Mateus d’Aranda was mestre de capela and mestre da claustra at Évora Cathedral from at least 1528 until 1544. During this period at Évora he published two treatises – one on plainchant (1533) and one on mesural chant (1535) – which are thought to be the first music to be printed in Portugal. Although a very important music theoretician, as a composer almost nothing is kwnown of him. The only works that survived are two fragments of a Credo and a motet, which uses the text from the tract for Feria Quarta in Cinerum, for four voices. (mais…)
Tomorrow (July 16) 18:30, I’ll be singing with with my group Ensemble Eborensis at the Church of Senhor Jesus da Pobreza, in the historical centre of Évora, in an event promoted by the Cultural Bureau delegation of Alentejo, the School of Arts of Évora University and the Military Command (the church’s owner) of this church’s reopening to public visits.
We will be performing our programme “Masters of Évora Cathedral: 16th and 17th-century sacred vocal polyphony”, comprising works by composers like Mateus d’Aranda, Manuel Mendes, Manuel Cardoso, Aires Fernandes and Francisco Martins among others. (mais…)
Of the three polychoral works by Portuguese composer Estêvão de Brito (c.1575-1641) present in his Motectorum Liber the motet Vidi Dominum, for eight voices (SATB+SATB) was the only one to be recorded in cd until now. The other two works, also for eight voices, are O Rex gloriae, a motet that I have been writing a lot, and Dum complerentur. The motet has the indication In die Trinitatis et Omnium Sanctorum that is, it was destined to the Sunday after Pentecost and the Feast of All Saints. (mais…)
Tomorrow I’ll be singing with Ensemble Eborensis at the diploma presentations at the Colégio do Espírito Santo – University of Évora. This will be a brief intervention of the ensemble, where we will perform only three small works. The first one is a three-voice verse Hodie illuxit nobis from Duarte Lobo’s double-choir Christmas responsory Hodie nobis de caelo and, secondly, two songs for three voices with lyrics by Luís de Camões from the Cancioneiro de Paris, one of the few 16th-century Portuguese secular music sources. (mais…)
Estudos Musicológicos 31
Cerimonial da Capela Real: Um manual litúrgico de D. Maria de Portugal (1538-1577) Princesa de Parma
Cerca de 450 anos depois da sua escrita, eis o Cerimonial da Capela Real do uso da Infanta D. Maria (1538-1577), filha do Infante D. Duarte e sobrinha de D. João III. Não se trata de uma obra impressa, qual manual oficialmente adoptado pelos patronos reais, nem sequer de um documento sistematicamente organizado. (mais…)
I found these videos on YouTube of Giovanni Pierluigi da Palestrina’s Missa Emendemus in melius, an imitation mass for which the model was not yet been identified, but it looks like it would be a 4-voice motet. The mass was printed in the 7th book of masses, published in 1594. Palestrina exceeds himself in setting the second Agnus Dei. He expands the texture from four to five voices, adding a second tenor with a carefully controlled cannon between this voice and the bassus. (mais…)
This is the first promotional video of Ensemble Eborensis, made in collaboration with Sítio das Artes, that focuses on our first programme “Masters of Évora Cathedral: Sacred vocal polyphony of the 16th & 17th centuries”. This programme features music from composers like Mateus d’Aranda, Manuel Mendes (the musical excerpt you hear on the video is from the opening of the introitus from Mendes’ Missa pro Defunctis a 4).