Ezio, dramma per musica (1772) de Niccolò Jommelli (1714-1774): edição com estudos introdutórios

Abstract

In 15 years of activities, the Laboratory of Musicology and Cultural History of the University of the State of Amazonas has developed several projects with the support of various sponsors. The lines of action sought to promote the encounter of historical musicology, with interpretive practices, analytical approaches and a historical-cultural view of the representations of music. In the last decade, work on Luso-Brazilian sources of the Ancien Régime, or related to them, has intensified. There was then the transcription of material from many authors and collections, with immediate results being the performance in concerts and scenic montages and master's dissertations. In the case of musical performance, the Ópera no Brasil Colonial program stood out, with arias extracted from several works in circulation in the Portuguese-speaking space of the 18th and 19th centuries, a proposal that, sponsored by the Petrobras Cultural Program, reached between 2013 and 2016 dozens of cities of Brazil and Portugal. The repertoire developed for presentation under the auspices of SESC, in its Amazônia das Artes program, which dates back to 2010, is also worth mentioning. the repertoire in question was defended by the Orquestra Barroca do Amazonas and its more chamber music formation, Amazonas Baroque Ensemble, which also includes 5 CDs. But not only: in the case 10 of the musical restoration of Guerras do Alecrim e Mangerona (1737), by Antonio José da Silva (1705-39) and Antonio Teixeira (1707-74), the score resulting from the musicological work was both used for the 2010 production by OBA and cast of soloists during the Amazonas de Ópera Festival – then the contemporary debut in Brazil of this work – as it was, after being edited by the Universidade Nova de Lisboa, made available for the shows made by the Portuguese group Os Músicos do Tejo, in 2019. Among the master's defenses that made use of these materials, there are some that operated the feasibility of the presentations, because they focused on reconstruction issues, and there are those that provided, and still provide, theoretical subsidies for all practical activities, being notable that all these now Masters, some already Doctors, were on stage to complete the experience in this universe that they helped to unveil. Particularly noteworthy are the works on treatises by Vanessa Monteiro, who offered a critical and annotated version of the Rules of accompanying, for harpsichord or organ (1758), by Alberto José Gomes da Silva, and, in the same sense, the contribution of Gabriela Dácio regarding the Method or explanation for learning to dance the contradanças (1761), by Julio Severin Pantezze, to which Gustavo Medina's work on the voluminous pedagogical work of Pedro Lopes Nogueira (1686-d.1770), entitled Casta de Lisões (c.1720-40). Dedicated to the transcription, restoration and criticism of musical works are: Gabriel de Sousa Lima's work on the remaining arias by Antonio Teixeira, in a late 18th century manuscript containing music for Precipícios de Faetonte (1738); the study with complete transcription of the opera Varieties de Proteu (1737) by the same Teixeira, performed by Tiago Soares; the transcription that Fábio Melo made of the opera Demetrio (1765-6), by David Perez, in a bilingual version, using the collation of the manuscripts in Italian and Portuguese, which rest respectively in the Ajuda Library and in the Paço Ducal Library of Vila Viçosa , in Portugal; the transcription and critical study carried out by Silvia Lima of the serenade Gli Eroi Spartani (1788), by Antonio Leal Moreira (1758-1819), based on versions in Italian and Portuguese, contained in the aforementioned collections of Ajuda and Vila Viçosa; the organization and transcription of Belizário (1777-78?), by multiple authors in a process of counterfacta and pastiche, on which Benjamin Prestes focused; Finally, there is the work by Huan Miranda that discusses a reconstruction of missing parts for a cello concerto by Pedro Antonio Avondano (1714-1782). With regard to studies 11 of musical interpretation through interdisciplinary approaches there are: the works of Manoella Costa on the trios of Avondano, in Dresden; the works of Fabiano Cardoso and Flávia Procópio, who focused on the vocal repertoire of modinhas, between the 18th and 19th centuries; Silvanei Correia's work on the five-string bass used in the late 18th century; and the work of Luciana Pereira, on songs by Waldemar Henrique. The analysis texts were also not forgotten, with Guilherme Aleixo's contribution being the most important, when performing a topic-schematic analysis of the 6 Funeral Responsories (1831-2) by João de Deus do Castro Lobo (1794-1832). An even greater number of transcripts and studies were carried out within the scope of scientific initiation and undergraduate monographs. It should also be mentioned in general terms that