Missa para Coro, Solistas e Orquestra
“Fenómeno raro em Portugal, a Câmara da Guarda edita amanhã à noite o registo digital do concerto “Missa para Coro, Solistas e Orquestra”, de João José Baldi. Uma peça escrita em 1801 e que teve estreia moderna na Sé no passado dia 27 de Novembro pela Orquestra Filarmonia das Beiras, Coro Aeminium e sete solistas, sob a batuta do maestro António Vassalo Lourenço. Um recital magistral que coroou as celebrações dos 804 anos da cidade e proporcionou a gravação para a posteridade de uma autêntica obra-prima da música erudita nacional, escondida até então no parco espólio musical da Catedral que sobreviveu às invasões francesas. (mais…)
Manuel 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…)
Estêvão Lopes Morago’s (c.1575-c.1630) motet pro defunctis Comissa mea pavesco is, for me, one of the most “word-paintfull” works that I know of polyphony written in Portugal. This motet is scored for six voices (SSAATB). In this case, it’s a masterwork by an almost unknown composer who lived all his life in Viseu, a city in the interior of Portugal. (mais…)
The motet Mulier quae erat by Portuguese composer Fr. Manuel Cardoso (1566-1650) was published in the Livro de varios motetes… printed in Lisbon in 1648. It is scored for five voices (SAATB).
The imitation in the opening of this motet is full of chromatic inflections, which make almost impossible to determine a tonaly, which is only clear after all the voices entered, confirming their tonality between them. (mais…)
I’m heading to my home island for a couple of weeks of rest so I scheduled almost dayly posts – a sort of “polyphonic work of the day” – with my favourite works by Portuguese composers of the 16th and 17th centuries or foreign composers that had influence in the music written in Portugal. These two centuries were probably the golden age of Portuguese music; one cannot judge one composer better than the other for almost all of them have some feature that lacks in the former one. It was a time musically rich and full of diversity, although there is always someone who tries to put the same label – of stile antico – to these composers, I sometimes being one of them. (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…)
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…)