This is the edition number 14 of the “Polyphonia” series, featuring Portuguese sacred vocal polyphony from the 16th and 17th centuries, edited by MPMP – Movimento Patrimonial pela Música Portuguesa. This number is the fith number devoted to the music of Estêvão Lopes Morago (c.1575-c.1630), composer of Spanish birth who spent all his life in Portugal, studided at the claustra of Évora Cathedral and was mestre de capela at Viseu Cathedral. (mais…)
This 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…)
This 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…)
The edition I prepared of Mateus d’Aranda surviving polyphonic works is finally available through the Movimento Patrimonial pela Música Portuguesa. This edition comprised the two known works (besides the two treatises) by the Spanish composer Mateus d’Aranda (c.1495-1548), an influent figure in Portuguese music of the first half of the 16th century. The two surviving works presented here are both for four voices (SATB): an Adjuva nos Deus and two fragments of a Credo. To be noted that the second fragment of this Credo still uses the pre-tridentine text setting “Et vitam futuri saeculi” (instead of the post-tridentine and actual “Et vitam venturi saeculi”). (mais…)
Last couple of days I was preparing the edition of Alonso Lobo’s Versa est in luctum (for 6 vv.). The direct contact with this work reminded me of the great achievements of these Iberian composers, of the contrapuntal design and expressiveness one can extract from these works. The powerful emotions you get when you hear and work on the musical text cannot be compared to actually perform this work. I hope to sing it one day.
Lobo’s setting of the funeral motet Versa est in luctum was written for the funeral rites of the powerful Spanish ruler King Philip II (in 1598), being published in the composer’s Liber Primus Missarum (Madrid, 1602) with the title “Ad exequias Philip. II Cathol. Regis Hisp.”. (mais…)
My music edition page was one of the chosen profiles for this month’s “featured members” on the front page of Load.CD, a website that sells sheet music. These editions comprise mostly Portuguese composers of the 17th century which have practically no editions available online. For me, it is a great honour to see my work appreciated on this enormous website.