João José Baldi – Missa para Coro, Solistas e Orquestra

CD BaldiMissa para Coro, Solistas e Orquestra

“Fenómeno raro em Portugal, a Câmara da Guarda edita amanhã à noite o registo digital do concerto “Missa para Coro, Solistas e Orquestra”, de João José Baldi. Uma peça escrita em 1801 e que teve estreia moderna na Sé no passado dia 27 de Novembro pela Orquestra Filarmonia das Beiras, Coro Aeminium e sete solistas, sob a batuta do maestro António Vassalo Lourenço. Um recital magistral que coroou as celebrações dos 804 anos da cidade e proporcionou a gravação para a posteridade de uma autêntica obra-prima da música erudita nacional, escondida até então no parco espólio musical da Catedral que sobreviveu às invasões francesas. (mais…)

New Musicological Project

Following the presentation of the paper “Matins for the Feast of St. Bernard” at the “Residência Cisterciense” (Évora), a new project arose in my head for a new phase of my life that is starting this Winter. It will be a long-term project that envolves working new repertoire. I must confess that I neglected it, which was at the time a big mistake of my part. (mais…)

Iberian Music at Terceira a Year Ago

SONY DSCPrecisely a year ago on August 5th, we were closing at the Curch of Santa Cruz (in Praia da Vitória) a week with seven concerts here at Terceira island. It was the Festival “Iberian Music 16th & 17th Centuries”, a series of seven concerts organized by the Angra Cathedral liturgical choir. (mais…)

Manuel Cardoso • Magnificat Primi Toni

Manuel CardosoManuel Cardoso (1566-1650) was one of the greatest Portuguese composers of the first half of the seventeenth century. His music was printed in half of dozen of prints in which is included the Magnificat Primi Toni. As the title suggests, this work was part of the Cantica Beatae Viriginis – vulgo Magnificat – printed in Lisbon in the year of 1613. As it is usual in this kind of publications, the text of the Magnificat is set according to the eight ecclesiastical modes in two versions: one for the even verses and another for the odd verses. (mais…)

Pero de Gamboa’s “O bone Jesu”

ListeningPero de Gamboa (†1638) is one of our finest Portuguese 16th-century composers. His surviving works are made of a dozen motets, a Te Deum laudamus, and smaller works as is the case of a Jesu redemptor. That is probably why Gamboa’s music hasn’t been much performed until the last decade. The motet O bone Jesu is written for four voices (SATB).This motet, as the others, has a very powerful rhetoric expressiveness, although the predominant imitative textures and the clarity and preciseness in the polyphonic writing. (mais…)

Estêvão Lopes Morago’s “Commissa mea pavesco”

ListeningEstêvão Lopes Morago’s (c.1575-c.1630) motet pro defunctis Comissa mea pavesco is, for me, one of the most “word-paintfull” works that I know of polyphony written in Portugal. This motet is scored for six voices (SSAATB). In this case, it’s a masterwork by an almost unknown composer who lived all his life in Viseu, a city in the interior of Portugal. (mais…)