Books by Antonio J Augusto
Henrique Alves de Mesquita was a black man and son of unmarried parents. He was what historians h... more Henrique Alves de Mesquita was a black man and son of unmarried parents. He was what historians have agreed to call "free poor man". Individuals so named were part of society’s marginalized portion, marked by deeply unequal relations, and were subject to all kinds of abuse and excesses by the police, the government and the elites if they were not able to find the backing of a patron. Mesquita’s two brothers, for example, were arrested at different times of life, one by “capoeiragem” (a typical African Brazilian martial art), the other charged for disturbing the order. Mesquita, however, had a different fate. Acknowledged for his musical talent, which guaranteed him a gold medal and the highest distinction a student could achieve at the Conservatory of Music – Travel’s Award - he was sent to study at Paris Conservatoire, becoming the first Brazilian to be officially sent abroad to take musical studies.
His staying in France was surrounded by speculation and remained shrouded in mystery until the publication of this book. Till then all that was possible to affirm was that after his return from Europe Henrique Alves de Mesquita served as musician and conductor in various theaters of Rio de Janeiro, and composed several musical pieces and acted effectively in the music circles of the Court.
These and other episodes of his life are masterfully analyzed by Antonio J. Augusto, turning the biography into an instrument for understanding broader issues such as the current musical practices at the time, the stylistic options available for musicians and composers in that context, their places of activity and social networks that have enabled their livelihoods. Thus offers an important contribution to the understanding of complex musical production in nineteenth-century Brazil.
Papers by Antonio J Augusto
REVISTA BRASILEIRA DE MÚSICA _ PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA _ ESCOLA DE MÚSICA DA UFRJ, 2018
This article analyzes the constitution of the Musical Beneficence Society, an organ of borrowing ... more This article analyzes the constitution of the Musical Beneficence Society, an organ of borrowing assistance that in 1841 presents a petition to the Chamber of Deputies requesting the creation of a Music Conservatory in the capital of the Empire. Through the analysis of the document and
the trajectory of its signatories, we tried to understand the sociopolitical context that constrained and challenged those involved in the process, with the purpose of contributing to broaden the reflection about the moment of genesis of the first official institution of music teaching in Brazil.
Texto da Série Djanira da Orquestra Petrobras Sinfônica, apresentada no Teatro Municipal do Rio d... more Texto da Série Djanira da Orquestra Petrobras Sinfônica, apresentada no Teatro Municipal do Rio de Janeiro. Temporada 2016.
Texto da Série Portinari da Orquestra Petrobras Sinfônica, apresentada no Teatro Municipal do Rio... more Texto da Série Portinari da Orquestra Petrobras Sinfônica, apresentada no Teatro Municipal do Rio de Janeiro. Temporada 2016.
Abstract
This article has as main object the original repertoire written for horn and organ. For... more Abstract
This article has as main object the original repertoire written for horn and organ. For its accomplishment, was necessary to organize a catalogue, seeking to map the different time frames, styles, purposes and consumption of this particular production. Our task was to understand the possible relationship between its inherent characteristics and its use as an instrument of technical and interpretative choices. In this sense, we have examined the historical context, the differences and similarities, their idiomatic aspects (if any) and their symbolic representations. 165 works by 124 composers were cataloged, covering a period between the years 1822-2014.
Resumo.
Este artigo tem como objeto o repertório original escrito para trompa e órgão. Para sua escrita, realizamos a catalogação deste conjunto de obras, buscando mapear as diferentes temporalidades, estilos, finalidades e consumo desta produção específica. Serão abordados o contexto histórico da criação das obras, as diferenças e similitudes, seus aspectos idiomáticos (se existentes) e suas representações simbólicas. Foram catalogadas 165 obras, de 124 compositores, abrangendo um período compreendido entre os anos de 1822 a 2014.
Palavras-chaves: música de câmara. Práticas interpretativas. Prática de conjunto. Trompa. órgão.
Programa da Série Djanira da Orquestra Petrobras Sinfônica, Mar 20, 2015
O poeta Ferreira Gullar, ao falar sobre a obra de Djanira, que dá nome a esta série de concertos,... more O poeta Ferreira Gullar, ao falar sobre a obra de Djanira, que dá nome a esta série de concertos, ressaltava sua extrema intimidade com o campo, seus pássaros, plantas e bichos. Era essa paisagem e os homens que a ocupavam que constituíam o universo da pintora, “o mundo que ela necessitava organizar, transfigurar, salvar da morte. E o fez instilando neles a força do seu lirismo e a beleza que a sua sensibilidade apreendia e revelava nas coisas mais simples”.
É exatamente sobre esse mundo que “se precisa organizar”, citando o poeta, que vamos abordar. Metáforas, religiosidade, sentimentos de nacionalidades, gestos políticos e a extrema paixão dedicada ao ofício de ser músico, se encontram estetizadas no sublime, codificando, representando, permitindo que suavemente este mundo se revele compreensível e digesto diante de nossa percepção.
Este conjunto de textos ilustram os quatro concertos da série Portinari (2015) da Orquestra Petro... more Este conjunto de textos ilustram os quatro concertos da série Portinari (2015) da Orquestra Petrobras Sinfônica. Os textos oferecem uma visão de unidade à série, trabalhando com conceitos consolidados, principalmente o de “Invenção de tradição”, cunhado por Eric Hobsbawm.
Música e história no longo século XIX
Talks by Antonio J Augusto
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Books by Antonio J Augusto
His staying in France was surrounded by speculation and remained shrouded in mystery until the publication of this book. Till then all that was possible to affirm was that after his return from Europe Henrique Alves de Mesquita served as musician and conductor in various theaters of Rio de Janeiro, and composed several musical pieces and acted effectively in the music circles of the Court.
These and other episodes of his life are masterfully analyzed by Antonio J. Augusto, turning the biography into an instrument for understanding broader issues such as the current musical practices at the time, the stylistic options available for musicians and composers in that context, their places of activity and social networks that have enabled their livelihoods. Thus offers an important contribution to the understanding of complex musical production in nineteenth-century Brazil.
Papers by Antonio J Augusto
the trajectory of its signatories, we tried to understand the sociopolitical context that constrained and challenged those involved in the process, with the purpose of contributing to broaden the reflection about the moment of genesis of the first official institution of music teaching in Brazil.
This article has as main object the original repertoire written for horn and organ. For its accomplishment, was necessary to organize a catalogue, seeking to map the different time frames, styles, purposes and consumption of this particular production. Our task was to understand the possible relationship between its inherent characteristics and its use as an instrument of technical and interpretative choices. In this sense, we have examined the historical context, the differences and similarities, their idiomatic aspects (if any) and their symbolic representations. 165 works by 124 composers were cataloged, covering a period between the years 1822-2014.
Resumo.
Este artigo tem como objeto o repertório original escrito para trompa e órgão. Para sua escrita, realizamos a catalogação deste conjunto de obras, buscando mapear as diferentes temporalidades, estilos, finalidades e consumo desta produção específica. Serão abordados o contexto histórico da criação das obras, as diferenças e similitudes, seus aspectos idiomáticos (se existentes) e suas representações simbólicas. Foram catalogadas 165 obras, de 124 compositores, abrangendo um período compreendido entre os anos de 1822 a 2014.
Palavras-chaves: música de câmara. Práticas interpretativas. Prática de conjunto. Trompa. órgão.
É exatamente sobre esse mundo que “se precisa organizar”, citando o poeta, que vamos abordar. Metáforas, religiosidade, sentimentos de nacionalidades, gestos políticos e a extrema paixão dedicada ao ofício de ser músico, se encontram estetizadas no sublime, codificando, representando, permitindo que suavemente este mundo se revele compreensível e digesto diante de nossa percepção.
Talks by Antonio J Augusto
His staying in France was surrounded by speculation and remained shrouded in mystery until the publication of this book. Till then all that was possible to affirm was that after his return from Europe Henrique Alves de Mesquita served as musician and conductor in various theaters of Rio de Janeiro, and composed several musical pieces and acted effectively in the music circles of the Court.
These and other episodes of his life are masterfully analyzed by Antonio J. Augusto, turning the biography into an instrument for understanding broader issues such as the current musical practices at the time, the stylistic options available for musicians and composers in that context, their places of activity and social networks that have enabled their livelihoods. Thus offers an important contribution to the understanding of complex musical production in nineteenth-century Brazil.
the trajectory of its signatories, we tried to understand the sociopolitical context that constrained and challenged those involved in the process, with the purpose of contributing to broaden the reflection about the moment of genesis of the first official institution of music teaching in Brazil.
This article has as main object the original repertoire written for horn and organ. For its accomplishment, was necessary to organize a catalogue, seeking to map the different time frames, styles, purposes and consumption of this particular production. Our task was to understand the possible relationship between its inherent characteristics and its use as an instrument of technical and interpretative choices. In this sense, we have examined the historical context, the differences and similarities, their idiomatic aspects (if any) and their symbolic representations. 165 works by 124 composers were cataloged, covering a period between the years 1822-2014.
Resumo.
Este artigo tem como objeto o repertório original escrito para trompa e órgão. Para sua escrita, realizamos a catalogação deste conjunto de obras, buscando mapear as diferentes temporalidades, estilos, finalidades e consumo desta produção específica. Serão abordados o contexto histórico da criação das obras, as diferenças e similitudes, seus aspectos idiomáticos (se existentes) e suas representações simbólicas. Foram catalogadas 165 obras, de 124 compositores, abrangendo um período compreendido entre os anos de 1822 a 2014.
Palavras-chaves: música de câmara. Práticas interpretativas. Prática de conjunto. Trompa. órgão.
É exatamente sobre esse mundo que “se precisa organizar”, citando o poeta, que vamos abordar. Metáforas, religiosidade, sentimentos de nacionalidades, gestos políticos e a extrema paixão dedicada ao ofício de ser músico, se encontram estetizadas no sublime, codificando, representando, permitindo que suavemente este mundo se revele compreensível e digesto diante de nossa percepção.