B-Gu Ms 15 #053

chantf. 26r

In this video Hendrik Vanden Abeele talks about folio 26 recto of the 1481 Ghent antiphonary. In this folio are present the fifth and sixth antiphon of second nocturn for the feast of St Stephen. The first antiphon of the page is one of the simplest thinkable. Very fine L capital on Lapidabant of the first responsory in the second nocturn. (mais…)

On the Feast of St Bernard

chantOdoriferum lilium is one of the responsories for Matins of the feast of this saint. I really enjoy this one in particular for the beautiful design of the melodic line and the low tessitura. This was one of the examples I used in my talk last year, at the “Residência Cisterciense” in the Monastery of S. Bento de Cástris, Évora, a feminine cistercian house that had quite a lot of music activity during the seveenteenth and eighteenth centuries. (mais…)

B-Gu Ms 15 #051

chantf. 25r

In this video Hendrik Vanden Abeele talks about folio 25 recto of the 1481 Ghent antiphonary. We are at the end of the antiphons for the first nocturn of the matins of St Stephen, followed by the first, second and third responsories of (obviously) the same matins. Beautiful S with mysteriously not fully coloured top half. There are several proofs (again) that this capital was made after text and music. (mais…)

Call for Papers “A Música na Ordem Franciscana”

I Seminário Nacional Estudos Franciscanos10 de Maio de 2014 | Centro de Estudos Franciscanos (Porto, Portugal)

I Seminário Nacional
“A Música na Província Portuguesa da Ordem Franciscana”

Este primeiro Seminário Nacional sobre a Música na Ordem Franciscana na sua Província Portuguesa, pretende avaliar a presença e o papel da música na Ordem Franciscana em Portugal, versando as seguintes áreas temáticas: (mais…)

Mattias Lundberg – Tonus Peregrinus

Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music

Dr Mattias Lundberg investigates the historical role of a deviant psalm-tone, the tonus peregrinus, focusing on its applications in polyphonic music within all major branches of Western liturgy. Throughout the remarkably persistent tradition of applying this melody to polyphony, from the ninth century right up to the twenty-first, coeval music theory is able to shed light on the problems it has posed to modal and tonal practice at various historical stages. The musical settings studied hold up a mirror to the general development of psalmody, concerning practices of organum, diverse regional forms of fauxbourdon, cantus firmus composition, free imitation, parody, fugue, quodlibet, monody, and many other compositional techniques where the unique features of the psalm-tone have necessitated modification of existing practices. (mais…)

Ensemble da Sé de Angra, December 14, 15

SONY DSCToday and tomorrow I will be singing plainchant at the cerimonies of the Order of the Holy Sepulchre, held at the church of S. Gonçalo and Angra Cathedral. The interesting thing about these ceremonies is that for the first time I’ll be singing from the sources held at Angra Cathedral, a group of about 40 manuscripts and chant books made in the islands in the last decades of the eighteenth century and nineteenth century. (mais…)