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…)

Tomas L. de Victoria’s “O Sacrum Convivium”

VictoriaSuggested by a friend (who didn’t know the amazing work she was singing…), here is one of the most interesting motets by Tomás Luis de Victoria I have ever listen to. What amazed me most in this work was its – I may called it – micro polychoral structure. The motet is set for six voices (SAATTB) but, in this texture another polychoral texture emerges, with 3 or even 4 paired voices, that gives a whole new dimension to this work. It is a good example of the mastery of six-voice settings by late mannerist composers. The motet was published in the 1572 book of motets and in the the following books. (mais…)

Musique à la Cathédrale d’Oaxaca

Parmi ses multiples trésors, la Cathédrale d’Oaxaca possède dans ses archives le fameux manuscrit musical de Gaspar Fernandes, ainsi que nombre d’œuvres du compositeur Manuel de Sumaya qui y termina sa vie en 1756, après avoir été le plus prestigieux maître de chapelle de la Cathédrale métropolitaine de Mexico.

Bien qu’un siècle les sépare, Gabriel Garrido a voulu réunir ces deux grands compositeurs néo-hispaniques dans cet enregistrement qui témoigne de la vitalité de la création musicale sacrée en Nouvelle-Espagne. (mais…)

Tomás Luis de Victoria • O quam gloriosum

VictoriaA musical suggestion for today, Feast of All Saints. Tomás Luis de Victoria bring us a fine example from his musical output: the four-voice motet O Quam Gloriosum. This motet has the indication In Omnium Sanctorum (for All Saints) and was published in the Book of motets of 1572 and republished in 1583, 1585, 1589 and 1603, showing that it was a very popular work. Based on this motet, Victoria wrote later a parody mass also for four voices. (mais…)