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…)
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…)
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…)
In this video Hendrik Vanden Abeele talks about folio 23 recto of the 1481 Ghent antiphonary. The folio has the end of tertiam. One can find the “rubric: procession BM, towards claustrum with Verbum caro (with verse and repetition), navi R Descendit, on (re)arrival of choir ant Hodie and other instructions on appropriate hierarchy of commemorations (Marian vs Stephen, John, innocent), and finally again R Verbum, this time without verse. (mais…)
In this video Hendrik Vanden Abeele talks about folio 23 recto of the 1481 Ghent antiphonary. Third, fourth and fifth antiphon of Lauds of Christmas. Antiphon Parvulus amended. Pencil scratching in right margin. New verse of the R Benedictus (some sources have this verse with the R Benedictus, most have V Lapidem quem reprobaverunt, cf. Antiphonaire de Saint-Maur-des-Fossés 1101-1125). (mais…)
In this video Hendrik Vanden Abeele talks about folio 22 verso of the 1481 Ghent antiphonary. We are at the last stages of Matins with responsories Verbum (versus Gloria) and Descendit (with stage direction ‘In navi ecclesiae’). “C major” in versus Tamque sponsus. We arrive at the start of Christmas Lauds with altered Quem vidistis antiphon (see Klosterneuburg 1000s, or Paris breviary 1200s) and at the end of Christmas Matins: Liber Generationis, and Te Deum (see Paris rubric). (mais…)
Memento 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…)