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…)
Sebastián de Vivanco’s (1551-1622) double-choir motet O Rex gloriae. This work comes from his 1610 book of motets, printed in Salamanca. Here it is performed by Capilla Flamenca, dir. Dirk Snellings, and Oltremontano with their sackbutts and cornetts – a great recording, as is the rest of the CD that features many works from this book.
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…)
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…)
This is the second video (first video here) of the series I prepared on the intabulations for vihuela of sacred an vocal music from the Renaissance.
The composer featured in this video is Josquin des Prez (c.1450-1521), one of the finest and most widespread composers of the Renaissance. His music is particularly important to the Iberian vihuelists, who use Josquin’s music widely. (mais…)