Of Mathieu Gascongne’s Missa “Mijn herte”

cascogne kyrieLast year, as an exercise for one of my master seminars, we did a transcription of the Kyrie from Mathieu Gascongne’s Missa “Mijn herte”, an imitation mass on Pierre de La Rue’s chanson. I really enjoyed the exercise: the source used was the beautiful Occo Codex. At the time I though “well this is a wonderful work, it should be recorded”. Well, it did, although at that time I didn’t know of any recordings. (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…)

Howard & Moretti – Sound and Space in Renaissance Venice

Deborah Howard and Laura Moretti – Sound & Space in Renaissance Venice: Architecture, Music, Acoustics

While composers of sacred music in 16th-century Venice were devising increasingly complex choral polyphony, Venetian architects began to develop new configurations of sacred space. This fascinating book explores the direct relationship between architectural design and sacred music in Renaissance Venice. (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…)