Francesco Esposito (1964-2020)
After a piano course and a degree in Music History in Naples (with a dissertation on the Neapolitan pianist school of the nineteenth century), he obtained a doctorate in Music Sciences at the New University of Lisbon with a thesis on the Lisbon concert life of the 19th century . Researcher at CESEM and a member of Caravelas (Center for Studies in the History of Luso-Brazilian Music), he was a Fellow of the Gulbenkian Foundation and post-doctorate at FCT, developing a research project on concert tournaments. Author of articles and a large monograph on the nineteenth-century Lisbon musical life (Francesco Esposito, “A Musical Movement like never before in Portugal”: musical associativism and concert life of liberal Lisbon, Lisbon, Colibri 2016), collaborated with the last editions of New Grove, MGG and Istituto della Enciclopedia Italiana; with an essay on the stay of Franz Liszt in Portugal won the V edition of the Liszt Prize of the Fondazione Liszt in Bologna. Professor of Literature in Italy, he lectured in several Portuguese institutions among which the Superior School of Music, the Polytechnic Institute of Setúbal, the National Music Conservatory of Lisbon and the New University of Lisbon. He collaborates with the Teatro de S. Carlos (Lisbon) and Casa da Música (Porto) and is currently co-researcher responsible for the project: PROFMUS, Being a Musician in Portugal: the socio-professional condition of musicians in Lisbon (1750-1985) , PTDC / ART-PER / 32624/2017; (PTDC / EAT / 70038/2006), CESEM (Center for the Study of Sociology and Musical Aesthetics of FCSH-UNL) and the project Studies of Instrumental Music in Portugal: 1755 – 1834, (PTDC / EAT-MMU / 104206/2008), UnimeM (Research Unit in Music and Musicology) of the University of Évora.
The Concertante Symphony as ‘Musical Metaphor’: The Role of Orchestral Music in the Concert Practice of Liberal Lisbon (1822-1853) (Brepols Publishers NV, 2019) Um Movimento Musical como nunca houve em Portugal (CESEM/Colibri, 2016) ”Liszt al rovescio”: la difficile relazione del pianismo portoghese di metà Ottocento con i modelli stranieri (Quaderni dell’Istituto Liszt, 2011)