When Ruy Coelho (1889-1986), possibly influenced by Wanda Landowska, included the harpsichord in the orchestration of his first opera, he became the first modern Portuguese composer to resort to this previously forgotten instrument. He would go on to use it in several other works, and would be one of few within the Portuguese musical milieu to do so. This paper seeks to reflect on the conceptual and musical background to this revival of the harpsichord, the associated technical and organologic obstacles, and ultimately the instrument's raison d'être and significance in the dramatic and musical context of the 20th century Portuguese operas "Serão da Infanta" (1913) and "Rosas de todo o ano" (1921) by Ruy Coelho, "Rosas de todo o ano (1920) by Augusto Machado (1845-1924) and "Trilogia das Barcas" (1970) by Joly Braga Santos (1924-1988).
|Number of pages||1|
|Publication status||Published - 2016|
|Event||Old is New: The Presence of the Past in the Music of the Present - ESML e FCSH/NOVA, Lisboa, Portugal|
Duration: 24 Nov 2016 → 26 Nov 2016
|Conference||Old is New|
|Period||24/11/16 → 26/11/16|