Portugiesische Polyphonie
Portugiesische Polyphonie
Mit Werken von:
Frei Manuel Cardoso (1566-1650)
, Joao Lourenco Rebelo (1610-1661)
, Pedro de Cristo (1545? - 1618)
, Aires Fernandez (?? - 1600)
Mitwirkende:
The Choir of Westminster Cathedral, James O'Donnell
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
Derzeit nicht erhältlich.
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Frei Manuel Cardoso: Non mortui; Sitvit anima mea; Mulier quae erat; Tulerunt lapides; Nos autem gloriari
+Joao Lourenco Rebelo: Panis angelicu
+Pedro de Cristo: Hodie nobis; O magnum mysterium; Beata viscera Mariae; Ave Maria; Magnificat; Sanctissimi quinque martires
+Aires Fernandez: Alma redemptoris mater
+Lamentations for Maundy Thursday: Responsorien I & II; Lectios II & III
Ähnliche Artikel
Die Musik der portugiesischen Renaissance hat bis vor kurzem ein kaum beachtetes Schattendasein geführt. Gewissen Komponisten, die das Glück hatten, ihre Kompositionen zu Lebzeiten veröffentlicht zu sehen—so zum Beispiel Manuel Cardoso, Duarte Lôbo und Filipe de Magalhães—wird allmählich die Anerkennung zuteil, die ihnen gebührt, aber das gilt noch nicht für die übergroße Zahl von Musikwerken, die nur handschriftlich erhalten sind. Die wohl größte Sammlung solcher Handschriften, die im 16. Jahrhundert begonnen wurde, stammt aus dem Augustinerkloster Santa Cruz in Coimbra (im Norden Portugals). Dieses Kloster, Stammhaus des Augustinerordens in Portugal, war ein Bildungs- und Kulturzentrum hohen Ranges mit einem blühenden Musikleben. Pedro de Cristo, der bedeutendste Komponist, der dort gearbeitet hat, wurde um 1550 in Coimbra geboren und 1571 in Santa Cruz zum Priester geweiht. In den 1590er Jahren brachte er es zum Mestre de capela (d. h. zum Leiter des polyphonen Chors). Außerdem verbrachte Dom Pedro mindestens zweimal einige Zeit in Lissabon, als Mestre de capela des Klosters São Vicente. Ein Nachruf, der bei seinem Tod 1618 erschien, erwähnt seine Fertigkeiten nicht nur als Instrumentalist, sondern auch als Komponist und merkt an, dass er wegen seiner musikalischen Begabung an zahlreichen Häusern des Augustinerordens gefragt war.
The music of the Portuguese Renaissance has until very recently languished in almost complete obscurity. Certain composers who were fortunate enough to see their works published during their lifetimes—such as Manuel Cardoso, Duarte Lôbo, and Filipe de Magalhães—have begun to receive the recognition they deserve, but the same does not yet apply to the vast body of music which is preserved only in manuscript. Much the largest collection of such manuscripts, dating from the sixteenth century onwards, originated at the Augustinian monastery of Santa Cruz in Coimbra (in northern Portugal). This monastery, the mother-house of the Augustinian congregation in Portugal, was an educational and cultural centre of the first rank, with a flourishing musical life. The most important composer to have worked there, Pedro de Cristo, was born in Coimbra in about 1550, and took his vows at Santa Cruz in 1571. He eventually succeeded to the post of mestre de capela (that is, director of the polyphonic choir) in the 1590s. Dom Pedro also spent at least two periods in Lisbon, as mestre de capela at the Monastery of São Vicente. An obituary marking his death in 1618 mentions his skill as an instrumentalist as well as a composer, and notes that his musical talents caused him to be sought after at many houses of the Augustinian congregation.
'Although this music is likely to be unknown to most collectors it will prove, as it has to me, a welcome and important discovery' (The Tablet)
'Delectable though this music is, it needs performers who can do it justice, and James O’Donnell and his choir do that and then some. Whether depicting a soul thirsting for the Lord’s rest, or giving thanks for salvation, the smooth trebles soar into the rafters of Westminster. This is a CD that brings the listener one step closer to heaven' (BBC Online)
Product-Information:
The music of the Portuguese Renaissance has until very recently languished in almost complete obscurity. Certain composers who were fortunate enough to see their works published during their lifetimes—such as Manuel Cardoso, Duarte Lôbo, and Filipe de Magalhães—have begun to receive the recognition they deserve, but the same does not yet apply to the vast body of music which is preserved only in manuscript. Much the largest collection of such manuscripts, dating from the sixteenth century onwards, originated at the Augustinian monastery of Santa Cruz in Coimbra (in northern Portugal). This monastery, the mother-house of the Augustinian congregation in Portugal, was an educational and cultural centre of the first rank, with a flourishing musical life. The most important composer to have worked there, Pedro de Cristo, was born in Coimbra in about 1550, and took his vows at Santa Cruz in 1571. He eventually succeeded to the post of mestre de capela (that is, director of the polyphonic choir) in the 1590s. Dom Pedro also spent at least two periods in Lisbon, as mestre de capela at the Monastery of São Vicente. An obituary marking his death in 1618 mentions his skill as an instrumentalist as well as a composer, and notes that his musical talents caused him to be sought after at many houses of the Augustinian congregation.
Rezensionen
'Although this music is likely to be unknown to most collectors it will prove, as it has to me, a welcome and important discovery' (The Tablet)
'Delectable though this music is, it needs performers who can do it justice, and James O’Donnell and his choir do that and then some. Whether depicting a soul thirsting for the Lord’s rest, or giving thanks for salvation, the smooth trebles soar into the rafters of Westminster. This is a CD that brings the listener one step closer to heaven' (BBC Online)
- Tracklisting
- Details
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Manuel Cardoso: Non mortui
- 2 Manuel Cardoso: Sitivit anima mea
- 3 Manuel Cardoso: Mulier quae erat
- 4 Manuel Cardoso: Tulerunt lapides
- 5 Manuel Cardoso: Nos autem gloriari
Feria quinta in coena domini (Lamentations for Maundy Thursday)
- 6 Manuel Cardoso: Responsory 1: In monte Oliveti oravit ad Patrem
- 7 Manuel Cardoso: Lectio 2: Et egressus est a filia Sion omnis decor eius
- 8 Manuel Cardoso: Responsory 2: Tristis est anima mea usque ad mortem
- 9 Manuel Cardoso: Lectio 3: Manum suam misit hostis ad omnia desiderabilia eius
- 10 Joao Lourenco Rebelo: Panis angelicus
- 11 Pedro De Cristo: Hodie nobis
- 12 Pedro De Cristo: O magnum mysterium
- 13 Pedro De Cristo: Beata viscera Mariae
- 14 Pedro De Cristo: Ave Maria
- 15 Pedro De Cristo: Magnificat octavi toni
- 16 Pedro De Cristo: Sanctissimi quinque martires
- 17 Aires Fernandez: Alma redemptoris mater
