Music and Nineteenth-Century Liberalism in the Ibero-American Atlantic Space

Luísa Cymbron is a professor of Music History at NOVA University Lisbon (NOVA FCSH). She has directed CESEM (the Centre for Music Studies) since 2023. Her research on 19th-century Portuguese music was groundbreaking. Her 2012 book Olhares sobre a música em Portugal no século XIX is the first to provide in-depth analyses of various aspects of 19th-century music in Portugal, while Francisco de Sá Noronha’s Biography (2019) explores the musical relations between Portugal and Brazil. Since 2020, she has edited two further books, and her current research focuses particularly on the history of music in the Atlantic region.

• List of IllustrationsAcknowledgementsIntroduction: Liberalism and Musicology: An Avoided RelationshipAlberto Hernández Mateos, João Silva, Luísa CymbronPart I: Liberalism on StageChapter 1. Staging Liberalism at Lisbon’s Teatro de S. Carlos in the Mid-Nineteenth Century: Angelo Frondoni’s I Profughi di Parga and Giuseppe Verdi’s I Vespri SicilianiLuísa CymbronChapter 2. Zarzuela in the Lisbon Stage in the Second Half of the Nineteenth Century: Neighbor or Guest?Ignacio Jassa HaroChapter 3. Theatrical Censorship and Zarzuela During the Final Crisis of the Reign of Isabel IIEnrique Mejías GarcíaPart II: Streets and SalonsChapter 4. Public Spaces for Recreation and Instruction: Wind Bands’ Promenade Concerts in Portugal and Brazil during the Liberal PeriodRui Magno Pinto and Inez Martins GonçalvesChapter 5. Building Citizenship in the Nineteenth-Century: The Mexican Musical SalonYael Bitrán GorenPart III: Music, Market, and Cultural IdentityChapter 6. Musical Snapshots of the Lisbon Press in the Constitutional MonarchyJoão SilvaChapter 7. Selling Music in a Liberal Market: Publishers in Lima, Peru, in the Mid-Nineteenth CenturyJosé Manuel Izquierdo KönigChapter 8. Beethoven on Tour. Oscar de la Cinna’s Iberian Tournée (1855-57): Strategies for Adaptation, Identity-Building and Cultural NetworkingAlberto Hernández MateosPart IV: Music and SlaveryChapter 9. Engaging the Elite: Abolitionism on Stage in Monarchic BrazilRogério BudaszChapter 10. Symphonic Abolitionism: Nicolás Ruiz Espadero’s El lamento del esclavo (The Slave’s Lament)Fernando Delgado GarcíaIndex