The Evocation of Music in the Ephemeral Artworks: The Wedding Celebrations of D. Pedro II and Maria Sofia of Neuburg in Lisbon, 1687

The wedding ceremony of King Pedro II of Portugal (1648- 1706) and D. Maria Isabel Sofia of Neuburg (Marie Sophie Elisabeth von der Pfalz; 1666-1699), the daughter of the Palatine Elector Prince Philip William of Neuburg, held in August 1687, was a particularly lavish ceremony with part of the city of Lisbon entirely changed by newly constructed bridges, castles, pyrotechnics machines, triumphal arches, and a magnificent stage for theatrical presentations. The royal couple made the public entrance from the royal palace to the cathedral through twenty majestic arches, built by diplomatic representations of European countries (Italy, the Netherlands, France, England, German) and by local guilds (confectioners, coiners, goldsmiths, tailors, esparto makers, merchants, wine growers, carpenters, silversmiths, shoemakers, wax dealers, ship owners). Architects providing designs of these arches remain unknown, but their drawings are preserved in the album "Cópia dos Reaes Aparatos & Obras que se fizeram em Lixboa na occasiãm da entrada e dos Desposórios de Suas Maiestades," produced by João dos Reis (1639-1691), kept at the Biblioteca Nacional de Portugal in Lisbon, AT 317. The nuptial celebrations were luxurious and conspicuous celebrations for the public, and included lavish fireworks, dance and music productions. Their objective was to reflect an image of power and magnificence, to glorify the royal family, and to impress people and foreigner visitors. The musical references incorporated into the celebrations were more reflecting the ancient concepts associated with mythological episodes, than producing music performances as an artistic expression, and such Baroque festivities can be in many ways understood as a revival of the heritage that the Western civilization received from the Classical antiquity. [PUBLICATION ABSTRACT]