Pedro António Avondano (Lisboa, 1714-1782), oriundo de família italiana, integrou a Orquestra da Real Câmara entre 1764 e 1782 como violinista, tendo sido um compositor reconhecido e apreciado na época. Jozé Mazza, que nem sempre é fonte segura de rigor histórico, confirma traços de modernidade na obra deste seu contemporâneo, “a sua muzica tinha grande armonia, e muita nuvidade.”. O que pode desde logo associar-se à sua produção instrumental constituída por sonatas, tocatas para cravo, uma sinfonia e minuetes cobrindo os géneros musicais consumidos em assembleias, muito em particular a música de dança.

Com efeito, encontramos este músico implicado na formação do primeiro espaço de sociabilidade alargado e de carácter público, embora com acesso por subscrição, conhecido como Casa da Assembleia do Bairro Alto a funcionar pelo menos desde 1761. Figura de mérito na vida musical portuguesa, Pedro Avondano presidiu ao processo de reorganização da Confraria de Santa Cecília em 1765, conquistando um elevado patamar de prestígio social enquanto “Professo na Ordem de Christo” em 1767.  

As suas três coleções de Lisbon minuets (c. 1765-70) impressas em Londres são especificamente identificadas no título de capa com o contexto da Assembleia das Nações Estrangeiras de Lisboa dirigida pelo compositor. 

Eighteen entire new Lisbon Minuets for two violins and a Bass. Selected out of the Book of Minuets composed for, and played at the British Factory Ball By Sigr.e Pietro Antº Avondano. London Printed for Charles and Samuel Thompson, s.d. 

A Collection of Lisbon Minuets for two violins or two german flutes and a Bass composed by Sigr. Pietro Antº Avondano. London Printed for Charles and Samuel Thompson, s.d.

A Second Sett of Twenty-Two Lisbon Minuets for two violins and a Bass 
composed by Sigr. Pietro Antº Avondano. London Printed for John Cox at 
Simpsons Musick Shop, s.d. 

Esta identificação remete-nos para a colocação deste repertório num circuito de divulgação cosmopolita, o qual é inerente ao próprio princípio de criação de uma embaixada cultural das nações que vai ao encontro do ideário do Iluminismo. Uma assembleia onde se dança e ouve música similar a toda aquela que circula entre os principais centros culturais da Europa. Em 1775, o viajante britânico Richard Twiss escreveria o seguinte a este propósito:   

“There are two long rooms, where the British factory assemble twice a week, during the winter, to dance and play at cards. The minuets composed by Don Pedro Antonio Avondano, who lives here, are much estemed. Any British stranger who does not intend to reside six months in Lisbon is admitted gratis to these assemblies; but the subscription for the inhabitants is seven moidores for each room. I am informed that since my departure both these societies are united, and that a very large room is built for that purpose. During the course of the winter there are four grand balls, with suppers; to which many of the Portuguese nobility are invited.” 

As coleções de Avondano distinguem-se desde logo pela instrumentação (trio de dois violinos - ou flautas traverso no caso da 2ª coleção - e violoncelo) que nos remete para a possibilidade de serem executados pelo próprio Avondano no violino e outros músicos muito próximos, eventualmente até familiares (João Baptista Avondano, violino e João Baptista André Avondano, violoncelo). Suficientemente populares, eles foram publicados em Londres através do incentivo da comunidade britânica que os conhecia dos bailes da Assembleia das Nações de Lisboa. Os Minuetes de Lisboa caracterizam-se pelo respeito das regras de eficácia, temperadas por uma elevada imaginação melódica e rítmica, fundamental para o grau de variedade que caracteriza musicalmente o conjunto. A qualidade e riqueza de escrita instrumental de Avondano, num quadro de repertório com fronteiras e regras muito estritas, são suficientes para realçar o alcance destas composições nos hábitos e práticas de música instrumental no nosso país. 

As Assembleias das Nações Estrangeiras foram os espaços sobre os quais nos chegaram as primeiras notícias de concertos vocacionados para a integração e entretenimento dos membros das comunidades residentes em Lisboa. A funcionar pelo menos desde 1761, este primeiro espaço de sociabilidade alargado, cujo acesso se processava por subscrição, tem documentada uma primeira alusão à música instrumental, datada de 1766, a propósito da qual ele surge sob a designação cosmopolita de “Caza da Assembleia das Nações Estrangeiras, no fim da rua da cruz onde mora Pedro António Avondano”.

Gravações disponíveis:
- Música de salão do tempo de D. Maria I: modinhas, cançonetas e peças instrumentais,  Segréis de Lisboa – Manuel Morais; Movieplay portuguesa, 1994, CD 3-11034.
- Modinhas e lunduns dos séculos XVIII e XIX, Segréis de Lisboa – Manuel Morais; Movieplay portuguesa, 1997, CD 3-11042.

"LISBON MINUETS" by PEDRO ANTÓNIO AVONDANO

Pedro António Avondano (Lisbon, 1714-1782), of Italian origin, joined the Royal Chamber Orchestra between 1764 and 1782 as a violinist. He was acknowledged and appreciated as a composer in his time. Jozé Mazza, who is not always a strictly accurate historical source, confirms the traces of modernity in the work of his contemporary “his music had great harmony and great novelty.” This can, of course, be linked to his instrumental output consisting of sonatas, toccatas for harpsichord, a symphony and minuets, covering the musical genres such as dance music played at assemblies.

 This musician, in fact, was greatly involved in setting up the first public meeting place for extended social intercourse, accessible only by subscription. It was known as Casa da Assembleia do Bairro Alto and began operating at least since 1761. Pedro Avondano was famous in Portuguese musical society and chaired the process of reorganising the Brotherhood of Saint Cecilia in 1765, gaining considerable social prestige as a member of the “Order of Christ” in 1767. 

His three collections of Lisbon minuets (ca 1765-70), printed in London, are specifically identified on the cover heading within the context of the Foreign Nations Assembly of Lisbon conducted by the composer.

Eighteen entire new Lisbon Minuets for two violins and a Bass. Selected out of the Book of Minuets composed for, and played at the British Factory Ball By Sigr.e Pietro Antº Avondano. London Printed for Charles and Samuel Thompson, s.d.

A Collection of Lisbon Minuets for two violins or two German flutes and a Bass composed by Sigr. Pietro Antº Avondano. London Printed for Charles and Samuel Thompson, s.d.

A Second Sett of Twenty-Two Lisbon Minuets for two violins and a Bass
composed by Sigr. Pietro Antº Avondano. London Printed for John Cox at
Simpsons Musick Shop, s.d.

This identification refers us to the placing of this repertoire in a cosmopolitan circle of dissemination, inherent to the principle of creation of a cultural embassy of national which has much to do with the ideas of the Enlightenment. An assembly in which people listen and dance to music, similar to the music circulating in the principal European cultural centres. In 1775, the British traveller Richard Twiss wrote the following:  

“There are two long rooms, where the British factory assemble twice a week, during the winter, to dance and play at cards. The minuets composed by Don Pedro Antonio Avondano, who lives here, are much esteemed. Any British stranger who does not intend to reside six months in Lisbon is admitted gratis to these assemblies; but the subscription for the inhabitants is seven moidores for each room. I am informed that since my departure both these societies are united, and that a very large room is built for that purpose. During the course of the winter there are four grand balls, with suppers; to which many of the Portuguese nobility are invited.”

Avondano’s collections can be distinguished by the instrumentation ( a trio of two violins or transverse flutes in the case of the second collection, and a cello) which probably means that they were played by Avondano himself on the violin and others close to him, possibly even family members (João Baptista Avondano, violin, and João Baptista André Avondano, cello). Being quite popular, they were printed in London on the incentive of the British community familiar with the balls at the Assembly of Nations in Lisbon. The Lisbon Minuets are characterised by their respect for the rules of efficacy tempered by heightened melodic and rhythmic imagination, essential for the degree of variety that musically characterizes the whole. The quality and richness of Avondano’s instrumental compositions within a framework of a repertoire with very tight frontiers and rules are enough to emphasise the reach of these compositions in the habits and practices of our country’s instrumental music. 

It was at the Foreign Nations Assemblies that people first heard of concerts put on for the gathering and entertainment of the members of the foreign community resident in Lisbon. Functioning since 1761 at the very earliest, this extended social venue, accessible only by subscription, documents the first mention made of instrumental music in 1766, concerning which it appears under the cosmopolitan designation of “Caza da Assembleia das Nações Estrangeiras, no fim da rua da cruz onde mora Pedro António Avondano”. (House of the Assembly of Foreign Nations, at the end of Rua da Cruz where Pedro Antonio Avondano lives).

Available recordings:
- Música de salão do tempo de D. Maria I: modinhas, cançonetas e peças instrumentais, Segréis de Lisboa – Manuel Morais; Movieplay portuguesa, 1994, CD 3-11034.
- Modinhas e lunduns dos séculos XVIII e XIX, Segréis de Lisboa – Manuel Morais; Movieplay portuguesa, 1997, CD 3-11042.

Obras de Referência da Cultura Portuguesa
projeto desenvolvido pelo Centro Nacional de Cultura
com o apoio do Ministério da Cultura