Francisco Martins • O vos omnes

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…)

Estêvão Lopes Morago • Sepulto Domino

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…)

Manuel Cardoso • In Monte Oliveti

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…)

Edition of motets by Diogo Dias Melgaz (2)

polyphonia010aThis 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…)

Edition of motets by Diogo Dias Melgaz

polyphonia007aThis 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…)

Clive Walkley – Juan Esquivel

Juan EsquivelJuan Esquivel: A Master of Sacred Music during the Spanish Golden Age

Juan Esquivel was a cathedral choirmaster and composer, active in Spain during the period c.1580-c .1623 in which all aspects of the arts flourished, and one of the few peninsular composers of his generation to see his works published. He is known to have produced three large volumes of sacred polyphony – masses, motets, hymns, psalms, magnificats, and Marian antiphons – under the titles Liber primus missarum, Motecta festorum(both published 1608) and Tomus secondus, psalmorum, hymnorum… et missarum (published 1613); they reveal him to be a highly skilled craftsman. (mais…)

Diogo Dias Melgaz’s “Memento homo”

Listening2Memento homo is, in my opinion, probably one of Diogo Dias Melgaz’s most impressive works. This “miniature” motet for four voices (SATB) survives in two 18th-century choir books housed at the Patriarchal archives in Lisbon and at Évora Cathedral. It is quite impressive how Melgaz emphasises the text’s message Memento homo, quia pulvis in pulverem reverteris (Remember, man, that dust thou art, and unto dust thou shalt return) using dotted rhythms and short musical figures. (mais…)