This is the second number of the Polyphonia series, edited by Movimento Patrimonial pela Música Portuguesa, comprising three more motets by Portuguese composer Diogo Dias Melgaz (1638-1700). Melgaz was mestre de capela at Évora Cathedral in the last decades of the 17th century. This edition comprises the motets Memento homo, Ille homo qui dicitur Jesus and In jejunio et fletu, all for four voices (SATB). (mais…)
This is the first number of the Polyphonia series, edited by Movimento Patrimonial pela Música Portuguesa, comprising three motets by Portuguese composer Diogo Dias Melgaz (1638-1700). Melgaz was mestre de capela at Évora Cathedral in the last decades of the 17th century. All his musical output survives in 18th-century sources, divided between the archives of the Patriarcal in Lisbon and Évora Cathedral. Like in Morago, I devoted a lot of attention to Melgaz’s music since (like Morago’s) there no easy access to editions of his music. This edition comprises the motets Honora patrem et matrem, Qui autem biberit ex aqua and Ego sum resurrectio, all for four voices (SATB). (mais…)
The edition I prepared of Mateus d’Aranda surviving polyphonic works is finally available through the Movimento Patrimonial pela Música Portuguesa. This edition comprised the two known works (besides the two treatises) by the Spanish composer Mateus d’Aranda (c.1495-1548), an influent figure in Portuguese music of the first half of the 16th century. The two surviving works presented here are both for four voices (SATB): an Adjuva nos Deus and two fragments of a Credo. To be noted that the second fragment of this Credo still uses the pre-tridentine text setting “Et vitam futuri saeculi” (instead of the post-tridentine and actual “Et vitam venturi saeculi”). (mais…)
Here is a small work I prepared, consisting in the edition of the two surviving parts – the altus secundus and bassus – of King D. João IV’s motet Anima mea turbata est for six voices. The “altus secundus” of the motet is found in the “altus secundi chori” part-book ff. 57-58 and the “bassus” in the “bassus secundi chori” part-book ff. 57-58 of João Lourenço Rebelo’s Psalmi tum Vesperarum, tum Completorii (Rome, 1657). (mais…)
Manuel de Tavares was an early-seventeenth century composer, who was born in Portalegre. He held the post of maestro di capilla in several Spanish cathedrals like Baeza, Murcia, Las Palmas and Cuenca (there is an brief text in Portuguese on this composer here).
Although a quite known composer in his time, the music of Manuel de Tavares was almost completely forgoten from the modern editions – mostly the Portugaliae Musica series which only features one work – probably due to the sources being extant outside Portugal (Spain and Mexico). (mais…)
It is always gratifying to see one of our music editions being performed. It’s like bringing a treasure back to life. Specially when this work is integrated in the context for which it was written. This is the case of Ludovice Ensemble’s concert at the 25th edition of the festival “Música em São Roque”, promoted by the Santa Casa da Misericórdia at São Roque Church in Lisbon. (mais…)
Last year I edited one of the few Christmas responsories sets by composers active in Portugal during the sixteenth and seventeenth centuries, in this case, the Spanish-born composer Estêvão Lopes Morago.
These are the eight responsories for four voices, with the versicles of several of them for three voices (usually SAT). These lively works, in which we can include the Advent motets for four (polyphonia 20 – in preparation) and five (polyphonia 5) voices, contrast with the more heavy emotions of the Lent and Holy Week works. Quite joyful are the Hodie nobis caelorum, Quem vidistis Pastores? and the Verbum caro. (mais…)