Amélia Augusta de Azevedo, daughter of António Pedro de Azevedo, was born in 1840. She participated in various musical events in Funchal between 1860 and 1866, as a “Machete” player. On July 4th of 1873, signed up as a external student at ‘Conservatório Nacional de Lisboa’, in order to be evaluated for the second and third degrees of theory of music and solfeggio. She was approved in the first of two tests, but did not attend the second examination. At an unknown date Amelia Azevedo went to France. The “Elucidário Madeirense” referes to her participation in concerts in Lyon after 1885. Amelia Azevedo continued, possibly, her music studies at ‘Conservatoire Nationale de Musique et de declamation’ in Paris (or one of its dependencies), as a piano student. Amelia Azevedo was also a composer. There are known, to this date, the following works: “Recordações de Cintra”, “Alma minha”, “Le regret” and “Paris russophile”. “Recordações de Cintra”, polka for piano, and “Alma Minha”, a piece for voice and piano on the sonnet of Luis de Camões, were published in Lisbon and are deposited in the National Library of Portugal. “Le regret, op. 23”, and “Paris russophile” were published in Paris in 1884 and 1891, respectively, and remain in the Bibliothèque Nationale de France. The last two works mentioned are signed Amélie A. D’Azevedo. The similarity in name and the stay in France of Amélia Azevedo in the decade of 1880 contributed, with appropriate reservations, for the assertion of ownership of these works by the Madeiran composer. Her frequency at the ‘Conservatoire Nationale de Musique et de declamation’ is also certified by reference to Amélie A. D'Azevedo in the work "Le Conservatoire Nationale de Musique" by Pierre Constant. It is not possible to conclude a probable date of composition / publication of “Recordações de Cintra”. The piece for voice and piano “Alma Minha” joins the vast collection of works written by Portuguese composers about Camões - figure of relevant importance in the XIX and XX centuries - and his literary work, such as João Domingos Bomtempo, Francisco António Norberto dos Santos Pinto, Guilherme Cossoul, Augusto Machado, Miguel Ângelo Pereira, Luís de Freitas Branco, among others. It was problaby published, according to the Lisbon National Library, between 1880, the year of “Camonean Celebrations” and 1881. The number of works assigned to “Le regret, op. 23” indicates the existence of at least some 20 other works of Amelia Azevedo. "Paris russophile" was presented by the author in the Concours International de Musique in Trocadéro, at the Universal Exhibition in Paris in 1889, being rewarded with the second place and an honourable mention.
Amélia Augusta de Azevedo, daughter of António Pedro de Azevedo, was born in 1840. She participated in various musical events in Funchal between 1860 and 1866, as a “Machete” player. On July 4th of 1873, signed up as a external student at ‘Conservatório Nacional de Lisboa’, in order to be evaluated for the second and third degrees of theory of music and solfeggio. She was approved in the first of two tests, but did not attend the second examination. At an unknown date Amelia Azevedo went to France. The “Elucidário Madeirense” referes to her participation in concerts in Lyon after 1885. Amelia Azevedo continued, possibly, her music studies at ‘Conservatoire Nationale de Musique et de declamation’ in Paris (or one of its dependencies), as a piano student. Amelia Azevedo was also a composer. There are known, to this date, the following works: “Recordações de Cintra”, “Alma minha”, “Le regret” and “Paris russophile”. “Recordações de Cintra”, polka for piano, and “Alma Minha”, a piece for voice and piano on the sonnet of Luis de Camões, were published in Lisbon and are deposited in the National Library of Portugal. “Le regret, op. 23”, and “Paris russophile” were published in Paris in 1884 and 1891, respectively, and remain in the Bibliothèque Nationale de France. The last two works mentioned are signed Amélie A. D’Azevedo. The similarity in name and the stay in France of Amélia Azevedo in the decade of 1880 contributed, with appropriate reservations, for the assertion of ownership of these works by the Madeiran composer. Her frequency at the ‘Conservatoire Nationale de Musique et de declamation’ is also certified by reference to Amélie A. D'Azevedo in the work "Le Conservatoire Nationale de Musique" by Pie
rre Constant. It is not possible to conclude a probable date of composition / publication of “Recordações de Cintra”. The piece for voice and piano “Alma Minha” joins the vast collection of works written by Portuguese composers about Camões - figure of relevant importance in the XIX and XX centuries - and his literary work, such as João Domingos Bomtempo, Francisco António Norberto dos Santos Pinto, Guilherme Cossoul, Augusto Machado, Miguel Ângelo Pereira, Luís de Freitas Branco, among others. It was problaby published, according to the Lisbon National Library, between 1880, the year of “Camonean Celebrations” and 1881. The number of works assigned to “Le regret, op. 23” indicates the existence of at least some 20 other works of Amelia Azevedo. "Paris russophile" was presented by the author in the Concours International de Musique in Trocadéro, at the Universal Exhibition in Paris in 1889, being rewarded with the second place and an honourable mention.