Of the three polychoral works by Portuguese composer Estêvão de Brito (c.1575-1641) present in his Motectorum Liber the motet Vidi Dominum, for eight voices (SATB+SATB) was the only one to be recorded in cd until now. The other two works, also for eight voices, are O Rex gloriae, a motet that I have been writing a lot, and Dum complerentur. The motet has the indication In die Trinitatis et Omnium Sanctorum that is, it was destined to the Sunday after Pentecost and the Feast of All Saints. (mais…)
I found these videos on YouTube of Giovanni Pierluigi da Palestrina’s Missa Emendemus in melius, an imitation mass for which the model was not yet been identified, but it looks like it would be a 4-voice motet. The mass was printed in the 7th book of masses, published in 1594. Palestrina exceeds himself in setting the second Agnus Dei. He expands the texture from four to five voices, adding a second tenor with a carefully controlled cannon between this voice and the bassus. (mais…)
Enigma is a new resource online for finding latin words, that you parcially decyphred. Here’s the description from the website: “Enigma helps scholars to decipher Latin words which are difficult to read in medieval manuscripts. It is sometimes impossible to decipher all the letters in a word, for various reasons (difficult palaeography, unclear writing, damage to the document, etc.) If you type the letters you can read and add wildcards, Enigma will list the possible Latin forms, drawing from its database of more than 400 000 forms.”
Sebastián de Vivanco’s (1551-1622) double-choir motet O Rex gloriae. This work comes from his 1610 book of motets, printed in Salamanca. Here it is performed by Capilla Flamenca, dir. Dirk Snellings, and Oltremontano with their sackbutts and cornetts – a great recording, as is the rest of the CD that features many works from this book.
Memento homo is, in my opinion, probably one of Diogo Dias Melgaz’s most impressive works. This “miniature” motet for four voices (SATB) survives in two 18th-century choir books housed at the Patriarchal archives in Lisbon and at Évora Cathedral. It is quite impressive how Melgaz emphasises the text’s message Memento homo, quia pulvis in pulverem reverteris (Remember, man, that dust thou art, and unto dust thou shalt return) using dotted rhythms and short musical figures. (mais…)
This is the second video (first video here) of the series I prepared on the intabulations for vihuela of sacred an vocal music from the Renaissance.
The composer featured in this video is Josquin des Prez (c.1450-1521), one of the finest and most widespread composers of the Renaissance. His music is particularly important to the Iberian vihuelists, who use Josquin’s music widely. (mais…)