Responsory for four voices, by Portuguese composer Francisco Martins (1628-1680). This is the fifth responsory at Matins for Holy Saturday, of the sets composed by Martins for Maundy Thursday, Good Friday and Holy Saturday respectively. Martins studied at Évora Cathedral and was mestre de capela at Elvas Cathedral. This is one of the recordings this group made at Angra Cathedral in early August 2013. (mais…)
The Motet Sepulto Domino, for four voices, by Estêvão Lopes Morago (c.1575-c.1630) is one of three small works for Holy Week that are present in the P-Va Ms 3. This work uses part of the text of the last responsory at matins for Holy Saturday.
This video was recorded during Ensemble da Sé de Angra‘s concert at the Igreja Matriz de Santa Cruz (city of Praia da Vitória), 3 February 2013. (mais…)
Responsory In Monte Oliveti, for four voices, by Portuguese composer Manuel Cardoso (1566-1650). This is the first responsory at Matins for Maundy Thursday, one of the few Cardoso sets to polyphony and published in his Livro de varios motetes (1648). This is a recording from Ensemble da Sé de Angra’s concert at the Igreja Matriz de Santa Cruz (city of Praia da Vitória) 3 February 2013. (mais…)
I’ll be singing with the choir of Angra Cathedral during this year’s Holy Week ceremonies. This year we will not be doing 17th-century sacred polyphony (I sung and directed the choir two years ago), but Portuguese liturgical music, which will be directed by the choir master Jorge Barbosa. Some of the antiphons were written especially for this occasion by my good friend and mestre de capela of the Cathedral Duarte Gonçalves da Rosa.
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…)