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…)

Musique à la Cathédrale d’Oaxaca

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…)

Tomás Luis de Victoria • O quam gloriosum

VictoriaA 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…)

Filipe de Magalhães’s Missa “O Soberana Luz”

Filipe de Magalhães (c.15 -1652) is among the finest Portuguese composers of the first half of the 17th century. He studied at Évora Cathedral with Manuel Mendes (c.1547-1605), succeeding him in the post of mestre da claustra at Évora Cathedral. He then moved to Lisbon, where he became choirmaster at the Misericórdia and mestre de música in the Royal Chapel. (mais…)

Giovanni P. da Palestrina’s Missa “Assumpta Est Maria”

After writing about Palestrina’s motet Assumpta Est Maria, I could not pass without droping some lines on the mass based on this motet, one of Palestrina’s best known masses together with the Missa Papae Marcelli.

The Missa Assumpta Est Maria is set for six voices (SSATTB) and expresses the joy and vitaly of the festivity for which it is destinated (Assumption of the Virgin Mary), through exhuberant melodic lines combined with elaborate decorative elements. Palestrina combines in this work the clarity and balance of his earlier works with a clear Baroque attention towards vertical sonority. (mais…)