The writings of Luís de Freitas Branco of the 1920s and 1930s: the collaboration in the Portuguese periodic press

Being one of the most recognized Portuguese personalities of the XX century by the national and international historiiography of music, Luís de Freitas Branco (1890-1955) is more often simply reminded as a composer and particularly as the introducer of the musical modernism in Portugal, despite all his other activities related to the musical field. During most of his life, Freitas Branco was equally a pedagogue, one of the introducers of musicology in Portugal (establishing, together with Viana da Mota [1868-1948], the disciplines of History of Music, Aesthetics and Acoustics in Lisbon National Conservatory, and publishing the "Elementos de Sciências Musicais" in three volumes, "História da +, Acústica and Estética"), a speaker, a writer, and a music critic. Freitas Branco began his activity in music criticism with only seventeen years old, publishing his critic of "Amor de Perdição", a portuguese opera composed by João Arroio (1861-1930), in " Diário Illustrado" on 26 March 1907. After that, his wide activity is visible in his participation in several journals and newspapers of his time. Luís de Freitas Branco was, during decades, a well-known critic of daily newspapers and general journals, such as "Diário de Notícias" (1864-), "Diário de Lisboa" (1921-1990), "O Século" (1881-1983) and "Seara Nova" (1921-), writing as well for political journals, for instance "A Monarquia: diário integralista da tarde" (1917-1925) and "Acção Realista: diário da tarde" (1926), beinh these two colaborations mainly related to the participation of Luís de Freitas Branco in portuguese monarchic groups during the 1910s and 1920s. However, one of the most relevant events of his career was the foundation, in 1930, of his own musical journal, following the example of Michel'Angelo Lambertini (1862-1920), who published, between 1899 and 1915, "A Arte Musical". Luís Freitas de Branco will be the director of the new "Arte Musical" until 1947, propagating in his writings the ideals of a new classicism and musical nationalism.