William Beckford, an English author, described the Portuguese love songs of the Modinhas as irresistible, full of devotion, and possessing a seductive allure. He was captivated by their slow melodies and enchanting character. The origins of the Modinhas are shrouded in legend, but it is believed that they arrived in Portugal from Brazil. Due to the lively exchange and geographical proximity between the two countries before Brazilian independence in 1822, this musical genre spread rapidly.
The Brazilian poet Domingos Caldas Barbosa likely played a significant role in popularizing the Modinhas in Portugal. These songs were very popular in aristocratic salons and had even reached the royal court. Queen Marie, while a great lover of music, was overshadowed by personal tragedies and emotional distress. Despite this, the Modinhas enjoyed great popularity and were preserved in numerous manuscripts.
The Brazilian poet Domingos Caldas Barbosa was likely instrumental in popularizing the Modinhas in Portugal. Stylistically and in their instrumentation, the Modinhas were varied, but always characterized by rhythmic vitality. The strophic form often made it difficult to emphasize the text, while the accompaniment was usually on the fortepiano or English guitar. Even well-known Portuguese composers from other musical backgrounds turned to Modinhas. Until the Miguelist War (1832–34), these songs were highly valued in Portugal, while they continued to develop and endure in Brazil.
The musical life of Portugal in the 18th century was dominated by vocal music in various genres such as opera, church music, and salon songs. Instrumental performances were less frequent and mostly focused on keyboard and dance music. Composers like Scarlatti and Seixas remained influential, while Avondano's "Lisbon Minuets" gained international acclaim.