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O universo lírico de António Fragoso: um estudo das obras para canto e piano
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A presente dissertação tem como objetivo o estudo da vida e obra de António de Lima Fragoso (1897-1918), com enfoque nas suas composições para canto e piano.
Apesar da sua curta vida, Fragoso é frequentemente considerado uma das figuras mais promissoras da música portuguesa, do início do século XX, tendo-se destacado pela originalidade na linguagem musical e pela sensibilidade expressiva, que caracterizam todas as suas composições.
Com prólogo na abordagem metodológica, de natureza qualitativa e exploratória, enquadrada no campo da investigação artística, este estudo associa a análise histórica com o estudo musicológico e as práticas performativas.
A primeira parte da dissertação será dedicada à contextualização biográfica do compositor, tendo em conta o meio sociocultural e artístico em que estava inserido, bem como as influências que marcaram o seu percurso.
A segunda parte centrar-se-á na análise específica de três das canções compostas para canto e piano - Canção Perdida, Chanson d’Automne e Canção da Fiandeira -, com especial atenção à relação entre texto e música, à linguagem harmónica, à estrutura formal e ao papel do piano no discurso musical.
Através desta análise, procura-se evidenciar a capacidade de Fragoso para integrar influências do romantismo tardio e do impressionismo numa linguagem própria, marcada por um lirismo intimista e uma escrita pianística expressiva.
Este estudo pretende, assim, contribuir para o aprofundamento do conhecimento sobre a obra de António Fragoso, particularmente no âmbito da canção para voz e piano, ainda pouco explorado pela investigação musicológica. Na valorização deste repertório, procurar-se-á também reforçar a importância do compositor no contexto da música portuguesa do século XX e incentivar a sua redescoberta, tanto em contexto académico como performativo.
This dissertation aims to study the life and works of António de Lima Fragoso (1897-1918), with a particular focus on his compositions for voice and piano. Despite his short life, Fragoso is frequently considered one of the most promising figures of early twentieth-century Portuguese music, distinguished by the originality of his musical language and the expressive sensitivity that characterises all his compositions. Starting from a qualitative and exploratory methodological approach, framed within the field of artistic research, this work combines historical analysis, musicological study and performance practice. The first part of the dissertation will be dedicated to the biographical context of the composer, considering the sociocultural and artistic environment in which he was immersed, as well as the influences that marked his trajectory. The second part will be focused on the specific analyses of three of the songs composed for voice and piano - Canção Perdida, Chanson d’Automne and Canção da Fiandeira -, with special attention to the relationship between text and music, harmonic language, formal structure and the role of the piano in the musical discourse. Through this analysis, we seek to highlight Fragoso’s ability to integrate influences of late Romanticism and Impressionism into his own musical language, marked by an intimate lyricism and an expressive piano writing. This study therefore aims to contribute to the deepening of knowledge about António Fragoso’s body of work, particularly in the field of art song, which remains underexplored in musicological research. In valuing this repertoire, it also aims to reinforce the composer’s significance within the context of twentieth-century Portuguese music and to encourage its rediscover, both in academic and performative contexts.
This dissertation aims to study the life and works of António de Lima Fragoso (1897-1918), with a particular focus on his compositions for voice and piano. Despite his short life, Fragoso is frequently considered one of the most promising figures of early twentieth-century Portuguese music, distinguished by the originality of his musical language and the expressive sensitivity that characterises all his compositions. Starting from a qualitative and exploratory methodological approach, framed within the field of artistic research, this work combines historical analysis, musicological study and performance practice. The first part of the dissertation will be dedicated to the biographical context of the composer, considering the sociocultural and artistic environment in which he was immersed, as well as the influences that marked his trajectory. The second part will be focused on the specific analyses of three of the songs composed for voice and piano - Canção Perdida, Chanson d’Automne and Canção da Fiandeira -, with special attention to the relationship between text and music, harmonic language, formal structure and the role of the piano in the musical discourse. Through this analysis, we seek to highlight Fragoso’s ability to integrate influences of late Romanticism and Impressionism into his own musical language, marked by an intimate lyricism and an expressive piano writing. This study therefore aims to contribute to the deepening of knowledge about António Fragoso’s body of work, particularly in the field of art song, which remains underexplored in musicological research. In valuing this repertoire, it also aims to reinforce the composer’s significance within the context of twentieth-century Portuguese music and to encourage its rediscover, both in academic and performative contexts.
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António Fragoso Música portuguesa Canção erudita Canto e piano Investigação artística Análise musical Portuguese music Art song Voice and piano Artistic research Musical analysis