Modernismo e internacionalismo como programa: el compositor Fernando Lopes-Graça y la Sociedad de Conciertos Sonata (Lisboa, 1942-1960)

Abstract

During the twentieth century, it was not uncommon to find musical organizations that responded to the following characteristics: to be directed by composers, to be focused on the production and programming of concerts dedicated to new works, and having a local dimension. Between 1942 and 1960, Lisbon had an organization that presented these characteristics: the Sonata society, founded by the composer Fernando Lopes-Graça (1906-1994), a fundamental figure for the history of classical music in Portugal. The relevance of Sonata has, in fact, much to do with the importance that Lopes-Graça has for Portuguese cultural history, but it is mainly related to the activity that the society developed during nearly two decades. In this article, based in the administrative archive of the society, I first look at Lopes-Graça's role in defining the Sonata programmatic lines. In particular, I analyze how certain ideas about the modern in music, developed by Lopes-Graça in his journalistic collaborations, shaped the orientation given to this musical organization. Secondly, I will focus on another aspect. I am referring to the effort made by Lopes-Graça to establish international ties. I will study in particular the passage of Sonata at the International Society of Contemporary Music (ISMC. An appendix provides the complete repertoire performed by Sonata in Lisbon.

Keywords

• fernando lopes-graça
• sonata (concert society)
• modernism
• internacionalism
• concert programming