TO15:NOTESREPEATEDCLOSELY 13

199 Therepetitiveaspectsofthisvariationarealsoveryimpressive,speciallyfromnumbers 13to16.Theycanbeunderstoodbylookingforthenotesthatareconsecutivelyrepeated, orthathaveonlyonenote/chordbetweenthem(seepictureabove). This second variation can be divided into smaller sections defined according to its harmonicbasisandothercharacteristics.Thefirst(a),fromnumber13tonumber15,is based on the chord (harmonic field) 1 and the resonance of the sostenuto chordclosetoit.
CHORD1

It is also characterised by the use of a selection of small

rhythmicgroupsseparatedbylongpauses.Afteraveryexpressiverepetitionofthenote B(5barsbefore15),theemergenceofdifferentnotesandoftherepetitionofsostenuto notesbeginsachangethatwillleadtodivision (b),basedonanotherchord(chord2of sectionB).Herefewernotesareinterruptedbylongerpauses,creatingtheeffectofa slowermovement.Division(c)fromnumber16to17isformedbysixgroupsof twobars,eachgroupwithonechord.Thesegroupscorrespondto9secondunits(a4/4 anda5/4bar, =60).Thistimedivisionin9secondunitswillstaytillnumber18.

N.13 14 a Chord 1 Sostenuto chord 15 b Chord 2 Sost. notes repeated 16 17 c d Chords 3 to 8

IVISIONSINVARIATION D 2

Betweennumbers17and18,alastdivisionappears(d)involvingthelastchordof(c) and,attheend,chords3,4and5,playedsuccessively.Thislastdivisionis,perhaps,a kindofconclusiontothissectionB,usingmaterialalreadyworkedandcomingcloseto theharmonypresentedatthebeginningofB.

200 Variation III Section C Thethirdvariationmaintainstheuseofspecificchordsassostenuto,butthesearenotas importantasanharmonicbasisforvariation. Thisvariationischaracterisedby: 1. thefrequentuseoftremoli,aboveormixedwithothernotes. 2. theuseofchordsorsinglenoteswhich,becauseoftheirprominentdynamic, maskthemelodiesandthe tremoli,creatingnotonlyeffectsofdistance301, butevencolour(timbre)masks302. 3. theuseofthelowerregistersofthepiano. 4. arhythmbasedonquicknotesinunevenmeasures(beginningandendingthis variation), repetitive in character (including the tremoli) and separated by longernotes. 5. theuseofindependentandsimultaneousplanes(voices). 6. themelodiccharacterofsomeofthesevoices(shorterintervalsandlonger successionsofnotes). InthisvariationEmmanuelNunescreatestheideaofspacenotonlywiththedifferent dynamics,accentsandregistersbutalsowiththerhythmandtheuseofindependent counterpointlikevoices.Atnumber18Nunesusesbothhandsasindependentparts,with differentandautonomousrhythms,creatingmorepossibilitiesintheusesoftheseplanes: oneforthesostenutochordandoneforeachhand. Thisvariationcanbedividedintothreesmallersectionscorrespondingtothedifferent use of planes and to different strategies of variation. The first (number 18) is
301

Seethe3levelsinthe2ndbarafternumber18andtheD/Bbtremoloin3rdbarafternumber19. Seethelastbarofthissection.

302

201 characterisedbythree(counterpointlike)voicesaccompaniedbysostenutochords.The second(numbers19to22)hasareductioninvoices(toasinglemelody)andmuchless complicated and quick rhythm; it seems to be a kind of recitative using the basic substructure(D,E,G,A,Bb)andsomeotherpitches,endinginalongfall.Thethirdand lastsection(number22todoublebar)correspondstotheclimaxofthepiece,witha highlycomplexandquicksuccessionofsoundsandlongpauses.Hereinnumber22,the sostenuto notes speciallyE appearwithmuchforce,repeatedmanytimesinthe differentvoicesbeforeresolvingintothelasttwochordsofthepage.Alsoimportantis theBb,D,GandAchord(6barsbefore23)intheloweroctaveofthepiano,repeated fourteentimes.Allthisevolutioncorrespondstoanincreaseindramatisationquicker rhythms,morechords,moreplanes,morerepetitionsof sostenuto notes,repetitionsof chords,atfirstwithverylongrests(asinthebeginningofthesecondvariation)and finallyveryfastinacontinuedsuccessionofnotes.Thisleadstoadoublebar,themain divisionofthepiece.

Variation IV Sections D and E Afternumber23(orperhapsonebarbeforeoronebarafter23303)themusicchanges completely. The litany here, much marked by its harmonic features304, is also characterisedby: 1. arepeatingpitchesasabasspedalF#andalsoBb; 2. contrastingtextures(bassalone,extremeregisters,useofthecentralregisters etc.); 3. useoflongpedalsthatmakeafusionofthedifferentpitches/chords; 4. theuseofchordsforpermutations;
Itcanbequestionedwhetherthenewvariationandthenewmainsectionofthepiecebeginsafter thelowerf#orjustafterthechordof2barsbefore23.
303 304

SeeabovetheanalysisofharmonicsectionDandE.

202 5. very calm rhythm divided into 9 second units, with long rests filled with pedals,repeatingnotesandresonancesfromsostenutopedals. It is important to point out that this last variation begins in a very dramatic and expressiveway,asacontinuationoftheclimaxattheendofthethirdvariation,dueto theinsistentappearanceofthenoteF#andthecontrastsbetweenchords,texturesand suddendynamicchanges.Thepermutatedchords,beginning3barsafter25,insertedin9 secondunits,willcreateamuchcalmermoodthatwillstaytilltheendofthepiece, thoughinterruptedbyadramaticrepetitionofasinglechord(45secondslong)and,in number27,byasuccessionofveryloud(andslowly)chords,preparingtheendofthe piece. Despitethedetailsintheharmony,especiallytheuseofthetwoopposingchords(F#; C#, G#, D#, and D, E, G, A, Bb), there is no major difference in the way Nunes composedwhatIhavecalledharmonicsectionsDandE.Itseemstomethatthislast variationisakindoflongrecitativewherethephrasesmelodies,chordsuccessions aremarkedbylongrestsandrepeatingnotes.

R HYTHM

AN D

M OTION

As already noted, many sections of this piece present a division in seconds that correspondroughlyto9secondunits.Attheopening,Nunesusesbarswith5,4,8and 10seconds:atotalof27seconds,i.e.threetimes9.Laterheuses18(2x9),27(3x9)and 45(5x9)secondbars.AsNuneswroteattheendofthepiece,thisworkshouldbeca.20 minuteslong(1200seconds),whichgivesatotalof133.333unitsof9seconds. Adiagramwasmade,tryingtouseallindicationswrittenbythecomposerintermsof time, metre, dynamics, resonance chords and notes. Some of the rhythm/metre indicationswereclear,someothershadtobeunderstoodinthecontextofthework,asan interpretation of the subjective tempi and rhythm indications of the composer ("as quicklyaspossible",barswithnoindicatedmeasure,improvisations).Theresultisa

203 spatialconversionofthework(itstimeanddynamicproperties)proposingadivisionin unitsonesecond. Thisdiagramshows: 1. theunevenrhythmiccharacterofthebarsatthebeginningofthesecondandthethird variation,andattheendofthethirdvariation.Thesethreemoments(scorenumbers 1316,1819and2223) arerelevantfor itsstrongeffectofuncertainty,of quick changes,ofcontrastsbetweenquickattackandtheunderlyinglongresonancepauses; 2. thedifferencebetweenvariations1to3(tillnumber23ofthescore),withmany quicknotes,tempoandrhythmchanges,andthelastvariation(fromnumber23till theend),muchslower,manytimeswithonlyonenoteorchordforeach9seconds unit; 3. theintentionofNunesofgraduallydecreasingtheintensityofthepieceinthesecond half,speciallyafterscorenumber27.

204

205

206

207

WORKSHOP WITH EMMANUEL NUNES InDecember10th,11th and12th,EmmanuelNunesgaveathreedayworkshopandtwo lecturesoneonGerardGriseyandtheotheronhisownmusicattheUniversityof Aveiro(CICA) Severalyoungcomposers,someofthempresentingnewworks,visitedtheworkshop. TheworkswerecarefullystudiedbyEmmanuelNunesandservedasastartingpoint fromwherehehadtheopportunitytodiscusshisideasaboutmusic,composition,and abouthisownexperiencesasacomposer.OntheseconddayIplayedhispieceLitanies dufeuetdelamerII. Emmanuel Nunes recalled that his plan had been to compose three pieces three studiesoftherelationbetweenintervalsusingthepianoresonancesandbasedon several years of improvisation experiences in Paris. The first piece was composed thinkingofthepianoanditsqualitiestomakepeoplehearthesoundqualitiesand possibilities,thesecondpieceispianisticaly"composed,thatistosayinthevirtuoso tradition,fromthe18thcenturytoStockhausenandBerio. It was clear that Nunes wanted a very exact performance: he referred to the small differences in the dynamics of the first bars, which for Nunes corresponded to an expressivewayofperformingamelody. Someotherimportantpointswerethefollowing. 1. Thepassageswithasquicklyaspossibleshouldbeplayed,Nunesemphasised,in measuredtimeactuallynotveryquicklywhichallowsalldifferenceswrittenin thescoretobeheard.Interestingly,Nunesrelatedhowthedynamicsandarticulation markswereaddedlater,improvised,writtenafterallthenotesandotherparameters beenestablished.

208 2. Harmonywasalsoextremelyimportant,beingseenbyNunesasaveryrichformof expressiveness. In quick passages with chords (number 13), he told me as an experimenttoplayoneofthechordsandcarefullylistentoit;andtorepeatitwith this or that note louder, and hear the difference. My understanding was that his fascinationforharmonywasnotfortheevolutionofchords,butfortheevolution themovement"inside"onechord,itseffectindifferentpositions,initsrelationto otherpitchesthatappearasornaments(orasconstellationsofornaments). 3. Theroleofsustainednotesandchords,whichformanimportantharmonicfeature. 4. Linkedwiththisparticularinterestinharmonyarethedifferentpassageswhereone chordisconstantlyrepeated.Asiswrittenattheendofthescore,somechordsmust berepeatedmanytimes,decreasingdramaticallythenumberofoccurrences(number ofchordspersecond).Itis,infact,averysuddendecrease,asNunespointedout:the passagethreebarsbeforenumber27,beginswiththreechordseachsecondandends withone chord over8seconds. Atthe endof these passages thechord must be repeatedonceinthequicktempobeforethelastchord. Therepeatednotes/chordsreferredtoabove,formpassageswitha(moreorless)written rallentando.Astheserallentandiareveryquickandgraduated,thegraphicsthatfollow helptoshowhowtheyshouldbeperformed.Thepassageinbar2toscorenumbers13 presents us the firstof such rallentandi, with a decrescendo from f to pp. The next passageofthiskindistwobarsbeforescorenumber20.Thepassagetwobarsbefore scorenumber24isacrescendofrompppptoaffandthenp.Thelastpassageofthiskind isalittlemorecomplexduetothechangesofdynamics:ptof,thenptoff,thenpptofff.

209
BAR 2 TO 13
250 200 MM 150 100 50 0 13 12 11 10 9 8 7 6 5 4 3 2 1,3 1 SECONDS MM DYN

BAR 2 TO 20 100 0 -100

MM

22 21 20 19 18 17 16 15 14 13 12 11 10 9

1,

1
MM DYNAMICS

SECONDS

-200 -300 -400 -500

BAR 2 TO 24
400 MM 300 200 100 0 9 8 7 6 5 4 3 2 1,3 1 SECONDS MM DYN.

BAR 3 TO 27
500 400 MM 300 200 100 0
39 35 21 4 4 4 3 3 3 2 2 2 2 1 1 1 1 1 1 ,1 5 3 1 7 3 1 9 7 5 3 9 7 5 3 1 9 7 5 3

MM DYN.

SECONDS

Nunes'sinterestintherelationshipbetweenrational,preworked,structuralmaterialand postworked,intuitivebutnotlessstructuralimprovisation,isrelevantinthispiece. After the composition of the piece, Emmanuel Nunes considers these two kinds of musicalthoughtasequallyimportant,demandingacarefulperformanceofthechord notes,oftherhythms(preworked)andofthedynamics(improvised).

210 STYLISTIC AND HERMENEUTIC APPROACH ThedesignationLitaniesduFeuetdelaMerIIcontainsthreenounsthatbearimportant semioticcharges.

L ITAN IES Litany(FrenchpluralLitanies)isaprayer305commonintheJewishtradition,usedalsoby Christians,characterisedbytherepetitionofshortphraseswithsomevariations.Litanies are supplications,sungbyoneindividual(thedeacon)answeredbythecongregation.As intheKyrie,perhapsthebestknowntypeoflitany,therespondingmelody(Elison)is alwaysthesame,beingthefirstsectionavariationofaninitialmelodyoracontrasting one.Thecharacterisofacyclicalrepetition,apleaforsomething,amusicalphrase repeatedwithsmalldifferencesbutwithalwaysthesameend. Alitanycanalsobemuchmorecomplicated.Theantiphon DeprecamusTe alsoa litanyisdividedintothreesections,thefirstinvokingGod,thesecondasupplication andthethirdanappealtohearthissupplication306.IntheLitaniaLauretanatheAgnus Deiisincludedattheendasaclosingseparatesection.FromtheRenaissancetothe18th centurymanycomposerscomposedlitaniesthatareelaboratepolyphonicpieces,many ofthemdedicatedtotheVirgin(Lassus,Palestrina,Victoria,Monteverdi,Charpentier, Mozart).307 EmmanuelNunesslitanycanbeseenasasuccessionofdifferentkindsofsupplications thedifferentvariationsendingwithalongprayer(variationIVsectionsDandE). Allthevariationsandthelastsectionhaveacommongroundintroduced,repeatedand developedinthefirstvariation.Thisisacommonharmonicbasisthatworkslikethe harmonic(modal)basisofancientlitanies:thepitchesD,E,G,AandBb.Thesepitches

305 306 307

Linaty(rogationes,deprecationes,supplicationes,etc.) SeeBlume,Friedrich(1960). SeeHuglo,LeHuraye.a.(1980).

211 arethemostplayedinthepieceasawhole,andalsoamongthemostusedineachsingle section. Inthesecondandthirdvariations,thispentatonicsuccessionappearsinmanyways: excluding other pitches (as in the first variation), opposing other groups of pitches, chords,etc.(opposingalsootherpentatonicscalessuchasC#,D#,E,F#,A#,asin number 16), or mixed with other pitches as n. 13. But always the basic pitches are prominent. ThefactthatNunesusesthispentatonicscaleis,perhaps,awayofapproachingthe modalcharacterofreligiouslitanies. Anotherfactorthat,inmyview,iscommontobothNunesspieceandtotraditional religiouslitanies,istherhythmofthephrases.Litaniesareshortphrasessupplications whichrespectarhythmiccycle:everyphraseendswithapausesothatthesingercan breathe.Asinlitaniessunginmedievalmusic,sometimesthesepausesareverylong,in order to let the sound flow and end. This rhythmic gesture appears also in Nunes: exceptingsomelongerphrases(innumbers11,12,twobarsbefore22,6barsbefore23 andnumber24)themusicflowsinshortsuccessionsinterruptedbypauses.Thesepauses letthe"people"(thepianistandtheaudience)breatheandhearthesostenutopedaland thevibrationofthestringsthatarekeptfree.Or,simply,thesepausescreatespaceforthe nextsoundgesture.

T HE F IR E

AND TH E

S EA

Fireandsea(Frenchfeuandmer)areverystrongandopposingarchetypes. Thefireisastrongsymbolofenergy,ofpower,oflife.TheancientPersianandIndian religionsrefertoGodasthesunasfireandtheHolySpiritappearsinChristian iconographyasafireoverthehead.Thefiresymbolisesalsoenlightenment,faith,andis thepowerthatcreatedtheearth.

212 Fireisoneoftheelementsoflife.Theotherelementiswater.Waterandthesea symbolisesthemotheroflife:everything,everylifeformcomesinitiallyfromthewater andfromthesea;mammals,beforebirth,aresubmergedinwater,mostofthespaceon thesurfaceoftheearthissea;waternourishestheland,theplantsandtheanimals,water washesdirtaway(alsospiritualdirt);waterisalwayspresentineverydaylifeandin spirituallifeinitsvariousforms,assea,clouds,rain,river,wine,blood,etc. Fire and water are the basic symbols of energy and of matter. But water and fire are opposed symbols: in some (physical and mythical) conditions they can eventually producelife,butnormallytheyneutraliseeachother. InNunessmusicitispossibletounderstandtheexistenceofpassages,phrases,musical elementsthatsymbolisetheseaandthefire.AsinotherEuropeanmusic,themorecalm andstaticpassages,withlittleharmonicorrhythmicchanges,canbeseenasthesea,and themoredramaticpassagesasthefire.Asexamples,thelongrepeatingpassagesfrom number 11 to 14 and the last section after number 23 could be the sea element. In contrast,thedramaticpassageatnumber22couldsymbolisethefire.Buttheseelements seaandfirecanbeunderstoodinotherways.Thefirstvariationcanbeseenasan invocationofGodandofthesea,thesecondandthethirdasasupplication,transforming theseaelementbytheenergyoffire,thelastvariationalongappealtoGod,invocating the two elements. Or perhaps the (D, E, G, A, Bb) chord symbolises the more energeticfireand(F#;G#;G#,D#)theswingingsea. Othermoreelaboratedliteraryinterpretationscanbemade,dependingontheinterests andthekindofapproachtothemusicalwork.Buttheypresentonlyoneofanindefinite numberofpossibilitiesofinterpretation308.Suchinterpretations,aimingadenotative309 understanding of the piece, elucidate perhaps more about the characteristics of the subject(orgroup)thatisinterpretingtheworkthanabouttheworkitself.Nevertheless,
308 309

Cf.Eco,Umberto(1992):page27andfollowing.

Anduniversal,atleasttoanumberofpersonsinterestedinthismusic,havingacommonframeof references.

213 theycanhelpthepianisttostructurethisverylonganddifficultpieceinitsstudy, andduringliveperformance. I think that Litanies du feu et de la mer (Litanies of the fire and of the sea) are supplicationstotwobasicopposingelementstoanybasicopposingelementshere symbolisedbyfireandsea.Theyrefertoadialecticvisionoftheworld,tothedynamic of energy and matter, to the opposition between past (pentatonic) and present (chromatic),orbetweenfaith(alitany)andreality(fireandsea).Asabasicsimpler interpretationIproposethattheseaissymbolisedbytherepeatingharmonicgesture(the pentatonic/diatonicscalethe"matter"ofthepiece)thatcoversallthework.Andthe fireelementwouldbetheactofcompositionitself,thestructural310attitudeofNunesin thedevelopmentofthemusicalmatter,evenNunes'spersonalityanditsforceas the motorthatcreatedthepiece. Litaniesdufeuetdelamerisatitlethat,inmyview,existsasaproposalforthepianist and the listener to merge into a profound reflection which will lead to a thorough interpretationofthework.And,becauseitisalitany,itproposesbothareal(physical) andamythicalgestureofsupplication,asinrealsupplications.

SOME FORMAL REMARKS BeingawareoftheinterestNuneshasinnumbers,proportionsandinhermeticthought,I searchedforsomerelationshipsbetweendifferentnumbers,thepartsandthewhole.

T HE N O TES Thereisaspecificrelationthatismeanttobethe"perfect"proportionbetweentwo sections:theratiobetweenthesmallestandthebiggestisequaltotheratiobetweenthe biggestandthetotal(thesumofboth).ThisratioisnumberPHIsettlingwhatis knownbytheGoldenSection(PHI=1.618033988749890).

310

Alsonumericalandmathematical.

214 In the Litanies II this Golden Section doesnt appear bya simple count of notes or throughthetimingofsections.Butithappensifthepieceisdividedintwosections (A+B+CandD+E),andwhenthecountingofnotesisreplacedbyitssquareroot.The followingtableshowstheserelations. A+B+C 1123notes (A+B+C) 33.51119 (A+B+C) (D+E) 1.625531 D+E 425notes (D+E) 20.61553 (A+B+C)+ (D+E) (A+B+C) 1.615183 1.618033311

(A+B+C)+ (D+E) 54.126720 PHI

HENUMBERSANDTHEPROPORTIONS T

Thedifferencebetweenthethreeresults(1.625530,1.615183and1.618033)isverysmallandperhaps duetominorerrorsinthenotecounting.
311

215
A=251 B=370 C=502 D+E=425

(A+B+C) 33,51

(A+B+C+D+E)

(A+B+C)

PHI

(D+E) 20,61

(A+B+C) (D+E)

PHI

T IME , P ROPORTIONS

AN D

H ERMETIC

THOU GH T

Thenumber1200correspondstothenumberofsecondsinthispiece.Accordingtothe scoreandtotheoptionsofinterpretationasintherhythmandintensitydiagram,the maindivisionofthepiece(number23,theendofvariation3)isinsecond545. Variations1to3 Variation4 545+655=1200 545 655 655/545=1.20

AswehaveseenthegoldensectiontheDivineProportionappearshiddeninthe pitchesof thedifferentsections,inthesquarerootofthenumberof notes.Another numberalsoseemtohaveaspecialsymbolism: 1. The3asthenumerologicalresultofthetotalamountofseconds(1200,1+2+0+0=3); 2. Thenumeral3appearswhenweseethatthewholepiece(1200seconds)canbe dividedin133,333unitsofnine(3x3)seconds; 3. Thesumofthedurationsofthetwoparts(1200)is1000theratiobetweenthesesame twodurations(655/545=1.20) MostprobablyEmmanuelNuneshadaspecialinterestincreatingproportionsthatenable aspecificmusicalinterestandanoptimalarchitectureofthepiece.And,inmyview,

216 Nunesperhapsalsohadinmindaveryhiddeninterestincreatingariddle,somekindof occulthermeticmessage,whichgivesthispieceandperhapsotherpiecesofthe samecomposeraveryrefinedinterest,amotivationforknowledge,forfurtheranalysis, forfurtherenlightenment.Andthishypothethichermeticconstructionsummarisedby theveryemblematicnumber3reinforcestheviewthatLitaniesduFeuetdelaMer canalsobeinterpretedinaverymysticalandprofoundway.

A PERFORMANCE PROPOSAL Theperformanceofmodernmusicinthe20th centurywasmanytimesbondedtothe aestheticvaluesandpropositionsthatmarkedalsocompositionanditsnewtechniques. Theromanticexpressiveness,themoreorlessuncertaintyofthe tempi,thecarefora "good"sound,thesubjectivereadingofthescore,theideaofmovingthepublicthrough themusic312,thesethemeswerebannedandcriticisedasunfitfortheperformanceof modernmusic.
"This importance [of the coding of more elaborated structures] wassogreattoStravinskythatheconcentratedallhisattention onacodingsoprecisethatitobligedtheperformertoreproduce the composer's message as exactly as it was originally communicatedtohim.Codingintheromanticera,ontheother hand, was fairly loose, and the performer could interpret the composer's message. The coding of the message was not designedtoprovidehimwithhighprecisioninformation,andthe message was therefor reproduced with varying degrees of approximation.Wecanthusseethat,historically,thesearchhas been for ever finer grids in order to ensure the maximum precision in transmitting the composer's message." Boulez (1990):p.87

Thenewmusicneededthecomprehensionandclearpresentationofthestructure,the exactperformanceofthescore,theuseofthesoundqualitiesproposedbythescoreor

312

Cf.MethuenCampbell,James(1998):p.191.

217 justadirectneutralsound,anobjectiveandexhaustiveprocessofcarryingoutthe proceedingsproposedbythescore,asinelectronicmusic313.Exampleofsuchawayof interpretingisDavidTudor314. Some pianists, achieving their propose of getting far from any romantic style of interpretation, played all differences and contrasts in the score in an extreme way, hyperbolisingalldifferences,creatingakindof"style"ofcontemporaryperformancethat seemstobemoreexact. Infact,Ithinkthatthisviewofinterpretationinfluencednot onlytheperformanceofcontemporarymusicbutalsoofallkindsofmusic. Perhapsthispiececanandshouldbeplayedusingthisobjectiveandstrictattitude ofinterpretation.Neverthelessthepianistissupposedtohavetheresponsibilityoftaking somedecisionsinmattersasimportantasrhythmandtempi;inmanysectionshemust evenimproviseusingsomeproposedmaterials.Ithinkthatbythis"contemporary"way ofplaying,themysticsideofLitaniesIIinmyviewoneofthemostimportantwill belostintheintransigenceofmechanicalproceedings(rhythms,tempi,dynamics,sound qualities,etc.),evenintheintransigenceofthescoreitself. Iproposeaninterpretationofthepiecebasedontheprinciplethatallsignsofthescore mustbeunderstoodunderahermeneuticandhermeticlight,asaLitany.Themusic existswithapurposethatisdefinedbyitsname:asupplication.Theparadigmisthe Litanyasbothamusicalandaliturgicalform.TheactofplayingLitaniesdufeuetdela mer II mustbethenalmostareligiousact,apropositiontothelistenerstojointthe motion,toinvolvethemselvesinthecollectiveactofsupplication.Andtoseekastateof mindwherethebasicelementsfireandwaterarepresentasthefoundingoflifeitself. Thispropositionofmusicalinterpretationmeansthatallextremechanges(ofrhythm, dynamics,oftempoandofsoundquality)mustbeplayedsothattheydontdramatically
The"good"soundround,rich,excludingmanyofthepercussivenoisesoftheattackwasmany timessubstitutedbyadirectsound,oftenclosedtomartelato.Cf.
313 314

SeealsoMauser,Siegfried(1994):p.18.

218 changethecontinuousmotionofthepiece.Quickchangesmustbecarefullyprepared,all thesoundsmustbeunderstoodinthecontinuousflowofthemusic.Therests,pauses the moments of silence "occupied" or not by sostenuto sounds are moments of hearing,notquiteofmeditation,butofhearingtheresponsesfromthosetowhomthe litaniesaredirectedto.And,astherhythmandthepauseswritteninthescoreremindus, theseanswersareintegratedinthemotionandinthetempoofthelitany,asanantiphonic response. Thispieceproposesacontinuousflowoftime,measuredbya9secondunit:akindof veryslowmoreidealthaneffectivemetrewhereaninteriorpulsebeatsevery9 seconds,brookdowninsomeplacesbysectionswithfastandunevendivisionsoftime. Thisveryslowmetrecanthenbefilledbyrhythmiceventsofdifferentkind,keepingits veryslowandcalmmotion.Itislikearepetitionofsimplemovementsingroupsof9,as insomereligionswherepeopleusedtorepeatstereotypicflexions. The harmonic factors perhaps the most important in Litanies propose, as understoodbyNuneshimself,veryintensiveexpressivemoments(someofthemvery quickintime,someotherscarryingtheirowndevelopmentasrepeatingchords)thatneed aspecificcare,abalancebetweenthedifferenttypesofchords(morespecificallythetwo basicchordsD,E,G,A,BbandtheopposingF#,C#,G#,D#),thedifferentnoteswithin thechord,aspecificreflectionofthemusician315. Andthenthereisapossibilityastrongoneinmyviewthatthisreligiousactof interpretationofLitaniescanalsobeanactofsearchingwisdom,oraccomplishment,or perfection,orjustGod,hiddenasintheveryoldEuropeantraditioninnumbers:in the3,andtheDivineProportion.

ItisinterestingtheclosenessofthewordsreflectionpresentinthispieceandinallNunes'sthought andflexion,asaphysicalact.
315

219

CNDIDO LIMA Meteoritos

316

(from Oceanos for orchestra)

1973/74,Pianosolo,alsoperformedwithtape. Support:scoremanuscript,16pagespluscover,writtenbytheauthor. Thisscorewascomposedin1973andfinishedin1974.Thecoverstatesthatthispieceis apartofOceanosfororchestra(apparentlyOceanosCsmicos1975/79317).Itcanbe playedsoloorwithaprerecordedtape. ThescoreisdividedintodifferentpiecesnamedafterGreekletters:Alfa,Beta,Gama, Delta,Epsilone,Zeta,Eta,Teta.Thescorestates(inFrench)thatthepianistcanchoose theorderofthepieces:afterplayingallofthem,hecanimproviseoveroneofthemor playotherpieces,orendtheperformance.
"Maintenantlepianiste ou improvised'aprsundesmorceaux, ou joued'autresmorceaux, ou finitici.Lepianistepeutchoisir l'ordredesmorceaux."318

Analysis - Methodology
INTRODUCTION Thispieceusesthechromaticscaleasaseries.Thewaythecomposerdealswiththis seriescharacterisesthedifferentpieces(variations).Therefore,theanalysiswillbebased onadescriptionofthevariationsoftheseriesofpitches,andinthedifferentusesof

316 317

Meteorites. Cf.lastpage(16)ofthemanuscript.

CosmicOceansfororchestra.

318

220 rhythmanddynamics.Ahermeneuticapproachwillbealsousedonthisdescription, comparinginformationaboutthecomposerandthetimeofcomposition.

PLAN 6. Strictmusicalapproach: 6.1. Substructure(theseries)anditsdevelopmentthroughthedifferentpieces 6.2. Rhythmanddynamics. 7. Ahermeneuticperspectiveandrelationshiptoothersworksbythesamecomposer, style,zeitgeist,etc.) 8. Conclusion

Analysis
STRICT MUSICAL APPROACH: Fortheanalysisofthesubstructure,twodiagramsweremade:onewiththepitchesin sequence(andindifferentvoices)andanotherwherethepitchesweretransformedinto numbers(0=c,1=c#,2=d,3=d#,4=e,5=f,6=f#,7=g,8=g#,9=a,10=a#,11=b) 319,(see AnnexesC.L.1andC.L.2).Withthismethoditwaspossibletoidentifynotonlychords andotherpitchrelationshipsbutalsonumericrelationshipsandthesequencesofthe differentpitchseries.

A LFA Thefirstpiecepresentstheseries13times,in13phrasesseparatedbylongfermatas.All pitchsequencesarechromatic,beginningwithab,withthedurationof4.5seconds(as the composer explains in the score). The rhythm develops with the intention of
Theenharmonicrelationships(i.e.a#,bb)aresimplified:allnoteswithflatsaretransformedintothe correspondentenharmonicnoteusingasharp.
319

221 progressiveuseofsmallerunits.Thefirstphraseusesonlyquavers,theseconduses semiquavers,later,thirtysecondsandsmallerrhythmicunits.Itisalsoclearthatthe composer'sintentionistoavoidanysensationofpulseorofanequalmetre.Therefore,he alwaysusesdifferentrhythmicgroups,withveryfewrepetitions.Thisprocedurewillbe maintainedthroughoutMeteoritos.

B ETA Betacanbedividedintotwoparts,thefirstpointedbyfermatasandthesecondusing3 differentvoices. Atthebeginning,CndidoLimausesopposed,simultaneousrhythmicgroupsoffour, three and five notes. Each sequence (more or less two series) has a fermata. It is interestingtoseetheuseofsimultaneousintervalsoftwonotesinbothhands320only ninthsandsevenths. Thepitchesfollowdifferentkindsoftwelvetonesequences,sometimesdividedinboth hands, sometimes independent, some others complementary. The sequences are not alwayschromatic.Someofthetwelvetoneseriesaredividedintotwoormoreparts, eachpartwithamoreorlesschromaticsequence,someotherswithgroupsofdifferent intervals(SeeC.L.annexes1,page1). Inthesecondpartthecounterpointbecomesmorecomplexwiththeappearanceofa thirdvoice. Amongthe workings of the pitchseries, some 3notemelodicgroups321 appearwitharepeatednote(a,a#,a)(e,d#,e),(a,g#,a)kindofmelodicknots whichapparentlydon'tcorrespondtoknotsinthetwelvetoneseries. Attheendofthispiece,sixnotesareaccentuated.Theyformahexatonicscale(a,b,c#, d#,f,g)mixedamongtheseries.

320 321

4intervalsineachofthefirst2sequences.

Cf.page4ofthemanuscript,andC.L.anexespage1.

222 G AMA Gamaischaracterisedbytheuseofquicksequencesofnotesfollowedbyafermataand, sometimes,alsoachord.Thesesequenceshavedifferentrhythmsandpitchseriesinboth hands. Thefirstthreephrasesandthesixthphraseuseretrogradesequencessimultaneously.In thesephrasesthechordsform(togetherwithsomepitchesoftherighthandofthe3 rd phrase)anewgroupoftwelvepitches.Thisprocedureisrepeatedinthe4th,5thand6th phrases.(SeeC.L.annexes1and2,page2). Characteristic of this piece is also the free use of the series. It appears not only chromaticallybutalsoinverydifferentpermutations.Somegroupsofnotesseemtobe repeated,transposedandtransformed(f,b,f#),(d#,a,g),(g#,a#,d),(f#,b,f),(d#,a,g); alsohexatonicscales(andunderlyingchords)inthe4th(g,a,b,c#,d#/a#,f#,g#,c,e,d) and5thphrases(f,b,d#,a,g,c#)givetheimpressionofhavingsomemelodic/harmonic significance. Thisistheonlypieceof Meteoritos thatdoesn'thaveleftpedalthroughoutthepiece (SenzaPedalorPocoPed.Quasistac.).

D ELTA Deltaisagaindividedinto2parts.Thefirstisasuccessionofquickdemisemiquaversin onevoiceseparatedby fermatas and/orpausesaftertwelvenotes(12sequencesof12 notes). In the second part, the fermatas disappear, giving way to a chord (also in demisemiquavers)atthebeginningofeachsequence.

223

Thefirstpartusesdifferentkindsofgroupingandpermutationsoftheseries.(SeeC.L. annexes1and2,page3).Thefirstnoteofeachsequence(sforzando)formsachromatic series,beginningong#.Someofthenotesarealsoaccentuated,apparentlywithonlya melodicimportance. Inthesecondpart,achord(withtwominorsecondsandafourth)istransposedand developed,initiatingeachsequence322.Thischordappearsalsomelodically(phrases6,8, 9ofthesecondpart),specificallyattheendofthepiece(phrase11)(SeeC.L.1and2, page4). Chord 1 2 3 4 5 6 7 8 9 10 11 Pitches 8,2,9,7 2,1,8,3 10,4,11,9 7,2,11,9 11,5,1,0 10,9,4,11 8,2,3,1 8,5,1,8(?323) 8,10,4,9 0,1,5,11 7,2,8 9,11,10,0 11,10,5,0 0,10,7,2 6,4,10,7 Forte'sreduction 0,1,2,7 0,1,2,7 0,1,2,7 0,2,4,7 0,1,2,6 0,1,2,7 0,1,2,7 0,4,7 0,4,5,6 0,1,2,6 0,5,6 0,1,2,3 0,1,2,7 0,3,6,7 0,2,3,6

TheuseofForte'smethodofchordreductionshowsthatmostofthechords(withan*inthepicture)are equivalent(0127).
322

Thereseemstobeaclearmistakeinthemanuscript,asthischordhasanoctave.Perhapstheintention wastowrite(g#,c#,f#,g)(8,1,6,7),which,aftertheForte'sreduction,consistsof(0,1,2,7).
323

224 E PS ILON E In Epsilone the composer uses 13 sequences of 12 sequences of pitches, distributed throughbothhands.Thelastnoteofthesequenceisseparatedby fermatas.Thislast pitchistheonethatismissinginthelastrowofpitches.Thesepitches(separatedby fermatas)togetherformanothertwelvetoneseries.Asintheotherpieces,thesequences havevariouskindsofseriesvariations.Chromaticsequencesacrosshexatonicsequences, groupsofapproachedpitches,theseriesseparatedintotwogroups,etc.Therhythmis calm,varyingfromcontinuousquaverstogroupsofdemisemiquavers,evenfreerhythm (lesvaleursdetempslibres)324.

Z ETA Zeta hastheparticularityofhavingtwoverydifferentvoices,4twelvetonechromatic series,playeduninterruptedlyandveryslowly(3intherightandthelastintheleft hand);therighthandhasaquickerseriesofpitchesseparatedbypauses.Theworkwith theseriesisuncomplicated,asinEpsilone.

E TA This piece is essentially made up of chords and sequences of notes, separated by fermatas.Eachchord(plusnotesequence)formsatwelvetoneseries.

Ananalysisofthechordsdemonstratesthefrequentuseofseventhsandninths.Amore thoroughanalysispresentssomeanalogybetweenthechords,withtheexceptionofthe lasttwo.AreductionusingForte'sreductiongivesthefollowingresults:

324

Cf.page11inthemanuscript.

225 Chord 1 2 3 4 5 6 7 Pitches 6,1,8,7,2,5 10,11,3,4 9,1,8,7,0,6 2,8,1,6,7 3,5,3,0,6 (3,5,2,1,6 6,2,8,3,11,10 11,9,0,1,10 Forte'sreduction 0,1,4,5,6,7 0,1,5,6 0,1,2,3,6,7 0,1,5,6,7 0,2,4,5 0,1,24,5)325 0,1,4,6,8,9 0,1,2,3,4

Asitcanbeseen,thechords1to5areveryclose,havingthemainpitchesarounda fourthandafifth.Thelastonehasadifferentcharacter,asitischromatic.

T ETA Thelast(written)pieceisveryslow,alternating1and2notesineachhand.Theseriesis presentedchromaticallyandingroups.Mostofthe4notechordsarealsochromatic, formingFortematrix(0,1,2,3).Attheend,thischordseemstochangeformingother matrixes(SeeC.L.1and2,page5). Chord 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

325

Pitches 2,0,3,1 10,8,11,9 4,6,5,7 11,9,10,8 3,1,2,0 7,6,5,4 9,11,8,10 3,1,0,2 4,7,5,6 10,11,8,9 2,3,0,1 6,7,4,5 1,5,3,2 8,7,0,6 4,9,10,11

Forte'sreduction 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,3 0,1,2,4 0,1,2,6 0,1,2,7

Perhapsamistakeinthelefthand,resultinginaduplicationofd#:(f#,a,d#)insteadof(f#,c#,d).In thiscase,theanalysiswouldbe:(3,5,2,1,6)insteadof(3,5,3,0,6),thenreducedto(0,1,2,4,5)insteadof (0,2,4,5).

226 16 17 18 3,7,9,8 0,4,1,5 10,11,2,6 0,4,5,6 0,1,4,5 0,1,4,8

Inthispiecesomeofthechordsarerepeatedasanecho.

CONCLUSION Besidestheobvioususeofchromaticscalesandoftwelvetoneserieswithpermutating pitches, it is important to notice the intention of Cndido Lima to work also with melodiesandchords. Themelodiesappearclearlyasaccentuatedandsforzatonotesamongthesequences(i.e. in Delta).Melodiesformedbyconsecutiveseries,asmelodiesindifferentscales(i.e. hexatonicinGama),andasspecific3pitchsequences(inGama,alsowitharepeating noteinBeta). Harmonyisalsopresentinalmostallpieces(exceptinAlphaandEpsilone,withnouse ofchords).Specificchordsarerepeatedand/ordevelopedinDelta(matrix0,1,2,7),Eta (thematrix0,1,6iscommontomostofthem)andTeta(matrix0,1,2,3).Theuseofminor seconds(inDelta,EtaandTeta)andofaperfectfourth(inDelta,Eta)isrelevant. Therhythmisalwaysveryfluid,withlongsequences(phrases),separatedbyfermatas, chordsandlongernotes,sustainedbythepedal.

A HERMENEUTIC PERSPECTIVE Meteoritos is, in my view, an exercise using procedures concerning the twelvetone series.Theseproceduresarenotclosetotheexpressionismofthefirsthalfofthecentury butpointtotheserialismofthesecondhalf(Boulez)andtoXenakis. In Meteoritos itseemsthatthecomposerhaschosenhissoundmaterialhaving as a startingpointnotoneorafewsounds,oraseriesasequenceofsounds(oreven

227 silence),butallsoundstogether:achromaticscale,thefullpitchspectrum.Cndido Limahadalongexperienceasaperformerandanimproviserontheorganinchurches. He utilized the enormous sound possibilities of the XIX century and modern instruments, and also his experience with tapes (in Darmstadt and Paris). From this harmonicreferencepointCndidoLimaisabletousedifferent"filters"operators,or simplyhisexpressivenessandfreechoice,rhythmicideas,gestures,etc.todevelopthe musicintime. Themainchordthesumofallpitches,whitenoiseisalwayspresent,butappearsin very different forms, in internal permutations, in relation to the very loose rhythm, avoidingpatternsintermsofrhythm,oftonalrelationshipsandofmetre.Thephrasesdo, perhaps,allhavethesameformofinterruption(i.e.afermataorapause),butcertainly theywillhavedifferentrhythms,willpresentdifferentkindsofpermutationswithinthe series,alsodifferentdurations. Thispiece,inmyview,hasalsoapedagogiccharacter.Infact,CndidoLimawasatthat timeveryconcernedwitheducation,asaprofessorofcomposition,asaperformerandan administrator.In1970,hebegantoteachattheConservatoryofOporto.Between1972 and1973,hewasdirectoroftheConservatoryofBraga,andin1973hefoundedhis contemporarygroupMusicaNovawiththepurposeofshowing,andmakingunderstood, more advanced ways of making music, especially for the public of Oporto and of NorthernPortugal. Inthisperspective,IthinkCndidoLima'sintentionswithMeteoritoswere: Togainsomeexperiencedealingwithvariationsofatwelvetoneseries,havingin mind also serial techniques, the static (pointillist) sound world common in the 1950/60sandtheworkwithcomplexgroupsofsounds(asinelectronicmusic);itis importanttosaythatin1971and1972hewasatDarmstadt.

228 Tohaveapiecethatcouldbeusedasanexampleforstudentsofbothcomposition and piano. Therefore, he wrote a piece that has not the virtuosity of a Boulezs sonatas,andthatuseswithsomesimplicityalmostasagame,oradrawingthe simplestofallseries(achromaticscale). Towritean easypianopiecein the staticstyleof thattime, avoidingconsonant intervals,acyclicalpulse(arepeatedmetre),usingdissonancefreely,allkindsof rhythms,andcomplextexturesofsounds. InPortuguesemusicMeteoritos(PortugueseforMeteorites)hasaprominentplaceforits extreme static ambience and technical use of a series, unique among his fellow Portuguesecontemporaries.Itisofspecialinterestinthecontrastbetweenthesameness ofthesoundanapparentstaticattitudeinthemusicandtheconstantvariationof time (rhythm, small metric units) and of space (the ways the pitches are presented, permutations, chords, etc.). Meteorites are in this case forms made with twelvenote sequences as basic material. These sequences can appear in a straight way (in a chromaticscale)orindifferentcombinations,creatingdifferentsoundforms.Theyhave verydifferentformsanddimensions,anddifferentformsofmovementinspace.Like rocksmeteoritesinthesky.

229

FILIPE PIRES Cantiga Variada

Paris,October1977,Pianosolo. Support:copyofthemanuscript,tenpageswiththemusicandonecoverpagewiththe music(nolyricsinthemanuscropt)ofthesong(CantigadeS.JooCovilh)327. Premiere:Covilh,1978,Pianocompetition"CidadedaCovilh". This piece was commissioned by the organisation of the Covilh's National Piano Competitiontobeincludedascompulsorypiece.CantigaVariadaisakindofVariation FantasyoverafolksongofCovilh:asongofSaintJohn. Thescoreisdividedinbarsthat,sometimes,correspondtometerdivisions,someothers onlytodifferenttempi,textures,etc.
326

Analysis - Methodology:
Thispieceis,perhaps,theonlypiecewrittenbythisgenerationofcomposersinthis periodthatisinspiredbyFolkmusic. Itrequiresathoroughanalysisofthethemethefolkmelodyandthedifferentways thisthemeisvariedthroughoutthepiece. PLAN OF ANALYSIS 1. Analysisofthetheme:melody,harmony,structure. 2. Waysthecomposerchangesthetheme. 3. Differentuseofthethemethroughoutthepiece. 4. Structureofthepiece.
326 327

Variedsong.

FolksongquotedfromGallop,Rodney(1937):pages84and85.

230 5. Hermeneuticapproach.

Analysis
THE THEME

HEME"CANTIG T OVILH" C

This songisbuiltuponadiatonicscalebetweenC#andlowerD.Itisharmonically characterisedbytheuseofbothC#,F#orCandF.ItisaDoricmodeusingF#andC#in order to soften the FB tritonus. Itisalsointerestingthatthe C# has no function as a seventhdegreeresolvingtoD,thefirstasitdescendsalwaystoBandthentoA themiddletoneofthemelody. Theharmonyofthisthemeisassociatedtothecontourofthemelodyandtoitsrhythm, especiallythesupportinglongnotes.Thefirstphrase(bar1)hasasmainnotesA, F#andC#,makingaminorchordonF#328.Thesecondphrase(bar2)evolvesbetween C#andApossiblyanAmajorchord.ThenextphrasegoesfromGtoD,supported alsoonthenotesAandF(asanornamentfirsttheF#andthenasanFafourth);this phraseseemstochangetoaD,F,Achord,passingthroughG.Thefourthphrase(bar4) andfifth(bar5)reinforcesthelastharmony(D,F,A).
328

HEMENOT T USED

Themainnotesaretheextremeandthelongernotes

231 Thelast2phrases(bars6and7)appeartobeasynthesisofthemelody.Verycloseto phrases2and3,itgiveusanA,CharmonyandtheD,F,Achord. Thestructureofthemelodyis,therefore,a2phraseantecedent,a3phraseconsequent andasynthesis(2phrases)whichincludeaphraseoftheantecedentandoneofthe consequent.

HEME T ANALYSIS

Phrases/bar s

Mainnotes AC#F# AC#A GAFD FAFD EAFD AC#A GAFD 4+3+4 5+3+4 5+3+4 4+3+4 4+3+4 4+3+4 5+3+4 Meter Harmony Contour Phrases Structure F#minor Amajor Dminor Dminor Dminor Aminor Dminor A A' B B' consequent B'' A'' B antecedent (synthesis)

Generallythemotionofthecontourofthephrasesisadescendingone,givingemphasis totheprincipleofsinging/aireconomy:lessair,lessstrengthtosinghigherpitches;the voicetendstodropdownineachphrase/breath.Madewithsuchshortphrases,thewhole melodyseemstobeakindofsuccessionofsighs. Themeterandtherhythmofthemelodyarealsoimportant:thechangebetween3,4and 5eights;theuseof

rhythmsthechangebetween3and4eightgroups.

232 THE PIECE T HE W AYS F ILIPE P IR ES

USES TH E THEME

AshortlookatthepiecetellsusthatFilipePiresusesnotonlythemelodyassuchbut smallportionsofthemelodyhalvesofthephrasesandtheirinversions.These portionsaremixedup,creatingmanymorepossibilitiesinmelodicandharmonicterms

HEMESMALLERPORTIONSANDINVERSIONS T

anddifferentmelodicpatterns. Thereareseveralmotivesthatwillberepeatedanddevelopedthroughoutthepiece.The first one is a long succession of quick semiquavers, mainly piano, covering all the keyboard(firstbar);thesecondhastwopartsaquintuplettogetherwithasextuplet very quick and forte (bar 2); the third motif is a sequence of long and slow notes (minims), in piano (bars 3 and 4); the next motif is, like the first one, a melodic successionwiththesamefigures,nowwitheighths;motif5ischaracterisedbytheuseof thirds(simultaneously)orother2notechordsinaslow tempo;motif6usesasmall successionofsemiquaversintwopartsthatisrepeated(derivingfrommotive1);motif7

233 ischaracterisedbytheuseofthemelody(pitchesandrhythm,usingthesmallersections andinversionsalreadyexplainedabove)alloverthekeyboardrange.

ARIADA OTIVES V M

Thislastmotifis,undoubtedly,themostimportant,asituseswholethememanytimes 329 anditisdevelopedmuchmorethantheothers.Itisthemaincontentofthepiece,cut hereandtherebytheappearanceofinterludeswithothermotives.

T HE

STRUC TURE O F TH E P IECE

Section 1 Thefirstsectionofthepiece(pagesoneandtwo)hasthefollowingsequence: Bar1 Mot.1 Bar8 Mot.2 Mot.4 Mot.5 Mot.6 Mot.7 Mot.2 Mot2 Mot3 Mot.3 Mot.4 Mot.2 Mot.4

Section 2 Thenfollowsabigsection,developingmotif7(lastsystemofpage2).Thefollowing pictureshowsthissection:themeterofeachbarandapossibledivisionindifferent phrasesandsentences.

329

Ormixedwithsomeinvertedbits.

234 3 3 5 4 5 3 4 4 3 4 4 4 3 4 6 3 6 4 3 4 4 5 4 4 3 4 3 3 3 8 3 4 4 4 4 4 4 5 5 3 6 3 3 6 4 4 4 4 4 4 5

The last sentence of this section clearly features a decrease of the continuous counterpointmovement,presentingin the last6bars a moreslow movingharmonic sequence,closetomotif5.

Section 3 Inpage4,the4thsystembeginsanewsection.Somehowcontinuingtheharmonicmood ofthelastbars,thissectionpresentsdevelopmentsof: motif4(5bars,developedthroughtheuseofanaccompanyingchromaticscaleinthe lefthandandacceleratingrhythms); motif7(only3barsasacounterpartoftheformersequence); motif1(perhapsa"false"reopeningofthepiece); motif7(also3barsjusttofinishthesequence); motif6(thefirstappearanceofthismotive,beingadescendingcounterpartofthe previousdevelopmentofmotive1); motif7(6barsinslowtempo).

Moti.4

Moti.4

Moti.4 Moti1

Moti.4

Moti.4

Moti.7 Moti.7

Moti.7 Moti.7

Moti.7 Moti.7

235 Moti6 Moti.7 Moti.7 Moti.7 Moti.7 Moti.7 Moti.7 Moti.7 Moti.7 Moti.7 Moti.7 Moti.7 Moti.7 Moti.7

Moti.7 Moti.2

Thissectionendswithabiggersequenceofbarsusingmotif4mixedwiththetempo andthecharacterofmotif7,alsowithsomeimitationtechniques.Thissentence, whichendswiththepresentationofmotif2,canbeseenasanewbeginningofthepiece and/orasa"false"developingsectionofmotif7.Infact,ifthissentencewereexcluded, thewholepiecewouldnotsuffermanychanges.Itwouldbe,perhaps,moresymmetrical, thissectionisequivalenttothefirstoneinthestructureofthepiece.Butthissmalland quicksentencepresentsakindofprophecyoftherestofthepieceand,inmyview, increasesinterestfortheaudienceandthestresstowardstheincomingmusic.Inthenext section Filipe Pires will increase the development of motif 7, including imitation techniquesandmoreandmoreparts(voices)andpianisticchallenges,tillaclimaxjust beforeaverysmallandfleetingending.

Section 4 and ending Asinsection2,thecomposerdevelopsmotif7.Mostofthetimeheusesthemelodyin itsfulloriginaland/orinvertedversion,distributedindifferentoctavesandwithmany "interfering"othernotes,chordsandcounterparts. Heformsdifferentlevelsofincreasingmusicalstress: 1. Thefirstlevel(A)heusesthesamewaysofdevelopmentasinsection2. 2. Level(B)afterthePocomenomossointhe4thsystemofpage7althoughitis less quick, it has many more parts in counterpoint, with different melodies, and thereforeaquickerharmonicrhythm.

236 3. Level(C)4thsysteminpage8extendsthepresenceofthemelodyalloverthe keyboard,usingfewerandsimplerpartsandmanyoctaves. 4. Level(D)thelastlevel,after Pocomenomosso onpage9correspondstoa sentence ending with the climax of the piece; the phrases are not explicit, the composeruseslongpausescreatinganuncertaintempo,moredissonances(thereis alwaysa"disturbing"secondand/orninthamongtheoctaves)andincreasingloud notestillaFFFwithaccents. Thepieceendswithmotif1(descending),motif2and2barsofmotif7.Inthisending, thesmallsequenceformingmotif2istheonlyone forte (FFF),therestis pianissimo (PP).Thefollowingdiagramshowsthislastsection,alsowiththemeterforeachbarand dividedintophrasesandsentences. A 4 4 5 5 4 5 4 C 4 4 3 3 3 3 3 3 3 3 3 4 4 4 4 4 4 4 4 4 5 4 4 4 5 5 4 5 4 3 3 3 3 3 3 3 3 3 4 4 4 4 4 4 4 4 4 5 4 5 4 B 4 4 5 5 D 4 3 3 3 3 3 3 3 3 3 4 4 4 4 4 4 4 4 6

237 climax ending 4 6 4 Moti.7 8 3 Moti.1

Moti.2 Moti.7

Thestructureofthispiececanbesynthesisedinthefollowingway: Section1 Prelude

ofthe motives

Section2 Development1
7

Section3 Interlude
4,7

Section4 Development2
thetheme,in3levelsofmusical stress)

ending ending 1,2,7

Presentation Developmentofmotif Motives1,2, Developmentofmotif7(clearuseof Motives

H ERMEN EUTIC

APPROACH

ThecharacteristicsofthispiecebyFilipePiresshowanexplicitvirtuosoattitudetowards thepiano: CantigaVariada wascommissionedbyaPortuguesepianocompetitionthat happenedinthespringofthenextyearinCovilh.Butitshowsalsoajoyfulattitudeof playing,ofselfenjoymentconcerningthecompositionandtheperformance,especially intheuseofafolksong.Heworkedwiththesongasananalyst,thenasifitweresome materialtoplaywith:mixingsmallpartsintheoriginalandinvertedversions,oronlyas aplainsong(norhythm)330,spreadingthemelodyoverthekeyboard,creatingsecondand thirdvoicesformingimitationsandcounterparts.Butthereisalwayssomekindofairof theoriginalfolksong,orsomefeaturethancanberelatedtoit.Evenintheharmony, FilipePiresseemstoenjoytheplayofclearconsonancesanddissonances(octavesand seconds). The Portuguese tradition of a playful even obscene Saint John feast in the beginning of the Summer (24th June) has, perhaps, little to do with this piece; but certainlymuchwiththeoriginalfolksongandwiththeimmediateevenphysical pleasureofcomposing,playingandhearingthisCantigaVariada.

330

ManyofPortuguesefolksongsarereinterpretationsofoldplainsongchurchmelodies.

238 AsweknowFilipePiresbeganasapianistwithapromisingcareer.And,inthesixties, hefinallydecidedtodedicatehimselftoacompositioncareerandworkedwiththenew compositionalideascomingfromEurope'savantgarde.In1977hewasinParis,working asarepresentativeofthePortugueseGovernmentinUNESCO.Perhaps,inthispiece oneofthefewpiecesofthe"DarmstadtGeneration"thatusesafolksonghefeltfree fromanyaestheticconstraint,givinghimselffullytothiscommission,creatingasmall butimportantwork.Orperhapstheconstraintofcomposingwithafolksongandfora youngpianist'scompetitiondrovehimtousesimplerbutveryeffectiveresourcesthathe continuedtodevelopsilentlythroughhiscompositionalcareer. Another composer that this piece is undoubtedly reminiscent of is Fernando Lopes Graa, in 1977 the major representative of an older and already passedover generation of composers: for the use of folk music, for the mastering of modern counterpoint techniques and harmony, and for some neoclassic (or postmodern?) character.Perhaps CantigaVariada foundawayofassumingPortuguesemusica Portuguesewayofcomposinginthecontextoftheavantgarde(orpostavantgarde). ItisoneofthemoreinterestingexamplesofmusicduringthisperiodofPortuguese musicandFilipePires'developmentincomposition,creatingapiececlosetotheneo classicaltradition.ItisapityithadnodirectinfluenceonthePortuguesemusicofthe nextyears.

239

CLOTILDE ROSA Jogo Projectado

1979,Pianosolo Support:scoremanuscript,13writtenpages(A3),unnumbered,withthemusicwritten bythecomposer.
331

JogoProjectadoisapianopiecebasedonapoembyMartaCarvalhoArajo332.There are13sections,eachsectionusingversesfromthepoem.Itisintendedtobeperformed witheachsectionstextprojectedduringtheperformance,togetherwithimagesofthe artistEduardoSrgio(nowlost).Eachversecorrespondstoamusicaltexture,technique orsubstructure.Thevoiceofthepianistisemployedonlyinsections1and7tosayafew words from the verses. The composer uses extended pianistic techniques (pizzicato, differentglissandi,strokingthestrings,etc.)andproposesalsoatheatricalelement,with differentgesturesandkindsofbehaviour. Thepianistcanperformthe13sectionsinanyorder,accordingtothe(alsorandom) orderoftheprojectedtextsandimages.Butasectionbeginningwithaspecificnumber cannotbefollowedbyanothersectionalsobeginningwiththesamenumber.Thepiece mustendwiththe13thsection. Section 1 2 3 4
331

Verses 1,8 8,2 1,6,8 8,6

ProjectedGame.

AclosefriendofClotildeRosalivingandworking(gallerymanager)inOporto,veryactiveamongan advancedintellectualgroupofthesixtieswhichbroughttogethermanypersonalitiesofliterature,music, visualartsandpolitics(ManuelDiasdaFonseca,LopesGraa,scarLopes,JorgePeixinho,Clotilde Rosa,IlseandArmnioLosa,EugniodeAndrade,RosaRamos,etc.)

332

240 5 6 7 8 9 10 11 12 13 2,5 6,7 1,2 4,8 1,2,3,8 3,7 4,7 5,6 8

MartaArajo'spoem,aswritteninthescore: Versesn. 1 2 3 4 5 6 7 8 VersesinPortuguese Amoaflamaorio Oirolento Aveovento Planovlembraafonte Abrearde Orostoespelhomosto Anulaamorte Tardeamote VersesinEnglish Musicsections Lovetheflametheriver 1,3,7,9 Slowgold 2,5,7,9 Birdthewind 9,10 333 Plain sees remembers the 8,11 source334 Opensburns 5,12 335 Thefacemirrorthemust 3,4,6,12 Annihilatesdeath 6,10,11 336 Late Iloveyou 1,2,3,4,8,9,13

Analysis - Methodology:
ClotildeRosausesinaveryloosewayatwelvetoneseries.Shealsousesmanychords, whichclearlyhaveanimportantexpressivemeaning.

PLAN 4. Correspondencebetweenversesandmusicalmaterial. 5. Substructuresemployed. 6. Structure(bysection). 7. Comparisonofthesections.

333 334 335 336

OrPlan. AlsoThefountain themustiness,themould, Alsoafternoon.

241 8. Hermeneuticofthepiece.

Analysis
CORRESPONDENCE BETWEEN VERSES AND MUSICAL MATERIAL The different music extractscorrespond tothe eight different verses of the poem of MartaArajo.Theyappearindifferentways,variedsothatsometimestheircharacter (technique,texture,andexpressiveness)ischangedalmostbeyondrecognition. Verse1Lovetheflametheriverisasuccessionofglissandiandtrills;later italsoappearsasaseriesofchordsorasasingletrill. Verse2Slowgoldisaproposalingraphicnotation(glissandialloverthe keyboard). Verse3Birdthewindischaracterisedbyaspecificmelodyplayedonthe stringsofthepiano,followedbyachord(c,g#,a). Verse 4 Plain337 sees remembers the source is a Moderato melodic/harmonicsuccession,aseriesofpitchesthatappearmelodically (an arpeggio)and/ortogether,suggestingharmony. Verse5Opensburns is,asverse4,amelodicsuccessionthatappearsin veryshortrhythmicfigures. Verse6Thefacemirrorthemusthasatleastoneofthefollowingelements: aquickmelody,aninth(g#,a),oratrill. Verse7Annihilatesdeathischaracterisedbyopposedglissandiandbythe slowsuccessionofrepeatingchords,sometimesjustonechord; Verse8LateIloveyouisasuccessionofpitchesinbothhandsanditis alsoamelody(b,e,c#,d#,f#,e)prominentamongthesepitchesoralonein longnotes.

337

OrPlan.

242 SUBSTRUCTURES ClotildeRosausesan8to12pitchseriesinvariouslayoutsandforms.Itisnotaseries commontoalltheversesbutonlyaroughbasisforexplorationsometimesorderedina preciselayout,sometimespermutatedorgroupedasharmonicunits(chords).

ERSE5TWELVETONESERIESUSED V

Inverse5(section5)thisseriesappearsinitslonger(12note)layout:C,F#,B,E,A#,F, D,G,G#,C#,D#,A. Thissameseriesappearsafewsecondslater,butwithanotherlayout.Infact,itseems thatthisserieshastwomajorgroups a and b,separatedbythepitchesDandF.This structureoftheseriesseemsalsotobeusedinotherverses,ascanbeseeninthenext example.

243 Thesetwogroups,aandbareusedbothmelodicallyandharmonically,givingmaterial todifferentharmonicmomentsastheyappearinthedifferentsections.

a a

b' b

OGOPROJECTADO SERIALMATERIAL J

SECTIONS S ECTION 1 Thissectionpresentsverses1

8

ECTION1CHOR S

and8withsomeothercharacteristics:1.atheatricalattitudeintermsofperformance(the composerstateshowthepianisthastobehaveduringtheperformance);2.theuseof specific chords, developed from verses 1 and 8, that serve as (rhythmic, expressive) supportingpoints;

S ECTION 2 Thissectiondevelopstheuseofverse8,featuringthe(b,e,c#,g,d#,f#,e)melody.This verseisinterruptedtwicebyversetwo(undulatingglissandi).

244 S ECTION 3 Verseonebeginsthissectionasacontinuationofsections1and2.Thenverse6appears, endingonthefortissimoninth(g#,a);themelodyofverse8(beginningwithbandc pizzicato)returnstoendthissection.

S ECTION 4 Thissectionisacontinuationofsection3,presentingverses8and6.

S ECTION 5 Theappearanceofthegraphicsofverse2andthequicksequenceofverse5createsa newcharacterinthissection.Sometimesthereislittledifferencebetweentheverylow glissandiandthequicksequencesofverse5.

S ECTION 6 Thissectionfeaturesverse6initscompleteformandverse7asacontrastingending.

S ECTION 7 Section7isconstructedusingverse1withsomeglissandiinthemiddleandattheend (verse2).Inthissectiontheperformermustalsosayamo([I]love)(asahiccup).

S ECTION 8 Verses4and8appearinthissectionwiththeircharacterveryprominent.

S ECTION 9 Thissectionhas4verses.Itbeginswithverse1(withaglissando),thenverse2,verse3, verse2again,verse8(justamelodyandsomechords),verse2(somestrokesusinglow

245 strings),verse3repeated,verse2andverse8(somenotesofthemelodypizzicatoand chords).

S ECTION 10 Theglissandiofverse7(andthestringsstrokedasinsection9verse2)aremixedwith theverycharacteristicverse3(pizzicatomelodyandchord).

S ECTION 11 Inthissectionthemelodyfromverse4(withsomepitchessoundingsimultaneously)and themusicofverse7(glissandiandchords).

S ECTION 12 Verse5appearsatthebeginningandattheendwithverse6inthemiddle.

S ECTION 13 Thislongsectionismadeexclusivelywithmaterialfromverse8.Ithasfoursmaller subsections(A,B,C,D)whichcanbeplayedindifferentorders:

"ItcanbeplayedjumpingfromAtoC,ortoDortoB,asmany timesastheperformerwishes,endingalwaysin A or C. A and shouldbeplayedinanobsessiveway."

ERSE8SUBSECTIOND V

Aconsistsofthreesequences,amelodyfromverse8isprominent,mixedamong thedifferentpitches.Bisaseriesofchordsfeaturingthissamemelodyinthetreble.Cis aseriesofchords(in arpeggio);themelodyofthetopnotesbeingthecharacteristic melodyfromverse8. D isaseriesofchords.Subsection D seemstobeanexpressive

1 1 2 3 4 5 6 7 8 2 1

2 2 1 1

3 1 1

5 1

6 1

1 1 1 1 1 1 2

8 3 2 1 1 2 1

246

sequence of chords with little apparent connection with verse 8. However a small portion of the melody does appear in the

1 3 2 1 1 1 1

AIRSOFVERSES P

upper notes. Also there is an insistence on ninths and some of the chords are characteristicofthepitchgroupsformedbytheseries.

COMPARISON OF THE SECTIONS STRUCTURE Verse/ Section 1 2 3 4 5 6 7 8 9 10 11 12 13 Total 4 4 2 2 2 4 3 X X X X X X X X 7 X X X X X X X X X X X X X X X X X X X X V1 V2 V3 V4 V5 V6 V7 V8

Itcanbeseen,bytheirrepetitionanddevelopmentthatsomeversesaremoresignificant andotherssubsidiary.Verses1,2,6and8arerepeatedmuchmorethantheothers:only sections10(verses3and7)and11(verses4and7)havenoneofthesefourverses. Thedifferentuseofpairsofverseswasalsoanalysed.Theemphasisisonverses1,2,6 and83pairsofverses1+8,2pairsofverses1+2,2+8and6+8.Verse8isalsothe onlyonetotakeupawholesectionsection13.Bycontrast,verses4and5seem subsidiary.

247 Also important is, perhaps, the slight change of character in section 5 with the appearanceofsomelessusedverses,whichmakesitsignificantinexpressiveterms. Verse 2, in section five seems to have a continuation in the low pitched and quick passages of the new verse 5. The appearance of verse 7 in section 6 createsa new ambience;thisversetwoglissandiendinginasimplechordsuccessionwilldefine, togetherwithverse3(veryclosetoverse7)anewformofexpressionbasedonsimple andclearsequences.Theuseofverse8inthelongfinalsectionsuggestsareturnto alreadyusedmaterialthatwasalwayspresentthroughtheuseofverses1,6and8in almostallsections.

ANALYSIS OF THE POEM Subject Action Amo([I]love) Oirolento(slowgold) Aveovento(birdthewind) Plano(plain338) vlembra(seesremembers) Abrearde(opens,burns) (Orostoespelhomosto) (thefacemirrorthemust) Anula(annihilates) (Tarde)(afternoon) Amote(loveyou) Object aflamaorio(theflame,the river)

afonte(thesource) Orostoespelhomosto (thefacemirrorthemust) amorte(thedeath) Tarde(late)

Theveryloose,declamatory,evenungrammaticalcharacterofthepoemclearlyproposes averywiderangeofpossibilitiesofinterpretationofeachword,ofeachverse.Verses like Aveovento(Birdthewind)suggestareflectiononallthereferencesarisingfrom eachword,fromthe(grammaticallyuncompleted)phraseandfromanoverviewofthe wholepoem.Beingawareofthisamplitudeofsemioticpossibilitiesanditsproposed ambience,thereremainsaneedforasense,agrammaticalsensethatenablesafirst

338

OrPlan,theplanis...

248 understandingofthepoem.Thisgrammaticalsensewasproducedwithaninterpretation arewritingofthepoemin3sentences. VersesinPortuguese: Amoaflama,orio. TranslationinEnglish: (I)Lovetheflame,theriver.

Slowgold,(the)bird,thewind,plain6,sees Oirolento,(a)ave,ovento,plano339,v lembraafonte,abre,ardeorostoespelho remembersthesource,opens,burnsthe facemirrorthemust340,annihilatesdeath. mosto,anulaamorte. Tarde,amote. Late341,Iloveyou.

Firstly,astatement,anevocationoffireandwater,basicelementsoflife:theflame, visualindexoffire,whichmakesandtransformsmatterintolife;theriver,symbolof passingtime,ofnature,ofthebasicelementwater.

(I)lovetheflame,theriver.

ButMartaArajodoesn'tusetheindividual eu (I),sheonlysaystheimpersonal amo (love):Thereisnoimportancegiventoapersonalassumption,butallemphasisisinthe elementsandtheirindexes,theflameandtheriver.

Slowgold,(the)bird,thewind,(the)plain 342,seesremembers the source, opens, burns the facemirrorthemust, annihilates death.

Thereisanancienttradition,atleastinEuropeandAmerica,inwhichgoldismadeby alchemists,sorcerers,shamans,peoplewhohaveaspecialgiftandknowledge,andthe recipeofcomponentsthatwillmouldinaslowfiretobecomegold.Slowgoldisan iconofrichnessandbrilliance,asymboloftheslowtransformationofmatter,ofthe search for insight, reinforcing the mysticism of the first phrase love the flame, the river.Thebird,thewindandtheplainortheplainwind,eventheplainarevisual symbols.Theyconstructakindofbackgroundsceneryforthepoemthatreinforcesthe
339 340 341

Orventoplano(theplainwind),oroplano():vlembraafonte(theplan:seerememberthesource). mould. Or(the)plan.

Orafternoon.

342

249 ambience already given: the slow motion of passing time, the simplicity and the mysticismofnature. Thisscenery,theseelements,evoketheirsource,thesourceoflife,thatopensandburns, interactsmostintensivelywiththesubjectwhichiswatchingit,thefacemirror.This subjectis,inaveryinterestingway,describedasaface,butafacethatisalsoamirror becauseitopensforthe(burning)knowledgeofitself(ametaphorofselfknowledge).It isalsoanevocationoftheparadigmofinterpretation,sinceknowledgeisonlypossible throughamirrorthatreflectsourownself.Thisknowledge,likeallknowledge,isalsoof aDionysiannature,becauseitismadethroughtheinfluenceofthealcoholicvapours comingfromthemouldofthemust,thecrushedgrapesthatwillbewine.Thesearchfor knowledge,simplicity,calmandnature,allthesethingsbringustothesource(andthe sense)oflife,toourselves,andextinguishanydeathdrift. With tarde,amote (Lateorafternoon,Iloveyou),theauthorpronouncesherselfasa subject,abeingorthingthatlovesanother,(someone,ortheafternoon).Thisvowisthe lateconclusionofthispoem:loveannihilatesdeath,creates(althoughperhapsa vague,alcoholic)knowledge,bringsustoacalmcontemplationoftheimportantthings inourselves,thesourceoflifeitself,andourinnerlife. Thesoundsandrhythmofthispoemarealsomostinteresting.4groupscanbemade: mo,io,nto,sto,o amo,plano oiro,rio lentovento rosto,mosto espelho Very characteristic is the dactyl rhythm in the accentuation of the first of each two syllablesandtheuseofthreeformsofending(-o,-ma,e)343. ma flama,lembra,anula e,,ote,te ave,arde,tarde v amote,morte,fonte

343

oinblackboldletters,mainreletters,einblue,italicunderlinedletters.

250

Amoaflamaorio ___.___.__. Oirolento ___.___. Aveovento ___.___.

Lovetheflametheriver

Slowgold

Birdthewind

Planovlembraafonte ___._______.___. Abrearde __.___. Orosto espelho mosto .___.____.____. Anulaamorte .____.____. Tardeamo te ___.__..

Plainseesremembersthesource

Opensburns

Thefacemirrorthemust

Annihilatesdeath

LateIloveyou

Inthispoemtheendingsandmainsonoritiesin(-o)seemtodevelopinto(e).Theself (supposedbytheabsent eu I)thatcharacterisestheendingoftheverbsin(-o)are slowlysubstitutedbytheremote3rdpersonorbythemoresoft,evenreflexiveendings (e). Myviewisthatinthefirstpartofthepoemtheauthorisconcernedwithherself,the subjectofthepoem,andwiththeobjects(theIlovegold,wind,river,flame);thenthe actions(seesremembers,opensburns,annihilates)begintoemerge,togetherwiththeir context(toseeandrememberthroughthefacemirrorthemust,orthecontingenceof

251 death).Theendofthepoemdisclosesitsmaininterest:tolovesomeone,toloveyou. Buteventhenthecontingenceoftime,symbolisedfromthebeginningbytheconstant dactylrhythm,questionsthis(happy)ending:finallyitisperhapslatetoolate?to love,oritistoolatetosayit.

CONTACTS WITH MARTA ARAJO AND CLOTILDE ROSA Therewastheopportunitytohavemeetingswiththepoetandwiththecomposer.Marta CarvalhoArajorememberedthepoemandthemusicalpieceverywellandgavemea readingofthepoem,whichreorderedittohelpmakegrammaticalsense. VersesinPortuguese: Amoaflama,orio. Oirolento,(a)ave,ovento,(o)plano:v lembraafonte. Abre,ardeorostoespelhomosto Anulaamorte. Tarde,amote. [ou]Tarde,amorte. TranslationinEnglish: (I)Lovetheflame,theriver. Slowgold,(the)bird,thewind,(the)plan: seerememberthesource. Opens,burnsthefacemouldymirror. Annihilatesdeath. Late,Iloveyou. [or]Late,death.

Shealsosaidthatthepoemwaswrittensothatdifferent,randomcombinationsofthe versescouldbeused,suggestingaverylargefieldofsemioticrelationships.Sheinsisted onthecombinationofthetwolastverses(anulaamorte/Tarde,amote):theyhavethe samenumberofsyllables,sothatthemainwordscanbeinterchanged. Meeting ClotildeRosa 344 wasveryinteresting,notonlytohelpunderstandingofthis particularpiecebutalsoasatestimonyofmusicallifeinthe1960sand1970s.Shetold

344

Inaespecialinterviewforthisresearch. AINCHORDS/SERIESINCLOTILDEROSA'SMUSIC M

252 methatfromherfirstpieceshealwaysusesthreechordssoastoforma12toneseries. Sheneverusedthemstrictly,butindifferentways,withmanykindsofchanges. Infactthesechords/seriesareveryclosetothesubstructuresdescribedearlier.345

HERMENEUTIC OF THE PIECE ItismyopinionthatsomecorrespondencecanbeseenbetweenMartaArajo'sverses andthewayClotildeRosatransfersthemintomusic.Inmyview,therearesymbolic relationshipsbetweenmusicandtext: 1. A musical sequence prominent in the music that, although having no clear relationshipintermsofanexogenoussemiotics,isconnectedtoaverseasaleitmotif (verses4,6,7,8); 2. Acultural/socialimageimpliedbytheverseandturnedintomusic.Thisisdonebya simpleuseofthesoundsrecalledbytheimageorbythetransformationofthemotion impliedbytheversetoaphysicalact(oftheperformer)and/oramusicalmotion (verses1,3,5); 3. Theversetransposedintoagraphicimagewhichismeantasamusicaltext;(verse2); Thefirstkindisthelessmeaningfulintermsofexogenoussemioticsbutimportantinthe structureofthework.Despiteitssubjectivecharacter,itispossibletounderstandthe4 th, the 6th, the 7th and the 8th music verses as having some attributes related to the corresponding texts of the poem. But their importance is, like a leitmotif, to be understoodinthestructureofthepiece,inthecontextofthemusic,inanendogenous semiotic. By contrast, I think that the image of fire and of flames burning is well describedbythe5th verseinmusic(Abrearde).Thesesameflames,togetherwitha flowingriverare transposedintomusicbythemovementof the melodyandby the soundsoftrillsandmordents(1stverseAmoaflamaorio).Thequietwindisdescribed bytheuseofthestringsinverse3(Aveovento).Thesecondverse(OiroLento)isnot onlyagraphicproposalforhandmovementsinthekeyboardbutalsoakindofgraphic image of burning liquid. It must be understood, that despite any loose relationship
345

Comparewiththesectionsubstructuresinthisanalysis.

253 between poem (symbolised) and music (the symbol), this relationship is strongly enhancedwhentheversesofeachsectionareprojectedduringtheperformance. TheversesmostusedbyClotildeRosaare: 1Amoaflamaorio(Lovetheflame,theriver) 6Orostoespelhomosto(Thefacemirrorthemust) 8Tarde,amote(Late,Iloveyou) Theseversesseemtoembodytheessenceofthepoem:theIthatlovestheelements andlovesyou,althoughitisperhapsalreadytoolatetodoortosayso 346.Therefore,it seemsthatJogoProjectadoisakindoflovepieceusingthewordsofMartaArajo. ClearlyClotildeRosadoesntusethetemporalandexpressivestructureofthepoem.She usesthelastverseinthefirstsectionandcombinesfreelythedifferentversesinall13 sections.InfactIthinkthattheoriginalpoemisjustanopportunityforClotildeRosato developathematicorganisation,wherethedifferentthemesversestransposedinto musicareinspiredbythecorrespondingtext. Sometimesitlookslikeacollageofdifferentbutrelatedelements,orasuccessionof expressiveappearancesanddevelopmentsofthe8leitmotivs.Intechnicaltermsitisan exerciseinmusicalsemantics,intheexpansionofstructurethroughcollage,intheuseof repeatedthemes(leitmotivs),andinthedevelopmentofserialtechniquesmixedwith harmonicfeatures. Jogo Projectado, written in 1979, was intended to be performed by Clotilde Rosas friend,teacherand alterego JorgePeixinho347.Someof Peixinhos mostemblematic featuresandwaysofplaying(glissandi,trills,pedals,arpeggiochords,etc.)appearoften inthispiecealmostasifitwashisowncomposition.ButthepersonalstyleofClotilde
346 347

Thesethreeversesalsoappeartogetherinthethirdsection.

Heincludedthispieceinmanyofhispianorecitals.

254 Rosaisverydifferent.Sheuseswidelydifferentchords(fromher3chordmatrix),she repeatssequences(manypartsofthe8differentverses),sheusessimplemelodiesin differentways(onthekeyboard,thestrings,mixedamongseriesofdifferentpitches, etc.). ClotildeRosabegancomposingverylate.Shewasaharpistwithmuchexperiencein OportoandLisbonsorchestrasandintheGMCL(contemporarymusicensemblefrom Lisbon).JogoProjectadois,infact,herthirdpiece:thefirstoneEncontroswasmadefor a reconciliation of the musiciansof the GMCL, the second Alternncias was dedicatedtoherfriendMartaArajoandwouldbeplayedbyCarlosFranco(flute348)and JorgePeixinho(piano).JogoProjectadois,then,anotherpiecemadeforherfriendsand thepeopleneartoher.But,despitethesimplicityofitsemergence,itisaveryimpressive piece,importantinthecontextofPortuguesecontemporarymusic. Fortheuseoftheentirepianoinitsperformance(untilthenonlyusedby Peixinho); Foritsconceptionasamultimediawork,withtheprojectedversesandimages andthetheatrelikebehaviouroftheperformer; ForthemanyspecifictechniquesthatarecharacteristicandmakeupClotilde Rosas individual style in contemporary music: the informal interchange between harmonic passages and series; the use of simple and expressive melodiestogetherwithparaserialambiences;thewideuseofthestringsof thepianoimitatingtheharp;theplasticuseofclustersanddifferentglissandi; thestrongexpressivecharacterofthepiece. Jogo Projectado is therefore a very interesting piece, and most important in the Portugueserepertoire.And,perhaps,alsoasimplelovesongtoallherfriends.

348

Herhusbandnow.

255

CNDIDO LIMA ILIAM

1980,Pianosolo. Support:scoremanuscript,6pagesofA3music,2pagesofnotesinPortugueseand cover,writtenbytheauthor.

Analysis - Methodology:
TheanalysisofIliampresentstheresearcherwithaseriesofproblems: Iliam isasuccessionofabouttenverydifferentsectionswith,apparently, verylittleincommon; Eachsectionhasaspecificcharacterandproperties,butsomeofthemare quitedifficulttoanalyseintermsoftheircontent,astheyseemtobejusta successionofrandomnotesand/orchords; There is no sign of the use of known compositional techniques (from traditionaltechniquestothemostmodern)orformalschemata; Thewholepieceresistsanalysisofitslinguisticandsyntacticalmechanisms, e.g. its tonal basis, the relation between parts, sections, rhythms, chords, notes,etc.,infactanywayofunderstandingthespiritofthemusic.

Thisdifficultyofunderstandingalsomakesitdifficulttoperform,especiallyconcerning thecreationoflinksbetweendifferentsections(differentmusicalevents,differenttimes). Someattemptstocomprehendthetonalsubstructureandtheharmonyprovedfruitless. Somesectionsaremadewithverystable(evenveryfew)notes,othersresultfroma proliferationof different(related) pitches; some sectionshave aclearlyaccompanied melody,othersresistanysimpleunderstandingoftheirtexture. Aclearobservationindicatedapossiblebasisforthestudyofthiswork.Totakeasa premisethatthewholepieceusessimplemelodiesandchords,someofthemtraditional in terms of their harmonic content; but these melodies and chords appear generally

256 maskedbydissonancesandothernotesthatserveasatonalandtimbralstain.Without thisstain,thiscompoundofelementsthatenriches,butalsostronglytransforms,the maintonesandchords,themusicwouldhaveverylittleinterestinexpressiveterms. These simpler and, in this analysis, structurally important, notes and chords can be assessedbymeansofareduction.Thecriteriafordefiningthesenotes(and/orpitches) arethefollowing: 1 Notesdoubledatanoctave,reinforcingtheirharmonicimportance,acommon procedurethroughoutthepiece; 2 Pitchesthatarerepeatedinthesamebar,asinbar17andafter; 3 Notesthatremainsoundinglongerthanothersinthesamechord,asinbar35 andafter; 4 Pitchesthatareamplifiedbymeansofotherresonancechordsorpedals; 5 Pitchesthataremorethanasemitonefromothers.Thesepitchesclearlydont belongtoanystaincluster,beingimportantbyvirtueoftheirownharmonic significance. Theremainingnotesareviewedasstainnotes.Theyareoftengroupedinsmallclusters (insemitoneintervals),ortheyappearasakindofacciaccatura. Theproposedanalysisismainlyconcernedwiththedisclosureandthestudyofthese principalnotes,theirrelationshipthroughoutthemusicandtheirinterestintermsofa largerunderstandingofthemusic.

PLAN OF ANALYSIS 1Divisionofthepiece:differenttextures,basicnotes/pitchesandtheirmasksstain. 2Relation/evolutionofthepiece(form). 3Hermeneuticapproach.

257

Analysis
DIVISION OF THE PIECE S ECTION 1 ( BARS 1 10)

TO

Thisfirstsectioncanbedividedintwodifferentparts. FirstpartAnintroductionbasedonasmallamountofnotes(A,C,D,andthenGand F),presenting,inmyview,someofthemainfeaturesofthiswork:theuseofsimple intervals(5th,4th,3rd,2ndandoctave)andofresonancechords. Secondpartanew(pentatonicblackkeys)chordakindofpentatonicmodulation alsowithanincreasingnumberofdifferentnotesandresonancechords.

ARMONYOFFIRSTSECTION H

Thisfigureshowsthemainnotes:themainnotesarethoseinminimsinquaversand thosewiththesign notes. Itisclearthatthissectionismadeupofverysimple2notechords(fifths,fourths,thirds, alsosomemajorseconds)withincreasinglymorestainnotes.Beginninginthefirst partwithpitchesaroundafifthD/A,thesecondpartmovestodifferentpitches(C#/E, Gb/Bb). (doubledattheoctave),thosewithsmallernoteheadsarestain

258 S ECTION 2 (11

TO

22)

Section2isasuccessionof,hoketuslike,chordswithmostlysimpleintervals(octaves, fifths,fourths,andthirds)playedwithsomedissonancesor acciaccatura likestain noteswhichcreatespecificharmonicandtimbralqualities.Duringtheentiresectionthe bass part sustains a (silent) sostenuto chord (with an increasing number of different notes),extendingthedurationoftherighthandchords. BeginningaroundthepitchE,thissectionslowlydevelopstoothertriadlikeharmonies (C#,E,G#),(G#,A#,D#).

S ECTION 3 (23

TO

34)

LIAM ARMONYOFSECTION2 I H

Section3isaseriesofveryquickchordsinbothhands.Thesechords,playedstaccato, createthefirstclimaxofthepieceasthenumberofnotesandtheintensityofthechords increasegradually.Becauseofthecomplexityofthispassage,accordingtotheabove criteria,onlyafewnotesremainclearlyapartfromthedissonantgroupsusedasmasks. Themainnotes(doubledatoctaveorapartfromsemitonegroups)areshownbelow.

259 Infact,thelastbarsarelessclearcutanddeliberatelyconfusedamongthe"stain"notes,

LIAM AINNOTESONBARS23TO34(SECTION3) I M

because they are at a semitone distance. In my view, this part a small climax confirmstheexpressiveimportanceofwhatIcalledstainnotesand,ontheotherhand, theimportanceofthemainnoteswhentheyexist,asthebackboneofthemusic. ThemelodypresentedinthisanalysisstaysaroundthepitchesE,F#,AandBb.Byits characteristiccontour,itcanbeunderstoodasasuccessionoftwogroupsof4barswith theformalscheme:a,b,a',c.

S ECTION 4 (35

TO

41)

Section4usesveryslowchords,characteristicofthissectionareafewsustainednotes thatcontinueaftertheattack.

LIAM ECTION4(BARS35TO41) I :S

Inthissectionthereisanotherfourbargroupwithamelodyusingthenotes,Eb,E,F#,G withtherespondingA,G#,Gb,E(bars35to38).

260 S ECTION 5 (42

TO

61)

Section 5 has very simple broken chords alternating with melodic successions of seconds,eachofthemfollowedbyaresonancebar.Inthepassageswithsecondsitis

LIAM ECTION5 I :S

difficult to understand which are the main pitches using the analytic methodology explained above, they neutralise each other as dissonances. The following picture presentsapossiblereduction. Anothernoveltyinthispassageistheuseofverycharacteristicrhythms:

.
S ECTION 6 (62
TO

87)

Sections6,hasaharmonicevolutionovertheostinatorepetitionofoneormorenotes. Thissectionusesthemelodicsuccessionofsecondsasthemainexpressivemeans.It

LIAM ECTION6,BARS62TO78 I :S

endsonthepossibleclimaxofthepiece(bars76to78).

261 Itisalsointerestingtoseethatthismelodicprogressionismade,essentiallywiththe expressiveuseofsecondsandotherdissonances,thepresentreductionbeingonlyone possiblewaytounderstandit.Theuseofsecondsandotherdissonancesasexpressive meansisespeciallypresentinbar80(aftertheclimax),withthechord(brokencluster?) A,A#,C,C#,D,D#repeatedinbothhands.

LIAM ECTION6,BARS83TO87 I :S

Thebarsfrom83to88are,inmyview,aharmonicandsyntacticdecrescendo,especially aftertheclimaxinbar76to78.Inthesebars,themainpitchesA.Bb,andEbareusedas anostinatowithdissonant(clusterlike)chords.

S ECTION 7 (88

TO

99)

LIAM ECTION7 I :S

Asinsection2,amelody,nowwithdisruptiveseconds(asinsection6),isplayedover resonantchords.

262 S ECTION 8 (100

TO

115)

Thissectionismadeupofsuccessionsofscalesinterruptedbyresonancebars.These scales,usedonmanypiecesofCndidoLima,extendtheircharacteristicsformorethan anoctave:theydon'trepeattheintervalsineachoctave,buteach2orthreeoctaves(or never).Theirsizeextendsalwaysmoreoctaves,comprisingsometimesthewholelength ofthepiano.Thesekindsofscalesare,perhaps,adevelopmentoflongbrokenchords andalsoof Messiaen's modes.Theycreatedifferentharmoniclayoutsacrossvarious octaves,bothsimple(repetitive)tonalharmonyandcomplex(alsorepetitiveandwith moreentropy)chromaticscales.

LIAM ECTION8BARS100TO114 I :S

263 These elements serve as a substructure for the composition of a piece, being also transposedormixedwithotherscales. TheyappearinXenakisandinotherpiecesbyCndidoLimaforpiano(Blink 1992, Aquiris1993,JuegodelSol1995,)andinseveralofhisensemblepieces. InIliamtheyarepresentedincounterpoint,asanascendingmelodyorinmorecomplex melodicforms.Theirpurpose,inmyview,istoformaharmonicsection,oftendiatonic, thatstronglycontrastswithothersections. Acarefulanalysisofthesescalesindicatestheuseofonlyafewpitches: Pitches Number of times c 9 c# 13

d#

f#

g#

a# 8

b 10

15 17 19 12 13 15 13 10

Itisalsoimportantthatonlyasmallpartofthepianoisusedinthesescales,namelythe

LIAM NALYSISOFSCALESINBARS100TO114 I A

octavesbetweend(smalld)andd#'',therestbeingusedononlyafewoccasions.There arealsomanycommonnotesbetweenthedifferentscales,forminggroupsofharmonic

264 relatedscalesingroupsofbars100,102and106;anothergroupmadebybars102,106 and112;athirdgroupmadebybars108,110,114and,sometimes,bar112.

S ECTION 9 (116

TO

132)

Inthissection,CndidoLimaappliesseveraltechniquesthathavealreadybeenusedin other sections. He uses chord succession as in section 3 (in bar 116), chords over resonancechordsasinsection5(bars117to119),prolongationofsomeofthechord notesasinsection4(bars120to127). Mostobviousinthissectionistheuseoftonallikechordsandsequences,maskedwith othernotes.Thepassageafterbar117couldbeanalysedinthefollowingway.

NALYSISOFSECTION9 A

In this sense, the whole passage could be a kind of harmonic sequence around the dominantandthetonic.Thedominantappearingclearlyinbars118and120,andthe tonicin119and,insection10,withasimpleE.Thefirstbar(117)couldbeakindof dominantseventhchordoveratonicbass.Bars120until123couldbeanapproachto areasofthevidegree,(adominantchordwiththedominantbassaltered)thatresolvesto theseconddegree(bar123).

S ECTION 10 (133

TO

143)

Thisfinalparthasasimplemelodywithreinforcingresonancechordsinthelefthand,as insection2,withthebasicharmonyaroundthetoneE:perhapsakindofclosingtonic.

LIAM I SECTION10(END)

265 EVOLUTION OF THE PIECE FORM AnoverviewofthedifferentsectionsshowsthatCndidoLima,aftertheclimaxatthe endofsection6,clearlywantedakindofreturntoalreadyusedtexturesandwaysof composition. Thispiececanbeunderstoodashavingthreeparts.Thefirstpartincludessections1,2 and3(35bars,moreorlessonequarterofthewhole),presentingthetonalmaterialand thetextureinitsprimaryforms.Ithaschordswithresonances,simplemelodieswith "stain" notesandsuccessions of verydifferentchords thatcan alsobesimplified as melodieswithclusterlike"stain"notes.
Bars Section Pitch/ harmony Texture, Chords develop ment Melo.+ reson. Chords 1 1 D 11 2 beginsE 23 3 E 35 4 ? 42 5 Begins E 62 6 D/E 88 7 100 8 110 9 E 133143 10 E

begins/E beginsE ndsE Scales

Chords+ Chords, Melo.in Melo.in prol. notes Melo.in seconds seconds seconds +reson.

Chords, Melo.in seconds, prol. notes

Melo.+ reson.

Form

A'

B'

B' climax

B'

A,B',C

The second part, including sections 4 to 8, is, perhaps, the development. There are differentwaysofarrangingandexploringthethreesimpleformspresentedinsections1, 2and3.Thispartalsoincludesaclimaxinthemiddleandendsinaverydifferentway (importantin CndidoLima's music)and presentsharmonicmaterialintheform of scales.

266 Thethirdandlastpart,alsoaquarterofthewhole,istheconclusion,presentingagaina mixtureofthedifferentwaysofdevelopingthematerial. Thisdivision,althoughpossibleintermsoftheschemeofthepiece,doesn'tcorrespond, inmyview,toanydivisioninthewayitsounds.Whenplayingorhearingthemusic,the climax at the beginning of section 5 a long harmonic/melodic evolution with increasingnumberofpitchesandincreasingintensityisoneofthefewsalientparts, as well as section 8's scales. This corresponds also to a dialectic perhaps also intentionalbetweentheapparentlyverydifferentsectionsandtheirresemblanceand commonbasisintermsofharmony,textureandwaysofdeveloping. CharacteristicofthispieceandofCndidoLima'smusicistheuseofveryirregulartime signatures,sometimesadifferentoneeachbar,aswellasveryirregularrhythms.This corresponds,inmyview,toanecessityforrhythmictensionthatcontrastswiththevery regularsuccessionsofsemiquaversinsections6and7andinthescalesection.

HERMENEUTIC APPROACH Iliamisapiecethatisbasedonseveralsimpleprinciples: First,adialecticprinciplethatcomprisesallfeaturesofthepieceinproposingalsotheir contraryoneofthemaindifficultiesofthepiece: Cndido Lima uses consonance and dissonance (the "stain" notes, the secondsthatarespreadthroughout); thereisasimultaneoususeoftonalharmonyandofclusterharmony,the firstasthesumof(afew)differentpitchesandthesecondasthesumofa wholepitchregion349; whenCndidoLimausesmelodies,hesimultaneouslytransposesitata second,inacleardiatonicopposition; obviously Cndido Lima composed this piece, but the result, in some sections,isclosetoimprovisation.
Orthesubtractionofthewholesumofpitches.Itisthe(veryavantgarde)dialecticbetweensmalland largeentropy.
349

267 Secondly, the instrumental principle: all elements and all sections of this piece are writtenforthepiano,exploringitsqualitiesasakeyboardinstrumentandasapercussion instrumentwithasustainpedal.ThisprincipleismanifestinthewayCndidoLimauses thepedals,thescalesandinthechordsequenceinsection3(atfirst,quickjumpsinthe keyboard,later,approachingaclimax,amoreandmorecomplexsuccessionofbroken chords). Finally,thereisthephysicalprinciple:Iliamisapiecemadetobephysicallyperformed, compromisingthebody,inparticularthehandsandarms.Someofthesectionsorparts ofsectionswere,inmyview,improvisedatthepianobyCndidoLima(i.e.section3and 4,therhythmicpartsofsection5,section6,thescalesection).Alsocharacteristicofa physicalwayofthinkingarethewaysthecomposerdevelopsthematerial.Thehandsand theirnaturaldevelopmentintermsofmovement,asinsection2,section4andtheendof section6.Someotherpartsreflectthatpleasureinmovementisaspecialqualityofthis piece,themovementofattackingthenotesandthelonghorizontalmovementofgoing fromoneregionofthekeyboardtoanother. Itisinterestingtonotethatmostofthemusicstaysinthemiddleofthekeyboard.Even thescalesatsection8reflecttheintentionofthecomposer/pianisttousethekeysthatare closetohimandtheextremeoctavestoalesserextent.Thischaracteristicalsoimplies thatthecomposerwantedtomakemusicthat,somehow,couldbeclosetothesinging voiceand,intheend,toclassicalmusic,inthesensethatmostofthemusicbeforethe 20thcenturywaswritteninthemiddleoctaves. TheprocessofcomposingIliamis,inmyview,somehowaparadigmorametaphorof theprocessofavantgardemusicinPortugal.Therearesomerelevant,buthardlywanted, bondstotradition 350 togetherwiththefree(evenextreme)useofdissonanceandthe reformulation of harmony. Cndido Lima exploits melodically very simple material
HarmonictechniquesofHindemith,ProkofieffandespeciallyStravinskyseemstobeverypresent.Cf. Hill,Peter(2000):p.44and45.
350

268 togetherwithunusualsounds.Healsoseemstobeobsessivecontrollingrhythmand time,butheclearlycomposesinacloserelationtothebodyandtoimprovisation.The explorationofnewstructuresandtheuseofcollageseemtobesignificantinhissearch foravantgarde. Finally,itisinterestingthatthesecontradictionsaroseinCndidoLima'smusicyears after he used advanced twelvetone techniques and serialism (i.e. in Meteoritos), electronicmeansandafteraclosecontactwithavantgardecompositioninDarmstadt andespeciallyParis(I.Xenakis,CeMaMu).

269

CHAPTER III

THE PORTUGUESE DARMSTADT GENERATION

THE COMPOSERS

270

"Iconsidermylifeasacomposerasaninitiatingpath"

Nunes,Emmanuel(1981)

271

MARIA DE LURDES MARTINS

TheworkofMariadeLurdesMartinsandthepathshechosetofollowincontemporary musicwereundoubtedlyinfluencedbyaseriesoffactsandcircumstancesrelatedtoher generation,andtothesocialandculturalenvironmentinLisboninthefirsthalfofthe century. FirstofallMariadeLurdesMartinswasawomanintegratedinaveryconservative society,andnotreallymarkedbythechangesforcedbyWorldWarIIconcerningtherole of women in society. Middleclass women should be at home, perhaps playing and teachingpiano351orworkingasteachersornurses,butneverhavinganykindofprestige asmodernartists.And,unlikeothernations,thePortuguesegovernmentinsistedona veryconservativesocietyandeconomicdevelopment,associatedwiththeland,therural world, conservative Catholicism, restricted industry and colonial development. For a womantobreakthesebarriers,itwouldbenecessaryforhertobealibertarianorhavea revolutionary personality with no fear of shocking society. Musicians very scarcely matchsuchabehaviouralmodelinsocialterms 352,andMariadeLurdesMartinswas certainlynotanexception. SecondlyMariadeLurdesMartinswasthefirsttheoldestofhergenerationto havetheopportunitytomeettheverynewavantgardemusicattheturnofthedecade: shewasalreadyabout32yearsoldandarecognisedcomposershewontheCarlos SeixasS.N.I.353PortugueseCompositionPricein1959(withapianotrioof1959)andthe PortugueseMusicalYouthPricein1960(withasonatinaforviolinandpianoof1955)354. InaninterviewpublishedinaArteMusicalnumber1958,afteraquestionabouttwelve toneandatonaltechniques:
PlayingpianoandspeakingFrenchwasthesarcasticmodelformiddleandhighclasswomen. Butunlikeamoreorlessstrictbehaviourinsociety,musicianstendtobreaktherolemodelsintheir owncreativeworld,ascomposersandasinterpreters. 353 SecretariadoNacionaldeInformao NationalSecretaryofInformation,thecultureofficeinthe governmentofSalazar.
351 352 354

LatershewouldwintheGulbenkianPrice(1965and1971).

272
"Perhapsourgeographicsituationenablesaneducationanda sensibilitycontrarytothosesystems.NeverthelessIhaveagreat regardfortheVienneseSchoolandIintendtodoaseriousstudy oftwelvetonetechniques.Ithinkitisveryimportanttoenlarge myknowledgeonallmusicalsystems,tillIconsciouslyembrace alanguageofmyown,whichmayormaynotfollowoneexplicit school."355

InaninterviewbyJoodeFreitasBranco,hequestionedMariadeLurdesMartinsonif shehadeverheardmusiqueconcrteandelectronicmusic.Sheansweredno:
"And I'm very sorry [I haven't heard it yet], as I think it is extremely convenient for a composer to understand all sound phenomenaandtohavefreewillofitsuse."356

Herfirstcontactsabroadwereveryacademic:Prof.HaraldGenzmer(composition)and OrffSchulwerkinMunich'sHochschullein1959.Aslateas1960shewenttoDarmstadt andabsorbedthe"violent"ideasofStockhausen,Nono,Berio,Cage,assheexplainedin anarticleintheArteMusical357.Shereferstohavingfoundagreatinterestinamovement called Polyaesthetics358, a movement born from the ideas of Wolfgang Rocher (Hanover/Germany),whichproposesafusionofdifferentkindsofartisticcreation.In this matter Maria de Lurdes Martins created some experiences with collective improvisation in schools, and used theatrical means in chamber music pieces (2 Esbocetos359,1976). Maria de Lurdes Martins's music, at first close to Croner de Vasconcelos who she admiredimmensely,wastheninfluencedbyBartokand,inthesixties,bytheDarmstadt's avantgarde.ButalthoughMariadeLurdesMartinsdoesn'trecogniseanyinfluenceof
"Talvezanossa situaogeogrficaorigine umaeducaoeumasensibilidade avessasaesses sistemas.TenhonoentantograndeadmiraopelaEscoladeVienaeestdentrodosmeusplanosum estudosriodatcnicadosdozesons.Parecemeimportantssimoaprofundartodososnovossistemas musicais at adquirir conscientemente uma linguagem prpria, que pode ou no seguir determinada escola.".Martins,MariadeLurdes(1958). 356 "Etenhomuitapena(denuncaterouvido),tantomaisqueconsideroextremamentevantajosaparaum compositoraapreensodetodososnovosfenmenossonorosedolivrearbtriosobreasuautilizao." SeeMartins,MariadeLurdes(1958). 357 SeeMartins,MariadeLurdes(1961). 358 Cf.SeeMartins,MariadeLurdese.a.(1998):page13.ArteMusical,IVseries,Vol.III,n.10/11,1998,. 359 2smallsketches.
355

273 CarlOrffasacomposer,Ithinkthatherlongexperienceasateacherandasacomposer withthiskindofschoolmusic,withitsmethodsandwiththeunderlyingaestheticsof OrffSchulwerk,hadastronginfluenceinherwork.From1959MariadeLurdesMartins hadcontactswithOrffSchulwerkandevenwithCarlOrffpersonally,andintroducedthis methodinPortugalhavinghadverygoodsupportfromtheGulbenkianFoundation.She composed many childrens pieces that clearly follow OrffSchulwerk. Also in concert musicIthinkthereisastronginfluenceofthismethodology:inSonorit,Toccatinaand Catch Maria de Lurdes Martins uses simple rhythmic patterns that are constantly repeated,althoughsometimesmaskedbysmallrhythmic"modern"adjustments. Inmyview,thesetechniqueshavetwoorigins:theneoclassicpastofMariadeLurdes Martinstill1960(accordingtoSrgioAzevedo,evenfurthertill1965 360)andthe(also neoclassical) OrffSchulwerkmusicpiecesandunderlyingaesthetics,stronglyattached tosimplerepeatablerhythms. But the piano works of Maria de Lurdes Martins show also a strong need for experimenting with new sounds produced with the piano, especially using new techniquesofperformance.Togetherwithsimplemelodies,tonalchords,simplebinary rhythmsanddissonant(unresolved)intervals,MariadeLurdesMartinsseries,extreme tremoli, clusters, resonance chords, hands and mallets playing on the strings, effects usingthekeysofthekeyboardwithmallets,otherinstruments(woodblocksandcymbals) playedbythepianist.Sometimessimplemelodiesaremaskedbyintervalsofasecond,or transformations of simple binary rhythms in uneven groups (quintuplets), creating disruptionsinharmonicandrhythmicterms.ButMariadeLurdesMartinsneverdaresto usenonrepetitiverhythmsstructurally,orattemptsserialcomposition,remainingevenin themostadvancedpieces(Sonorit,Catch)asneoclassicmodels.

360

SeeMartins,MariadeLurdes(1998):page20.

274 Sonorit of1970,dedicatedtothepianistFernandoLaires 361,isthefirstpianopiece whichincorporatesthenewtechniquesassimilatedsinceDarmstadtin1960and1961, someofthemalreadyusedinPortuguesecompositionbyJorgePeixinho.Itsnoveltylies intheuseofotherinstruments(woodblocksandcymbal)andmalletsplayedalsobythe pianist.Toccatinaof1976wasdedicatedtoAdrianoJordo,ayoungpianistwhosecareer wasintheascendancy.Itisinterestingthewaythepianoisusedasanobjectwithmany percussivepossibilities:strings,woodpartsofthepiano,thekeyboardivoryandplastics, etc. In Catch, on the contrary, Maria de Lurdes Martins doesn't employ any other techniquesonlythetraditionaluseofthekeyboard,butmostinterestinglyhassome repetitivesections,usingalsoimprovisedrhythms. ItwouldseemthatMariadeLurdesMartins'spianosoloworkschangedfromneoclassic toamoreavantgardestyleandthenbegantousemoreuptodaterepetitivetechniques, exercising the new ways that were appearing and that she had the opportunity to experienceandassimilate.Ithinkallthreepieceswereexercisestryingtodiscovernew techniquesandnewpossibilitiesofexpression.Butmorethanexercisingnewtechniques, IthinkMariadeLurdesMartinsexercisedthewayshecouldassimilatesomeproperties ofthosenewtechniquesinherownmusicalpast.Morethanarupturewithtraditionor withtheimmediatepast,orevenasastatementintermsofaparticularaestheticview(to assumeapartnershipofthisorthatmusicgroup),thesepianopiecesshowaconcern withthefusionofdifferentexperiences,acceptingallnewdevelopmentsasanincreasein possibilitiesandadevelopmentinherownpersonalstyle.Anotherkindofpolyaesthetic, proposingafusionnotonlyofdifferentwaysofexpression(differentarts),butalsoof differentallegedlyunconsolidatedaestheticpathsinmusic.Ortheassumptionof aneducationaltaskincomposition,presentingthenewasanothersourceofexpression, usedalongsideothers.

361

WellknownasapianistandteacherintheU.S.A.

275 PerhapsthisiswhythemusicofMariadeLurdesMartinsintheseventiesdoesn'tseem to beeitheravantgardeortofollowtheoldneoclassicists.Neitherdoesitseem to participate either in any postDarmstadt (Berio, Adorno, Boulez, etc.) or new post modernthought.MariadeLurdesMartinspianopiecesareinterestinginthePortuguese contextasanexampleofapersonalwayofassimilatingofmeltingthenewintothe traditional:achoicedifficulttounderstandinaesthetictermsforhercontemporaries,that needs a historic perspective the distance of some decades to enable a more objectiveinsight.

276

CLOTILDE ROSA Her Life

It is very difficult to have an objective view of contemporary issues and people, especially when there is a close relationship of some kind present. The scientific search for distance, which enables objective criticism in contemporary issues, is present in this research, but perhaps difficult with Clotilde Rosa. Her open personality, her emotive way of dealing with people and music seems to bridge that gap sometimes necessary between her and the (hopefully distant) researcher, who is also a friend and a collaborator. Clotilde Rosa is a very charming and emotive woman, very intuitive and very thoughtful about others points of view. Clotilde Rosa was born in 1930inQueluz(nearLisbon),daughterofanoperasingerand anorchestralharpist.Musicwasreallyafamilybusiness362;hercousinwasalsohercello teacherintheConservatory(IsauraPaivadeMagalhes).Herearlymemoriesarerelated tomusic,especiallytotheS.CarlosOperaHousewhereherfathersangandhermother playedharp.
WhenIwasonlyfouryears,IremembergoingtotheEstudioA oftheNationalRadio(E.N.)andhearing ThePlanets byHolst whichenchantedme()Infactmybrothertoldmethat,atonly threeorfouryears,IwasfascinatedwhenlisteningtoWagner. Actually,sinceIwasalittlegirlIpassedmychildhoodlisteningto music.Myfathermadehisdebutwith Manon whenIwasonly fifteendaysold!363

Andstillis:herfirsthusbandisaverywellknownpianist(entertainmentmuisc),twoofhersonsare Conservatoryteachersandmusicians(violinandcello),herhusbandistheflautistCarlosFranco.Her brotherandhersisterinlawarealsoverywellknownintheartisticmilieu,thearchitectandsculptorArtur RosaandtheartistHelenaAlmeida.

362

LembromedecomapenasquartoanosiraoEstudioAdaEmissoraNacionaleouvirobrascomoOs PlanetasdeHolz,quemeencantaram(...)Alis,omeuirmodizmeque,comapenastrsouquatroanos, euficavaencantadaaouvirWagner.Comefeito,eupasseiaminhavidaaouvirmsica,desdegarota.O meupaiestreousenaManon,tinhaeuquinzedias!InRosa,Clotildee.a.(1996):p.154

363

277 ItwastheninevitablethatshewasledtotheLisbonsConservatory.In1948Clotilde RosapassedherDiplomainpiano(withIvoneSantos)andharp(withCecliaMota).She studiedcounterpointwithCronerdeVasconcelos,butnevercompletedhigherstudiesin composition.ShemarriedthepianistJorgeMachadoandhadthreechildren,anduntil 1959shewasmostlydedicatedtofamilylife. In1961ClotildeRosahadascholarshipfromtheGulbenkianFoundationtostudyharpin AmsterdamwithPhiaBergout.ThissameyearClotildeRosatookpartinaseriesof concertsdedicatedtocontemporaryandPortugueseMusic.Intheseconcerts,afteran invitationofMrioFalco(harp)364,sheplayedapieceofJorgePeixinhofortwoharps. Peixinho(piano),MarioFalcoandHugoCasais(singer)alsotookpartinthisconcert.
IrememberverywellmyfirstapproachtoJorgePeixinho.Ihad alreadyfinishedthehigherstudiesinpianoandharpinPortugal and had a scholarship to study harp in Amsterdam. As a coincidence,thatsummer,mycolleagueMrioFalcocameto meandproposedthatweplayapiecefortwoharpsbyJorge Peixinho,whowasatthattimeastudentofPierreBoulezand hadrecentlycomefromtheSantaCeciliaAcademyinRome.365

Theseconcerts,abigandinnovativechallengetotheharpist,hadagreatinfluenceon Clotilde Rosa and marked her future interest in contemporary music. Clotilde Rosa continuedin1962and63studyinginHollandandin1964inParis(JacquelineBorot).In 1967shewenttoColognetostudyGeneralBassinHarpwithHansZingel. From1962until1970,ClotildeRosaplayedmuchchambermusicinPortugal:baroque music with flute (Carlos Franco366) and cello (Luisa Vasconcelos367) in the Trio

NowaharpprofessorintheUSA. LembromemuitobemdaminhaprimeiraaproximaoaoJorgePeixinho.Eutinhaacabadoosmeus estudossuperioresempianoeharpaemPortugale,em1962,conseguiumabolsadeestudoparair estudarharpaparaAmsterdo.Porcoincidncia,nessevero,omeucolegaMrioFalcoveiotercomigo epropsmetocarmosumapeaparaduasharpasdoJorgePeixinho,queeraentoalunodoPierre BoulezetinhavindohpoucotempodaAcademiadeSantaCecliaemRoma. In Rosa,Clotildee.a. (1996):p.153. 366 FlutistintheGulbenkianOrchestraand,someyearslater,herhusbandandlifecompanion.
364 365 367

Later,firstcellointheLisbonsSymphonicOrchestra,nowdeceased.

278 AntiquaandcontemporarymusicwiththesesamemusiciansaswellasJorgePeixinho and Antonio Oliveira e Silva 368 (also improvisation). She also began to study compositionwithJorgePeixinho,averycloseandimpetuousfriendandsomehowher alterego inmusicalterms369.WithPeixinhoshewasinDarmstadtin1963and1967 (courses with Stockhausen and Boulez) and remembers hearing the music of Dieter Schnebel,Kagel,Stockhausen,Maderna,andBerio.
Thatwasformeanextraordinaryrevelation;itwasthetimeof Momente of Stockhausen, I heard pieces by Dieter Schnebel, lecturesbyMaurcioKagelIrememberthat Atmosphres by Ligeti left a very strong impression on me. I attended classes given by Stockhausen and Boulez, heard lectures by Michel Butor on modernity in art. Bruno Maderna, Berio, Cathy Berberian, the Kontarsky brothers were also there. I was overwhelmedbythatmarvellousambiencethatreallyanswered myprofoundanxieties.370

Atthesametime,shebeganacareerasaharpistinPortugueseorchestras,atfirstasa substitute for her former teacher (1964) and then continuously in Oporto Orchestra (OportoRadioSymphonicOrchestraoftheE.N.).After1969,sheplayedintheLisbon SymphonicOrchestra(alsooftheNationalRadioE.N.).Shewasthenconstantlyinvited asaharpistfortheGulbenkianOrchestra(achamberorchestraatthattime). In 1970, after years of practice and concerts, the GMCL (Grupo de Msica ContemporneadeLisboatheLisbonContemporaryMusicGroup)wasfounded.This followedtheneedtoformallyestablishagroupthatwasalreadyknowninPortugaland abroad.Until1996shewouldtakepartinalltheconcertsgivenbythegroup.Shewas regarded as a diplomatic and stable character who could balance the emotional and
AviolaplayerintheGulbenkianOrchestra,alsointerestedinearlymusic,nowinseveralchamber musicgroupsandteachinginLisbonsConservatory.
368

ClotildewasseensomehowasthemotherfigureofPeixinho. Issofoiparamimumarevelaoextraordinria;eraotempodosMomentedoStockhausen,ouvi obrasdoDieterSchnebel,assistisaulasdoMaurcioKagel...lembromequeaAtmosferesdoLigeti deixaramem mimumaimpresso muitomarcante.Assisti aaulas doStockhausene doBoulez,ouvi confernciasdoMichelButorsobremodernidadedaobradearte.TambmlestavamoBrunoMaderna, oBerio,aCathyBerberian,osirmosKontarsky.Fiqueimaravilhadacomaqueleambiente,quenofundo vinhaaoencontrodasminhasansiedades.InRosa,Clotildee.a.(1996):p.155(a.t.).
369 370

279 impulsivecharacteroftheleaderPeixinho,themoreapprehensiveCarlosFrancoandthe morejoyfulAntnioOliveiraeSilva. Thecollectivepiece

In ConSequence Sub

In/Con/Sub/sequncia (1974) isaconsequence

ofthiswork(inthegroupandinhappenings/performanceswithdifferentartists)andalso shows Stockhausens influence (intuitive music, collective improvisation) first experiencedinthelatesixtiesbyClotildeRosaandJorgePeixinhoinDarmstadt. In1976,ClotildeRosawasdistinguishedintheComposersInternationalTribune,Paris, withthepieceEncounterforfluteandstringquartet.Encounterwasactuallywrittenasa reconciliationpiece for the musiciansof the GMCL, whichhad a (smalland usual) quarrelsomedaysbefore.ThisisthefirstimportantpieceinClotildeRosascatalogue, followedbyContrasts(alsoin1976,forfluteandCelticharp).In1977,Alternationsfor fluteandpianowasdedicatedtothepoetandfriendMartaArajo.CollageProjectfrom 1978, is an ensemble piece composed for an exhibition of Portuguese Artists, and includesmusicalgraphicsandimprovisation371).ProjectedGameforpianoisbasedona poembyMartaAraujowithprojectedslides. Following the career of Clotilde Rosa, she stayed more dedicated to performance (GMCL)thantocomposition,stronglymarkedbytheverydemandingcharacterofJorge Peixinho. After 1980 she began to compose much more for the GCML and for its members,continuingacareerthathasbeenconstantlydevelopinguntiltoday.

Her Music
ClotildeRosasmusicis,inmyview,characterisedbythefollowing: 1 Sheneverfinishedher studiesincompositionatthe Conservatoryas did her colleaguecomposers;thismeans,inmyview,thatshewasneverinfluencedbyits academicanddecadentneoclassicalstyle;
371

Seetheanalysisofthispieceinthisresearch.

280 2 Her big influences during her early years were the romantic melodies and harmoniesoftheS.Carlosoperaandbyherpositionasanharpistintheorchestra (apracticalorchestrationcourse); 3 Being a harpist is relevant to her music, the way she uses harmony and instrumentswithstrings(pianoandharpincluded); 4 DarmstadtandJorgePeixinhowerealsogreatinfluences,especiallyinthesixties, withmuchimportanceforherinterestinnewmusic; 5 Her friendship andcollaborationwith manyyoungartists of her generation372 marked her interest in multimedia performances (also cultural/political involvement)andintheavantgardemovementatthattime; 6 Heraffableandexpressivecharacterisalsosignificantandevidentinhermusic. ClotildeRosasmusicisthereforetypified1.byanimportantinterestinmelodyand harmony(sheusesaspecificgroupofchordsinmanypieces),2.bytheuseofmany differentkindsofperformancetechniques,especiallyontheharp,thestringsandthe piano(whichsheoftenuseswithharptechniques),and3.byaveryexpressive/lyricand, atthesametime,averyavantgardeattitudewhichshecontinuouslyadopts. Although one of the oldest composers of the avantgarde movement,her position in contemporarymusicisnowveryinterestingassheworksconstantlyandpresentsnew andchallengingpiecesforvariouschamberandbiggerensembles.Sheshowsaconstant and consequent evolution in her music, which reinforces her expressive side. She continuestobealivinganddevelopingreferencefromthemusicalavantgardeofthe sixtiesandseventies.Butratherthanbeingaguardianofanytradition,shedemonstrates an interesting evolution away from the Portuguese avantgarde, regarding with

Shewasoftenamongtheyoungmovementofartistsandpoetsinthesixtiesandseventies,sometimes withJorgePeixinhoandsometimesalone.
372

281 enthusiasmnewergenerationsandtheirmusic.Sheisconstantlysurprisingthepublic andyoungermusicians,withheratonceinnovative,sincereandhighlyexpressivemusic.

282

ARMANDO SANTIAGO Biography

ArmandoSantiagowasborninLisbonin1932.Hestudiedsinging,pianoandcelloatthe ConservatoryofLisboncompletingthecompositioncoursein1960.Hethenattended conductingmasterclasseswithHansMnchandFrancoFerrara.Thesameyearhewent toParistostudyconcretemusicintheO.R.T.F.studios(PierreShaeffer).Healsobegan toresearchmusicologyfortheGulbenkianFoundation. Between 1962 and 1964 (Diploma) he was in Rome with scholarships from the Portuguese and Italian Governments, he studied composition with Boris Porena and GoffredoPetrassiatSantaCeciliaAcademy(asJorgePeixinhohadsince1959).In1965 A.S.continuedhisactivitiesattheGulbenkianandbegansometeachinginLisbon. In1968,unhappywiththeworkconditionsattheGulbenkian, A.S.movedtoQuebec (Canada)andbegantoteachtheory,compositionandconductingattheConservatoryof TroisRivires.Between1974and1978hewasdirectorofthisinstitution;in1978he beganteachingattheConservatoryinQuebecwherehewasappointeddirectoruntil 1985.

His works a brief review

ArmandoSantiagois,infact,anextraordinaryexampleofaforgottenandneglected careerinPortugal.KnowninthesixtiesforhisworkwithPierreSchaeffer(musique concrte)373,hismusicologicalworkandforhisavantgardeideas,hewasthenamong Lisbonsavantgardeartists.Hispieceswererarelyperformed.Hewrotethe music for Ernesto de Sousas film Dom Roberto (1962) just before going to Italy (special mention at the Cannes Festival in 1963). Although the music was, in A. S. words, composed in an old manner and in a hurry therefore somehow neglected by the
373

TogetherwiththemusicologistGilMiranda,hegavein1961alectureonthismatter.

283 composer himself (also in aesthetical terms) the film was a success and much discussed by the intellectuals of that time374. HisSonata1968375,composedforthepianoduoJorgePeixinho/FilipedeSousa(also withaflautistandapercussionist)wasneverperformedatthattime,perhapsbecauseof thelargeinstrumentalmeansrequired.Itisalongandcomplexwork(circa20minutes), usingfreetwelvetonetechniques,groupsofrhythms,pitchesandchords.Thepercussion sectionoccupiesthewholestagedistributedinthreedifferentgroupswithallkindsof instrumentsincludingacelesta.Theflautistplaysalsoaltofluteandpiccolo.Besidesthe usualtechniquesandkeyboardnotation,bothpianistshavetoperformdifferentspecific harmonic sounds using both the keyboard and the harmonic knots in the strings 376 (clearlyinfluencedbyStockhausen,Boulez,Pousseur,etc.);oneofthepianistshasalso toplayalargetamtam.Itisaveryexpressivepiece,usingmanyinstrumentalresources, especiallypercussion. Prismes (1970, already written in Canada) for soloists, choir, horn, double bass and percussion,showsveryinterestingexploitationofsoundresources(alsospokenvoice), expressive effects with microtones and unisons and the mixture the harmony betweendifferentnoises/typesofsounds(thefusionandcontrastbetweenhorn,voice and percussion). It seems that this piece continues the language of the Sonata, reinforcing the personal characteristics of the composer and neglecting the more anecdoticalgesturesoftheDarmstadtstyle(theseriallikegroups,thelongpointilistic sequences). Simetrias (1970)forasmallensemblecontinuesinthestyleof Prismes,usingonlya small group of instruments (flute, clarinet, horn, percussion, piano and cello). The virtuosityofcompositionandofperformanceismuchinthesenseoftheSonata1968,

Thisfilmisstillregardedasalandmarkintheartmovementsofthesixties. Theonlypieceofthisnewperiodusingpiano. 376 Theyevenhavetoplaymelodiesinharmonics.

374 375

284 duetoconstantchangesbetweenveryquick(seriallike)melodicpartsandslow(very percussive)longpassages. ThePiecesforclarinet(1971)revealtheinterestofA.Santiagoforexpressivemelodies, usingatonal expressionistlike,nontwelvetonemeans.Thelastpieceworksasan imitativetwovoiceatonalcounterpoint,showinghisinterestincounterpointmorethana displayofacademictechnique. ThePieceforpercussion(1973),closetoSonata1968andPrismes,usesmanydifferent instruments, changing between slow melodies (made with long noises) and marimba melodies. ThePieceforHornandMetals,(hornandthreepercussionists)of1974,reinforcestwo characteristicsofASantiagosmusic:theinterestinexpressivemelodiesmorethanin harmony, and the integration of different colours and sound types (noises and determinatesoundsofdifferentkind). Undecassonia, of 1975 377, for small orchestra, seems to search for harmonic developmentsthat,inmyview,werenotpresentinearlierworks.Thisharmonicinterest, mixedwiththesound/timbreresearchandtheinterestforverysmallintervals,willbe showninsubsequentworks.

An Appreciation
A.S.hasaspecificcareerinthePortuguesecontext,livinginCanadaformanyyears, withlittlecontactwiththePortuguesemusicmilieu(heconductedtwiceinPortugalin the eighties). He was hardly remembered until the present research began to ask questionsandtoregisterhispresenceamongthemostinterestingavantgardecomposers ofthesixties.Subsequentlyhebegantobeperformed(Sonata1968andthestringtrio Neumes, both in 2000) and, above all, remembered by his peers and other music
377

Revisedin1976and1984.

285 participantsasanimportantlivingPortuguesecomposer.Butmostofhismusicisstill unknowninPortugalwiththeexceptionofthepiecesmentioned. Hismusic,sincethesixties,ischaracterizedbytheintegrationofsoundsandnoisesthat areofequalimportance,theycontrastandworkinasymbioticway,theyseemtomellow, to gofrom noise to sound, to mix verysmoothly. His interestseems to be more in melodies even strange sound/noise sequences and in small intervals (also microtonal)thaninverticalharmonies.Theharmonicinterestappearsasaconsequence ofcounterpointorofsimultaneityofmelodiceventsasinUndecassoniaandsubsequent works. Like other composers of his time (Stockhausen, Peixinho, Nunes), he uses sparsely pointilistic seriallike groups of quick sounds, forming some kind of harmonic/melodic/aestheticislands,sometimesimitatedbypercussionpassagesofthe samekind.Alsotimbreexploitationandlargegroupsofpercussioninstrumentsappear ofteninhismusic(withtheexceptionofhisclarinetpieces). Hismusicofthelatesixtiesandseventieswas,infact,veryinnovativeandimportantin Portugal, closer to the sound world of Emmanuel Nunes than to Jorge Peixinho. Unfortunatelyitwascompletelyunknownandignoredfordecadesand,therefore,hadno influenceinPortuguesemusicalevolution.Hisrecentmusicreveals,asdoesEmmanuel Nunesmusic,aconsequentevolutioninthehistoricalpostserialDarmstadtaesthetics and,inmyview,averypeculiarmusicalpersonality,whichisdifferentfromanyother Portuguesecomposer. Perhapshisexperienceasacompositionprofessor(verywellknownandregardedin Canada)andasacomposercanhelpyoungerPortuguesegenerationstounderstandthe historicalavantgardeanditsmusicaesthetics,andtomakeagreatercontributionto contemporarymusic.

286

FILIPE PIRES His Life

FilipePires,borninLisbononthe26thJune1934,isoneofthefirstcomposersofhis generationwhohavetheopportunitytobeintroducedtotheavantgarde. Pireshasaquietcharacterandisthoughtofasatraditionalcomposer,avoidingany notionofbeingseenasarebel.AftercompletinghisdiplomaattheLisbonsNational Conservatory in piano (as a student of Lcio Mendes) and composition (with Artur SantosandCronerdeVasconcelos)hebeganapromisingcareerasapianist.Hehad furtherstudiesonpianowithWinfriedWolfinHanoverfrom1957until1960usinga scholarship from the Portuguese Government (Instituto de Alta Cultura). He also managedtostudycompositionwithErnstLotharvonKnorrandmadeseveralconcert tournes inGermany,Austria,BelgiumandDenmark,playing,amongtheclassics,his owncompositions. Hequicklybecameknownasacomposer,winningtheConcoursQuatourcomposition prize(Liege,1959),theGermanIndustrycompositionprize(Cologne,alsoin1959), theAlfredoCasellacompositionprize(Naples,1960)andbybecoming,alsoin1960, compositionprofessoratOportosConservatoryofMusic. Hiscompositioncareerthenbeginstotakeshape.Althoughheismostlydedicatedto teachingintheConservatory,tostudyingcomposition(althoughlesstocompositionin thefirstyearsofthedecade)andtosomepianoconcerts,lecturesandwritingtextson analysisandmusicreviews. In 1963, he went to the Darmstadt Summer Courses with a scholarship from the GulbenkianFoundation.Thissameyear,Peixinho,EmmanuelNunesandClotildeRosa werealsopresent.Thesecoursesrevealed,morethanknowledgeandtechnicalexercises,

287 anewworldofsoundandnewattitudestowardsmusiccreationthatwouldbesignificant infutureworks. Thefollowingyear,heworkedfor6monthsasArtistinResidenceinBerlin,alongwith otherartistsandcomposerssuchasXenakisandElliotCarter,courtesyofaninvitation fromtheFordFoundation.WhiletherehestudiedtwelvetonetechniqueswithHansJ. Koellreutter.AlsoinNovember1964,FilipePiressawhisserialpieceforstringorchestra AkronosplayedinLisbon,provokingthepublicandthecritics378. Thebaritone,choirandorchestraoratorioPortugaliaeGenesis,composedin1968,won theCalousteGulbenkiancompositionprize.Itisaveryeffectivepiece,usingalarge orchestra and choir, evoking many sound experiences and aesthetic options that had influencedF.P.,sometimessoundingclosetoCarlOrffinitsuseofoldchurchmelodies. In 1968, there also appeared a series of pieces called Figurations (beginning with FigurationsIforflute)usingdifferentavantgardetechniquesfromtwelvetoneseriesto randomstructures(FigurationsIIforpiano)andunconventionalnotation(FigurationsIII fortwopianists). In1969,F.P.wouldreturntotheDarmstadtSummercourses.Between1970and1972he developed a thorough working knowledge of electroacoustic music in Paris at the O.R.T.F. (Pierre Schaeffer) and at the Paris National Conservatory, again with a scholarshipfromtheGulbenkianFoundation. From1972to1974hewasnominateddirectorofthemusicdepartmentandprofessorof compositionandelectroacousticmusicattheLisbonNationalConservatory. Afterthe revolution,the ConservatoryclosedandF.P.,gettingnosupport from the Ministrytoreopenit,acceptedapostasmusicspecialistrepresentingPortugalatthe InternationalSecretariatofUNESCOinParis(from1975to1979).Laterhewouldreturn toPortugalandregainhisplaceasprofessorofcompositionattheOportosConservatory
378

(seetheyear1964inthehistoricsectionofthisresearch)

288 ofMusicandthenhewouldbecomedirectorandprofessoroftheSuperiorSchoolof Music.

Piano Music
1949/52 1953 1953/54 1968/69 1969 1969 1977 1987 1988 1993 Three Bagatelles Partita Sonata Mobiles for solo piano and orchestra Figurations II Figurations III for 2 pianos Varied Song (Cantiga Variada) Stretto for 2 pianos. 8 Episods from The Zoocrats Sonority studies

Itisdifficult,andperhapsuninteresting,totraceclearbreaksinFilipePiresscatalogue. Hismusicbelongs,asawhole,tonoconsistentaestheticmovement;hereexperimented withtechniquesfromthepastandcombineddifferentsoundworldsandoptions.Yetit doesntmeanthatthecomposersufferedalesssignificantevolution.FilipePireswas and still is very relaxed about his career as a composer, neglecting aesthetic movementscausedbycontextualfashions,butexperimentingandcombiningdifferent techniquesthatheconsidersusefulforhisownmusicpurposes.

UNTIL 1960 MODERN INFLUENCES

(...)Up to 1954 my works abound in neoclassical influences, includingtraditionaloutlines,jointlyoralternatelycombinedwith modal aspects, either tonal or atonal. In each case, either genuinefolkloreorpopularthemesareequallyused.379

Hismusicuntil1960ismarkedbytheneoclassicparadigmofnotgoingtoofarfromthe modalandtonalsoundworld.Heusesclassicforms(sonata,suite,etc.),buthesearches all expressive means to develop harmony. The models were not the Portuguese Conservatoryprofessors, butHindemith, Prokovieff, Stravinskyand, inmyview, the
379

Pires,Filipe(1978).

289 PortugueseLopesGraa.InfactitseemsthatFilipePireslearnedfromLopesGraaa harmonicsensibility,ahighlyexpressivewayofdealingwithconstantdissonanceand thematic developmentwithout going tothe rhythmicextremes and obsessions of his oldercolleague.AlthoughFilipePiresneverhadlessonswithhim.Thiscanbeseenin thesonata(firstandsecondmovement)andeveninthefirstBagatelle. LikeLopes Graa,FilipePiresusedthepianoasaninstrumentofmodernitywithmanypossibilities intermsofharmonyandtexture.Bothofthemwerealsowonderfulpianistswithagreat interestinmoderncomposition.Theseearlyyearsarealsomarkedbythesuccessofthe composer in competitions in Liege, Cologne and Naples in 1959/60, competitions somehow designed for neoclassical music and not for music that used modern techniques.

THE PERIOD AFTER 1960 FROM NEO-CLASSICAL TO AVANTGARDE, AND BACK

After1958,Ibegantosearchforaslowdevelopment,which,two years later, would lead to the first dodecaphonic experiments, boundornottoserialtechniques.380

From1960to1965,FilipePiresscataloguehasonlyafewworks: 1960pianotrio(NaplesCasellapiece), 1961EternalComebackforbaritoneandorchestra, 1962Snapshots(ballet), 1964Akronos for string orchestra and 1965 Perspectives for 19 instruments. Itseemsthatthisperiodwasusedtostudynewideas,newtechniques,fortheanalysisof contemporaryworksandcontactwiththeavantgarde.Thismoreintrospectiveworkof thecomposer,togetherwithcontactsinDarsmtadtandBerlin,isshownin1964,inthe veryimpressiveworkAkronos,andinPerspectives(1965)for19instruments

380

Pires,Filipe(1978).

290
(...) serialization extends to scansion and rhythm. Since then, formalconstruction,totallyfreedfromanycataloguedpattern,will includealeatoryaspectswithevergreaterfrequency.381

Thepianowork FigurationsII of1968and Mobiles of1969alsoshowthecomposers interestintwelvetoneandrandomtechniques,althoughneverneglectingtheexpressive characterofharmony.But this doesnt mean that Filipe Pires fully embraced the avantgarde. His major works Portugaliae Genesis (1968) and Sintra (1969) show varied influences, already supposing the melted aesthetics of post-modernism. FigurationsIIIfor2pianos(1969),usesnontraditionalgraphicnotationandmanysound resourcesperformedusingtheinsideofthepianos.Inmyview,thispiecepointstoanew development that would occupy Filipe Pires over the following years. He explored manipulating sound masses by mechanical means and later in Paris with electro acousticalresources.Between1972and1974thecompositioninterestsofFilipePires werefullyconcernedwithelectronicmusic,whichhepracticedinParis.
Theyearof1970marksthebeginningofaperioddominatedby electroacoustical composition. With a pronounced leaning towardsconcretesources.382.

CantigaVariada of1977showsadifferentF.P.,interestedintheuseofvirtuosolike textures(itwascommissionedforapianocompetition)andofcomplexcounterpointand modal harmony which, as can be seen in the last instrumental pieces, was rarely neglected.

Filipe Pires direction: and overview

Ivepassedthrough(notallbut)agreatvarietyofthings:there arepiecesthatcanbeacceptedasmoreexpressionist,others that,ononepointoranother,mayberegardedasimpressionist. Ive had a tonal, a modal, a diatonic, a chromatic and a dodecaphonicphase.Ivealsotried,inoneortwopieces,integral serialismexpandedtomorethanonemusicalcomponent,but,in general,such experiencesdidnt satisfyme and Iputthem on
381

Pires,Filipe(1978). Pires,Filipe(1978).

382

291
standbyforpossiblefurtheruses,wheneverthecontentwouldbe broughtupbyatext,animage,eitheranyotherthingthatwould suggestapiece. ThismeansthatIamfairlyheterogeneousin thisdomain383

Filipe Piress path in composition seems to be sinuous among the enormous transformations that he and his generation underwent in the late fifties, sixties and seventies. Butsomefactsarerelevantinunderstandingthiscomposer.Firstofall,itmustbesaid that Filipe Pires, when he discovered the avantgarde, was already an accomplished composer(andatalentedpianist),masteringtherichnessofneoclassicharmonyand complex counterpoint. He was fully recognized in Portugal and honored with international composition prizes. He was even a Conservatory teacher in Oporto, teachingharmony(figuredbassintheFrenchacademicstyle),counterpoint(hewrotea handbook), fugue and sonata form. Furthermore, Filipe Pires has a quiet character, avoidingunnecessaryspotlightandextremepositions,actingpositivelyinresponseto expectations,certainlynotaradicaltype.ThereisaveryinterestingreviewthatFilipe PiresmadeofaconcertofJorgePeixinhoandfriends384 inOporto,whichhadavery strong impact, causing disruptive disapproval from the conservative audience and applausefromyoungerstudents.
Onlystagnationispernicious,asmuchasitisdifficulttoaccept evolution.Thisisanhistoricinvariablewhichnoforcecouldever detain.Butweshouldnt,withthisattitude,commitourselvesto openourarmstoanynewtossedoutneologisms,atthesame timethatjudgmentomitsintelligenceandsensibility.Revolutions are always extremist and violent sedimentation appears in Tenhopassadoumbocadinho,nodigo,portudo,masporumagrandevariedade,decoisas;hpeas quepodemserencaradasnumalinhamaisexpressionista,outrastalveznumounoutroaspectomais impressionista;passeipelafasetonal,modal,atonal,diatnica,cromtica,dodecafnica;tenteitambm, numaouduasobras,umserialismointegralexpansivoamaisdoqueumparmetro,masgeralmenteno me satisfizeram estas experincias e deixeias um bocado em stand by,para eventuais utilizaes, consoanteocontedoquemesejasolicitadoouporumtexto,ouporumaimagem,ouporqualquercoisa quemesusciteumobra.Portanto,soubastanteheterogneonesseaspecto...InPires,Filipee.a.(1996):p. 105.
383 384

GretaVermeulen,flute,andMrioFalco,harp.

292
timesofpeace.Thefirstbelongstogeniusthelattertothose lessfortunate,tothosewithlessvision,tothosewhosemissionit istoseparatethewheatfromthechaff.385

FilipePiresin1965hadalreadyawokentothenoveltiesoftheavantgarde,reserving himselfforthearduousworkofsettingapartthewheatfromthechaff.Moreover,if thismellowformofavantgardewaskeepingawaythepublicthatapplaudedhimin earlierworks.

But the path that the arts have been taking in recent years seemstoexcludeallnonspecialists:thepublic,afterall.386

EvocativeisthefactthatFilipePireshimselfclearlygiveslessattentiontoworkslike Akronos(1964)andFigurations(1968andfollowing),whichgaverisetothepublicand criticaldisapproval(andespeciallyinthecaseofAkronos387):serialismwastoorigidfor theexpressiveinterestsofthecomposer. Electro acoustic music was, for Filipe Pires, a very different and new means of expression.Hiundertakeforyearsmusiccoursesonthismatters,whichresultedina largegroupofworks.Buthedidntbecomeanelectroacousticcomposer. Filipe Pires corresponds in my view to a postmodern reaction to the avantgarde movementofthefiftiesandsixties.Afterathoroughapprenticeshipwiththeacademic neoclassicists, heexperimented with the avantgarde techniques and electroacoustic music.Butheonlyabsorbedsomeofthecharacteristics,integratingthemeventuallyina personalheterogeneousstyle,freetoallkindsofexperiment,butmuchmoreexpressive,
S a estagnao perniciosa, por muito que custe aceitar uma marcha evolutiva. Esta, uma constantehistrica,queforaalgumaconseguiujdeter.Comtalatitude,nonosobriguemos,porm,a abrirosbraosaqualquerecadanovoarremessodeneologismos,aomesmotempoquesefechama intelignciaeasensibilidadeaodiscernimento.Asrevoluessosempreextremistaseviolentas, a sedimentao processase j em tempo de paz. Aquelas competem aos gnios estas aos menos afortunados,aosdecampovisualmaisreduzido,quetmcomomissosepararotrigodojoio.InPires, Filipe(1965).
385

Masorumoqueasartestmtomadonosltimosanosparecepretenderexcluirdoseuconvviotodos osnoespecializados:opblico,afinal.InPires,Filipe(1965).
386

Cf. the year 1964 in the historic part of this research, the year of the first performance of this programmeinLisbonandtheyearofthepremiereofAkronos.
387

293 friendly to the public and away from the confrontation that marked the avantgarde composers. Only a misunderstanding 388 and misuse of the concepts by the more academicavantgardeexplainsthefollowingstatement.
ThereisawordthatisnowmuchappliedandofwhichIdont quite know what is meant when music theorists use it: Post modernism. At the end, Post modernism is a mixture of different techniques and tendencies put together in the same piece,meaninginitselfapotpourriwithnospecifiedcontent389

Morethanapersonalstyle,FilipePireshas,inmyview,apersonalpath,whichcan include experiments with different styles (serialist, minimalist and others) and more reflexive works, depending on the interests of the composer and the context of composition.YetalltheworksconfirmthatFilipePireshasmasteredmanydifferent techniques390andwithvirtuosity,usingthemashepleasestomakeveryexpressiveand meaningful pieces, free from external constraints. Sometimes he even surprises the publicbysomenovelideas,theresultofhissearchtoseparatethewheatfromthe chaff,usingtheverycommonPortugueseidiomaticexpression.

388 389

Referredtoinpersonalcontactswiththeauthor.

Humtermoqueagoraseaplicamuitoequeeuaindanopercebimuitobemaondequeremchegar certostericosdamsica:oPsmodernismo,equenofundoserumamescladediferentestcnicas etendnciasquesoaglomeradasnumamesmaobra,oque,sporsi,podedaraideiadeumamantade retalhosquenoitemumcontedodefinido.InPires,Filipee.a.(1996):p.106.

390

AparticularityofFilipePiresasacompositionteacheraswell.

294

CNDIDO LIMA Introduction

CndidoLimaisapianist,composerandcompositionteacherlivinginOporto.Heisa soloistandthedirectorofanensemblefeaturingcontemporarycomposers Musica Nova.HehasproducedseveralTVprogrammesandlecturesonmusicandeducation.He has written articles and reviews for newspapers and music magazines and produced compositioncourses.FormerlyacompositionteacherattheconservatoriesofBragaand OportoheiscurrentlyProfessorattheSuperiorSchoolofMusicinOporto(Polytechnic Institute). ThepersonalityofCndidoLimais,inmyview,paradigmaticofPortugueselifeduring theyearsbetween1950and1980:aclosedandimpoverishedprovincialworld,which openedslowlytoEuropeandevelopmentandculture.

Important biographical points

Somefactsseemtoberelevanttohiswayofthinkingandcomposing: CndidoLimawasbornin1939inthesmallvillageofViladePunhe391 withvery littleprospectofleavingthisimpoverishedruralenvironment392. As was commoninpoorfamiliesintheprovince,(alsothepersonalcaseof the dictatorSalazar)theonlywaytoprogresstohigherstudies393wastogotoaSeminar, apriestschool,wherereligiousandformaleducationwasgivenfree.CndidoLima attendedtheSeminarin1954.

NearVianadoCastelo,atowninthenorthcoastofPortugal,mostlypopulatedbysmallfarmersand landowners. 392 Emigration(oftenillegal)toFranceandGermanywas,sincethefifties,amajorresourceofPortuguese rurallife. 393 Morethanthecompulsory(muchneglected)4yearsofprimaryschool.

391

295 IntheSeminarmusicwasamajordiscipline.Thepupilswereexpectedtobeableto singandplayorganand/orpianoandtoreadandwritemusic,sothattheycould maintainanddevelopmusicalactivityinchurchservices.MusicintheSeminarwas essentiallyoldmusicwithnoregardforcontemporarymusic.ButinBraga,oneof themostimportantpersonalitieswasthepriestandcomposerManuelFaria,aman withagreatinterestincultureandcontemporarytechniques,whichheusedinsome ofhisworks394.CndidoLimalearnedmusicintheSeminar(heremembersstudying PhilosophyinLatin music,singingandorgan)andwasanorganistinlocal churches.Hethenusedtoimproviseinthechurch,sometimesinalesscommon mannerusingverydaring(Prokofiefflike)harmonies. In1963,hestudiedpianoandcompositionwiththecomposerVictorMacedoPintoat theConservatoryofBragaandin1964attheConservatoryofLisbonwithCronerde Vasconcelos.In1967heconcludedhispianostudies(despitebeinginthearmy)with CristinaPimentel. Between 1966 and 1968 he was a soldier fighting in the colonial war in the province/colonyofGuinea(nowtheRepublicofGuineaBissau).Hemanagedtotake apianotothebush thecontacthehadwithlocalnativemusicinfluencedhis compositions. During this period he also passed examinations at Lisbons Conservatory395. TheearliestUniversitycoursestoappearinBraga,acityknownasthePortuguese Rome, were courses in Theology, Humanities (a compound of Philosophy and Languagestudies)andPhilosophy.ThecourseswerepresentedinalocalFacultyof thePortugueseCatholicUniversity.ThisFaculty,runbyJesuits,haditstillhas veryhighstandards,highlyregardedinPortugalandabroad.CndidoLimastudied Philosophytherebetween1968and1973,havingneverfinishedtheDiploma.
394

395

CndidoLimatriedtodoaharmonycoursewithManuelFariawhenhewas16yearsold. Inthemilitaryservicehecouldproposehimselfforexaminationswithoutgoingtotheclasses.

296 Hecompletedthecompositioncoursein1970(withFilipePires,Conservatoryof Oporto)whilebeing,atthesametime,ateacherattheConservatoryofBraga. His career was finally marked by the techniques of electronic music and by the influenceofXenakiswhohemetseveraltimesinParisintheseventies,andwhose methods,musicandthoughtwouldhave(asCndidoLimaoftenrecognises)agreat influenceonhim.

Characteristics of his music and thought

CndidoLimas outputcanbedividedintwomajorparts,onemdeupofthemore traditionalpieces(theyearsofhisapprenticeship)andtheotherwithhisavantgarde works.Butneverthelessitseemsthathisentireproductionhasmanycommonfeatures, whichtheuseofdifferenttechniquesandaestheticalprinciplesarentabletoobfuscate. 1Harmonyis,infact,abasiccharacteristicinLimasworks.Atfirsttraditional,although later allowing an increasing number of dissonances, harmonic thought is central to Limasmusic.Inhisfirstpiecesharmonyisusedasavastworldofexpressivemeans, includingEuropeantonal,polytonalandposttonaltraditions.Thenslowlyitdevelops itself into the combination of different harmonic, opposed possibilities (different "traditional"chordsplayedtogether).Harmonybecomesthenthetogethernessofsounds, theplasticityofasoundcontinuum.AndCndidoLimausesanotherconcepttodescribe hisharmonicintentions:colour.
"Howcanacomposerdevelopmusicalspeechthroughcolour? Not necessarily through the notion of modulation, of functional harmony, of tonality; how can he make it? We speak of pitch, frequency, or of an interval, but lets take another category, anotherdimension.Intheend,themetaphorhelpsagreatdeal. Whenwehearcertainpassageswesay:Thisisfascinating! Whyisthat?Modernacoustics,electronicsandcomputers,they helptobetterunderstandthisquestion.Isthereanotherwordto expressmysensitivenessorintellectualitywhenIhearapieceof Mussorgsky or of Bach, as an example? What colour has

297
MussorgskyorBachorChopin?What'ssoparticularaboutthe modulationsofSchubert?"396

Connected with this specific interest in harmony (harmonic colour), different from Messiaenscolourkinaesthesia 397,isthelongexperiencethatCndidoLimahasasan organ and harmonium performer, mainly in religious music: large and continuous amounts of sounds, highly elaborated counterpoint, colour differentiation through registers,thepracticeofimprovisation. 2AnothercharacteristicofCndidoLima'swork,especiallyafterthefinalyearsofthe sixties,isthereferencetoexternalsources.ThearmycommissioninAfricaenabledhim tobeincontactwithdifferentculturesandtheirmusic;philosophicalconceptsandthe relationship of music and compositional techniques; to science and philosophy, also present in his views of music and art 398. The philosophy studies at the Catholic UniversityinBraga(between1968and1973)clearlychangedCndidoLima'swayof composing:
"That'salandmarkinmylife!Isayitclearly:thereIdidntonly take notice of the great philosophers I scarcely knew from secondaryschool,butIhadtheopportunitytounderstandmany thingsIdidn'twhenIwas17,18yearsold".399

3Finally, his late contact with avantgarde and electro acoustic music and with the composerXenakisseemtohavehadamajorinfluenceontheevolutionofLima'sown
"Comoqueumcompositorfazevoluirumdiscursoatravsdacor?Nonecessariamenteatravsda noodemodulao,daharmoniafuncional,datonalidade,mascomoqueelefaz?Nsfalamosdeuma altura,deumafrequncia,oudeumintervalmaspeguemosnoutracategoria,noutradimenso.Nofundo, ametforaajudamuito.Quandoouvimosdeterminadaspassagens,dizemos:Istofascinante!Porque ser?Aacsticamoderna,aelectrnicaeocomputadorajudamacompreenderissomelhor!Houtra palavraparaexprimiraminhasensorialidadeouintelectualidade,aoouvirumaobradeMussorgskyou deBach,porexemplo?QuecortemMoussorgskyouBachouChopin?OquetemSchubertdeparticular namodulao?""Cf.Lima,Cndidoe.a.(1997):page265.
396 397 398

Cf.Bernard,JonathanW.(1995)

EspeciallyLeibnizmonads.Withinterestinmonadscomes,inmyview,adisregardforlargestructures, conceivingthemasaconsequence,forthedevelopmentandaggregationofthesimplestunits,themonads (theformationofmonadcomposites,inLeibniztheory). 399 "Issoummarconaminhavida!Digooclaramente:contacteil,noscomgrandesfilsofosquej conhecia,aodeleve,anvelliceal,massentopudeentendermuitasdascoisasquenoentendia quandotinha17,18anos".Cf.Lima,Cndidoe.a.(1996):page195.

298 work.Hisparticularneedfornewsoundsandavantgardemusic,fordissonance(the majorsecondisafetishinterval400),forcomplexstructuresandforaestheticthoughtand explanationsofhismusic. CndidoLimasmusicandthoughtseemstobebasedonaveryintenseknowledgeof harmony, a knowledge(closetothat of pop and jazzmusicians) basedmore on the practiceof music,of churchmusic andimprovisation,thanonacademicstudy.This knowledge was acquired very early (during the seminar years and his time as an organist).Hehadanaturaltalentasapianistandanaccomplishedtechniqueatthepiano (acquiredattheConservatory),hisexperienceinharmonywasrenewedanddeveloped whilststudyingwithVitorMacedoPintoacomposerwithaninterestinnewtwelve tonetechniques andthenwithCronerdeVaconcelos(malgrtout thecomposition teacheroftheavantgarde).TherewerefurtherstudieswithFilipePires(adaringyoung composer at that time), and later with his alter ego Xenakis. As in the Greek philosophical tradition, and somehow close to Xenakis, Cndido Limas concepts of harmony, science and philosophy seem to achieve a new melting point, embracing differentprinciplesandtheories.Hisworkencompassesseries(andalmostseries), new substructures (scales of over an octave), various kinds of chords, intervals, composition elements (techniques) such as monads and their composite forms 401, nihilistic principles of the avantgarde (anti romantic, poietic centred aesthetic principles402),thepleasureforcomplexsoundsandsoundstructures,electroacoustics, random principles in structure and performance, the experience of new musical structures,spaceandvisualinspiration,representationandperformanceofmusic,etc..

Piano music
Thefollowinglistwasmadewithhelpfromthecomposer:
400 401

Cf.Lima,Cndidoe.a.(1996):page197. CfNattiez.J.J.(1993)andMonteiro,Francisco(1999b).

Cf.Burnham,Douglas(2001).

402

299 1963 Burlesquefor2pianos(alsoasolopianoversioninRhythmicStudies). 1963 Toccataforsolopiano(alsoappearingasoneofthe3ImpressionistStudies, andalsoinRhythmicStudies). 1964 Studiesfortheyoungpeople/ChildrenSuite(Playdance,SongChoir, Scherzando)forpianoforfourhands(beganin1960). 1964 Five Twelvetone Studies403: Melody, Interlude I, Interlude II, Ostinato, Fugueforsolopiano. 1964 Rhythmic Studies: Toccata (also in 3 Impressionist Studies), Scherzando (from Children Suite or 3 Canzoni liriche), Ostinato (from 4 Melodies), Burlesque(solopianoversionofthe2pianopiece),allforsolopiano. 1965 Hymn(fromDesfraldando404songwithatextfromFernandoPessoa),solo pianoversion,(notinsertedinearlyworklists) 1965 SmallNocturne(fromComearahavermeianoite405songwithatextfrom FernandoPessoa),solopianoversion,(notinsertedinearlyworklists) 1970 Projections II for piano and tape, also performed with mime, speaker, conceivedasamultimediaperformance,alsowithprojectedlights(pianomostly improvised,accordingtothecomposer). 1973 Meteorites(1974)forsolopianoorpianoandtape(1974). 1981 Iliamforsolopiano 1983 Galets406forpianoandtape,alsotapesolowiththenameSandAutomatons. 1992 Blink407 forsolopiano, commissionedbytheOporto'sPianoInternational Competition. 1993 Aquiris408forsolopiano. 1995 Juego del Sol409 commissioned for the children piano album Album de Collien,forsolopiano. 1997 ConfluenciesII for2pianos,accordingtothecomposer,thispieceisan arrangement of the ensemble pieces Ur Songs, Bleu Rouge, and Moments memoriesIII.

AlsoasFourMelodiesandFugue "Unfolding",textbyFernandoPessoa 405 "Beginningtohavemidnight",textbyFernandoPessoa. 406 Originaltitle. 407 Originaltitle. 408 Originaltitle. 409 InSpanish,PlayoftheSun
403 404

300 TheresearchofthemusiccatalogueofCndidoLimaposedseveralproblemsthatwere resolved, at the end, by with the composer himself. It seems that the vision of the composerabouthisworkchangedovertheyears,thesamepiecesappearingindifferent groups,includingnewversionsofearlypieces,includingpiecesthatwherenotearlier included,etc.ThisisalsoduetothefactthatCndidoLimaincludeshiswholemusical output,includinginthecataloguepiecesthatwhereclearlymadeforacademicpurposes. The first pieces Burlesque (1963), Toccata (1963), Studies for the young people/ChildrenSuite(1964,beganin1960)areclosetothesoundworldoftheFrench neoclassicaltradition,sometimesalsowithhumorouselementsasinStravinskyandin theLesSix.Thereisastronguseofdissonances(i.e.secondsinBurlesque,Playdance, etc.)asanexpressiveeffect,sometimesevenofimitation(astylequotation)inthestyle ofspecificcomposers(Stravinsky,Bartok,Prokofieff,Poulenc),creatingakaleidoscopic viewofthewhole. FiveTwelvetoneStudies(1964)haveaverydifferentandexpressionistcharacter,much moreobscureintheirharmony,integratingtwelvetoneseries,expressionistcounterpoint andmelodies.InterludeIIandespeciallyOstinatoseemtoembracebothneoclassicand expressionisttraditions,ashadsomeyearsearliertheparadigmatic Sonatina (1959)of lvaroCassuto.Thetwopiecesfromhispianocatalogue Hymn and SmallNocturne (1965),pianoversionsofsongswithtextsbyFernandoPessoa,(notinsertedinearly work lists), seem to indicate future developments. The Small Nocturne has no bar indication, is very slow (46=crotchet) and presents a mixture of dissonant (but traditionallylinked)harmony,polytonalmelodiesandahighlyexpressive,expressionist atmosphere,perhapsinspiredbytheFernandoPessoaspoems.Thesetwopiecesescape fromtheacademicinterestthatcharacterisestheearlierpianopieces. The first piano piece in the catalogue that clearly embraces the avantgarde is Projections, from 1970, apianoandtapeversionofan improvised harmonium piece(1969). Itseemsthatthetapeconsistsof therecordingofanimprovisation (a

301 structuredimprovisationaccordingtoC.L.)onaharmoniuminBraga1969.Thepiano part,apparentlyaddedlater,seemsalsotobeimprovised.

"I was in a school for disabled peolple and there was a harmonium, not particularly sophisticated. (...) The rest was to playonthekeyboardandwiththemind. Then,inLisbon,Itried[toarrange]thesameinstrumentforaTV programmebutitwasnotpossible.Ihadtoreconstructitall[the music] as it was earlier. Luckily I had the whole piece in my memoryandIreconstructeditusinganotherharmoniumandan organfromtheValentimdeCarvalho,inLisbon,fortheTV."410

ButthereisnodoubtthatthemostimportantpiecesofCndidoLimaforpianoaround thesetwodecades(1960/80)areMeteoritesof1973andIliam,composedalreadyin1981.

METEORITES Meteorites begins as a twelvetone study, following the studies composed in the conservatoryyears.Butthispiecebyfarsurpassesininteresttheseearlypiecesforits length and for the use of vast technical and expressive resources411. It is, in fact, a compositionalstudyandanexperimentalpiecewherehetriesnewconceptsofharmony, structureandrhythm,etc. Meteorites proposesakindofsoundcontinuum,thewhole spectrumofachromaticscale,whichcreatesaverylinear,softharmonicrhythm.Behind thistherearedifferentkindsofsuccessions,ofbreaks,ofpausesandsilencescreating plastictransformationsin thissound continuum.Itis,in myview,verycloseto the plasticorganisationinelectroacousticmusicofthesixtiesandseventies,andalsotothe soundsoftheharmoniumandtheorgan.

"Estavanumaescoladedeficientesehavialumharmnio,nremsequersofisticado.(...)Orestofoi jogar no tecladoe com a cabea. Tentei depois, em Lisboa, entoo mesmo instrumento para um programadetelevisoejnofoipossvel.Tiveentodefazerareconstituiotalequal.Felizmente, tinhaaobratodanamemria,ereconstituionumoutroharmnio,orgodoValentimdeVarvalho,em Lisboa,paraateleviso."ArelatedworkisthemusicfortheplayDeathofasailsmanofArthurMiller (1973/74),improvisedinanorgan.Cf.Lima,Cndidoe.a.(1996):page200. 411 Seetheanalysisincludedinthisresearch.
410

302 Theuseofachromaticscale arudimentarytwelvetoneseries signifies,inmy view,theassumptionofamoderntechnique,anantiromanticavantgardeattitude,and theneedforaseries,akindofavantgardefetishismofthefiftiesandsixties 412.Yet mixedamongtheserieswecanfindhexatonicandpentatonicscales,andalsospecific chords that are repeated and transposed. We even can find possible melodies and counterpoint,asaresultoftheuseofstochasticlikemethods,appliedtothechromatic continuum. Allthesefeaturescreateadialecticbetweenpast(hexatonicandpentatonicscaleshidden amongtheseriesandsimplemelodies)andpresent(theseries,theinsistentdissonances, modernity and avantgarde), and between multiplicity (the series and their constant variationandpermutation)andrepetition(transpositionofchords,thesoundcontinuum madebythepedal).Thestructure,inmyview,isalsointeresting:iftheorderofthe sections(alfa,beta,etc.)ischanged,evenifothersectionsareimprovisedandadded(as it is previewed in the score), there will be no significant change of character, of ambience, of perceived structure. This way of structuring the piece leads also to stochasticprinciplesclosetoLimasprofessorXenakis.

ILIAM Cndido Limas experiment with structure (and substructure) is, in my view, an importantfeaturein Iliam.Thereisnoseriesandnocleartonality,sothesubstructure mustbefoundatadifferentlevel:onemustlooktoboththewesternandPortuguese traditions(simplemelodiesandtonalrelations,tonalchords,etc.)andalsotonewscales andnewchordsofthemodernityandavantgarde.Thedialecticbetweenconsonance (tradition?simplicity?memoryofthepast?)anddissonance(thestainnotes,major

CndidoLimaexperimentedinaverylooseway(mostlyasanautodidactinmyview)withtwelvetone seriesinhisacademicpiecesofthesixties.
412

303 seconds,etc.)areconstantinthispiece,togetherwiththeabsenceofasteadymetreand offixedtimerelationships.Theresultlooksclosetoacollageofdifferentmomentsand effects,althoughcarefullyembracedinaveryfoggyABAform. AtthattimeCndidoLimahadalreadyassimilatedmanyinfluences,asheconfirmsin aninterview in1996413:churchmusic(thewayhemaintainsthechords andpedals), BalineseandGuineanmusic(repeatingrhythmsofthemiddlesection),electroacoustic music(thewayhechangestheattackofsoundswithothersounds,thewayhechanges thechords),visualartforms(theconceptofcollage),philosophical/aestheticthought(the relationshipbetweensections,betweentraditionandavantgarde,etc.)andespeciallythe musicaandideasofXenakis(therhythminsection6isalmostaquotationofXenakis Evryali,thescalesandarpeggiinthelastsections).

Conclusion
CndidoLimais,inmyview,aparadigmaticcomposerinthePortugueseavantgarde, reflectingtheeducation,theurgeforchangesandtheproblemsofagenerationanda society.Hisdifferentactivitiesasateacher,asacomposerandasalecturerare,infact, partofthesameholisticattitudeandpurpose:educationasdiscoverydiscoveryof himselfandofhispathwithotherpeople;andeducationasanattitudeofsharinghisown experiencewithothers.
Nobodynoticedthat,formanyyears,Ieducatedmyself,alone, inparalleltopolitical,academicandsociallife,challenginglater thecanonsofchurchesandcathedralsofmusicschools.414

Infact,hefrequentlyuseshisworksasexamplesforcompositionstudies,heoftenquotes himself in later compositions, he reorganises his work in another way, making new pieces.Heused tospeakatconcerts,explaininghisworksandinsertingthemin an
413 414

Cf.Lima,Cndidoe.a.(1996)andLima,Cndidoe.a.(1997).

Ningumseapercebeuquefizumaaprendizagemsozinho,anosafio,paralelamentevidapoltica, acadmicaesocial,desafiandooscnonesdeigrejasecatedrais,deEscolasdeMsica,maistarde.Cf. Lima,Cndidoe.a.(1997):page279.

304 historicandsocialcontext,andexplainsinlongprogrammenoteshisownexperience andviewsinthemusicalworld. Buthiscompositionsare,frommyview,oneoftheresultsofthissearchandsharing. Theyarenotendresultsbutpartofaworkinprogress,areflectionofthecontinuous influencesandsmallchangesinhislife.Andtheyarealsoapartofhiswholewayof dealingwithmusic,inseparablefromhisexperienceasateacher,alecturer,aperformer, anartist/philosopher.Heseemstochoosehispaththroughaconstantdialecticbetween pastandpresentandamongmanyother,opposingchoicesthatheisconfrontedwithas an individual, as a member of specific social and cultural environments and as a musician.ThemodelsforsuchanattitudehavetobesoughtperhapsinancientGreece,in RenaissancehumanismandinLeibnizMonadology 415.Fundamentalinthehistoryof philosophy,LimathoroughlystudiedLeibnizMonadologyattheSeminarandin the Faculty. It is an example of a concept of philosophy the knowledge of the wholeness embracingallarts,allsciences,allhumanthought;andLimaalways combinesthiswithhisowntraditional,rural,nationalavantgardeandAfricanmemories. ThesepreoccupationsarepresentnotonlyinLimascompositionsbutalsoinhisspeech, inhistextsandinterviews,prevalentinPortuguesecontemporarymusicafter1975
Itgivesmetheimpressionthatthingsappearasagesturewhich thenresoundsfreely;onlythisgestureisbeingcontrolledlittleby little.Thiscontrolislearnedinthevariousschoolsoflife,from philosophy to science, from the Greek classics to the German classics,throughtheLatinandMediterraneanorAtlanticsoul.416

Themostinterestingfactisthatthisapologistformodernandavantgardemusicstays firmlyattachedtotradition,eventoneoclassicaltradition,asweseein Iliam andin manyotherworks.But,forCndidoLima,intheend,allisimprovisation.

Cf.Burnham,Douglas(2001). Dmeaimpressoqueascoisassurgemcomoumgestoquedepoisressoalivremente,squeesta sercontrolado,poucoapouco.Controloapreendidonasvriasescolasdavida,nasescolasdosgrandes sistemasdepensamento,dafilosofiascincias,dosclssicosGregosaosclssicosAlemes,atalma latinaemediterrnicaouatlntica..Cf.Lima,Cndidoe.a.(1997):page279.

415 416

305

LVARO CASSUTO Biography

lvaro Leon Cassuto was born in Oporto in 1939, a grandson of refugees, writers, businessmenandamateurmusiciansofGerman(Hamburg)origin.Asayoungchildhe hadmusiclessons(pianoandlaterviolin)inOportoandinLisbon,wherehemovedwith hisfamily. In1957hestudiedwithArturSantosintheConservatory(harmonyandcounterpoint) and then privately with Lopes Graa. His Piano Concertino, later played by Helena Costa,datesfromthistime. In 1958 lvaro Cassuto went to Germany with a scholarship of the Gulbenkian Foundation.HethenworkedattheConservatoryofHamburgwithKlussmannandalso inBerlinwithJosephRufer,aformerstudentofSchnbergandaDarmstadtProfessorin theearlyyears.HisabstractonRufersbookDieKompositionmitZwlfTnen417shows thetremendousinfluencethisprofessorhadonCassutosmusicinthefollowingyears. Healsopresentedapaperandalectureonthetwelvetonesystem418.Afterarequestfrom Joly Braga Santos he wrote in 1959 the Sinfonia Breve n. 1. This Sinfonia and the Sonatinaperpianoforte 419,bothof1959,arecharacteristicofCassutospersonaltwelve tonestyle.In1960hepublishedanotherpaperin ArteMusical aboutthetwelvetone systemanditspossibilities420.In1960,lvaroCassutobeganhisconductingstudieswith thefamousPortugueseconductorPedrodeFreitasBranco(whowasatfirstinterestedin the SinfoniaBreve),hethenhadtheopportunitytoattendmasterclasseswithHerbert vonKarajan(Salzburg),JeanFournetandFrancoFerrara(Hilversum).Inthesameyear

SeeCassuto,lvaro(1958). SeeCassuto,lvaro(1959. 419 Analysedinthisresearch. 420 SeeCassuto,lvaro(1960).

417 418

306 hewentalsotoDarmstadt(scholarshipofGulbenkianFoundation)whereheattended courseswithLigeti,MessiaenandStockhausen. Clearlyhisinterestinconductingbegantodevelopmorethanhiscompositioncareer.In 1961lvaroCassutowasappointedassistantconductortotheGulbenkianFoundation Chamber Orchestra (until 1968); he studied for a conducting diploma at the Vienna Conservatory(1965)andwontheKoussevitzkyPrizein1969attheTanglewoodFestival. ConcurrentlyhealsotookaLawDiplomainLisbon(1964). In 1970 lvaro Cassuto won the Press Prize in Lisbon (Opera conducting) and was nominated Subdirector of the E.N. Symphony Orchestra (National Radio Symphony Orchestra,inLisbon).From1974until1979hewasalsoattheUniversityofCalifornia (OrchestraDirectorandProfessorofMusic).After1979hedirectedtheRhodeIsland Philharmonic until 1985. In 1975 lvaro Cassuto was elected Director of the E.N. Symphony Orchestra (National Radio Symphony Orchestra, in Lisbon) together with SilvaPereira,enablinghimtoconductinPortugalandintheUSA.Hestayedwiththis orchestrauntil1989.

Personality and Music

Cassutosmusicisstillunknowntomostpeople,manyworkswereonlyperformedonce inPortugalandonlyafewwererecordedandpublishedonCD. Hiscatalogueuntil1980: 1957PianoConcertino. 1959ShortSymphonyn.1fororchestra;apianoSonatina;anOuvertureforstring orchestra. 1960ShortSymphonyn.2fororchestra;MusicalMomentsforstringorchestra; Variationsfororchestra. 1961astringsextet. 1962Permutationsfororchestra.

307 1963InmemoriamPedrodeFreitasBrancofororchestra. 1967Cro(mono)fonia,fortwentystrings. 1968FreiLuisdeSousa,forpercussion,musicforadrama(televisiontheatre)by AlmeidaGarret;Canticumintenebris,forsoloists,choirandorchestra. 1969Evocationsfororchestra. 1970Circlefororchestra. 1971Completedin1973,InthenameofPeace,operawithtextofNatliaCorreia. 1972SongofSolitude,forflute,oboe,clarinet,bassoon,horn,trumpet,percussion (2),pianoandstringquartet. 1973ToLoveandPiece,fororchestra. 1976HomagetothePeople,forband.

Theworkswhichwereaccessibleandusedinthisresearch,werethe Sonatina 421, In memoriamPedrodeFreitasBranco,FreiLuisdeSousa(inaTVreplay),Evocationsand ToLoveandPiece;andtherearealsosomereviewsofotherpieces. lvaroCassuto,unlikeotheravantgardecomposersofhisgeneration,wasclearlynota typicalenfantterrible.Perhapsbalancingbetweenhisgrowinginterestformusicanda career in Law, business or other normal job. His conservatory studies were not completed.Thegrowinginvolvementhehadwithnewmusic,influencedamongothers by Joo de Freitas Branco and Joly Braga Santos, was in my view due to a very intellectualneedforknowledgeofthemostmoderntechniques,andtohissimultaneous interestinconducting.Inthelatefifties,inGermany,hewasintroducedtotwelvetone techniques(withRufer)andheuseditthoroughlyhewas,perhaps,thefirstcomposer using this technique in Portugal, in Sonatina and Short Symphony. He also had the opportunitytoattendtheDarmstadtcourses.ButhisrelationshipwithDarmstadtwasnot sopositive.Inatextpublishedin1961 422 heclearlydefinesavantgardemusicas:1. serial music of Webernian heritage where serialisation is applied to many music parametersand2.therandom(aleatory)exerciseproposedbytheideasofCage.But
421

422

Seetheanalysisofthisworkinthisresearch. SeeCassuto,lvaro(1961):pages534andfollowing.

308 lvaroCassuto,thetwelvetonecomposer,refusesboth.Inwhatconcernstwelvetone music,hedemonstrateshisconsciousnessintechnicalandaestheticalterms,realizing fully its different dimensions and consequences, but perhaps neglecting its historical opportunityin the fifties/sixiesand the advancesof hisown contemporaries. In this criticaltextnamedConsiderationsaproposDarmtadt,hecontinues:
Nowanotherproblem:woulditbepossibletoseeproportionally different results coming from these opposite principles [series and random]? We can aarive at the negative through even a short analysis. In fact, if everything has been previously calculated,thecomposerwillknowaslittleabouttheresultsof thatcalculationin,saybars123or456,ashewouldknowifthat calculation was made during the fantasy of the instant (improvisation) or by accident (random): les extrmes se touchent.423

Inmyview,lvaroCassutowasreallycaptivatedbyhisworkwithRuferontheold twelvetoneexpressionistmanner.InDarmstadthewassearchingforsomekindofnew system,perhapsanewacademismthatwouldputthetwelvetonesystemonahigher level. But this search was already marked by a prejudice related to the discussion betweenthenewavantgardeserialism,(StockhausenBoulez,Pousseur,Berio,etc.)and the old expressionisttwelvetone system(Schnberg,Stuckenschmidt,Adorno, Rufer, etc.)424. Integralserialismtoorigidandcolddidntanswerhisexpressivecharacter,andas weknow,inthelatefiftiesandearlysixtiesitwasalreadyindeclineandbecomingvery closetoaleatorymusic.AndaleatoricmusicwasintolerableforlvaroCassuto,itwas anarchy. Nevertheless, there are some signs that lvaro Cassuto had earlier used a

"Agoraoutroproblema:resultarodestesdoisprincpiosopostosestilosmusicaisproporcionalmente diferentes?Bastaumapequenaanliseparaconcluirqueno;naverdade,setudoestiverprviamente fixado,ocompositorsabetopoucooqueresultadessapredeterminaonoscompassos123ou456 comoseencarregardessadeterminaoasuafantasiamomentnea(improvisao)ouoacaso(lea): lesextrmessetouchent.inCassuto,lvaro(1961):pages534535. 424 ItisprovocativethatheendsthistextwithaquotationofStuckenschmidtabouttheprecariouspowerof thosewhospeaklouderbutwithnocontent,andthelongtermsuccessofthosethat,althoughtimid,have moresolidandinterestingideas.

423

309 version of serialism (or perhapsonlya verythorough twelvetone technique) and of chancetechniquesinhisVariationsforOrchestraandinMusicalMoments:
This piece [Variations for orchestra] tends towards a full structuringofmusicalideas,basedonchanceformulas.But(...) it doesnt prevent a certain cantabile that also belongs to the music that represents this style in an orthodox way. () Cassutos Musical Moments for string orchestra push [these chance formulas] to their ultimate consequences. In these 4 pieceslastingoneminuteeach,thefactthatthecomposerused chance formulas doesnt represent, in his own opinion, any danger.Theirdurationsareso[small]itispossibletopreviewthe results,andtoputinordertheformulasaccordingtothesesame results; and not viceversa, as is seen in many other longer pieces.425

AndapparentlythemusicfortheTVtheatreFreiLuisdeSousawasmostlyimprovised (andnotwritten,nowoutofthecatalog). His Sonatinaperpianoforte,relevantinaPortuguesecontextin1959,hadinfactlittle significanceinviewofthefollowingpieces. InMemoriamPedrodeFreitasBranco, composedin1963,showsadifferentCassutofromtheearlytwelvetoneexperiments, integratinginaveryexpressivepiece,clustersanddissonantchordsbutalsotraditional consonantharmonies.Mostinterestingistheorchestration,veryimaginative,richand effective,usingmanykindsofpercussioninstrumentsandanappealingfusionofthe differentinstrumentfamilies.lvaroCassutoclearlyknewhowtodevelophisideasusing theorchestratoitsfullpotential.SometimesclosetoPenderecki 426,hismusicafter In Memoriam is a mixture of different influences, from traditional harmony to modern (neoclassic) polytonality and avantgarde sound resources (clusters, massglissandi,
. Estaobra[Variaesparaorquestra]tendeaumaestruturaototaldasideiasmusicais,com baseemfrmulasapriorsticas.Noentanto(...)noprescindemdumacertacantabilidade,oqueacontece msicaquerepresentaortodoxamenteessacorrente.(..)osseusMomentosMusicaisparaorquestra dearcosconduzemnasltimasconsequncias.Nessas4peasdeduraodeumminutocada,ofacto deocompositorsetersocorridodefrmulasapriorsticasnorepresenta nasuaopinioqualquer perigo,porqueaextensodaspeastalquesepodepreveroresultado,eordenarasfrmulasemrazo domesmoresultado,enoviceversa,comoseobservaemmuitasobras,quandomaisextensas. Arte Musical,(1961n.13/14):page498. 426 AshesaysinastatementinthetextsaccompanyingtheCD.Cf.Cassuto,lvaro(1996).
425

310 etc.).Hisdedicationtothepastisalsoborneoutinthequotationsheuses.HeendsTo LoveandPeacewithaquotationfromaBachchoraletakenfromtheMatheusPassion. Clearlyacceptingtheappealofpostmodernismveryearly,(perhapsinfluencedinhis Americanjourneys), hedemonstratednewand challenging musicalideasanda very thoroughcomposersproficiency.lvaroCassutoneverproperlydevelopedhiscareeras acomposer,preferringtoinvestallhiseffortsasaconductor.Yethisfewworksshowa veryrich,interestingandrefinedmusicalcharacter,veryfarfromthediscussions,the polemicsandthecriticismthatsurroundedhisactivityasaconductorandasanorchestra organiser in Portugal during the eighties and nineties. Perhaps the Stuckenschmidts quotationinCassutostextof1961isrelevant,illustratingthetwosidesofCassutos musicalpersonality.Thewellknown,verysuccessfulandpolemicconductor,andthe inventive,expressivebutmostlyunknowncomposer:
Atatimewheneveryoneismakinganefforttoshowthemselves as more efficient, when it is more important to impress others thanthecontentandtheformoftheworkofart,thetimidand retracted type of person has few possibilities to detain the attentionoftheothersandtoimposehimself.Butthelawsofart aredifferentfromthelawsoflife.TheChinesephilosopherwas correct when he said that the more fragile ones survive the strongest:thevoicesthatweresoweakasbarelytobeheard, were,intheend,themorepenetrating,theycontinuedtosound when the others, dominant at one moment, were already forgotten.427

Numapocaemquetodosseesforamemseevidenciaremomaisrpidaemaiseficazmente,emque setornoumaisimportanteimpressionarosoutrosdoqueocontedoeaformadaobradearte,otipode criadortmidoeretradotempoucasprobabilidadesdechamaraatenoasieseimpor.Masasleisda Artesodiferentesdasleisdavida.nistoquetemrazooditofilsofochinsdequeomaisdbil sobreviveaomaisforte:asvozesqueforamtofracasquequasesenofizeramouvir,eramafinalasmais penetrantes;elascontinuaramasoarquandojtinhamcadonoesquecimentoasqueemdadomomento dominaramtodasasoutras.InCassuto,lvaro(1961):page536.

427

311

JORGE PEIXINHO AmirrorofthePortugueseavantgarde

TowriteaboutJorgePeixinhoistowriteaboutthePortuguesemusicalavantgardeand thechangesthatoccurredbetween1959and1995,theyearJorgePeixinhowenttostudy abroad(Rome)andtheyearhediedinLisbon. JorgePeixinhowasthe"face"ofavantgardemusicinPortugaltosuchanextentthatnew musicthatwasdissonant,irreverentand"noisy"wasoftencalled"Peixinhadas"428.He introduced many techniques, ways of performing, even anecdotal particularities that definesomeofthemusicofthefiftiesandthesixtiestoalargerpublic.Peixinhadaswere clusters,playinginstrumentsinunusualways,collectiveimprovisations,usingobjectsas musical instruments, electronic music, theatre and multimedia performances. His appearancesonTVandRadio,inconcertsandinperformances(happenings)wereoften tumultuous and gave the more traditional public and critics a reason to demonstrate againstnewmusic.

His life and ideas

JorgePeixinhowasanaccomplishedpianistwhopresentedinhisconcertspiecesby Mozart,Liszt,Debussy,Schnberg,Stockhausen,EmmanuelNunes,HeinzHolligerand manyother20th centurycomposers. Wagnerwasanessentialreference,consideredthe summitofallclassicalmusicandthebeginningofalltransformationsthatwouldleadto expressionism and symbolism, twelvetone, and avantgarde music429. He also had a particular interest in the later works of Liszt (B.A.C.H. variations, R. W. Venezia, GondolaFunebre,etc.),notonlyasatributetoLisztspianovirtuositybutalsoasan
Peixinhothefamilynameofthecomposermeanssmallfish;Peixinhadasmeansapproximately smallfishythings. 429 C.f.inthisworktheanalysisof Study1Mmoired'uneprsenceabsente. SeealsoPeixinho,Jorge (1964).
428

312 importantcomposerinthecontinuousmovementtowardsthedisruptionoftonality.For Peixinho,theendoftonalityandthetransformationofsuchsubstructureswasthea fundamentalquestionofmodernity.WagnerandLisztwerehistoricallyoftheutmost importance towards the disruption of tonality; and that was, in his view, a central question,alsoextremelyimportantinPeixinho'sownevolution. Peixinho's attitude towards modernity can't be understood as purely intellectual. Its impossibletodisregardcomprehensionandacceptanceofthemusicbythepublicandthe socialandpoliticalcontextofdifferentlisteners.Althoughhedidn'tsearchspecifically forscandal,ashesaysinaninterviewforabookonthesituationofPortugueseart 430,he used modernity to confront established ways of behaviour and of hearing and understandingmusic:confrontingthepublicwitholder,conservativeideasofmusicand socialinstitutions,thusprovokingshockeveninthemostfreethinkingintellectualsinthe Portuguesesociety. Peixinhowasanantifascist,anactiveparticipantintheleftwingmovementsthatfought againstSalazar'sandCaetano'sregime.Hiswayoffightingwasnotonlystrictlypolitical butalsoculturalandartistic.Newavantgardeartwasawayofdenouncingmediocrity, offightingagainstconservativeartmodels(alsoconservativeinitssocialpurposes)and sometimes an opportunity to confront some, also conservative, cultural neorealistic opposition.There isanepisode,relatedbyClotildeRosa431 thatrevealsthis attitude. Peixinhowasgivingalecturetostudentsoncontemporarymusic.Amongothers,he criticisedChostakovichforhisallegedconservatismasacomposer.Afterthelecturehe wastoldthat,asanantifascist,perhapsheshouldn'tspeakinthesetermsaboutasoviet composer.Peixinhobegantotakenoticeofthepoliticalconsequencesofhislecture, particularly with regard to his political references, which he didnt want to be

Cf.Dionsio,Eduarda(1968). GuestcomposerontheradioprogramAPartituradoSculoofLuisTinoco(APartituradoSculo,19th September2000,RDP2).

430 431

313 misunderstood.Neverthelesshecontinuedtofightneoclassicism,evenfromasoviet composer. Peixinho'slifewas,inmyview,definedbythree,verydifferent(butcloselyrelated) paths:publicappearances(performance),privatecreation(experimenting,composition) andfinally,clearlyasubsidiaryofthesetwobutnonethelessveryimportant,education (teaching,lectures,etc.). In1959,afterfinishinghiscourseattheConservatorywithArturSantosandhavingthe SassetiPrizeofcomposition,hewenttoRomewithaGulbenkianscholarship,tostudyat the SantaCeciliaAcademywithBoris Porenaand laterwithPetrassi. Somesources relatethatJorgePeixinhostudiedtraditionalcounterpointatfirstandonlylaterstudied modern techniques with Petrassi. But already in 1959 appeared the first catalogued piecesofPeixinho:Tripticoforvoices,choirandorchestra,DueExpressionifortrumpet and harpsichord and the 5 small pieces for piano. These were already very modern pieces: Peixinho apparently rejected all other works that he composed during the Conservatoryyears. After1960JorgePeixinhomaintainedmanydifferentactivitiessimultaneously,which canbegroupedinthisway: 1. LearningandexperimentingcoursesinRome,inDarmstadtwithStockhausen andothers,andelectroacousticworkshops.Privateresearchandanalysis,bothfor himselfandforhisstudentsattheConservatory,frommedievalandRenaissance musictohiscontemporaries; 2. CompositionthecatalogueofJorgePeixinhoisquitelargeforacontemporary composer,withsoloandchamberpieces,orchestraandsoloconcertpieces,voices withinstruments,electronicpieces,multimedia,theatre,cinemamusicandcollective pieces.Therearealsoreportsofalargenumberofcollectiveimprovisations.

314 3. Pianistasasolopianist(untilhisdeathin1995),inchambermusicandasa memberoftheGMCL. 4. ConductorandmusicdirectoroftheGMCL. 5. PerformerinhappeningswithagroupofartistsandpoetsincludingE.M.deMeloe Castro,AnaHaterley,AntnioArago,alsowithErnestodeSousaandinfilm,TV andRadioBroadcasts. 6. TeacheratOporto'sConservatory(1965/66)andattheNationalConservatoryof Lisbon(1985/95).Hetookpartinmanyseminars,workshopsandsmallercourseson contemporarymusic,analysisandcompositioninPortugalandabroad(Europeand Brazil). 7. LecturesandtheoreticalworkJorgePeixinhowroteintroductionstocontemporary music concerts and lectures at different institutions. Some of his texts on music education, analysis and contemporary music were published in magazines and concertprogrammes. Alongwiththismultiplecareer,itisimportanttonotethatJorgePeixinhooftenwentto thefirstperformancesofhisworksinPortugalandabroad,andhealsohadfrequent contactwithinstitutionstoorganiseconcerts(hisownandfortheGMCL).

Piano pieces
ManyofPeixinho'spresentationswerepianoconcerts.Therefore,asubstantialpartofhis productionisdedicatedtothepiano ThepianoworksofJorgePeixinhofrom1959till1980are: 5smallpiecesforsolopiano(1959) Symmetricsuccessionsforsolopiano(1961) Collagefor2pianos(1962/65)

315 Harmonics,forpianoandechodevice(6/8seconds),or2pianos(1967) Study1Mmoired'uneprsenceabsenteforsolopiano(1969) Lovpianoandtapeversion(1971) Study2over"Thefourseasons",forsolopiano(1972) Study3inbflatmajor,forsolopiano(1976)

After1980healsocomposed: RedSweetTango432,forsolopiano(1984) Villalbarosa433,forsolopiano(1987) ThateveningEpitaphtoJolyBragaSantos,forsolopiano(1988) Gloss1434,forsolopiano(1989/90) InfolioforCanstana435,forsolopiano(1992) Study5"dieReiheCourante",forsolopiano(1992) NocturneforCabodoMundo436for3pianos(1993) Janeira437,forsolopiano(1995)

Healsoleftsomepiecesincomplete: MusicBox438forpianoandtape(1983/85) StudyIV,over7Portuguesepopularsongs,foronesingleamplifiedstring(of thepiano)(1984) MissPapillonforpianoandtape(1985)

His output, although very unified, aesthetically and technically, is marked by some differences.

OriginaltitleinEnglish. Atitlestilltobeconfirmed(notinthedisposablescore,referringtoapiecedated[Lisbon,June'87, (4/8)],dedicatedtoheBraziliancomposerGilbertoMendes,withthefollowingphraseattheend:"... homagetoVillaLobos". 434 Gloss2isforflutesolo. 435 AlsoanepitaphforConstanaCapdeville. 436 "CabodoMundo""CapeoftheWorld"isaplaceinMatosinhos(northofPorto).Thispiecewas commissionedbytheMatosinhosCityHall. 437 "SongofJanuary" 438 TitleinEnglish.
432 433

316 Afirstgroupofpieces5smallpieces,SymmetricSuccessionsanduptoCollage formaheteronomousgroupwithcommondetails.Thereisanuncompromisinguseof twelvetonetechniques,aconsistentavoidanceoftonalharmony,useofsoundgroups anddynamicsandtexturesclosetoserialism.ParticularlyinSymmetricsuccessionsand Collage itispossibletoseethesecharacteristics,Peixinhocalledthistechnique"para serialistic"439:usingmanyofthefeaturesofserialistmusicwithoutitsstricttechnique. But it seems that after Collage, Peixinho's interests changed, showing a new, more consistent language that would characterise the majority of his piano music. What separatestherestofhisoutputfromthesefewearlypiecesistheharmoniclevel.After Collage, harmony becomes a basic material for composition and expression, even a characteristicofPeixinho'smusic: 1. harmony,consideredinawidersense,incorporatingallkindsofsimultaneous construction; 2. includingdiatonicandmodalharmony,andthesuperimpositionoftraditional chords; 3. harmonicelementsasmaterialwithahistoricrelevance. AfterStudy1JorgePeixinhousesquotationsfromothercomposers,whichcanbeclearly heardandrecognisedbythelistener.Thefirstpieceofthisgroup Harmonics is indicativeofthisinterestinharmony.Itisanimprovisationoveralimitedovertoneseries andsomemechanical/electronicdevice,whichmakesa5to8seconddelay,forminga strictcanon440.Thisinterestinharmonycontinuesinthe3studiesandinLov,withclear harmonies. He uses simpler substructures (based on just a few pitches), quotations (especiallytheTristanchordinStudy1andLov)andalsotraditionaltexturesusedina critical/historical context (sometimes extremely repetitive): tonal chords, twelvetone series,dronesandtheovertoneseries.
Cf.Ferreira,Srgio(1993). Twotaperecorders,onerecording,anotherreproducingandothernecessarydevices(microphonesand p.a.).Thefirstonerecordsonatapethemusicbeingimprovisedandthesecond,atacalculateddistance, reproducesthesametape,butwitha5to8secondsdelay(dependingonthedistancebetweenthetape recorders).Thisprimitivedevicecanbesubstitutedbyotherelectronicmeans.
439 440

317 ButtogetherwiththisinterestinharmonyPeixinhobeginsathoroughsearchfornew sounds and new ways of using the instrument. After the experience of Harmonics, Peixinhofrequentlyusesovertonesmadeintheinteriorofthepianobythestrings,in pizzicatoormutedsounds(playingthekeyswithdampenedstrings),differentpercussion objectsplayedbythepianist,objectstransformingthestring'svibration,glissandi,etc. Peixinho's piano seems to become a very large continent of sound, musical and expressivepossibilities,evenof motion.Repeatingchords, simplemelodies,complex (twelvenotelike)soundsequencesparticularlyintheupperregister,wavering tremoli and trills, different resonances in the keyboard and strings, melodies in the strings, Wagnerian like sequences, contrapuntal melodies all over the keyboard. All of these differenttechniquescanappearinthesamepiecewithoutanyconflict,asexpressive momentsofabasicharmoniccontinuumthatcharacterisesthepiece. SomeofthesepianotechniquesareimportantaselementsofPeixinho'sownmusical language. Thetremoli(of1ormorenotes,evenchords),sometimestransformedas Trills(alsoundulatingtrillsandwithachangingnotespanseconds,thirds,etc.). Thecritical/historicaluseoflargesequencesofdifferentpitches.Seriesusedwith transpositionsandpermutations,veryoftenthesesequencesappearataveryquick tempo,withunevenrhythmsandincounterpointusingtwohands,imitatingquick momentsofpointillism. Thesetechniquesalsoappeartoamuchlesserextentinhisearlypieces,andverywidely inhisotherpiecesafter1980.Theyare,infact,partofPeixinho'sownphysicaland intellectualpersonalityasapianistandacomposer.

318

Aesthetic perpectives
PERSONALITY Peixinho's direction in contemporary music was marked by several personal characteristicsthatshapedhisworkandhislife. 1. Peixinhos most important creative outlet was as a performer. He took part in concertsbothasasoloistandasadirector,helecturedinpublic,tookpartinpublic theatrical (surrealistic like) performances. He was known for indiscriminately expressingviewsonpolitics,musicandsociety,splittingaudiencesofenthusiastic followers (students, friends, young intellectuals) and detractors. His public appearancesweresomehowstatements,manifestosofmodernityinaestheticterms. Eveninsmallgroupshewouldbecomerapidlythecentreofattention. 2. Hewasaveryfreeperson,withnostrongbondtoaspecifictechnique,aestheticview ortoaspecificculture.Hisstrongattachmentsweretomusic(asaperformer,a composer,ananalystandaneducator),tochangingsociety(hewasasocialistwitha veryactivepoliticallife)andtothefriendswhofollowedhimallhislife.Hewasa verypassionateandimpulsiveperson,gettingveryeasilyandveryenthusiastically involvedwithpeople. 3. Thefactthathewasanaccomplishedpianistenabledaverythoroughknowledgeof pianisticpossibilitiesandaveryphysicalapproachtomotion,whichheusedwidely inhismusic.

PEIXINHO AND STOCKHAUSEN WhenJorgePeixinhowenttoItalyin1959hequicklybecameawareofthenewmusic and techniques that he hardly knew in Portugal. He also rapidly established and maintainedaverywiderangeofrelationshipsintheinternationalavantgardethatwould beofimportancetohimandforcontemporarymusicinPortugal.

319
"Frankly I believe I am unanchored from Portuguese society. Eventually,Illtakepartinmanyoftheiranguishesandmanyof their hopes, but it doesn't destroy the almost tragic state of isolationanddissociationinwhichstandsmycreativeprocess inrelationtoallPortuguesereality,whichisterriblyinsular,anti EuropeanorsimplyaEuropean."441

Theinvolvementhehadafter1960withelectronicsandparticularlywithStockhausen wasveryimportant.ThetransformationssufferedbythisGermancomposerinthesixties were,inmyview,alsoexperiencedbyPeixinhoandhadanenormousimpactin his music. InthecaseofStockhausenthetransformationswhichleadfromstrictserialismto Telemusic(1966)thebeginningofwhathecalledworldmusicandespecially theexperiences,whichledhimtoStimmung(1968)andtotheintuitivemusicof AusdenSiebenTagen(1968)442. Peixinhomovedfromalessrigidserialismtonewconceptsofstructure,anewvision ofharmony(alsooftraditionalharmonyandtheuseofquotations)andtoathorough andexperimentaluseof sound(mostimportantlyhisdifferentuses oftraditional instruments).AlreadyinCollage(1967),hetriesnewwaysofstructuringthepiece, influencedbynewtechniquesalreadyusedinthevisualarts.Heevenreferstothis technique:
"Thisoccurrence [therenovationofmaterialsandthefusionor reconnection of elements of different artistic nature] is not constrained to the visual arts, but has also influenced theatre, musicanddance.Nowadaysinvisualtheartsthereisatendency to construct objects by assemblage of elements with different grammatical levels (collages, photographs, painted surfaces,

"Creio,muitosimplesmente,quemeconsiderodesenraizadonasociedadePortuguesa.Possocomungar demuitasdassuasangstiasedemuitasdassuasesperanas,mastudoissonoanulaoquasetrgico isolamentoedissociaoemqueseencontraomeuprocessodecriaoemrelaoatodaarealidade Portuguesaterrvelmenteinsular,antieuropeiaousimplesmenteaeuropeia."Peixinho,Jorge(1967), quotedinDionsio,Eduarda(1968):pag.331. 442 Cf.Stockhausen,K.e.a.(1971).

441

320
elements with real or virtual movement, objects from outside, etc.)inasynthesisofbiandtridimensionalspaces."443

In1967JorgePeixinhotookpartintheprojectEnsemble,andin1968inthecollective musicpieceMusikfreinHaus,bothprojectsofStockhausenfortheDarmstadtcourses.

Conclusion
A PERSONAL PATH It is important to explain that Peixinho's experience during these years (after 1962), althoughmarkedbythestrongpersonalityofStockhausen,wasalsoinfluencedbyhis activitiesintheavantgardeartisticmilieu,byhiscontactswithMeloeCastro,other surrealisticartistsandwithforeign(SpanishandBrazilian)groupsandcomposerssuch asZaj,GilbertoMendes,Penderecki,etc. Peixinho'smusichas,therefore,differentinfluencesthatcanbethoughtofinthisway: Neoclassicaltendencies(learnedinLisbon'sConservatoryand,perhaps,in Romeandapparentlyabandoned); Pianomusic(thepracticeofpianomusicfromalleras,alsoasaperformer); TwelvetoneandDarmstadtserialism(Boulez,Stockhausen,Nono,Maderna, etc.); Darmstadt experimentalism (Cage, surrealism and neoDada, experimental poetryandotherartforms), Electronicmusic; The transformations of Stockhausen in the sixties (world music and intuitivemusic); New tendencies in Europe and America (also minimalism, free jazz, collectiveimprovisation,etc.)

"Estefenmeno[arenovaodemateriaiseafusooureconexodeelementosdenaturezaartstica diversa]nosetemrestringidosartesplsticas,masalargousetambmaoteatro,msica,aobailado. Nas artes plsticas notase actualmente uma tendncia para a construo de objectos formados por assemblage de elementos de diversos nveis gramaticais (colagens, fotografias, superfcies pintadas, elementosdemovimentorealouvirtual,objectosdomundoexterior,etc.)numasntesedeespaosbie tridimensionais."Peixinho,Jorge(1967),quotedinDionsio,Eduarda(1968):pag.191.
443

321 Theresultoftheseinfluencescanbeseeninthemusicafter1967/68,withaconstant searchforcreativesolutionsthatenableshimtoexpresshisowninterests.Sometimesthe solutionstendtobemore"paraserial",usingtechniquesderivedfromserialism,other solutionsincludeakindofinternalprocessofhistoricalexpansion,usingthetechniques bothasexpressiveandashistoricalreferences.Others,comingfromspontaneouswork withinstruments,soundsandalsowithothermusicians.Butthemostprevalenttendency inPeixinho'scatalogue,inmyview,assemblesbothastrongneedforexpression(self expression) and the use of all types of material, usually with a critical (historical) perspective. Unlike Adorno, he doesn't refuse any material and technique, even traditional;hethereforetendstoapproachBerioinhissearchforanopera aperta using gesturesbothasmotionandasculturalobjects. But Peixinho's music despite his image as an intrepid avantgarde composer, alongsideCage,StockhausenandNonois,inmyview,abitfarfromthesoundworlds ofDarmstadtorpostDarmstadttechniques.Inmyview,JorgePeixinhoseemstobe closer to the reconstruction of an expressive attitude (perhaps lost since the twelve tone/serialistic paradigm): twelvetone, seriallike or traditional chord sequences are understood as gestures with precise expressive and historic meanings especially musicalquotations. Jorge Peixinho often composed as an immediate need for selfexpression, even the expressionoflove,muchinthesenseofromanticcomposers.Thisexpressionisexplicit notonlyinthecontentofthepieces,butalsobytheirtitles: Lov, endswithalarge quotationof IsoldasTod; StudyIMemoryofanabsentpresence, accordingtosome sourcesclosetothecomposer,wascomposedforChristiane Rasson, a Belgian girl with whom Jorge Peixinho was, as always,desperatelyinlove; RelovedEuridice and The songofSybillearetitlesthatrevealsomeidenticalmeaning. Inmyview,Peixinho'smusicwentclosetothepostmodernaesthetictendenciesthat werebeginninginthelatesixties,butwithoutgettingconstrainedbyanyneedforpublic

322 reconciliationorsocial(bourgeois,inhisview)recognition.Althoughasateacherhe taught different techniques, (avantgarde techniques as well as traditional, medieval, renaissanceandbaroquetechniques),asacomposerheusedallthesemeanstoexpress hisopen,intenseandpassionatecharacter.

HIS INFLUENCE ON CONTEMPORARY MUSIC Jorge Peixinho was a person with a strong character and open mind with, after he returnedfromRome,manydetractorsandfollowers.Thereisevidenceofagroupof youngmusiciansandmusicstudentsinOportothatfollowedhimtoconcertsandother culturaleventswhenhetaughtthere.Mostimportantly,wasagroupofmusicians,some of them forming what would become the GMCL (the Lisbon contemporary music group):MrioFalcoandClotildeRosa(harp),AntnioOliveiraeSilva(violin and viola),CatarinaLatino(percussionandrecorder),CarlosFranco(flute),LopeseSilva (guitar);andlessfrequentlyConstanaCapdeville.ConstanaCapdeville,ClotildeRosa andLopeseSilvawouldalsobecomecomposersstronglyinfluencedbyPeixinho. ManyofthePortuguesecomposersofyoungergenerationsalsohadtheopportunityto makecontact(ascompositionand/oranalysisstudents,orjustasfriends)withJorge Peixinho,allwithverydifferentaestheticpaths:EuricoCarrapatoso,IsabelSoveral,Joo PedroOliveira,FernandoLapa,etc. TheinfluenceofJorgePeixinhoinPortuguesemusicisstillyettobefullyunderstood. Hisimageinfrontofthepublicdidn'tchangeovertheyears;heremainedan enfant terrible oftheavantgarde,evenwhenthisavantgardehadinstitutionaliseditselfand becamehistory.Buthiswayofteachingandhisworksrevealadifferentperson;his constantresearchofharmony(anobsession),structureandexpressionhadnospecial attachmenttoanykindofcompositionalgestureoraestheticview:perhapshewasmore attached to the friendship and the admiration of certain of his colleagues, such as Stockhausen,Nono,Berio,etc.,thantotheiraestheticviewsandcompositionalpaths.

323 EuricoCarrapatoso,(oneofhisstudentsinlateryears)related 444 thatPeixinhonever imposedanykindofmodernity,techniqueorstyle,andalwaysusedpositivecriticism, even with Carrapatoso's choices in musical composition, clearly postmodern and backwardslooking445. Peixinho'spianopiecesarestillvirtuallyunknownbythepublic.Infact,onlyafew pianists(Peixinhohimself,someforeignpianists,MadalenaSoveralandtheauthorof thisthesis)haveplayedsomeofthem.Someofthelaterpiecesarestilltobepremiered in Portugal446. Considering the whole corpus, it is possible to see some differences betweentheearlypiecesandtherestofhisoutput,theslowmovementtowardsamore thoroughuseofthewholekeyboardanditsharmonicandmelodicpossibilities.But, interestingly,suchanoverviewrevealsagreatcoherenceintermsofstyleandeventhe useofcharacteristicmusicalgesturesthatmarkedPeixinho'smusicthroughouthislife.

MontijoisasmalltownlocatedonthesouthsideofLisbon'sRiverTejo.Itisinthisrural townthatJorgePeixinhowasbornonthe20thJanuary1940.Fromthereitispossibleto seeLisbon,thecapitalcity,locatedontheothersideoftheverylargeestuary. InhislateyearsJorgePeixinhosufferedfromseriousheartproblems.Hediedonthe30th June1995inLisbonwhilerunningtocatchaferryboatthatshouldhavetakenhimtoa meetingofMontijo'sCityCouncilAssembly,wherehewasPresident.Heshouldhave givenasoloconcertafewdayslaterinCoimbra,playingLiszt,Schnberg,Holliger, Stockhausen, and other pieces. The concert was performed by the GMCL and the OficinaMusical,withtheparticipationofmanyofhisfriends.

444 445

Inprivateconversations.

EuricoCarrapatoso'smusicisstronglyinfluencedbymodalscalesandharmony,byfolkmusicandby renaissance techniques; but also by Jorge Peixinhos free use of sound, noise and structure. And CarrapatososeeshimselfasastudentofPeixinho. Onlyin2000appearedafirsteditionpublishingsomeofhispianomusic(Musicoteca,revisionbythe authorofthiswork).
446

324

EMMANUEL NUNES

OnDecember10th,11thand12th1999,EmmanuelNunesgaveathreedaysworkshopand twolecturesattheUniversityofAveiro(CICA)oneonGerardGriseyandtheother onhisownmusic. Theworkshopwasvisitedbyseveralyoungcomposers,someofthempresentingnew works. The works were carefully inspected by Emmanuel Nunes and served as springboardforfurtherdiscussions,sothathehadtheopportunitytospeakabouthis ideas,hisworkandhisown experiencesas acomposerandhisrelationswith other musicians.

The thought
"Iconsidermylifeasacomposerasaninitiatingpath"447

SomeideasseemtobeakindofcontinuuminEmmanuelNunes'sthought. 1. Acloseconnectionbetweenrationalityandemotion.InthisworkshopEmmanuel NunestoldabouthisinterestinimprovisationthatbeganwhenhewasinParis(after 1964):atthattimeheusedtodomanyimprovisationsessionsaloneorwithfriends. Healsorelatedthat,inhisworks,hemaintainsanattitudeof"exchange"(capillary inthewordsofthecomposer)betweenimprovisationandcomposition.Forhimthere isnospecificfrontierbetweenthem,as(forhim)thereisnofrontierbetweenthe basicconceptsofrationalityandemotion,asfarasisconcernedcomposingmusic:

"Rationality isnottheoppositeoftheinneremotionalfeelings" (...)"itisimportantthatwehavethepossibilityofgettingoutof

447

"Consideroaminhavidadecompositor,umpercursoinicitico"inNunes,Emmanuel(1981).

325
one of these fields and going into the other. Here lies the characterofinitiation448intothecomposer'swork".449

Very often (e.g. in Litanies II) Nunes composes some of the parameters and then improvisesothers.HetoldmethatinthispieceLitaniesIIhewrotethenotesand rhythms first and then he determined the articulation and the dynamics without any formalconstraint.450 2. Memory,historicityandnontemporality.Theseconnectedconceptsaresomeof the most important in Emmanuel Nunes's thought. Memory has the capacity of linkingdifferentthings(differentchords,melodies,gestures,time,styles,etc.)within the piece and with other pieces, with all the musical data that is known by the composer,theperformerandthelistener.Theconceptofhistoricityisaconsequence ofthismemory,appearingasa"criticism"ofallthememories,ofthecontextofthe work,ofthe Zeitgeist.Itis,forEmmanuelNunes,anassumptionofallEuropean musichistory,givingaspecialemphasistohismostdirectpredecessorsofthefirst halfofthecenturyandtothechangesoperatedthroughtheSecondVienneseSchool andtheDarmstadtcoursesofthefiftiesandsixtieswhichhevisitedveryoften.
"I'mperfectlyawareofwhathasbeendoneuntilnow.Fromthe 20th century I assume, I have in my body Mahler as an exampletobeginwiththeoldestalltheVienneseSchool,a good part of Stravinsky, a good part of Vrese and all Stockhausen,thethoughtofBoulez..."451

Historicityopposedtohistoricism452isanideainconstanttransformationand, forEmmanuelNunes,islinkedtonontemporality:nontemporalityinthesensethat
448 449 450

initiationinthesenseofgettingintoasecrethermeticworld. InthewordsofEmmanuelNunes,duringtheworkshopreferredtoearlier.

In LitaniesII hewrotethenotesandrhythmsandthenhedecidedthearticulationandthedynamics withoutanyformalconstraint. "Estouperfeitamenteconscientedoquesefezathoje;dosculoXX,assumo,tenhonocorpo,o Mahler,por exemplo paracomear comomais antigo , todaaescolade Viena, boapartede Stravinsky,boapartedeVarseetodooStockhausen,opensamentodeBoulez..."inNunes,Emmanuel (1981).
451

"Historicity"thespecialofawarenessofhistory;"Historicism"anaestheticviewthattendsto revisit,toreevaluateanduse(old)historictechniquesandmanners.
452

326 theworkexistsoutsidetime,asamemory,asanideatheoppositeofmusicbeing actuallyplayedorheard,whichisundoubtedlyconnectedwithpassingtime;andnon temporality because the musical work crosses different time epochs, different generations,evencenturiestheimmortalityofthemusicalwork.
"Whatpeoplecallhistoricityandnontemporalityare,forme,two aspectsofthesamething,ofthesameevents;thedifferences come only from vision of the human beings; he lives non temporalitythroughhistory;inartthereisotherchancetolivethe nontemporality;thatisourdestiny."(...)"Inthefaceofanypiece ofmusicIcan'thaveanyotherpositionthananontemporalone; IhearmuchmusicofalltimesandInoticetheunderlyingissues that come through history, issues that seem to suppress an historictime,butthatwenever(oralmostnever)findinanalyses (...)Monteverdi,Schubert,Mahlerare,forexample,oneofthese issues."453

3. EmmanuelNunesthinksthatanycomposermusthaveastrong needforaesthetic options.Andtheseoptionsarebasedontheconceptsdescribedabove.By these optionshedevelopsorrejectsmaterials,compositionsandideas,andhemakeshis ownchoicesregardingthetechnicalpossibilities.Throughtheseoptionsheseemsto disregardworksbycomposerssuchasJohnAdamsand,apparently,othercomposers of similar postmodern attitude (which have no interest for him, are clearly not includedinhismusicalreferences).But,ashesaidmanytimes,thiswasonlyhis attitudeasacomposer;asateacherintheworkshop,hewantedeveryonetohave theirownoptions.Butwhateverthestyleofthepieceheinsiststhatitshouldbe coherent.

"Aquiloaquesechamahistoricidadeeintemporalidadesoparamimdoisaspectosdamesmacoisa, domesmoacontecer;asdiferenasresultamapenasdavisodoserhumano;eleviveaintemporalidade atravsdahistria;naartenoexisteoutrapossibilidadedeviveraintemporalidade;onossodestino" (...)"perantequalquermsicanopossosenoterumaposiointemporal;ouomuitamsicadetodas aspocaseapercebomedecorrentessubterrneasaolongodahistria,correntesquemeparecem suprimir um tempo histrico, mas que nunca, ou quase, so as que encontramos nas anlises (...) Monteverdi,Schubert,Mahler,porexemplo,soparamimumadessascorrentes". inNunes,Emmanuel (1981).
453

327 These ideas are the basis of Emmanuel Nunes's thought and work: the way he understands the distant and the recent past, and the evolution of today's music; the assumptionofbeinganEuropean,asalinkinachainofalongtraditionwhichembraces Greek philosophy, Gregorian chant, Machaut, Palestrina, Bach, Beethoven, Brahms, Wagner,Schnberg,Messiaen,StockhausenandBoulez;thewayhestudies,hehears,he makesmusicandunderstandsmusic;thewayheseemstorefuseortoacceptonepathor anotherincomposing. Nunes'sattitudetowardshisowneducationisalsointeresting.Heseeshimselfasan autonomous researcher and an experimenter with materials, techniques and ways of expression(evenintermsofsoundstructures),hisexperiencewithelectronicmeans.The analysisofworksbyother(pastorcontemporary)composersisonehismainmethodsof study. Nunes's music is undoubtedly linked with the Darmstadt aesthetics, with serialist techniquesandsoundideals,withBoulezandspeciallywithStockhausen,andtothe rejectionofromanticism,itstechniques,anditsaestheticideals.Butoneofthemost importantfeaturesinEmmanuelNunes'smusicisharmony:harmonybothasastructured basisofpossibilitiesasasubstructureandastherelationshipofdifferentchords and/ordifferentwaysofpresentingthesamechord.

HARMONY Infact,oneofthecharacteristicsofthemusicofEmmanuelNunesisthepleasurehe takesinharmony,inpresenting,repeating,transformingchords,of"stretching"themin timeandspace.ThisisnotableinLitanies,aswellasinalmostallhisotherworks,such asMinnesang(1975/76,12voices454),Nachtmusick(1977/78forinstrumentalensemble) andthealsolongsoloviolapieceEinspielungIII(1981).Thispleasureinharmonyin theuseofaspecificchordissometimesextendedtoapointwherethechordlastsfor

454

Inthispiece,theuseofdifferentplanesinspaceisstronglynoticeable.

328 severalminutesbeforebeingresolvedorchanged.Thisresolutionissomuchdelayedin timethathasnotension:itisjustachangeofambience,thenewchordadevelopmentof thefirstone,notreallyanaudibleconsequence.ThetensionofchordsinEmmanuel Nunesliesinthetensionbetweenthenoteswithinthechord,notinthesituationofthe chordwithinaharmonicprogression;thistensionvarieswhenthepitchesofthechord takedifferentpositions(octaves,registers),orduringitsevolutionintime,withdifferent dynamics, timbres and textures, or when different planes interact with it. The chord changes,developsasanindependententity,anddoingso,createsexpressionwhenitis perceivedandunderstoodbythepublic.Andthisentitythechord,harmonyactsin thecontextofitsevolutionintimeinthestructureofthepiece,andinteractswiththe listener,withtheirpersonalandcollectivehistorythepersonalandcollectivesocio cultural context of the public. Therefore Nunes understands chords also as historic entities(materials),withahistorictension,specificallyintheevolutionof20th century musicandinthepostDarmstadtevolution. Litanies isagoodexampleofthiswayof thinkinginmusic. The way Nunes uses harmony is, in my view, strongly attached to the evolution of Stockhauseninthesixties/seventies.LikeStockhausen,Nunescamefromthestudyof serialismtothepracticeofimprovisation.Thenheseemstohaveunderstoodtheideaof intuitive music as a new possibility that could be integrated in his own way of thinking. In fact Nunes way of using harmony remembers sometimes Stockhausen's Stimmung or Mantra. His intuitive experience unlike Stockhausen's, clearly neglectedinhiscataloguetogetherwiththeexperiencewithelectronics,drovehimto arenewedassumptionofEuropeancultureinitsmoreclassicalforms,toarenewedfaith onstructuredcompositionandtoawidervisionofmusicalprinciples:substructuresand harmony,time,structure,meaning.

329 TIME OneofthemostinterestingcharacteristicsofNunes'sworksisitsstrongcapacityfor beingstaticandyetitsfluidityintermsoftime.Nunes'smusicalexpressionliesinthis dialecticofstillnessandmotion.Thisstillnesscanbeseen: 1. Intherepetitionandvariationofasinglechord,presentingitinvariousformsfor manyminutes. 2. Intherhythm,oftenveryslowand/ordividedinveryslowunits(9secondunitsin LitaniesII). Nonetheless the music has some duration, if only because experienced only though passingtime;oftenthisisenhancedbyNunesthroughtheuseofrapidlychangingmetres whichdeliberatelyavoidrepeatingpatterns. InEmmanuelNunestimeseemstobefreefromtheusualsocial/publiccentred conventions:ittargetsakindof"bliss"thattriestoinvolveeveryoneinthemusic.Butfar fromany"mesmerised"involvementasinminimalrepetitivemusic,EmmanuelNunes's musichasasitsgoal,intelligentlistening,proposesthecomprehensionofthemusical structuresandthehermeneuticofthemusicalwork.Itproposesanaestheticexperience withwideopenedears,eyesandmind,whichthencanleadtofurtherknowledgeand enlightenment. And this enlightenment, in my view, can be seen in a metaphysical, religiouspespective:theKabbala,numerologyandotherhermeticdisciplines/sciences, thepraiseofGod,thesearchforperfectioninthearchitectureofthestructure,allthese seemtoarisefromNunes'smusic.

Conclusion
TheassumptionoftheavantgardeasanaestheticattitudeisclearlyoneofEmmanuel Nunes'smostimportantchoices;butthisislessasanihilisticattitudetowardstradition than as a critical approach to both modernity and tradition. Nunes assumes both

330 structuralabstractandintuitivecontextualthoughtasanecessity,obviously negating (like Boulez) all aesthetically backwards thinking nostalgias 455 or Adorno'shistoric"deposits",formsandmechanicalpatterns456:Nunesrefusestomakean emotionalappealforreconciliationwiththepublic457,unlikepostmoderncomposersof the sixties. But Nunes takes into consideration the inevitable historic comprehension of musical materials: he wants to go further in terms of its use, "criticising"materialsandmakingmusicalcompositiontogofurtherinitsevolution. Nonethelesshisultimateaimistoconceiveaworkthatalsoexistsbeyondmemory,asan objectoutsidetime,thatwillprevailovertime. As can beseeninEmmanuelNunes's life,hiscareerwas notintheConservatorys romantictraditionofcomposition(heneverstudiedthere)butthestudyofBoulezand Stockhausen,andtheevolutions versunemusiqueinformel whichBoulez,Berioand Adornodifferentlyproposedduringthesixties.InfactIthinkthatNunes'smusicisa wonderfulexampleofwhatAdornointendedtobeinformalmusic.Thisqualityarises fromhissearchforthenew(amethodicalexperimentalism),fromthecritiqueoftime andhistoryeveninitsuseofpastmaterials(harmony,series,rhythm),fromthe searchofnewwaysofexpression,fromitsdialecticofrationalityandemotion,andfrom itsrejectionof"easy"(romantic,neoclassic,postmodern,nostalgic)expression. Unlikeothercomposers,EmmanuelNunes'sworkssince1980havekeptfaithwiththe same esthetical and technical principles. His career and position in presentdays European music is undoubtedly a consequence of this coherence even of his intransigence in terms of aesthetic thought and compositional praxis; even his everydaylifeseemstobeinseparablefromhispeculiarwayofbeingandhisresearchin music:hisinitiation.AndthisisanothercharacteristiccommontoStockhausenwhois
Cf.Boulez,Pierre(1986):page446. Cf.Adorno,TheodorW.(1982b):pages294,322and326.ItisinterestingtocomparethewayBerio usedquotations,withBoulezs,CndidoLimasandNunessuseofsimilarmaterialindifferentpieces (materialsofotherpiecesofthesamecomposerusedasabasisforfurthercompositioninotherworks). 457 Anappealforemotionalhearing,onanemotionalcomprehensionofthework.
455 456

331 simultaneouslyhated458andadmiredasacomposerbyNunes:astrongurgeforamusic ofthefuture,fortheinclusionofesotericquestionsandforanhermeticthought. Nunessstrongpersonalityhasattractedsince1980manyyoung(Portugueseandforeign) composerswhomhehasundoubtedlyinfluencedinmanyways.Forhisimpactonthe European music scene, for his career as a composer and as a composition teacher, EmmanuelisperhapsthemostsuccessfulandthemostrecognisedlivingPortuguese composer, a musical and cultural personality of the first rank in Portugal for both admirersanddetractors.

OTHER COMPOSERS
Thisresearchisaboutagenerationofavantgardecomposers(theDarmstadtschool), particularly focusing on Portuguese piano music composed between 1960 and 1980. Thereareothercomposers,notbelongingtothisaestheticgrouporwhohavenotwritten any relevant piano pieces who are neglected. This is the case with the following composers: 1. FilipedeSousa(1927), acomposerandpianist,afriendofJorgePeixinho,he wroteafewworks(notforpiano)duringthisperiod; 2. ConstanaCapdeville(1937/1992),abrilliantwomancomposerwhowrotea fewpianopiecesforchildrenalthoughthisisnotthemaindirectionshechose; 3. LopeseSilva(1937), aguitarplayerintheGMCL,hehaswrittennopiano pieces. 4. lvaroSalazar(1938),initiallyaconductorthenalsoacomposerwithnopieces forpiano459;

Stockhausen refused repeatedly to see Emmanuel Nunes, apparently because of Nunes physical handicap.
458 459

Hiscataloguehasonepieceforpiano,butitwasneverplayedandthescoreislost.

332 5. AntnioVitorinodeAlmeida(1940),apianistandcomposerwhohasalways beenalongwayfromDarmstadtandavantgarde.

Filipe de Sousa
BorninLourenoMarques(nowMaputo,capitalofMozambique)in1927(heisonly3 yearsyoungerthanJolyBragaSantos)hewasoneofthefirstcomposerstobepushedby theavantgardemovement.HecompletedthesuperiorcourseforpianoattheLisbon Conservatory under Joo de Alameda Mota. In the examination he played Bartok's Sonata(theteacherdidn'tknewthepiece),DukasvariationsandStravinsky'ssonata. Thesepieceswere,inthethirtiesandforties,completelyunknown.Heoftenwenttothe concertsof Sonata andbecameafriendofLopesGraa.Hethenbeganapromising careerasapianistofmodernmusic,withfirstperformancesinPortugalofworksby Hindemith,Stravinsky,Schnberg,Bartok,Dukas, Berg,etc.He studiedcomposition under Croner de Vasconcelos and completed a degree in Classical Philology at the UniversityofLisbon. In1954hewenttoGermanywherehebegancompositionandconductingstudiesin Munich (with W. Jacobi 2nd Sonatina), with a scholarship from the Portuguese Government.HisworksareinfluencedbythemusicofbyHindemith,Dukas,Stravinsky andBartok.In1955until1957,hewasattheMusicAcademyinViennawherehestudied conducting (Diploma) with Swarowsky. He completed further conducting studies in masterclassesatHilversum(AlbertWolf).ThepremiereofMarteausansMaitreunder BoulezinViennamadeastrongyetambiguousimpressiononhim.In1958hebegan musicologicalworkonPortugueseancientmusic.Herelatedthatintheendofthefifties heburnedmostofhisoldercompositions,emblematicofanaestheticattitudefacingthe newmusicallanguagesoftheavantgardethathethenbegantomeet.In1960hebegan workinginPortugueseTelevision(RTP)asaproducer.Heproducedprogrammeswith

333 LopesGraa,Stockhausen,Peixinhoandmanyothersandcontinuedacareeraspianist, conductorandmusicologist;hewasalsoinaduowithJorgePeixinho. HismusicuntilthesixtiesisclearlyinfluencedbythestylesofBartokandHindemith.In 1981hecomposedtwovirtuosoandveryexpressivepiecesforsoloviolinMonologue and Kaleidoscope where he uses twelvetone techniques and echo mechanisms, togetherwithaverystrongmasteringofcounterpoint.

Constana Capdeville
Born in Barcelona (Spain) in 1937, Constana Capdeville came to Portugal in her childhoodwhereshestudiedandliveduntilshediedin1992.ShestudiedPianoand CompositionattheConservatoryofLisbonandlaterhadcontactswithJorgePeixinho, Halffter,Stockhausen,Globokarandothers.Ina1964snewgraduatecomposer'srecital attheConservatoryofLisbon,theyoungcomposerConstanaCapdevilleheardsomeof hermusicperformed: Musicforfour (clarinet,oboe, fluteandpiano) VariationsonI. Stravinsky'sname(fororgan),SonataConcertante(fortromboneandpiano).Shewasa teacherattheConservatoryofLisbonandlaterintheMusicologyUniversitycourse;she hadanenormousimpactonherstudentsandpeoplewhoworkedwithher. ApoeticreviewshedidoftheParisContemporarymusicdaysappearedin Colquio Artesin1972460.Thereviewalreadyrevealsaverypersonalinterestintheunderstanding ofthemusicthatshehadheard,andthataffectedherintensely(Stockhausen,Takemitsu, loy,andothers).Herworkwasveryeffective,particularlyhermusictheatre,multimedia pieces and performance, using various means (spoken word, electronics, singing, traditionalandunconventionalinstruments,musicquotations,lights,etc.)toconstruct performancesthatconstantlyastonishedtheaudiencesandherfellowcomposers.

460

Cf.Cadevile,Constana/(1972).

334 As most of the pieces are in manuscript (many badly written), and no major musicologicalworkhasbeendonesinceshediedin1992,ithasbeenverydifficultto assembledataaboutthiscomposer.

Lopes e Silva
BorninPinheirodeLafesin1937,inthecentreofPortugal,hestudiedwithDuarte CostaandFernandaChichorro,lateralsowithEmilioPujol,A.Segovia,I.SvioandS. Bechrend.HehasDiplomasfromtheConservatoryinLisbonandtheAcademyMenotto delPicchiainS.Paulo,Brazil. GuitarprofessorattheConservatoryinLisbonsince1972,healsostudiedcomposition withOsvaldoLacerdaandMrioGirotti,andanalysisandcontemporarymusicwithJ. Peixinho,EmmanuelNunes,LuisdePablo,LigetiandKagel.Heisamemberofthe GMCLsinceitsfoundationin1970. Hissmalloutput,greatlyinfluencedbyPeixinho,LuisdePabloandthemusictheatreof KagelandGlobokar,ischaracterizedbytheexperimentofnewsoundworlds,usingthe guitarandotherinstruments.HismusicwasperformedmainlybytheGMCL. Works: 1969 1972 1973 1974 1975 Song Tension;Studies; Dialog; Fragment; Bialogue;

1977Estoril77; 1978 Integration;Epigone; 1979EpigoneII; 1980Nocturnechants;

335

lvaro Salazar
Comingfromatraditionalandhighlyartisticfamily461,lvaroSalazarsstudentlifewas dividedbetweenhisinterestforartandmusic462 andthe,verycommonuntilrecently, pressure from society to have a normal and well regarded job: medicine, law, engineering,etc.lvaroSalazarchoseboth:hestudiedlawbutalsostudiedoboeand composition at the Lisbon Conservatory as well as theory, privately and informally, (there were no higher studies in musicology 463). lvaro Salazar then decided for a Diplomaticcareer,whichwouldallowhimawellregardedandinterestingcareerwith theabilitytomeetnewpeopleandcomeintocontactwithinterestingartisticmovements. Andhecouldalsoescapefrommilitaryserviceandthecolonialwar.Laterhehadtodo militaryservicebutasanadministratoronmainlandPortugal.Simultaneouslyhebegana promisingcareerasaconductor.In1972heresignedfromthediplomaticcorps(hewas theninBrazil)andbegantoteachattheLisbonConservatory. Fromthisperiodtherearealreadysomeinterestingworks,whichlvaroSalazarkeptin hiscatalogue,revealingapromisingavantgardecomposer.Hehasinhiscatalogueonly onepieceforpianosolowrittenbetween1965/74:itisoneofagroupofpiecesfor variousinstrumentswiththename Palimpsesto (flute,differentensembles,percussion, etc.).Thispiecewasneverplayedinpublicanditsscoreis,althoughtheefforts,lost.464 Between1973and1976hestudiedelectronicmusic,conductingandanalysisinParis, which strengthened his knowledge on contemporary techniques, as a composer, an analystandaconductor. HismusicishighlyinfluencedbythecontactwiththepostDarmstadtgeneration.An admirerofVarse,Schnberg,Webern,Cage,DonatoniandMortonFeldman,ofBoulez
Hismotherwasanaccomplishedpianist. Healsopublishedabookofpoems. 463 HesurelywouldfeelhimselfundereducatedwithonlytheConservatorystudies. 464 PalimpsestoIforpianotheonlyworkforthisinstrumentuntil1993,whichfeatures,accordingtothe composer,techniquesoftheavantgarde.Thescoreofthispieceisapparentlylost.PalimpsestoIIforflute solo,anatonalpiece,usesdifferentavantgardetechniques.
461 462

336 andtheIRCAMproductions,heisalsoananalystspecialisinginthesecondViennese school.Hismusicstaysclosetothesoundworldoftheavantgarde,veryclosetothe AdornianPhilosophyofthenewmusic,butusingnostricttechnique.Hisverysparse catalogueisdue,partiallytoaveryslowandselfcriticalattitudeandtothesearchfora coherency; putting aside any anachronistic backward looking features, as Boulez carefullywrote465.HisclosefriendshipwithJorgePeixinhowasrelevant,basedon a continuous partnership and a constant discussion about politics, composition and aestheticmatters. Hismusic,followingthesoundworldoftheavantgarde,ischaracterisedbyaveryfree useoftwelvetoneandofcounterpointtechniques(differentkindsofmirrors),usinga fewexpressivemeansveryeconomically.Itseemsthatwhenanoteoramusicblockis doubtfulforthecomposer,hechoosessilenceinsteadofanysound.Aspecialplaceis thengiventosilenceareflexiveandveryexpressivemusicalmeansinlvaroSalazar. He also frequently uses nontraditional performance techniques, considering the instrumentasacontinentofmultiplesoundsandresonances.And,insocial/aesthetic terms,heconstantlypushesfurthertheacceptancecapacityofthepublic,forcingittobe awareofaestheticandsocialpreconceptions. After 1976 he began to teach analysis and composition, forming a school (at the Conservatory of Lisbon and in private courses in Oporto ) where almost all the composers, theorists and contemporary music performers of the younger generation foundknowledgeandaplacefordiscussion.Founderanddirectorofthecontemporary music group Oficina Musical in 1978466, he maintains a considerable activity as a conductor (both classical and contemporary repertoire), concert organiser, professor, composer,andasaleadingmemberofthePortugueseMusicCouncil,thePortuguese Authors Society and the International Society for Contemporary Music. With a
Alsohiseclecticprofessionalcareerasaconductor,ateacher,acomposerandasaleadingmemberof differentmusician'sandcomposersinstitutions,doesntallowacompletededicationtocomposition. 466 Theauthorofthisresearch,issince1990,apianistinthisgroup.
465

337 social/politicalleftwingpointofviewandaveryeclecticlife,heisregarded(byall sides)asahighlyintellectualpersonalityinthemusicandartisticmilieuinPortugal.

Antnio Vitorino de Almeida

Apianistandacomposer,AntnioVitorinodeAlmeidaisanexampleofa19thcentury careerinthemiddleofthe20thcentury.Abrilliantpianist,anextravagantcharacter,he livedandstudiedsince1961inVienna(Austria).HestudiedpianowithHansGraffand alsocompositionandconducting.InthefirstofaseriesoftworecitalshedidinLisbon in1966, heplayedonlyhisworks:Sonatina,10Preludes,Fantasy,Sonatan.2,Music Box,InterferedTarantella. Attheend,heaskedthepublicforatheme,someonesaid Malho467;hethenimprovisedoverthisverypopularmelodyandfascinatedthepublic. Hestillgivesmanyconcerts,playinghisownworksandimprovising. Alwaysalongwayfromtheavantgarde,hehasmanydifferentcareers,asapianist (alwaysactiveasasoloistandalsoincabaret),asaconductor,asacomposer,asthe presenteroftelevisionmusicprograms(veryactiveintheseventiesandverypopular among the Portuguese public), as a writer (music and fiction), as a cultural attach (activeinViennaintheseventiesandeighties),andasanactor(intelevisionsitcoms).A very communicative person, his music is particularly close to the romantics (Rachmaninof)andtoBartok,andtolightentertainmentmusic.Itincludeselementsof Portuguesefolkculture,whichisveryappealingtothepublic.Sometimeshealsouses strong Bartok like sections and avantgarde sounds (clusters, mute strings, etc.), especially in his improvisations, but always as anecdotic elements in a language characterizedbyamixtureofromanticmelodies,waltzesandclassicalmelodies. Hecomposedmanysymphonicworks,opera,chambermusic,solopianopieces,songs, andalsocabaretmusic(forhisgroupwiththeAustrianactressErikaPluhar),fados,and evensongsfortheEurovisionsongcontests.But,inmyview,hismostimportantand
467

AverywellknownPortuguesefolkdance.

338 innovativetributeisasapianist,particularlyplayingthetraditionalrepertoireof the classicsandromantics(Chopin,Beethoven,etc.). HeisknowninallPortugalasapianistandaTVpersonality(musicprograms,sitcoms, TVcontexts,etc.):formostpeopleheisthemostimportantPortuguesepersonalityin classicalmusic.

339

THE PORTUGUESE DARMSTADT GENERATION

CONCLUSION

340

Iveneverbeenaserialcomposer.

341

The Research
Totakestockofthepianomusicandthespecificaestheticviewpointsofagenerationof composersinPortugal,inashorttext,isalmostimpossible.Yet,inmyview,thepresent researchisvalidasawhole,withitsglobalapproachandattempttounifythedifferent aspirationsandobjectivesofPortuguesecomposers. Itis,atfirst,anattempttounderstandaperiodoftimeincontemporaryhistory a specificsectorofhistoryconsideringitsidiosyncrasiesandthecontext.And,likein all historical researches, it is an attempt to understand oneself ones heritage, influencesandcontexts,thebasisofourownprejudicesandopinions inorderto understandbetterthepresentandtohelptogainthefuture. Secondly,thisresearchservesasanexcuseforsomeprofoundworkinmusicanalysis, tryingtounderstandthepieces,thecomposers,thestyles,thetimeofcompositionand thepossibilitiesinaperformance.Theanalysislikeallanalysisservesaspecific purpose.Inthisresearchthepurposeistheunderstandingofthepieceshavinginmind theirperformance.Orrathertheperformanceofthepieces:becauseanyperformance isanunderstandingofapiece. Thirdly,itmustbeconsideredanactofaestheticcuriosity,asearchforthefoundations that prepared and explained the huge transformations that a sector of musical composition (perhaps a small but noisy one) experienced in the fifties, sixties and seventies,inEuropeandspecificallyinPortugal. Thisexplainsthedifferentpartsofthisresearchandthedifferentmethodologiesused. Theresultsgomuchfurtherthantoansweroneofthefollowingquestions: IsthereaPortugueseDarmstadtGeneration? IsitpossibletobringtogetheragroupofPortuguesecomposersfromthe sixtiesandseventieswithcommoncharacteristics?

342 Arethereanycommoncharacteristicsintheavantgardepianomusicof thesixtiesandseventies? Is it possible to categorize a Portuguese music of the sixties and seventies?

Theanswersare,mostofthetime,ambiguous.Theresultsofthisresearchharboraview aboutacountryinthelastcentury,aboutmodernmusicinthatcountry,aboutagroupof composersandtheirmorerevealingpianopieces.Itisalsoaviewofmodernityandthe avantgarde,andaboutitsmeaningforthepresentday.Anditisalsoanexperimentin musicalinterpretaion:analysis,hermeneutics,andperformance.

The Composers and their Music

A GENERATION ThePortugueseDarmstadtgenerationis,infact,agroupofcomposersanimatedbythe thrill of the avantgarde, represented in this text by the Darmstadt courses and its idiosyncrasies.IfnotallofthecomposerswenttoDarmstadt,allofthemstudiedwithor followedtheirmoredemonstrativecomposers.WiththeexceptionofAntnioVitorinode Almeida. All of them with no exception were concerned with aesthetic and technicalprinciples,althoughnoneofthemadmittedtobeserialists:Iveneverbeena serialcomposerisaconstantanswertothesimplereferencetoDarmstadtanditsmost prominent protagonists: Boulez, Stockhausen, Maderna, Nono, Pousseur, Berio and Cage.Butmanyofthem,perhapsevenall,usedtwelvetoneandsocalled paraserial techniques.Thesoundworldofserialism(pointillism?)influencedtheirworkandmany of them used one time or another random techniques, electroacoustic means, or exploitednewsoundsontraditionalinstruments.Andtheywereallborninthespaceof 15years,between1926and1941. IhavetriedtodemonstratethattherewasaDarmstadtschool,orsomethingverycloseto aschoolofcompositionandthought,involvingcomposerssuchasBoulez,Stockhausen,

343 Maderna,Nono,andmanyothersinthefifties.AndIbelievetherewassomethingalike inPortugalinthesixtiesandseventies:perhapsnotaschool,asonlyafewmaintained, followedandtaught(atleastforasmallperiodoftime)theprinciplesofDarmstadt,buta PortugueseDarmstadtGeneration.

THE DIFFERENCES T HE A VANT - GARDE T R ADITIO N Among the composers of this Darmstadt generation, Emmanuel Nunes, Armando Santiago and lvaro Santiago are, I believe, most actively renewing the avantgarde tradition,keepingtheaestheticandsocial/ethicoptionsthatwerebasictoDamstadtand intheunformedmusicofAdornointheearlysixties.Theyrefusetoallowthesurvival ofpast(modal/tonal)substructures,theydontcareaboutakindofmusicthatiseasierto listentoandtounderstand:theymakemusicforfuturelisteners468.Theircompositionsin recentyearsconfirmthisview.

F ROM A VANT - GARDE

TO

I N TU ITIV E

AN D

S ELF A FFIRMATION

AsecondgroupofcomposersisformedofJorgePeixinho,ClotildeRosa,LopeseSilva andConstanaCapdeville,followingatfirst,Stockhausenspathinthesixties.Butthese composers are in fact very diverse and went in different directions, despite they maintained a close friendship. Clotilde Rosa said that her early compositions were profoundlyinfluencedbytraditionaloperaandharmony,andbytraditionalmusicfor harp,combiningthemwithavantgardetechniquesandacontemporaryspirit,makinga veryexpressiveandalwaysexperimentalmusic.Asanexample,inherpieceVariantsII from1982forsolopiano,sheusesclustersasiftheywerechords,accompanyingavery expressivealmostoperalikemelody,butplayedpizzicatointhestrings.

468

Orevenforextraterrestriallisteners,asStockhausenexplained.Cf.Stockhausen,K.e.a.(1997).

344 Constana Capdeville who died in 1992, was perhaps influenced by structuralism in linguistics.Shewasveryinterestedinthemixtureofdifferentmeanings469 ofdifferent arts,ofdifferentmusicsfromdiversebackgrounds(popular,folk,FarEast,electronics, improvisation, Collage),creatingperformancesofgreatbeauty,alwaysstimulatingand intriguing. JorgePeixinhodiedin1995,andwasperhapsmoreaudacious.Heunderwentapaththat was very close to postmodernism a postmodernism that kept the social (also Adornian)motivationoftheavantgarde.Hequoted,heimprovised,heconstructed,he repeated, he used harmonical sequences close to the romantics side by side with pointillistgroups;herepeatedliketheminimalists,butneverusingrepetitiveminimalism asagoal.HefreelyacceptedinfluencesfromtheavantgardeandalsofromDebussyand Wagner, creating a very personal and unmistakable style, full of expression, musical gesturesaconstantinPeixinhoandofsurprise:itseemsthatsurprisingthepublic wasasocial/ethicpurposethatheneverleftbehind.

B ETWEEN T R ADITIO N

AND

A VANT - GARDE

Twoverydifferentcomposersseemtobecaughtinbetweenthetwosoundworldsofthe neoclassicaltraditionandtheavantgarde.MariadeLurdesMartins,atfirstsuspicious of those newmusicalideasthatsheheardinDarmstadt,wasthenenchantedby the immensepossibilities.Yethermusic,althoughrichinsoundresourcesandharmonies, seems to be captive of the simpler rhythms and structures of the past. Her lifelong interestforOrffSchullwerkis,inmyview,alwayspresent. IfMariadeLurdesMartinsclearlyneverrenegesonthepasttradition,CndidoLimais theopposite,alwaystryingtoescapefromthatpast.Buthestaysattachedtoastyleof harmonythat,ultimately,isbasedontheneoclassictradition.Whenhetransformsithe changesthirdsintoseconds,octavesintoseventhsorninths,consonanceintodissonance
469

Andinthedeconstructionunderstandingofsymbolicelements.

345 defininganewparadigm.Whenheexploitstraditionalharmony,hecreatesnewchords thatareafusionofdifferenttriads(i.e.inasecondinterval).Theintentistofightagainst substructures,sounds, structures, rhythms,texturesandtimbres thatlookbackto the romantic and neoclassic tradition, achieving large and continuous organ like soundmasses.But,mostofthetime,improvisationprevails,evenifwrittenandcarefully composed. Anotherremarkablefactorseemstounitethesecomposers:theirinterestineducation. Maria de Lurdes Martins is very close to Orff Schulwerk and arts/education (poli aesthetics),sheisespeciallydedicatedtoyoungchildren.ForCndidoLima,aprofessor and a philosopher concerned with the knowledge of wholeness, education is a paradigmofselfdevelopmentandofcommunicationwithothers.

F ROM T RAD ITION

TO

A VANT - GARDE ,

AND

F URTHER B ACKWARD -L OO KIN G 470

FilipePiresandlvaroCassutobothexperimentedwithnew techniques intheearly sixties,latertheyfolloweddifferentpaths,closertotheneoclassicaltradition(Cassuto), ortoacompromisebetweenthenewlydiscoveredsoundworldsandtheirpersonalneed foramoreexpressiveandfreermusic,closertopublictastes.Therefore,theycanbe placedunderthelargeumbrellaofpostmodernism.Bothcomposersarealsoverykeen onacademiccompositionalmatters,particularlyintheuseofthelargeromanticorchestra atfullstrengthasamusicalinstrument.

A WAY

FRO M THE

A VANT - GARDE

Antnio Vitorino de Almeida is clearly apart from this avantgarde movement, continuingtheclassicandromantictraditions,attimesusing,especiallyduringhispiano improvisations, gestures (clusters successions, pointillistlike sound groups) that are informedbytheavantgarde.Buttheyaresimplyakindofdisruptioninastyle(asthe

470

ReferenceofastatementofBoulez.Cf.Boulez(1986):pag.447.

346 martelato sectionsclosetoBartokssimilarpassages)thatultimatelyremainscloseto Kurt Weill, Janacek, or to entertainment music, often including (ironically or not) dances,particularlywaltzes,aconstantfetishinhismusic.

PORTUGUESE MUSIC? Lookingatthesedifferences,itcanbeconcludedthatthereisntaPortugueseMusicas such, meaning there are no common characteristics among these composers (or the majorityofthem)thatdefinestheirmusicasspecific,geographicallyorethnically.There are,however,somecommoncharacteristics,besidesobvioushistoricaltraits. Thereisacommoninterestinharmony.WiththeexceptionofArmandoSantiagoand,to acertainextent,EmmanuelNunes,themajorityofthecomposersuseharmonyinavery traditionalway,asabasisfortheexpressivemovementoftheirmusic.Andexpression sometimes a very emotional expression, not an intellectual one is another characteristic. Perhaps these characteristics reveal the Portuguese (Mediterranean? melancholic?) side, less visible in the more cosmopolitan Emmanuel Nunes and ArmandoSantiago. InrelationtotheuseofspecificPortuguesematerialincomposition,justafewpieces quotePortuguesefolklore.Eventhetextsusedinmusicfortheatre,songs,etc.arenot specificallynational:thereareasmanyPortugueseasforeignauthors(Mricke,Llorca, etc.). ButlikeLopesGraa,wecanseeaconceptofPortugueseMusicindifferentterms. Themovementthatbeganinthesixtieswiththisgenerationofcomposers(mostofthem stillactive),togetherwitholderoneslikeJolyBragaSantosandLopesGraa,started perhapsamovementthateventually,insomeyears,willbeunderstoodasPortuguese Music.PerhapsthiswasthebeginningofaPortuguesestyle,but,mostimportantly,it wasastrongattempttoformacommunityinteractinginternally,thatdistinguishesitself asagroupandthatexpandsassimilatingnewcomposers,evenforeigncomposersliving

347 andworkinginPortugal.Perhapsnow,morethanfortyyearsafter1960,wecanbeginto addressthepossibilityofaPortuguesemusic.

T HE S IX TIES , S EV EN TIES

AND TH E NEWER GENER ATIONS

Evaluatingthemusicalscenefromthesixtiesthroughtothenineties,itiscurioustonote thetremendoustransformationsthatthesocietyandmusicunderwentinthosefirsttwo decades. Yet, these transformations didnt continue in the next decades as had been assumed,asanevolutionorastheresultofthenewfreedomsfoughtforinthe1974 Revolution. TheGulbenkianFoundation,clearlythemostimportantsponsorofcontemporarymusic afterthelatefifties,absorbedalmostallcontemporarymusicinitself.Theotherprivate andstateinstitutions,withouttheeconomicpowerandtheabilitytocompetewiththe GulbenkianFoundation(andembarrassedbyit),reducedasfaraspossibletheirinterest inthisfield.Theresultwas,inmyview,adependenceontheGulbenkian,onitspolicy andevenonitsaestheticoptions.And thisdependence didntservethe evolution in musical development that was happening in the sixties and seventies, with its many differentpaths.TheGulbenkiancreatedakindofaddictiontoitsproductioncapacity, (admittedlyofahighquality)andtoitsgenerousfunding,butitlimitedtheopportunities andtheexperienceincontemporarymusicbyotherinstitutions:itlimitedtheaesthetic options. Therefore, Portugal was poor in contemporary music (creation and performance), some composers didnt fulfill entirely their creative capacities, others preferredtoliveelsewhere,ortoconcentratethemselvesonothermusiccareers;many remained hostages to a (possible) annual commission for Contemporary Music Encounters. But other factors were also relevant. The revolution, in my opinion471, had no clear constructiveeffectoncontemporarymusicandmusiceducation.Intheeighties,when
Althoughitsdeterminantimportanceinthestruggleagainstthedictatorshipandintheculturaland socialdevelopment.
471

348 theculturalimpetuousofthefirstyearsoftheRevolutionbegantofadeandtheeconomic regressionbecameworse,music,muchneglectedbyallstateinstitutions,wasputaside: itisdifficulttofindintheeightiesandninetiesayearsoactiveincontemporarymusic as,forexample,1964.AndthepremieresofPortuguesemusicwereconcentratedatthe Gulbenkian ContemporaryMusicEncounters.TheeffortsofthemusicgroupsGMCL (directedbyJorgePeixinho),OficinaMusical(directedbylvaroSalazar),andMusica Viva(directedbyCndidoLima472),thesetwolastgroupsalsoactiveproducingconcerts andothermusicevents,were,inmyview,notenough. Manyofthecomposersstudiedinthisresearchhavebeen,sincetheseventies,stillactive ascompositionprofessorsatdifferentinstitutions.Theirstudentsoftheeighties(born after 1945) are already active as composers and as teachers, forming a new and prosperousmovementofPortuguesecomposition,enlargedexponentiallybytheirown students of a younger new generation: Paulo Brando473, Antnio Pinho Vargas474, Amilcar Vasques Dias475, Joo Pedro Oliveira476, Antnio Sousa Dias477, Eurico Carrapatoso478,JooRafael479,FernandoLapa480 andtheyoungerAlexandreDelgado481, SrgioAzevedo482,CarlosCaires483,LuisTinoco484,JooMadureira,PedroAmaral485, SuzanaCarvalho486andmanyothers.

472 473 474

Verypersonal,centredonthepersonalityofthedirector/composer.

StudentofJorgePeixinho. StudentoflvaroSalazar. 475 StudentofCndidoLima. 476 StudentofEmmanuelNunes. 477 StudentofConstanaCapdevile. 478 StudentofJorgePeixinho. 479 StudentofEmmanuelNunes. 480 StudentofJorgePeixinho. 481 StudentofJolyBragaSantos. 482 StudentofLopesGraa. 483 StudentofAntonioPinhoVargasandEmmanuelNunes. 484 StudentofAntonioPinhoVargas. 485 StudentofEmmanuelNunes. 486 StudentofJooPedroOliveira.

349 Thenextdecadeswillhopefullyseeanexcitingandcontinuouscreativemovementin contemporarymusic,similartothatofthe17thcentury,thatbeganwiththisDarmstadt generationandintheirworkafter1960.

Sheffield,10/14/2008.FranciscoMonteiro

350

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Periodicals
Arte Musical, Lisboa, Juventude Musical Portuguesa 1943 March 25; May/June 1958, n.2; 1958, n.3; August 1959 n. 5/6; 1960, n. 9; 1960, n. 11/12; October 1961 n. 13/14; 1961, n. 15; July 1964, n. 23; 1967, n. 25/26; n. 1, October 1995, IV serie, Vol. I; n. 2, January 1996, IV series, Vol. I; n. 3,April 1996, IV series, Vol. I; n. 4, July 1996 IV series, Vol. I; n. 5, October 1996, IV serie, Vol. I; n. 6, January/April 1997, IV serie, vol. II; n. 8/9, July/October 1997, IV

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serie, Vol. II; n. 10/11, January/March and April/June 1998, IV series, Vol. III; n. 14, January/April 1999, IV serie, Vol. IV. Colquio Artes e Letras, Lisboa, Fundao Calouste Gulbenkian n. 1, 1959; n. 3, 1959; n. 10, 1960; n.12, 1961; n. 14, 1961; n. 17, 1962; n. 19, 1962; n. 24, 1963; n. 25, 1963; n. 28, 1964; n. 30, 1964; n. 33, 1965; n. 36, 1965; n. 40, 1966; n. 41, 1966; n. 43, 1967; n. 45, 1967; n. 47, 1968; n. 50, 1968; n. 52, 1969; n. 54, 1969; n. 55, 1969; n. 60, 1970; n. 61, 1970. Colquio Artes, Lisboa, Fundao Calouste Gulbenkian n. 1, 1971; n. 2, 1971; n. 3, 1971; n. 4, 1971; n. 5, 1971; n. 6, 1972; n. 7, 1972; n. 26, 1976; n. 27, 1976; n. 28, 1976; n. 31, 1977; n. 33, 1977; n. 34, 1977; n. 36, 1978; n. 38, 1978; n. 39, 1979; n. 41, 1979. Comercio do Porto, Porto April 7 1965. Dirio de Notcias, Lisboa June 20 1961; May 1 1962; May 5 1964; November 7 1964; November 9 1964; December 18 1964; January 1 1966; March 14 1968; May 3 1968; December 17 1972. Dirio Popular, Lisboa April 28 1943 Gazeta Musical, Lisboa, Academia de Amadores de Msica 1997, ano XXV, 5 srie, n. 1. Jornal de Notcias, Porto April 9 1965.

SCORES
Cassuto, lvaro (1959) Sonatina per pianoforte Manuscript. Freitas Branco, Luis (s.d.) A Ideia Manuscript. Lima, Cndido (1963 a) Interludio I Manuscript. Lima, Cndido (1963 b) Interludio II Manuscript. Lima, Cndido (1963 c) Tocata Manuscript. Lima, Cndido (1963 d) Burlesca Manuscript. Lima, Cndido (1964 a) Jogo-Dana Manuscript. Lima, Cndido (1964 b) Melodia Manuscript. Lima, Cndido (1964 c) Ostinato Manuscript. Lima, Cndido (1964 d) Ostinato Manuscript. Lima, Cndido (1964 e) Ostinato Manuscript. Lima, Cndido (1964 f) Scherzando Manuscript. Lima, Cndido (1964 g) Cano-coral Manuscript. Lima, Cndido (1965) Hino Manuscript. Lima, Cndido (1967) Pequeno Nocturno Manuscript. Lima, Cndido (1968) Fuga Manuscript. Lima, Cndido (1974) Meteoritos Manuscript. Lima, Cndido (1980) Iliam Manuscript.

359
Martins, Maria de Lurdes (1947) Sonatina n. 1 Manuscript. Martins, Maria de Lurdes (1950) Grotesca Manuscript. Martins, Maria de Lurdes (1957) Sonatina n. 2 Manuscript. Martins, Maria de Lurdes (1960) Trs Valsas Manuscript. Martins, Maria de Lurdes (1970) Sonorit per un pianista Manuscript. Martins, Maria de Lurdes (1976) Tocatina Manuscript. Martins, Maria de Lurdes (1981) Catch Manuscript. Nunes, Emmanuel (1978) Litanies du Feu et de La mer, Paris Jobert. Peixinho, Jorge (1959) Cinco Pequenas Peas Manuscript. Peixinho, Jorge (1961) Sucesses Simtricas Manuscript. Peixinho, Jorge (1967) Harmnicos Manuscript Peixinho, Jorge (1967 b) Collages Manuscript Peixinho, Jorge (1969) Estudo I, Mmoire dune prsence absente Manuscript. Peixinho, Jorge (1972) Estudo II, sobre As Quatro Estaes Manuscript. Peixinho, Jorge (1976) Estudo III , em si bemol maior Manuscript. Peixinho, Jorge (1978) Lov II Manuscript. Peixinho, Jorge (2000) Cinco Pequenas Peas, Sucesses Simtricas, Estufdo I, Estudo II, Estudo III, piano, revision of Francisco Monteiro, Lisboa, Musicateca. Pires, Filipe (1952) 3 Bagatellas Manuscript. Pires, Filipe (1960) Trio per Pianoforte, violino e violoncello, Milano, Edizione Curzi. Pires, Filipe (1969) Figuraes 3 Manuscript. Pires, Filipe (1976) Figurazione II, Milano, Ed. Curzi. Pires, Filipe (1977) Cantiga Variada Manuscript. Pires, Filipe (1989) Sonata para piano (1954), Mainz, Are Musik. Pires, Filipe (1998) Partita (1953), Madrid, Arte Tripharia. Rosa, Clotilde (1979) Jogo Projectado Manuscript. Santiago, Armando (1968) Sonata 1968 Manuscript.

360

361 INTRODUCTION.............................................................................................................9 CHAPTER I.....................................................................................................................11 THE PORTUGUESE DARMSTADT GENERATION................................................11 PORTUGAL AND MODERNITY IN THE 20TH CENTURY ........................11 The Estado Novo.........................................................................................................13 POLITICAL AND ECONOMIC EVOLUTION FROM 1926 ...................................13 CULTURE IN THE ESTADO NOVO TILL 1960......................................................17 ART AND MUSIC IN THE ESTADO NOVO TILL 1960..........................................19 Modernity and the question of a Portuguese Music .............................................22 Luis de Freitas Branco (1890-1955).................................................................23 The older generation and tradition....................................................................23 Luis Costa (1879-1960) ...............................................................................24 Ruy Coelho (1889-1986)..............................................................................24 Ivo Cruz (1901-1989)....................................................................................24 Frederico de Freitas (1902-1980)..................................................................25 Armando Jos Fernandes (1906-1983) and Croner de Vasconcelos (19101974).............................................................................................................25 New music in Portugal from 1940 to 1960.......................................................26 Lopes-Graa (1906-1994) and the "Sonata".................................................27 Other Modern Composers in the Fifties........................................................31 Claudio Carneyro (1895-1963).................................................................31 Manuel Faria (1916-1983)........................................................................32 Vtor Macedo Pinto (1917-1964)..............................................................33 Fernando Correia de Oliveira (1921)........................................................33 Joly Braga Santos (1924-1988).................................................................34 Some Events..................................................................................................34 Composition in Portugal till 1960 an Evaluation.............................................35 New Music, Darmstadt and the Avant-garde ..........................................................38 AN AESTHETIC AND HISTORIC PERSPECTIVE..................................................38 The end of tonality................................................................................................39 A........................................................................................................................39 B........................................................................................................................39 C........................................................................................................................40 Modernity, The New and the Avant-garde.....................................................41 Adorno and the new music................................................................................43 Twelve-tone music and the series.........................................................................46 Experimenting.......................................................................................................49 From Determinism to electronics..........................................................................50 Electronic music................................................................................................51 Determinism and Aleatoric Music....................................................................52

362 DARMSTADT - AN INTRODUCTION.....................................................................53 The Darmstadt School.......................................................................................57 Portugal after 1960......................................................................................................59 THE POLITICAL SITUATION.................................................................................60 The Fight for Democracy......................................................................................60 The economic and social changes.........................................................................62 Marcello Caetano and the expected reforms.........................................................63 1974 The revolution.........................................................................................64 CULTURAL LIFE - ART...........................................................................................66 A NEW GENERATION AND THE NEW MUSIC THE PORTUGUESE AVANTGARDE.....................................................................................................................69 Introduction...........................................................................................................69 The Reception of the Avant-garde ........................................................................70 Till 1958............................................................................................................70 Year: 1958 and 1959.........................................................................................72 Traditional, Modern and Avant-garde Performances....................................72 Portuguese Musicians and Composers..........................................................73 Works composed in this year by Portuguese avant-garde composers...........74 Year: 1960.........................................................................................................75 Traditional, Modern and Avant-garde Performances....................................75 Portuguese Composers and Musicians..........................................................76 Contemporary Composers Performed in Lisbon..........................................77 Works composed in this year by Portuguese avant-garde composers...........77 Year: 1961.........................................................................................................77 Traditional, Modern and Avant-garde Performances....................................78 Portuguese Composers and Musicians..........................................................79 Twentisth-century and Contemporary Composers Performed in Lisbon......82 Works composed in this year by Portuguese avant-garde composers...........82 Year: 1962.........................................................................................................83 Traditional, Modern and Avant-garde Performances....................................83 Portuguese Composers and Musicians..........................................................83 Twentieth-century and Contemporary Composers Performed in Lisbon.....85 Works composed in this year by Portuguese avant-garde composers...........85 Year: 1963.........................................................................................................86 Traditional, Modern and Avant-garde Performances....................................86 Portuguese Composers and Musicians..........................................................87 Twentieth-century and Contemporary Composers Performed in Lisbon.....87 Works composed in this year by Portuguese avant-garde composers...........88 Year: 1964.........................................................................................................88 Traditional, Modern and Avant-garde Performances....................................88 Portuguese Composers and Musicians..........................................................90 Twentieth-century and Contemporary Composers Performed in Lisbon.....92 Works composed in this year by Portuguese avant-garde composers...........92 Year: 1965.........................................................................................................93 Traditional, Modern and Avant-garde Performances....................................93 Portuguese Composers and Musicians..........................................................96 Twentieth-century and Contemporary Composers Performed in Lisbon.....97

363 Works composed in this year by Portuguese avant-garde composers...........97 Year: 1966.........................................................................................................97 Traditional, Modern and Avant-garde Performances....................................97 Portuguese Composers and Musicians..........................................................99 Twentieth-century and Contemporary Composers Performed in Lisbon.....99 Works composed in this year by Portuguese avant-garde composers.........100 Year: 1967.......................................................................................................100 Traditional, Modern and Avant-garde Performances..................................100 Portuguese Composers and Musicians........................................................102 Twentieth-century and Contemporary Composers Performed in Lisbon. . .102 Works composed in this year by Portuguese avant-garde composers.........103 Year: 1968.......................................................................................................103 Traditional, Modern and Avant-garde Performances..................................103 Portuguese Composers and Musicians........................................................105 Twentieth-century and Contemporary Composers Performed in Lisbon. . .105 Works composed in this year by Portuguese avant-garde composers.........106 Music in Portugal between 1958 and 1968: an overview...................................106 The Opera........................................................................................................107 The Orchestras................................................................................................107 The Calouste Gulbenkian Foundation ........................................................108 The Musicians.................................................................................................109 Pop and Entertainment Music.........................................................................110 Performances and the Public.......................................................................111 The Composers............................................................................................112 Portuguese Avant-garde music........................................................................113 Contemporary music after1968...........................................................................119 From 1969 to 1974..........................................................................................119 The Gulbenkian Foundation........................................................................119 1969/74 Contemporary music-Making and Portuguese Composers......122 1974 and the years after the Revolution..........................................................125 Contemporary Music Meetings of the Gulbenkian Foundation (1977-1979) .....................................................................................................................129 CHAPTER II.................................................................................................................133 THE PORTUGUESE DARMSTADT GENERATION.............................................133 THE WORKS .....................................................................................................133 LVARO LEON CASSUTO........................................................................................135 Sonatina per pianoforte............................................................................................135 Analysis - Methodology:...........................................................................................135 INTRODUCTION...................................................................................................135 PLAN......................................................................................................................135 Analysis:.....................................................................................................................136 STRICT MUSICAL APPROACH:...........................................................................136

364 Basic substructure ..............................................................................................136 Structure of the piece..........................................................................................137 First part: Introduction....................................................................................137 Second part: Prelude ......................................................................................137 Third part: Sonatina........................................................................................137 Some Harmonic Details .....................................................................................139 HERMENEUTIC PERSPECTIVE:.........................................................................140 Conclusion .........................................................................................................141 Relation to others works.....................................................................................142 JORGE PEIXINHO .....................................................................................................143 Cinco Pequenas Peas para Piano...........................................................................143 Analysis - Methodology:...........................................................................................143 INTRODUCTION...................................................................................................143 PLAN......................................................................................................................144 Analysis:.....................................................................................................................144 FIRST PIECE..........................................................................................................144 The series............................................................................................................144 The motif and its development: the structure......................................................145 SECOND PIECE....................................................................................................147 The series............................................................................................................147 The motif - the melody and the harmony............................................................147 The structure.......................................................................................................149 THIRD PIECE........................................................................................................149 The series............................................................................................................149 The Rhythm and Dynamics.................................................................................150 The Harmony......................................................................................................151 The structure.......................................................................................................151 FOURTH PIECE....................................................................................................152 The Motifs...........................................................................................................152 The structure.......................................................................................................153 FIFTH PIECE.........................................................................................................153 The Series............................................................................................................153 The Harmony / cells............................................................................................154 The Structure ......................................................................................................155 COMPARISON OF THE PIECES / HERMENEUTIC APPROACH......................156 JORGE PEIXINHO......................................................................................................159 MMOIRE DUNE PRSENCE ABSENTE.........................................................159 Analysis - Methodology:...........................................................................................159

365 INTRODUCTION...................................................................................................159 PLAN......................................................................................................................159 Analysis:.....................................................................................................................160 STRICT MUSICAL APPROACH:...........................................................................160 Basic Substructure...............................................................................................160 Motives, Cells, etc...............................................................................................161 Formal Structure.................................................................................................162 THE MOTION AND ITS CHARACTER.................................................................163 STYLISTIC AND HERMENEUTIC APPROACH...................................................164 FILIPE PIRES...............................................................................................................170 Figuraes II .............................................................................................................170 Analysis - Methodology:...........................................................................................170 PLAN OF ANALYSIS..............................................................................................171 Analysis......................................................................................................................171 ANALYSIS BY SECTION........................................................................................171 The Series............................................................................................................171 Section 1..............................................................................................................172 Section 2..............................................................................................................173 Section 3..............................................................................................................173 Section 4..............................................................................................................173 Section 5..............................................................................................................173 Section 6..............................................................................................................174 Section 7 .............................................................................................................174 Section 8..............................................................................................................174 Section 9..............................................................................................................175 Section 10............................................................................................................175 Section 11............................................................................................................175 Section 12............................................................................................................175 Section 13............................................................................................................175 THE DIFFERENCES AND SIMILARITIES BETWEEN THE SECTIONS............175 HERMENEUTIC APPROACH...............................................................................177 MARIA DE LURDES MARTINS...............................................................................179 Sonorit per un pianista...........................................................................................179 Analysis - Methodology:...........................................................................................179 PLAN OF ANALYSIS..............................................................................................179 Analysis:.....................................................................................................................180 MELODIES, MOTIVES, CELLS............................................................................180

366 Section 1..............................................................................................................180 Section 2..............................................................................................................180 Section 3..............................................................................................................181 Section 4..............................................................................................................182 STRUCTURAL AND HERMENEUTIC APPROACH.............................................182 EMMANUEL NUNES..................................................................................................185 Litanies du Feu et de la Mer II................................................................................185 Analysis - Methodology:...........................................................................................185 INTRODUCTION...................................................................................................185 PLAN......................................................................................................................186 Analysis .....................................................................................................................187 STRICT MUSICAL APPROACH............................................................................187 Basic Tonal Substructure.....................................................................................187 Harmonic Structure and Evolution.....................................................................187 A......................................................................................................................188 B......................................................................................................................189 C......................................................................................................................191 D......................................................................................................................192 E......................................................................................................................194 Material Organization ........................................................................................195 Variation I Harmonic section A..................................................................195 Variation II Section B.................................................................................197 Variation III Section C...............................................................................200 Variation IV Sections D and E....................................................................201 Rhythm and Motion............................................................................................202 WORKSHOP WITH EMMANUEL NUNES............................................................207 STYLISTIC AND HERMENEUTIC APPROACH...................................................210 Litanies................................................................................................................210 The Fire and the Sea............................................................................................211 SOME FORMAL REMARKS..................................................................................213 The Notes............................................................................................................213 Time, Proportions and Hermetic thought............................................................215 A PERFORMANCE PROPOSAL...........................................................................216 CNDIDO LIMA..........................................................................................................219 Meteoritos .................................................................................................................219 (from Oceanos for orchestra)...................................................................................219 Analysis - Methodology............................................................................................219 INTRODUCTION...................................................................................................219

367 PLAN......................................................................................................................220 Analysis......................................................................................................................220 STRICT MUSICAL APPROACH:...........................................................................220 Alfa......................................................................................................................220 Beta.....................................................................................................................221 Gama...................................................................................................................222 Delta....................................................................................................................222 Epsilone...............................................................................................................224 Zeta......................................................................................................................224 Eta.......................................................................................................................224 Teta......................................................................................................................225 CONCLUSION.......................................................................................................226 A HERMENEUTIC PERSPECTIVE.......................................................................226 FILIPE PIRES...............................................................................................................229 Cantiga Variada ........................................................................................................229 Analysis - Methodology:...........................................................................................229 PLAN OF ANALYSIS..............................................................................................229 Analysis......................................................................................................................230 THE THEME..........................................................................................................230 THE PIECE............................................................................................................232 The Ways Filipe Pires uses the theme.................................................................232 The structure of the piece....................................................................................233 Section 1..........................................................................................................233 Section 2..........................................................................................................233 Section 3..........................................................................................................234 Section 4 and ending.......................................................................................235 Hermeneutic approach........................................................................................237 CLOTILDE ROSA.......................................................................................................239 Jogo Projectado ........................................................................................................239 Analysis - Methodology:...........................................................................................240 PLAN......................................................................................................................240 Analysis .....................................................................................................................241 CORRESPONDENCE BETWEEN VERSES AND MUSICAL MATERIAL............241 SUBSTRUCTURES ................................................................................................242 SECTIONS .............................................................................................................243 Section 1 .............................................................................................................243

368 Section 2 .............................................................................................................243 Section 3..............................................................................................................244 Section 4..............................................................................................................244 Section 5..............................................................................................................244 Section 6..............................................................................................................244 Section 7..............................................................................................................244 Section 8..............................................................................................................244 Section 9..............................................................................................................244 Section 10............................................................................................................245 Section 11............................................................................................................245 Section 12............................................................................................................245 Section 13............................................................................................................245 COMPARISON OF THE SECTIONS STRUCTURE..........................................246 ANALYSIS OF THE POEM ...................................................................................247 CONTACTS WITH MARTA ARAJO AND CLOTILDE ROSA.............................251 HERMENEUTIC OF THE PIECE.........................................................................252 CNDIDO LIMA..........................................................................................................255 ILIAM........................................................................................................................255 Analysis - Methodology:...........................................................................................255 PLAN OF ANALYSIS..............................................................................................256 Analysis......................................................................................................................257 DIVISION OF THE PIECE....................................................................................257 Section 1 (bars 1 to 10).......................................................................................257 Section 2 (11 to 22).............................................................................................258 Section 3 (23 to 34).............................................................................................258 Section 4 (35 to 41).............................................................................................259 Section 5 (42 to 61).............................................................................................260 Section 6 (62 to 87).............................................................................................260 Section 7 (88 to 99).............................................................................................261 Section 8 (100 to 115).........................................................................................262 Section 9 (116 to 132).........................................................................................264 Section 10 (133 to 143).......................................................................................264 EVOLUTION OF THE PIECE FORM..............................................................265 HERMENEUTIC APPROACH...............................................................................266 CHAPTER III...............................................................................................................269 THE PORTUGUESE DARMSTADT GENERATION.............................................269 THE COMPOSERS ...........................................................................................269 "I CONSIDER MY LIFE AS A COMPOSER AS AN INITIATING PATH".........270

369 MARIA DE LURDES MARTINS...............................................................................271 CLOTILDE ROSA.......................................................................................................276 Her Life......................................................................................................................276 Her Music...................................................................................................................279 ARMANDO SANTIAGO.............................................................................................282 Biography...................................................................................................................282 His works a brief review........................................................................................282 An Appreciation........................................................................................................284 FILIPE PIRES...............................................................................................................286 His Life.......................................................................................................................286 Piano Music...............................................................................................................288 UNTIL 1960 MODERN INFLUENCES.............................................................288 THE PERIOD AFTER 1960 FROM NEO-CLASSICAL TO AVANT-GARDE, AND BACK.............................................................................................................289 Filipe Pires direction: and overview........................................................................290 CNDIDO LIMA..........................................................................................................294 Introduction...............................................................................................................294 Important biographical points.................................................................................294 Characteristics of his music and thought................................................................296 Piano music................................................................................................................298 METEORITES........................................................................................................301 ILIAM......................................................................................................................302 Conclusion..................................................................................................................303 LVARO CASSUTO....................................................................................................305 Biography...................................................................................................................305 Personality and Music..............................................................................................306 JORGE PEIXINHO .....................................................................................................311 His life and ideas........................................................................................................311

370 Piano pieces ...............................................................................................................314 Aesthetic perpectives.................................................................................................318 PERSONALITY.......................................................................................................318 PEIXINHO AND STOCKHAUSEN........................................................................318 Conclusion..................................................................................................................320 A PERSONAL PATH...............................................................................................320 HIS INFLUENCE ON CONTEMPORARY MUSIC ..............................................322 EMMANUEL NUNES..................................................................................................324 The thought................................................................................................................324 HARMONY.............................................................................................................327 TIME.......................................................................................................................329 Conclusion..................................................................................................................329 OTHER COMPOSERS................................................................................................331 Filipe de Sousa ..........................................................................................................332 Constana Capdeville ..............................................................................................333 Lopes e Silva .............................................................................................................334 lvaro Salazar...........................................................................................................335 Antnio Vitorino de Almeida...................................................................................337 THE PORTUGUESE DARMSTADT GENERATION.............................................339 CONCLUSION ...................................................................................................339 The Research.............................................................................................................341 The Composers and their Music..............................................................................342 A GENERATION.....................................................................................................342 THE DIFFERENCES.............................................................................................343 The Avant-garde Tradition..................................................................................343 From Avant-garde to Intuitive and Self Affirmation ..........................................343 Between Tradition and Avant-garde ...................................................................344 From Tradition to Avant-garde, and Further Backward-Looking..................345 Away from the Avant-garde................................................................................345 PORTUGUESE MUSIC?.......................................................................................346 The Sixties, Seventies and the newer generations..............................................347

371 BIBLIOGRAPHY.........................................................................................................351 Periodicals..................................................................................................................357 SCORES.....................................................................................................................358