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Resumo(s)
A música e o Homem caminham juntos desde os primórdios dos tempos, assim como
a ligação entre a arte dos sons e a Igreja se perde nas origens da Cristandade. O Salmo 150
dá o tom para uma magnífica relação entre o louvor a Deus e a música, incitando à utilização
de todos os instrumentos, conhecidos à época, nesse propósito. Todavia, essa relação nem
sempre foi fácil e houve a necessidade, em vários períodos da História da Igreja, das
autoridades eclesiásticas serem chamadas a regular a utilização dos instrumentos e a prática
musical no culto divino.
A festa e a música são hoje, como no passado, indissociáveis. A fronteira que separa
os ritos religiosos do ambiente de celebração pagão nem sempre foi muito clara e as
influências fizeram-se sentir reciprocamente. No século XVI, nas disposições tridentinas,
procura-se evidenciar a distinção entre o sacro e o profano. Embora não diretamente, será
um marco para a particular adoção do órgão como instrumento para o culto católico.
Até ao século XVIII, este instrumento, que nasceu antes de Cristo, na Alexandria,
que passou por arenas, festas pagãs e banquetes, sofrerá uma evolução extraordinária. Por
toda a Europa, sob o patrocínio da Igreja de Roma, que via na música e em toda a arte um
veículo de evangelização e um poderoso aliado face às correntes protestantes, surgirão
órgãos em muitas igrejas.
Na época barroca, o órgão irá assumir um lugar de destaque no cerimonial religioso,
importância essa que permitirá a construção de grandiosos instrumentos, mais complexos
que os instrumentos de pequenas dimensões construídos até então, com características
distintas em diversas regiões da Europa, a que a Península Ibérica não ficará à margem, com
o desenvolvimento do órgão do tipo ibérico.
Apesar da individualidade de cada instrumento, o órgão em Portugal, que herda do
seu congénere espanhol muitas dos elementos particulares da organaria ibérica, terá também
um percurso próprio onde surgirão aspetos distintivos. Também ao nível da composição, os
registos de palheta dispostos nas fachadas e o someiro dividido, influenciarão a criação das
célebres Batalhas e de várias obras com contraste tímbrico entre a parte esquerda e a direita
do teclado.
Em Braga, o fervor religioso e a vetusta tradição ligada à Igreja, serão palco para a
instalação, em torno da sua catedral, de vários conventos, mosteiros, igrejas e capelas.
Nestas, a existência de um órgão que ajudasse a dar maior pompa às cerimónias permitiu que, na atualidade, exista um significativo número de instrumentos históricos que, apesar
das vicissitudes a que estiveram sujeitos, sobretudo no século XIX, resistiram e são
testemunho único de uma época áurea da arte organística no Norte do país.
Hoje assiste-se a um crescente despertar do interesse pelo “rei dos instrumentos”.
Realizam-se concertos e festivais, recuperam-se órgãos que agora, além do propósito
fundamental da solenização dos ritos litúrgicos, surgem como um bem cultural que desperta
o interesse de muitos.
O órgão ibérico, simultaneamente património material e, pela sua música, imaterial,
é um tesouro que urge preservar e dinamizar, especialmente em Braga, cuja tradição na
construção deste instrumento é evidente. A presença, ao longo de séculos, de mestres
organeiros vindos de outras paragens, mas também bracarenses, faz indubitavelmente desta
cidade pólo de difusão da organaria em Portugal.
Music and Man have walked together since the since the beginning of time, just as the connection between the art of sounds and the Church, lost in the origins of Christianity. Psalm 150 sets the tone for a magnificent relationship between the praise to God and music, calling for the use of all the instruments known at the time for this purpose. However, this relationship was not always easy and there was a need, at various times in the history of the Church, for ecclesiastical authorities to be called to regulate the use of instruments and musical practice in divine worship. Feast and music are today, as in the past, inseparable. The boundary separating religious rites from the pagan celebration environment was not always very clear, and the influences were made to feel reciprocally. In the sixteenth century, in the tridentine dispositions, it is tried to emphasize the distinction between the sacred and the profane. Although not directly, it will be a milestone for the particular adoption of the pipe organ as the instrument for Catholic worship. Until the eighteenth century this instrument, which was born before Christ, in Alexandria, which passed through arenas, pagan festivals and banquets, will undergo an extraordinary evolution. Throughout Europe, under the sponsorship of the Church of Rome, which saw in music and in all art a vehicle for evangelization and a powerful ally in the face of Protestant currents, organs will be built in many churches. In the baroque period, the organ will assume a prominent place in the religious ceremonial, which will allow the construction of grandiose instruments, more complex than the instruments of small dimensions built until then, with distinct characteristics in different regions of Europe, to which Península Ibérica will not be on the sidelines, with the development of the Iberian-type organ. Even with individuality of each instrument, the organ in Portugal, which receives from its Spanish organ many of the particular elements of the Iberian building art, will also have a singular course where distinctive aspects will emerge. Also at the level of composition, the trompets in the facades and the divided stops will influence the creation of the celebrated Battles and of several works with timbral contrast between the left and the right of the keyboard. In Braga, religious fervor and the old tradition linked to the Church will be the stage for the installation of several convents, monasteries, churches and chapels around its cathedral. In these, the existence of an organ that help to give greater pomp to the ceremonies allowed, at the present time, a significant number of historical instruments that even with the difficulties to which they were subjected, especially in the nineteenth century, have resisted and are a unique testimony of a golden age of organ art in the north of the country. Today there is a growing awakening of interest in the "king of instruments". Organized concerts and festivals, organs are recovered that now, in addition to the fundamental purpose of the solemnization of liturgical rites, appear as a cultural element that arouses the interest of many. The iberian organ, at the same time a material and imaterial patrimony, because of its music, is a treasure that must be preserved and invigorated, especially in Braga, whose tradition in the construction of this instrument is evident by the presence, for centuries, of master organbuilders from other places, but also from Braga, being, undoubtedly the center of diffusion of the organ construcion art in Portugal.
Music and Man have walked together since the since the beginning of time, just as the connection between the art of sounds and the Church, lost in the origins of Christianity. Psalm 150 sets the tone for a magnificent relationship between the praise to God and music, calling for the use of all the instruments known at the time for this purpose. However, this relationship was not always easy and there was a need, at various times in the history of the Church, for ecclesiastical authorities to be called to regulate the use of instruments and musical practice in divine worship. Feast and music are today, as in the past, inseparable. The boundary separating religious rites from the pagan celebration environment was not always very clear, and the influences were made to feel reciprocally. In the sixteenth century, in the tridentine dispositions, it is tried to emphasize the distinction between the sacred and the profane. Although not directly, it will be a milestone for the particular adoption of the pipe organ as the instrument for Catholic worship. Until the eighteenth century this instrument, which was born before Christ, in Alexandria, which passed through arenas, pagan festivals and banquets, will undergo an extraordinary evolution. Throughout Europe, under the sponsorship of the Church of Rome, which saw in music and in all art a vehicle for evangelization and a powerful ally in the face of Protestant currents, organs will be built in many churches. In the baroque period, the organ will assume a prominent place in the religious ceremonial, which will allow the construction of grandiose instruments, more complex than the instruments of small dimensions built until then, with distinct characteristics in different regions of Europe, to which Península Ibérica will not be on the sidelines, with the development of the Iberian-type organ. Even with individuality of each instrument, the organ in Portugal, which receives from its Spanish organ many of the particular elements of the Iberian building art, will also have a singular course where distinctive aspects will emerge. Also at the level of composition, the trompets in the facades and the divided stops will influence the creation of the celebrated Battles and of several works with timbral contrast between the left and the right of the keyboard. In Braga, religious fervor and the old tradition linked to the Church will be the stage for the installation of several convents, monasteries, churches and chapels around its cathedral. In these, the existence of an organ that help to give greater pomp to the ceremonies allowed, at the present time, a significant number of historical instruments that even with the difficulties to which they were subjected, especially in the nineteenth century, have resisted and are a unique testimony of a golden age of organ art in the north of the country. Today there is a growing awakening of interest in the "king of instruments". Organized concerts and festivals, organs are recovered that now, in addition to the fundamental purpose of the solemnization of liturgical rites, appear as a cultural element that arouses the interest of many. The iberian organ, at the same time a material and imaterial patrimony, because of its music, is a treasure that must be preserved and invigorated, especially in Braga, whose tradition in the construction of this instrument is evident by the presence, for centuries, of master organbuilders from other places, but also from Braga, being, undoubtedly the center of diffusion of the organ construcion art in Portugal.
Descrição
Palavras-chave
Órgão ibérico Música Igreja Cultura Património Liturgia Organaria Iberian organ Music Church Culture Patrimony Liturgy Organbuilder