From Vicentino to Goldoni: A royal court musician’s library in mid-eighteenth-century Lisbon

Following the devastation of Lisbon caused by the earthquake and tsunami in November 1755, concerted efforts were made to restore the capital to its former status and glory – not only through a massive architectural re-designing and building programme but also through the continuation and encouragement of intellectual and cultural activities. Musically, this was manifest in performances in surviving (and rebuilt) theatres and prominent churches (during mass and other services), with many involving prominent musicians of the royal court of King José I (R 1750-77). Among these was a certain António Ramos de Figueiredo, violinist, theorist and composer, who by all accounts was an intellectual and also bibliophile. An inventory of his substantial library survives as the result of the zealous activities of the Royal Censorship Board instituted by the Marquis of Pombal in the years following the earthquake, in an attempt to control the circulation, printing and readership of books and ideas. This particular Manifesto dos livros is distinguished for its large (and rare) collection of music (theory) books and libretti, the whole constituting an extremely important and rare international collection dating from 1533 onwards. This paper provides an analysis (as far as possible) of this collection, and an appreciation of it in terms of the then current fashions in performance and discourse. It will also attempt to view Figueiredo as an active musician in mid eighteenth-century Lisbon when fashions tended towards Italianate styles and opera – in part led by such prominent composers as David Pérez, who was also employed at the royal court.