Post on 25-Feb-2023
Maria Helena da Cruz Martins Rodrigues Milheiro
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The Orpheonic Movement in Portugal: the case of the Orfeão dos
Trabalhadores e Artistas de Condeixa (1903-1929)
Abstract
In 1903, father João Antunes, founded a choir in Condeixa-a-Nova, which was
a reference to the groups that will define the orpheonic movement in Portugal, in
the first decades of the twentieth century. This movement, despite the impact it
had, only recently began to be studied. Why and how was this choir formed? What is
the impact of it in the daily lives of the workers in Condeixa? Who joined the chorus?
What repertoire was performed? Where was presented to the public? The data
collected show that the Choir of Condeixa, provided a space for dialogue between
different strata of local society.
Keywords: Orpheonic movement, Condeixa-a-Nova, João Antunes, Orfeão dos
Trabalhadores e Artistas de Condeixa.
Introduction
In 1903, father João Antunes, one recent graduate at the University of
Coimbra, founded one choir in the village of Condeixa a Nova, which was a reference
to the groups that will define the choral movement in Portugal, in the first decades of
the twentieth century. This movement, despite the impact it had, only recently began
to be studied in all its extension under the ongoing project in the Institute of
Ethnomusicology in Aveiro, entitled "Music in between: the ‘orfeonismo’ movement
and choral singing in Portugal (1880-2012) ", funded by the Foundation for Science
and Technology and coordinated by Maria do Rosario Pestana. This study is part of
that project and aims to contribute to the knowledge of the role of choral singing in
the construction of a new model of society.
Why and how was this choir formed? What is the impact of it in the daily lives
of the workers in Condeixa? Who joined the chorus? What repertoire was
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performed? Where was presented to the public? Sustained in bibliographic and
archival research in the current association Orfeão João Antunes and in the General
Library of the University of Coimbra and the Municipal Library of Condeixa-a-Nova,
the study explores the relationship between singing in choir and a liberal ideology
and republican array of "regeneration" of Portuguese society by education, art and
civic mobilization (Nóvoa, 2005; Ramos, 2009 and Pestana, 2012).
Orfeão dos Trabalhadores e Artistas de Condeixa
Pict. 1: “The orfeon condeixense with it’s founder and conductor João Augusto Antunes”from the
Revista Ilustração Portuguesa, Serie II, Number 340, 26th August 1912.
The Orfeão dos Trabalhadores e Artistas de Condeixa (1903-1929, 1941; 1956)
was founded in the village of Condeixa-a-Nova, in 1903, by the musicologist father
João Antunes (1863-1931). The first performance was the concert which took place
at the church of Condeixa-a-Nova, in 1903, this being followed by many other public
presentations all over the country, especially in the cities of Lisbon, Porto and
Coimbra. According to Manuel Rodrigues dos Santos, the Orfeão dos Trabalhadores e
Artistas de Condeixa got great visibility:
"In the first quarter of the twentieth century, echoed in the country the names of the Orfeão dos
Trabalhadores e Artistas de Condeixa and of father João Antunes, its founder and leader. He was
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ventilated in the columns of newspapers and enjoyed the gatherings of music lovers who considered
the precursor to the disclosure of the choir at the level of rural populations, a process in which these
populations were at the same time, agents and recipients of artistic message pane." (Santos , 1990:
45)
According to its founder, father João Antunes, the idea of creation of the
Orfeão came from a conversation between friends:
"Music has always been my passion. In Coimbra, I played at the Tuna Académica. Then exile here
(Condeixa), and meet, on occasion, with some friends, some evenings where each played what he
knew. Once came to us the idea of the Orfeão. We gathered who wanted to meet us, made the first
tests and came to what we are now. But through hard work! Calculate ... The music I know is little. So I
cannot pass at the moment the great difficulties of interpretation. Count me the successive rehearsals,
firt separate and then all together. Finally everything is obtained. That's what delights me... "(João
Antunes, cit in Santos, 1990: 47-48)
There were several designations of this group over time:
"The official name of the institution was, successively, “Orfeon Condeixense dos Artistas e
Trabalhadores de Condeixa”, “Orfeon de Condeixa – Escola Cantorum Santa Cecília” and “Associação
de Instrução, Beneficência e Recreio”.” (Santos, 1990: 49)
This initiative from João Antunes had impact in the contemporary press that
not only gave news of the performances of the Orfeão, but also mobilized the public
for their actions. Indeed, it is through stories and photographs published in the press
that we learn that it was a male choir that brought together adults and children,
peasants, workers and professionals of the state. According to Afonso Lopes Vieira, it
consisted on:
"An association of workers, employees of commerce and State, old men with 70 years old and
children with 12. The school teacher is in the Orfeão, and sings with some of his disciples. Within this
brotherhood disappear the differences in wealth, individual opinions, only the group lives, only the
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choir survives. This is the spirit of orfeons and this is, to my knowledge, the 1st attempt of that sort to
be made in Portugal." (Vieira, 1916)
This gregarious nature so often emphasized in the press that made the cover
of their actions reveals similarities with the nineteenth-century French orpheonic
societies studied by Jane Fulcher (cf. Fulcher, 1979).
Despite the Orfeão did not have its own headquarters, they rehearsed
regularly, often in the house of João Antunes himself or even in his work place
(Santos, 1990).
The choir had the following objectives:
"(...) Cultivating choral singing, industrial design and professional education in evening classes,
creating a music library and file organizing exhibitions of manufactures of the county, aid charities to
the poor, shareholders or not, resident in county, conducting festivals, auditions, concerts, tours and
dances."(Santos, 1990: 49)
Like any recreative association, this Orfeão intended, through music,
specifically choral singing, to provide its members a space for learning, not looking at
the social strata. For this, had three aspects: education (musical and general),
beneficence and recreation.
Repertoire and Programs
As to the repertoire, the Orfeão interpreted works of European composers
and music of oral rural traditions, as we read in the words of Afonso Lopes Vieira,
concerning the performance in the Theatre of the Republic in Lisbon on February 9,
1916:
"Let's hear some snippets of the great German music and some songs taken from our so
characteristic, so meaningless and yet so untapped musical folklore [...] Traditional Songs, flowers with
the scent of our countryside, our mountains and our beaches and bring in the rhythms of the
provinces. All these songs are old and authentic, prior to the influence of magazines and free of other
influences that undermine the musical folklore. Some of them come from the region of Coimbra to
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the sea [...] as in Buarcos, where there are perhaps the most beautiful of Portugal’s singers [...]”
(Vieira , 1916)
The program of this public presentation was published in the journal Ecco
Musical:
“1st part, Hymn to the night from Beethoven, Adoramus Te from Palestrina, Choral from J. S. Bach;
Cantiga da Mofina Mendes, João de Badajoz; 2nd part: Chanson du Printemps, Mendelssohn by the
Academic Scgool’s Orchestra; by the choir: shepherd’s Song from Serrana, Keil, Russian Song,
Christmas Song (Ribatejo), Galician Song; 3rd part: Portuguese Rhapsody from A. Eduardo Ferreira, by
the Academy’s Orchestra; by the choir: 1. Senhora do Livramento; 2. A moda da Rita; 3. Senhora da
Encarnação; 4. O lenço; 5. Rouxinol e Rosa; 6. Santo Antão; 7. Canção da cigana.” (S. a., 1916b: 50)
The performances of the choir consisted of several parts, which were
performed by the Orfeão and instrumental parts, beginning with a brief conference.
An example of this performative model is one concert in Caldas da Rainha, in the
Park of Visconde de Sacavém, in September 12, 1915, which featured a lecture by
Afonso Lopes Vieira. In this concert, after the conference, started the choir, who
owned three parts, each consisting of choral (by the Orfeão) and instrumental music
(with guest musicians) (S. a., 1915).
Spaces and Performative Contexts
The Orfeão has performed in different spaces, open and closed, sometimes
for many people, as happened in the performances of 19 and 20 August in 1916 at
the Crystal Palace of Porto (the S., 1916a: 3.).
The concert in Caldas da Rainha mentioned above is an example of a
performance in the open, as it was held in the grounds of a stately home. When the
choir went to Lisbon in February 1916, the Orfeão gave two concerts indoors: one on
the Republic Theatre and other in the Santana Sanatorium, the latter being an
example of the philanthropic activity of the choir.
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“The trip to Lisbon was registered in February 1916. The choir presented on 9th and 11th in the
Republic Theatre, then just rebuild, and on the 13th, in the Santana Sanatorium, an auditorium
consisting of blind people and patients of the sanatorium. "It was the Christian part of the tour,
touching and endearing" as commented Dr. João Antunes.” (Santos, 1990: 50).
Importance and End of Activities
In Portugal, with the first appearances of orpheonic societies, one of the goals
of such groups was philanthropy, as has been studied by Rui Marques. Thus, like
other orpheonic societies all over the country, the Orfeão dos Trabalhadores e
Artistas de Condeixa assumed a dedicated philanthropic posture especially for the
promotion of public education.
Among these initiatives stands out one in 1924 in Lisbon, at an undisclosed
location, in order to raise funds for the Design School of Condeixa (S. a., 1924, 404).
The Orfeão has hosted an "industrial school" (Vieira, 1916, 3) that "(...) held up from
1914 to 1927" (Santos, 1990: 59).
Despite their important role as an integral part of the culture of Condeixa, in
1929 the Orfeão ceased its activities, with the latest performances in Condeixa-a-
Nova and S. Pedro de Moel:
"This recurrence of the orfeão had a small duration. After acting in the latter phase and twice in
Condeixa for the benefit of the hospital of the village, the group departed, in September 15 1929, to S.
Pedro de Moel in order to deliver his swan song where there lived the poet murmurs of the Pinhal de
Leiria and waves of its coastline outside the major sponsor of its most resounding successes."
(Santos, 1990: 54)
Later, an attempt to resume the activities of the orfeão took place in 1941,
with no indication of conductor, also ending shortly after:
“In 1941 was created, in the House of the People, the "Center of Joy João Antunes" evocative memory
of his patron, and that included an orfeão. In the show's debut on July 22nd 1941, was shown a
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magazine entitled "Is not evil," authored by Dr. Fernando de Sá Viana Rebelo. This group also had no
long life.” (Santos, 1990: 114)
Another short-lived attempt occurred in 1956 but did not, however, avenged:
"In 1956 was celebrated the 25th Anniversary of the death of the "distinguished citizen", as old
members and other admirers in the call for acts of homage. (...) A set of 15 surviving members of the
Orfeão dos Trabalhadores e Artistas de Condeixa a interpreted, in fact, under the direction of Saúl de
Oliveira Baio, various numbers of sacred music that Dr. Antunes had taught them." (Santos, 1990:
114)
Father João Antunes (1864-1931)
Pict. 2: “Rev.º Dr. João Antunes: Father and lawyer in Condeixa-a-Nova. He is the conductor and has
been the soul of the Orfeão Condeixense, that is today in Porto”, fotograph from Porto Crítico, 19th
August 1916, year I, N. º 20.
Born in Coimbra in 1864, John Antunes graduated in this city in Theology
(1886) and Law (1892). After finishing the courses, he obtained the post of curator of
Land Registry in Condeixa and was a professor of choral music at the National School
of Agriculture in Coimbra, current College of Agriculture of Coimbra:
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"For over a decade he served as a Professor of Choral Singing in the Agricultural School of Coimbra, where his
disciples, in particular Antunes de Azevedo and José Bessa dos Santos who, before graduating in Medicine and
ascend university teaching, took courses at this institution (...)" (Santos, 1990: 67)
He was also chaplain of the now extinct Royal House and was considered a
distinct musician.
Despite settling in Condeixa-a-Nova, Coimbra was not forgotten by him:
"Coimbra, his land of birth and bohemia, and whose Tuna Académica streamlined, never abandoned
him at all, because his destination was a nearby village where carries dreams of youth and leaving in
Coimbra friendships and models who would help to realize them." (Santos, 1990: 21)
His vast activity in Condeixa-a-Nova began as soon as he arrived at the
village, founding and conducting the Orfeão dos Trabalhadores e Artistas de
Condeixa since the beginning of the chorus activity in 1903 and until its completion
in 1929, performing in various locations, including Lisbon and Porto. Many initiatives
of João Antunes in the village were borne by himself: "With no official support, in the
village triggers a febrile educational activity that will consume his personal fortune and even trigger
some self-righteous protests." (Santos, 1990: 21).
He also conducted the Orfeon Académico do Porto for some time and also
founded an orfeão in Figueira da Foz, the latter premiering in December 1925:
"But not even in those periods of leisure the father and jurist forgot his passion for choral singing and
its dissemination. Here's how it organizes and rehearses, within the Gym Club Figueirense an orfeão
that came to integrate more than one hundred elements." (Santos, 1990: 68)
"It happened also with the orfeão Figueirense, which premiered on December 12th 1925, at the
Casino Peninsular winter theater and behaved so as to justify lengthy applause." (Santos, 1990:
69)
João Antunes died without resources in Condeixa-a-Nova, in August 26th
1931:
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"But back to the last days of father João Augusto Antunes: those were times of hardship almost
touching the extremes of poverty, social erasure and agony that these mediate between 1929 when
he left his job as curator and saw his Orfeão become extinct, and death occurred on August 26th 1931,
when he was completing 68 years of life, 36 of which were consumed in dedication to the people of
Condeixa." (Santos, 1990: 106)
Conclusions
The data collected show that the Orfeão dos Trabalhadores e Artistas de
Condeixa integrated not only workers and 'artists' but also professionals, providing a
space for dialogue between different strata of local society. Despite the wide age
and social spectrum, the Orfeão excluded females.
This orfeão, singular in Portuguese panorama of amateur choirs, approached
the French model described by Jane Fulcher. The local impact of this constitution has
been repeatedly reported by the press. Incidentally, this was the main source of
documentation for this study. In the pages of local and national periodicals, the
Orfeão dos Trabalhadores e Artistas de Condeixa was presented as a model of ideal
society, and in the words of the writers should be replicated. However, this will only
happen occasionally such as in Serpa "composed entirely of young men of the
people" (1907: 144) consucted by Pulido Garcia, and in Lordelo Paredes, in 1924,
with the Choral Society Araújo Castro Lordelo Paredes, conducted by Virgílio Pereira
(Pestana, 2010).
The study reveals that the Orfeão dos Trabalhadores e Artistas de Condeixa
was a metaphor for regeneration and progress, according to a social model and a
space for social transformation, in line with a progressive and humanitarian ideal
prevailing in the years before the establishment of the Republic in Portugal.
Bibliography
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AMORIM, EUGÉNIO (1941): “Dicionário Biográfico de Músicos do Norte de Portugal”,
João Antunes, Porto, Edições Marânus.
CORDEIRO, GRAÇA ÍNDIAS (2010): “Associações Recreativas”, dentro de CASTELO
BRANCO, S. e outros (2010): Enciclopédia da Música em Portugal no Século XX, A – C,
Lisboa, Temas e Debates: Círculo de Leitores (82-83).
FULCHER, JANE (1979): “The Orphéon Societies: ‘Music for the Workers’ in Second-
Empire France”, International Review of the Aesthetics and Sociology of Music, Vol.
10, nº 1 (47-56).
NÓVOA, ANTÓNIO (2005): Evidentemente: Histórias da Educação, 2ª Edição, Porto,
Asa Editores, SA.
PESTANA, ROSÁRIO (2010): “Orfeão”, dentro de CASTELO BRANCO, S. e outros
(2010): Enciclopédia da Música em Portugal no Século XX, A – C, Lisboa, Temas e
Debates: Círculo de Leitores (940-942).
PESTANA, MARIA DO ROSÁRIO (2012): Armando Leça e a Música Portuguesa, Lisboa,
Tinta-da-China.
RAMOS, RUI (co.) (2009): História de Portugal, Lisboa, A Esfera dos Livros.
SANTOS, MANUEL RODRIGUES DOS (1990): Padre-Boi não é Lenda. Esboço Biográfico
do P. Dr. João A. Antunes, Condeixa-a-Nova, Câmara Municipal.
S. A. (1907): “Orpheons Populares”, A Arte Musical, Ano IX, nº 204, 144-5.
S. A. (1916 a): “Orfeões Portugueses”, Porto Crítico, Nº 20, 3.
S. A. (1916 b): “Orfeon de Condeixa”, Ecco Musical, Nº 244, 50.
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S. A. (1924): “Escola de desenho e Orfeão de Condeixa”, Illustração Portugueza, II
Série, Nº 945, 404.
Web References
Municipality Condeixa; Culture; Great Figures: Dr. João Antunes: http://www.cm-
condeixa.pt/menu/cultura/figurasIlustres/joaoAntunes.html, (consulted: November
2nd 2012).
Associação Orfeão Dr. João Antunes; Novos Corpos Dirigentes:
http://orfeaodecondeixa2.wordpress.com/2012/11/11/novos-corpos-sociais/,
(consulted: November 2nd 2012).
Orfeão de Condeixa Blogando: http://orfeaodecondeixa.wordpress.com/,
(consulted: November 2nd 2012).
Interviews
António Pedro Devesa, in Condeixa-a-Nova by Maria Helena Milheiro, 26th October
2012.
António Rodrigues, in Condeixa-a-Nova by Maria Helena Milheiro, 23rd October
2012.