Grove's dictionary of music and musicians

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554 SONG
Nunes, Pires, Joao Leal, and Edolo > and
;
nearer oxvc own time, Domingos Sohiopetta, the
two monks J. M. da Silva and Jos^ Marquis de
Santa Rita, Frondoni (an Italian, long resident
in Lisbon), E. Varella, and Vasconoellos de Sk.
But the most popular inodinhas, such as 'A
Serandinha,' '0 Salvia,' 'As Peneiras,' 'Mariquinhas
meu Amor,' ^ and Tem minha amada '^
'
are anonymous. An exception is Vasconoellos
de Sk's can9So, Margarida ' vae k fonte, ' which
is the favourite modinha of the moment.*
There are many patriotic and political songs
in every collection. The pianist Innocenoio
wrote a whole series ; Portogallo's Hymno da
'
Patria ' was the customary national anthem
until King Pedro IV. ^ composed his 'Hymno
da Carta' in 1826; and Frondoni was the
author of the popular hymn of the revolution
of Maria da Fonte in 1848.
Of late, serious attention has been directed
to the national poetry and music of Portugal.
One of the first to do so was the poet Almeido
Garrett in his Somanceiro. He was followed
by Vasconoellos and Th. Braga, who in his
numerous volumes on the history of Portuguese
literature often touches on the musical form.^
Leading musicians, such as B. Moreira de Sa,
A. Machado (Director of the Conservatoire), and
J. Vianna da Motta and others have shown
their practical interest in the subject.
BiBLIOORAPHY
Machado, D. B. Bibliotheca /Auttema. Llslmn, 1741-59.
Wolf, F. Proben Poriuffifiaiacher wnd Caiatf^niacher Volkdieder
wnd Romanzen. Vienna, 1856,
Bellerinann, O, F. PoTtvgiesieche Volkglieder und Romaiuen.
Leipzig, 1864.
Kendel's iftM. Cam. Lex. ; Portugietiache Mv^k (Platon von
Waxel),
Gazeta da ifculeira, 1866.69, A Muaica em Portugal (Flaton Ton
Waxel).
Marquea, Joaquim J, Sgtudioe sabre a hiatoria da musica em
Portugal.
Braga, Th, Hiatoria da Litteratura Portvgueza. Eiat. da Poeaia
Pop. Portuffueza. Oporto, 1867.
Vaeconcelloa, Jqaqujm de, Oa Mimcoa Portv^vezea. Oporto, 1870.
Boeder, Martin, La mujrica en Portogallo ; Sal Ta^jeuirw, etc,
Milan, 1877,
Leite de Vasconcelloa, J. Romancea popiUa/rea portuguezaa. 1880
TradipSea papuiarea. Oporto, 1882; XA Jfofs (May-dar songs).
ComtedeFuymaigre. Romanceiro; ChoixdevieuxChantaPortugaia;
Tradutta et amnot&a, Paris. 1861.
Soubies, A. liiatoire de la muaigue en Partugai. 1898,
(The writer is also indebted to Senhor Bernardo Moreii-a de S&
for much Inforujatiun kindly supplied to her by letter,)
Collections
Milcent, F. D. 'Jomal de Modinhas, com acompanfaamento de
Cravo, pelos milhores autores.' Lisbon, 1793,
Josd do Rego, A. 'Jomal de Modinhas.' 1812.
Edolo, Jose, ' Joriial de Modinhas.' 1823.
Ferreira, Antonio J, 'Collecgao de Modinhas Portuguezas e Brazilieras.'
1826,
Kestner, H, 'Auswahl spanischer und portiigiesischer Lieder.'
Hanover, 1859.
Garcia, Josd M., and Machado, R, Coelho. Two large collections of
Brazilian Modinhas. 1851.
Berggreen, A. F. 'Portugisiske Folke-aange og Melodier.' 1866.
Ribaa, J. A. ' Album de musicas nacionaes portuguezas.'
Kevea, A, das e Mello.filho. ' Musicas e can(5es populares,'
'CangOes populares do Alemtejo,'
Fires.
Colago, A, B. 'CollecQilo de Fados,'
Thomaz, P, Pedro, 'CancfieipopularesdaBeira' (with introduction
by Leite de Vasconcelloa).
1 Between 1820 and 1840 Jos(! Edolo, a violinist at the opera, was
the favourite contributor to the Jomal de Modirihaa.
2 These last two are included In Rlbas's Collection.
3 In Berggreen's collection.
* The difference between the camiaea and inodtvhaa is slight, and
the names are constantly interchanged,
5 Dora Pedro IV,, the first constitutional king of Portugal, was a
pupil of Sigismund Neukonim, and wrote several clioral and operatic
worlcs,
e Braga also collected the folk-songs of the Azores,
Salvlnl, O. B. 'Caneioneiro mns. portuguez,' Lisbon, 1884.
Clasing. J. H. 'Zwaif brasilianlsche Volkslieder.' Hamburg.
Neves C^rdas, and Campos, Gualdinode.
'
Cancionero de Musicas
Populares.' vols. S Porto, 1898-98. (These volumes contain
valuable prefaces by Th. Braga, Viterbo and Bamas, and consist
: of can^oea, aerenataa, ehnlas, danfoa, deacantea, canti^aa
doe campoa e daa ruaa, /ados, romaneea, hynmaa nacioruiei,
cantoa patrtoticaa, cantigaa religiosaa de origem popular, canticoa
tiiwrgicoa popvlariaadoa, cantilenaa, ccwifffes do ber^o, etc,)
Italy
Italy was more slowly caught by the poetic
flame which the Provencal Troubadours had
kindled, than other southern countries. For
not until the middle of the 13th century, when
Kaymond Berenger, Count of Provence, visited
the Emperor Frederick II. at Milan, bringing
Troubadours and Jongleurs in his train, do we
hear of them in this country. A similar patronage
was extended to them by Raymond's son-inlaw,
Charles of Anjou, king of Naples and Sicily.
Through which of these two gates the Provencal
language entered Italy has ever been a disputed
But taught by these singers, whom the
point.
common people called Uomini di Corti,'' Italy
soon produced her own Trovatori and Oiocolini.
At first they deemed their native dialect
unsuitable to poeti-y, and used the Provenjal
language. But it is certain that already, by
the time of Dante, the volgar poesia, which
sprang from it, had reached a stage when it
was capable of receiving rules and of being
taught in the schools founded for the purpose.
After Dante, no Italian could longer doubt the
capacities of his own tongue for all forms of
poetry. It must not be forgotten that the
term rima, used by the Provencal troubadours
for the sirvente, was adopted by Dante for the
'
Divina Commedia ' and by Petrarch in his
'Trionfi.' But soon the verse of the Troubadours
began to pale before the splendours of
the great poet ; and towards the middle of the
14th century, the Trovatori declined in numbers
and popularity, and after 1450 were heard of
no more. 5
Notwithstanding the subordination of lyric
song to other branches of poetry and music in
Italy, her long and careful study of la melica
poesia— poetry wedded to music—has not been
surpassed elsewhere. Dante's sonnets and
Petrarch's ' Trionfi ' were among the earliest
poems set to music. Dante's own contemporary
and friend Casella' (born 1300), who set his
sonnet Amor ' che nella mente ' to music, is
believed to have also composed the music for a
ballata by Lemmo da Pistoja, still extant in
the Vatican.'' The ballate and intiwoiate werfe
perhaps the oldest forms of songs written in the
vernacular ; both were love - songs sung to a
danoe.ii After them the maggiolate or May-day
^ So called because these singers appeared as retainers from
princely courts. Also Ci'afrlaxaMi, because the exploits of Charlemagne
were a constant theme of their songs,
8 For further information about the Trovatori see H, von der
Hagen's work on the Jllinneaingera, voL iv.
s See the fourth Canto of the ' Furgatorio,' and the second Canzone
in the 'Convito,' where Casella's name occurs several times.
0 Bumey tells us that the VaticanMS.Ifo. S214isapoem on the
uisrglu of which is written: 'Lemmo da Pistoja, e Casella diede il
snonri,'
'• Arteaga gives the words of a ballata of the 13th century by