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…)
Manuel 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 (†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 (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…)
The motet Mulier quae erat by Portuguese composer Fr. Manuel Cardoso (1566-1650) was published in the Livro de varios motetes… printed in Lisbon in 1648. It is scored for five voices (SAATB).
The imitation in the opening of this motet is full of chromatic inflections, which make almost impossible to determine a tonaly, which is only clear after all the voices entered, confirming their tonality between them. (mais…)
Suggested 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…)
A 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…)