{"id":3074,"date":"2021-12-08T23:59:03","date_gmt":"2021-12-08T22:59:03","guid":{"rendered":"https:\/\/www.joaocostaferreira.com\/?page_id=3074"},"modified":"2026-02-17T13:10:30","modified_gmt":"2026-02-17T12:10:30","slug":"jose-vianna-da-motta","status":"publish","type":"page","link":"https:\/\/www.joaocostaferreira.com\/?page_id=3074","title":{"rendered":"Jos\u00e9 Vianna da Motta"},"content":{"rendered":"<p><\/p>\n<p style=\"text-align: center;\">\u00c0 descoberta de<br \/>\n<strong>Jos\u00e9 Vianna da Motta (1868-1948)<\/strong><br \/>\npianista e compositor portugu\u00eas<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-3073 alignright\" src=\"https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2021\/12\/Vianna-da-Motta-300x250-1.jpg\" alt=\"\" width=\"300\" height=\"250\" \/><\/p>\n<p style=\"text-align: justify;\">Desde o ano de 2015, Jo\u00e3o Costa Ferreira tem vindo a reabilitar a m\u00fasica de uma das figuras mais emblem\u00e1ticas da hist\u00f3ria da m\u00fasica portuguesa: o pianista e compositor portugu\u00eas Jos\u00e9 Vianna da Motta. Quando iniciou este trabalho, aproximadamente 45% da sua obra para piano encontrava-se por publicar e cerca de 65% nunca tinha sido gravada. Posicionado-se contra a indiferen\u00e7a a que o patrim\u00f3nio musical portugu\u00eas tem vindo a ser sujeito, Jo\u00e3o Costa Ferreira reviu e prefaciou mais de 30 obras in\u00e9ditas cujos manuscritos pareciam estar condenados ao esquecimento nas gavetas poeirentas da Biblioteca Nacional de Lisboa e realizou a primeira grava\u00e7\u00e3o mundial de mais de 20 dessas obras. Hoje, apenas cerca de 10% da obra para piano de Jos\u00e9 Vianna da Motta continua por publicar e cerca de 40% por gravar. Este trabalho de investiga\u00e7\u00e3o e interpreta\u00e7\u00e3o tem permitido aprofundar o conhecimento sobre o romantismo musical portugu\u00eas e trazer \u00e0 luz a personalidade art\u00edstica de Vianna da Motta. A t\u00edtulo de exemplo, o disco <em>Viana da Mota: Piano Works<\/em> veio enriquecer os estudos sobre o repert\u00f3rio composto no per\u00edodo nevr\u00e1lgico da hist\u00f3ria de Portugal que precede o Ultimato Brit\u00e2nico de 1890, nomeadamente com a grava\u00e7\u00e3o das <em>Cinco Raps\u00f3dias Portuguesas<\/em>. Este ciclo integra a primeira obra inspirada na m\u00fasica popular portuguesa e inaugura o per\u00edodo \u201cnacionalista\u201d do compositor, uma orienta\u00e7\u00e3o est\u00e9tica que ter\u00e1 uma forte influ\u00eancia nos compositores nacionais vindouros e que marcar\u00e1 a hist\u00f3ria da m\u00fasica portuguesa. A s\u00e9rie discogr\u00e1fica <em>Jos\u00e9 Vianna da Motta: Poemas Pian\u00edsticos<\/em>, dedicada \u00e0 obra de inf\u00e2ncia do compositor, para al\u00e9m de espelhar o seu centro de interesses por diversos g\u00e9neros musicais como dan\u00e7as de sal\u00e3o, marchas, varia\u00e7\u00f5es e fantasias sobre temas de \u00f3peras, \u00e9 um testemunho sonoro das capacidades invulgares do menino prod\u00edgio que foi Jos\u00e9 Vianna da Motta.<\/p>\n<hr \/>\n<p style=\"text-align: center;\"><strong>Repert\u00f3rio<\/strong><\/p>\n<p><strong>Piano solo<\/strong><\/p>\n<ul>\n<li><em>Primeira Inspira\u00e7\u00e3o Musical<\/em><\/li>\n<li><em>Gratid\u00e3o, Valsa s\/op.<\/em><\/li>\n<li><em>Amizade, Mazurca s\/op.<\/em><\/li>\n<li><em>Triunfo e Gl\u00f3ria, Grande Marcha s\/op.<\/em><\/li>\n<li><em>As F\u00e9rias, Valsa op. 14<\/em><\/li>\n<li><em>Amor Filial, Valsa op. 16<\/em><\/li>\n<li><em>Singela, Polca-mazurca op. 17<\/em><\/li>\n<li><em>Purifica\u00e7\u00e3o, Polca op. 18<\/em><\/li>\n<li><em>Vol\u00favel, Valsa op. 19<\/em><\/li>\n<li><em>Praia das Conchas, Quadrilha de Contradan\u00e7as op. 22<\/em><\/li>\n<li><em>Vict\u00f3ria!!, Marcha op. 23<\/em><\/li>\n<li><em>A Inf\u00e2ncia, Polca op. 24<\/em><\/li>\n<li><em>O Acrobata, Fantasia op. 25<\/em><\/li>\n<li><em>Um Passeio Militar, Grande Marcha op. 26<\/em><\/li>\n<li><em>Les Inondations de Murcie, Sc\u00e8ne caract\u00e9ristique op. 28<\/em><\/li>\n<li><em>Armas e Letras, Fantasia op. 31<\/em><\/li>\n<li><em>The Jockey Club, Capricho op. 32<\/em><\/li>\n<li><em>Fantasia brilhante sobre a \u00f3pera \u201cIl Guarany\u201d de Carlos Gomes, op. 34<\/em><\/li>\n<li><em>Gaiet\u00e9, Galope op. 35<\/em><\/li>\n<li><em>Pens\u00e9e Po\u00e9tique, R\u00eaverie op. 36<\/em><\/li>\n<li><em>Polaca, op. 37<\/em><\/li>\n<li><em>Resigna\u00e7\u00e3o, Melodia para a m\u00e3o esquerda op. 39<\/em><\/li>\n<li><em>Variations sur l&#8217;Hymne de Sa Magest\u00e9 D. Louis Ier, op. 43<\/em><\/li>\n<li><em>O Dia 20 de Maio, Quadrilha de Valsas op. 44<\/em><\/li>\n<li><em>Elegia, op. 45<\/em><\/li>\n<li><em>Varia\u00e7\u00f5es sobre um tema original, op. 47<\/em><\/li>\n<li><em>Au bord du Lac de Pena, Pastoral op. 50<\/em><\/li>\n<li><em>Tr\u00eas Romances sem palavras, op. 51<\/em>\n<ul>\n<li>N.\u00ba 1 &#8211; <em>Medita\u00e7\u00e3o<\/em><\/li>\n<li>N.\u00ba 2 &#8211; <em>O Crep\u00fasculo<\/em><\/li>\n<li>N.\u00ba 3 &#8211; <em>Lamenta\u00e7\u00e3o<\/em><\/li>\n<\/ul>\n<\/li>\n<li><em>Rondino, op. 52<\/em><\/li>\n<li><em>Fantasiest\u00fcck, op. 2<\/em><\/li>\n<li><em>Zwei Klavierst\u00fccke nach A. B\u00f6cklin<\/em>\n<ul>\n<li>a) <em>Meeresidylle<\/em><\/li>\n<li>b) <em>Im Spiel der Wellen<\/em><\/li>\n<\/ul>\n<\/li>\n<li><em>Cinco Raps\u00f3dias Portuguesas<\/em>\n<ul>\n<li><em>1\u00aa Raps\u00f3dia Portuguesa, &#8220;Fados&#8221;<\/em><\/li>\n<li><em>2\u00aa Raps\u00f3dia Portuguesa<\/em><\/li>\n<li><em>3\u00aa Raps\u00f3dia Portuguesa<\/em><\/li>\n<li><em>4\u00aa Raps\u00f3dia Portuguesa, Ora\u00e7\u00e3o da Tarde<\/em><\/li>\n<li><em>5\u00aa Raps\u00f3dia Portuguesa, S\u00e3o Jo\u00e3o<\/em><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>M\u00fasica de c\u00e2mara<\/strong><\/p>\n<ul>\n<li><em>Erinnerungen, op. 7<\/em> (piano a 4 m\u00e3os)\n<ul>\n<li>N.\u00ba 1 &#8211; <em>Danksagung<\/em><\/li>\n<li>N.\u00ba 2 &#8211; <em>Pastorale<\/em><\/li>\n<li>N.\u00ba 3 &#8211; <em>Geburtstag<\/em><\/li>\n<li>N.\u00ba 4 &#8211; <em>Gekr\u00e4nkt<\/em><\/li>\n<li>N.\u00ba 5 &#8211; <em>Scherzo<\/em><\/li>\n<li>N.\u00ba 6 &#8211; <em>Walzer &#8211; Humoreske<\/em><\/li>\n<\/ul>\n<\/li>\n<li><em>Ein Dorffest<\/em> (piano a 4 m\u00e3os)\n<ul>\n<li>N.\u00ba 1 &#8211; <em>Einleitung (Festzug)<\/em><\/li>\n<li>N.\u00ba 2 &#8211; <em>Tanz<\/em><\/li>\n<li>N.\u00ba 3 &#8211; <em>Sonnenuntergang<\/em><\/li>\n<li>N.\u00ba 4 &#8211; <em>Intermezzo<\/em><\/li>\n<li>N.\u00ba 5 &#8211; <em>Schlussreigen<\/em><\/li>\n<\/ul>\n<\/li>\n<li><em>Fantasia sobre a \u00f3pera \u00ab Robert le Diable \u00bb de Meyerbeer, op. 42<\/em> (piano a 6 m\u00e3os)<\/li>\n<li><em>Grande sonata em r\u00e9 menor para flauta e piano, op. 49<\/em>\n<ul>\n<li><em>Allegro con brio<\/em><\/li>\n<li><em>Andante cantabile<\/em><\/li>\n<li><em>Allegro assai<\/em><\/li>\n<\/ul>\n<\/li>\n<li><em>Resigna\u00e7\u00e3o, op. 40<\/em> (violino ou flauta e piano)<\/li>\n<li><em>Singela, Polca-mazurca op. 15<\/em> (flauta e piano)<\/li>\n<\/ul>\n<hr \/>\n<p><strong>Discografia<\/strong><\/p>\n<div id=\"attachment_1177\" style=\"width: 160px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.joaocostaferreira.com\/?page_id=1198\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1177\" class=\"wp-image-1177 size-thumbnail\" src=\"http:\/\/joaocostaferreira.com\/wp-content\/uploads\/2017\/08\/CD-Belthoise-1425X1425_6-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2017\/08\/CD-Belthoise-1425X1425_6-150x150.jpg 150w, https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2017\/08\/CD-Belthoise-1425X1425_6-300x300.jpg 300w, https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2017\/08\/CD-Belthoise-1425X1425_6.jpg 571w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a><p id=\"caption-attachment-1177\" class=\"wp-caption-text\">2017<\/p><\/div>\n<div id=\"attachment_1275\" style=\"width: 160px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.joaocostaferreira.com\/?page_id=1198\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1275\" class=\"wp-image-1275 size-thumbnail\" src=\"http:\/\/joaocostaferreira.com\/wp-content\/uploads\/2018\/01\/81yWNjvUumL._SL1200_-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2018\/01\/81yWNjvUumL._SL1200_-150x150.jpg 150w, https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2018\/01\/81yWNjvUumL._SL1200_-300x298.jpg 300w, https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2018\/01\/81yWNjvUumL._SL1200_-768x762.jpg 768w, https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2018\/01\/81yWNjvUumL._SL1200_-1024x1015.jpg 1024w, https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2018\/01\/81yWNjvUumL._SL1200_-303x300.jpg 303w, https:\/\/joaocostaferreira.com\/wp-content\/uploads\/2018\/01\/81yWNjvUumL._SL1200_.jpg 1200w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a><p id=\"caption-attachment-1275\" class=\"wp-caption-text\">2018<\/p><\/div>\n<div id=\"attachment_2013\" style=\"width: 160px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.joaocostaferreira.com\/?page_id=1198\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2013\" class=\"wp-image-2013 size-thumbnail\" src=\"http:\/\/joaocostaferreira.com\/wp-content\/uploads\/2020\/10\/JoseViannaDaMottaPoemasPianisticosCapaJoaoCostaFerreira-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><p id=\"caption-attachment-2013\" class=\"wp-caption-text\">2020<\/p><\/div>\n<div id=\"attachment_7494\" style=\"width: 160px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.joaocostaferreira.com\/?page_id=1198\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-7494\" class=\"wp-image-7494 size-thumbnail\" src=\"http:\/\/joaocostaferreira.com\/wp-content\/uploads\/2022\/11\/Dialogues_Dialogos_cover-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><p id=\"caption-attachment-7494\" class=\"wp-caption-text\">2022<\/p><\/div>\n<p><div id=\"attachment_7494\" style=\"width: 160px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.joaocostaferreira.com\/?page_id=1198\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-7494\" class=\"wp-image-7494 size-thumbnail\" src=\"http:\/\/joaocostaferreira.com\/wp-content\/uploads\/2024\/08\/Capa2D_VdM_PP_Vol2-300x271.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><p id=\"caption-attachment-7494\" class=\"wp-caption-text\">2024<\/p><\/div><\/p>\n<!-- AddThis Advanced Settings generic via filter on the_content --><!-- AddThis Share Buttons generic via filter on the_content -->","protected":false},"excerpt":{"rendered":"<p>\u00c0 descoberta de Jos\u00e9 Vianna da Motta (1868-1948) pianista e compositor portugu\u00eas Desde o ano de 2015, Jo\u00e3o Costa Ferreira tem vindo a reabilitar a m\u00fasica de uma das figuras mais emblem\u00e1ticas da hist\u00f3ria da m\u00fasica portuguesa: o pianista e &hellip; 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