This is the introitus at mass for the Second Sunday of Advent. Populus Sion, ecce Dominus veniet ad salvandas gentes: et auditam faciet Dominus gloriam vocis suæ in lætitia cordis vestri. (Ps. 79, 2) Qui regis Israel, intende: qui deducis, velut ovem, Joseph. (V) Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen. (mais…)
I am starting a series of posts of motets for the Advent and Christmas. The first one is for the first sunday in Advent, Ad te levavi animam meam. The version presented here is from Giovanni Pierluigi da Palestrina, taken from the Ofertoria totius anni (Rome, 1583), for five voices. (mais…)
Parmi ses multiples trésors, la Cathédrale d’Oaxaca possède dans ses archives le fameux manuscrit musical de Gaspar Fernandes, ainsi que nombre d’œuvres du compositeur Manuel de Sumaya qui y termina sa vie en 1756, après avoir été le plus prestigieux maître de chapelle de la Cathédrale métropolitaine de Mexico.
Bien qu’un siècle les sépare, Gabriel Garrido a voulu réunir ces deux grands compositeurs néo-hispaniques dans cet enregistrement qui témoigne de la vitalité de la création musicale sacrée en Nouvelle-Espagne. (mais…)
25 de Novembro de 2012 | 17:00 | Auditório Viana da Motta (Escola Sup. de Música de Lisboa)
Concerto, Lançamento-surpresa e assinatura de protocolo mpmp/ESML (mais…)
Photo taken after the final concert (7 October) with Peter Philips, The Tallis Scholars’s director and one of the directors with whom I worked in the International Workshop “Évora Cathedral Music School”, promoted by Eborae Musica. For me this is a rare opportunity of four days of intensive work on Portuguese polyphony with some of the most renowned conductors of this kind of music. This year we did Duarte Lobo’s double-choir Missa Cantate Domino. Fantastic days!
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…)
Vicente Lusitano was a Portuguese musician and theorist who lived in Italy and later converted himself to Protestantism.
The motet Heu Me Domine, for four voices, is at first sight an alien work to the general characteristics of 16th-century stile antico motet writing. But one must first comprehend the theoretical situation of Lusitano in Italy in order to understand how this “audacious” piece works. This motet appears as an appendix to one of the manuscript copies of Vicente Lusitano’s treatise