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Doctorate Student
Rua do Monte Grande, 43
Vila Nova de Gaia
4430-646
Portugal
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Tel: +351 22 782 4119 // +351 96 729 6030

Biography

Fernando Miguel Jalôto was born in Vila Nova de Gaia (Portugal). Miguel graduated at the Early Music and Historical Performance Practice Department of the Royal Conservatory, The Hague (Netherlands) where he completed his bachelor and master's degrees in harpsichord with Jacques Ogg. He attended master classes with Gustav Leonhardt, Olivier Baumont, Laurence Cummings, Ketil Haugsand and Ilton Wjuniski, and also studied the clavichord and baroque organ. He has a master's degree in Music at Aveiro University with the dissertation "Chamber Music from the 1st half of the 18th century in the sources from the Monastery of Santa Cruz de Coimbra". He is currently studying for a PhD in Historical Musicology with a grant from the Foundation for Science and Technology at the New University of Lisbon. His research domains are in the field of the History of Portuguese Music in the 17th and 18th century and Historical Performance Practice. He is an undergraduate student at INET-MD, as a member of the projects "Erudit Music in the Perspective of Cultural Studies" and "Historical Approaches to the Musical Performance". His current dissertation is "Antonio Tedeschi (1702-1770) 'Most Learned Professor of His Majesty' - Biographical Journey; Artistic Profile; Study and Analysis of the Work." Miguel is principal guest continuo player with the Orquestra Barroca Casa da Música (Porto) and principal guest soloist with the Gulbenkian Symphony Orchestra in Lisbon. He was the regular harpsichordist of the baroque orchestra Divino Sospiro for seven years. He frequently performs as soloist at important venues in Portugal, France, Spain, Bulgaria, Poland and Japan. He collaborates with such prestigious groups as La Galanía, Capilla Flamenca, Oltremontano, and La Colombina. He has recorded for the labels Ramée/Outhere, Glossa Music, Anima e Corpo, Dynamic and Naxos. Miguel has created his own early music group, the Ludovice Ensemble, devoted to the performance instrumental and vocal chamber music of the 17th and 18th century, with particular emphasis on Portuguese, French and Italian repertoires. He has performed under the direction of Chiara Banchini, Rinaldo Alessandrini, Christina Pluhar, Harry Christophers, Antonio Florio, Andrew Parrott, Fabio Biondi, Christophe Rousset, Ton Koopman, Paul Hillier, Marco Mencoboni and Leonardo García Alarcón, and shared the platform with soloists such as Maria Cristina Kiehr, Marc Hantaï, Alfredo Bernardini, Vittorio Ghielmi, Riccardo Minasi, Roberta Invernizzi, Marcelo Gatti and Christophe Coin.

(ver CV)

 

Dissertation title:

Antonio Tedeschi (1702-1770): "His Majesty's most learned Professor"
Biographical sketch; Artistic profile; Study and analysis of his work.

Abstract
Antonio Tedeschi (Aversa, 1702 - Lisbon, 1770) was an Italian musician, hired by king D. João V to his Royal and Patriarchal Chapel in 1733. While serving the Portuguese court he worked as a poet and librettist, but above all as a singer and a composer. Held in high regard by his contemporaries, Tedeschi was undoubtedly a relevant character in the Portuguese eighteenth-century artistic environment. Circa of his 80 all-sacred musical works - catalogued by us - survive mostly at Lisbon's Cathedral Music Archive, but some others are kept in further Portuguese libraries and archives. Our PhD Dissertation is the first study entirely dedicated to Tedeschi. It's an original work, based almost exclusively in our own research of primary sources. The main objectives of this dissertation are: 1) To draw the biography of Anthony Tedeschi with the possible acuity, combining the scarce known information with the results of a thorough investigation of the documentary sources preserved in domestic and foreign archives, in order to clarify the educational, professional and artistic path of the composer. 2) To contextualize Tedeschi's trajectory in relation to the political, social, cultural and artistic context of the period, both in Italy and Portugal. 3) To define, as clearly as possible, Tedeschi's precise employments in the Portuguese court, with his rights and obligations, occupations and benefits.4) To conduct an exhaustive survey of all his musical works, with an inventory and comparison of the sources, with the aim to produce a detailed thematic catalogue (Catalogue Raisonné). 5) Edit and study a representative selection of his musical works, subjecting them to a detailed formal and stylistic analysis, in order to contextualize and characterized it in its aesthetic features, in order to increase our knowledge about the style of Tedeschi in particular, and on the eighteenth-century sacred repertoire, both Portuguese and Italian, in general. 6) To collect and compare information allowing a historically informed interpretation of this repertoire, and the consequent dissemination and valorisation of the same.