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…)
Here is a small work I prepared, consisting in the edition of the two surviving parts – the altus secundus and bassus – of King D. João IV’s motet Anima mea turbata est for six voices. The “altus secundus” of the motet is found in the “altus secundi chori” part-book ff. 57-58 and the “bassus” in the “bassus secundi chori” part-book ff. 57-58 of João Lourenço Rebelo’s Psalmi tum Vesperarum, tum Completorii (Rome, 1657). (mais…)
Last year I edited one of the few Christmas responsories sets by composers active in Portugal during the sixteenth and seventeenth centuries, in this case, the Spanish-born composer Estêvão Lopes Morago.
These are the eight responsories for four voices, with the versicles of several of them for three voices (usually SAT). These lively works, in which we can include the Advent motets for four (polyphonia 20 – in preparation) and five (polyphonia 5) voices, contrast with the more heavy emotions of the Lent and Holy Week works. Quite joyful are the Hodie nobis caelorum, Quem vidistis Pastores? and the Verbum caro. (mais…)
Digital edition of Giovanni Pierluigi da Palestrina’s setting of Ave Maria. This work is set for two choirs SATB. The Ave Maria a 8 is extant in one of the various Vatican (I-Rvat) manuscripts containing music by Palestrina. I must say that, in some occasions, I have the feeling that this work is not only by Palestrina but has later additions, like the example of the Stabat Mater a 8, which has further additions by Felice Anerio. Despite any misattributions this is still a fantastic work. This is edition is transposed a tone downwards and original note values were kept. (mais…)
The digital edition of Portuguese composer Diogo Dias Melgás’s (1638-1700) motet Salve Regina. The text is taken from the hymn to the Virgin Mary. Original pitch and original note values were kept in this edition.
This work was recorded by Pro Cantione Antiqua in their cd Music of the Portuguese Renaissance and, more recently, by The Sixteen in their cd A Golden Age of Portuguese Music. (mais…)
Digital edition of Portuguese composer Estêvão Lopes Morago’s (c1575-c1630) Ut Queant Laxis. This is the Vespers hymn from the Feast of St John the Baptist. In music history, it was in the first stanza of this hymn that Guido d’Arezzo based on for the attribution of the names of the seven notes (ut, re, mi, fa, sol, la and si).
Original pitch and original note values were kept in this edition (mais…)
The digital edition of Portuguese composer Diogo Dias Melgás’s (1638-1700) motet Memento Homo.
This motet uses a passage from Genesis 3, 19 which is sung during Lent. (mais…)