Concerto na Sé de Angra, 30 de Julho, realizado no âmbito do Festival “Música Ibérica Séculos XVI & XVII, promovido pelo Coro da Sé de Angra (mais…)
Entrevista para o programa «Açores Hoje» da RTP-Açores, apresentado por Pedro Moura, a propósito do Festival “Música Ibérica Séculos XVI & XVII” a decorrer em Angra do Heroísmo e Praia da Vitória de 28 de Julho a 5 de Agosto.
O Festival terá hoje, dia 30 de Julho, o seu terceiro concerto na Igreja da Sé, pelas 20h00, onde serão feitas obras de Fr. Diego da Conceição, Pablo Bruna, Manuel Mendes, Estêvão Lopes Morago e Fr. Manuel Cardoso. (mais…)
Entrevista para a segunda parte do programa “Na Outra Margem”, da autoria de Manuela Paraíso, a propósito do Festival “Música Ibérica – Séculos XVI & XVII” que se inicia hoje pelas 20h00 em Angra do Heroísmo e decorrerá até 5 de Agosto.
«Na 2ª parte, o musicólogo Luís Henriques, da direcção do festival Música Ibérica Séculos XVI & XVII, que entre 28 de Julho e 5 de Agosto irá decorrer em sete igrejas de Angra do Heroísmo, fala sobre este evento que se realiza pela primeira vez.» (mais…)
Audivi vocem de caelo is probably the most celebrated work by Portuguese composer Duarte Lobo (c.1567-1646). It was widely known in Europe during his time and later, still being performed by the “ancient music” english choral societies in early nineteenth century. The work is scored for six voices (SSAATB) and it comes from the 1621 Liber [primus] Missarum printed by Balthazar Moreto at the Officina Plantiniana in Antwerp. (mais…)
Festival de música Ibérica dos séculos XVI e XVII que decorrerá em Angra do Heroísmo e Praia da Vitória de 28 de Julho a 5 de Agosto. (mais…)
The Portuguese composer Francisco Martins was born in Évora c1620 or c. 1625 and died in Elvas, 20 March 1680. He became a choirboy at Évora Catedral, where his uncle Domingos Martins de Almeida had been master of the choirboys from 1608 to c1618. There have been appointed two possible dates: Domingos Barbosa Machado in his Bibliotheca Lusitana (1759) points to 20 June 1629, and José Augusto Alegria in his História da Escola de Música da Sé de Évora (1973) points towards 16 August 1634. Depending on the two dates, Martins would have studied either with Manuel Rebelo (1629) or António Rodrigues Vilalva (1634). By 27 December 1650, Martins was already a priest and was Mestre de Capela at Elvas Cathedral, a post which he held until his dead, with the salary of 37,500 réis. (mais…)
The attempt to play music with the styles and instruments of its era – commonly referred to as the early music movement – has become immensely popular in recent years. For instance, Billboard’s “Top Classical Albums” of 1993 and 1994 featured Anonymous 4, who sing medieval music, and the best-selling Beethoven recording of 1995 was a period-instruments symphony cycle led by John Eliot Gardiner, who is Deutsche Grammophon’s top-selling living conductor. But the movement has generated as much controversy as it has best-selling records, not only about the merits of its results, but also about the validity of its approach. To what degree can we recreate long-lost performing styles? How important are historical period instruments for the performance of a piece? Why should musicians bother with historical information? Are they sacrificing art to scholarship? (mais…)