Wednesday, 22 September 2021

Duarte Lobo (c. 1565-1646): Missa Sancta Maria (SATB)

The Missa Sancta Maria is the second Mass of the first book of Masses (Liber missarum IIII. V. VI. et VIII. vocibus, Antwerp, 1621) by the Portuguese Renaissance composer Duarte Lobo (c. 1565-1646). This Mass is based on the homonym motet by the Spanish composer Francisco Guerrero (1528-1599), the most admired Spanish composer of his generation. 

The Agnus Dei is the perfect sample of Duarte Lobo's genius. Scored for six voices, the riddle in the Cantus (and the Tenor with a canon at the octave down) with the words per aliam reversi sunt means that the six-note ostinato has to be sung alternatively from left to right (A-G-A-C-B-A) and backwards with the intervals inverted (A-G-F-A-B-A).

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© 2021 Jorge Martín





Thursday, 16 September 2021

Pedro Rimonte (1565-1627): Missa de Beata Virgine (SATB)

The first Mass of the Missae sex (Antwerp, 1604) by the Spanish composer Pedro Rimonte (Zaragoza, 1565-1627). The final Agnus Dei adds two extra voices with a double canon.

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© 2021 Jorge Martín

Tuesday, 14 September 2021

Sebastián de Vivanco (c. 1551-1622): Petite et accipietis (SATB) (2021 Edition)

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© Jorge Martín

Sebastián de Vivanco (c. 1551-1622): Tu es vas electionis (SATB) (2021 Edition)

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© 2021 Jorge Martín

Sebastián de Vivanco (c. 1551-1622): Crux fidelis (SSATTB) (2021 Edition)

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© 2021 Jorge Martín

Tuesday, 7 September 2021

Manuel Cardoso (1566-1650): Missa Miserere mihi Domine (SSATTB)

We are proud to release our first edition from our series dedicated to the so-called Golden Age of Portuguese Renaissance Music. 

The six-voice Missa Miserere mihi Domine by Manuel Cardoso (1566-1650), included in his first printed book of Masses (Missae quaternis, quinis, et sex vocibus. Liber primus, Lisbon, 1625), is a Mass with a Cantus firmus (a very old-fashioned style in 1625) that is usually placed on the Superius I, but also on the Altus, Tenor and even the Bassus in the Christe.

The Agnus Dei ends with an enigmatic and virtuosistic canon typical of Cardoso. The indication Tenor II in dyapason, Altus in dyatesaron bis dicens Cantum Gregorianum is given to us, placed in the Superius I, which means that while the Tenor II sings strictly the same melody of the Superius I at the octave lower, the Altus has to sing only the Breves at the fourth, which together form exactly the melody of the Cantus firmus Miserere mihi Domine.

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MIDI (Agnus Dei)

© 2021 Jorge Martín



Monday, 6 September 2021

Pierre Certon (c. 1515-1572): Pater noster / Ave Maria (SAATTB)

A wonderful six voice-motet by Pierre Certon (c. 1515-1572) that combines the melodies of Pater noster with the Cantus firmus of the Ave Maria in the Quintus and Sextus (Altus 1 and Tenor 2, with a canon at the fourth).

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© 2021 Jorge Martín

Friday, 3 September 2021

Sebastián de Vivanco (c. 1551-1622): Assumpta est Maria (SSSAAT) (2021 Edition)

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© 2021 Jorge Martín

Thursday, 26 August 2021

Sebastián de Vivanco (c. 1551-1622): Missa Tu es vas electionis (SATB) (2021 Edition)

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© 2021 Jorge Martín

Tuesday, 6 July 2021

Lodovico Agostini (1534-1590): Quae celebrat thermas (SSAATB) [Canones et echo sex vocibus, 1572]

Nº 6 of Canones et echo sex vocibus, 1572. A six-voice echo with the appearance of Nero and Narcissus!

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Lodovico Agostini (1534-1590)

Canones et echo sex vocibus (Venice, 1572)

22 motets for 6vv, 7vv and 8vv

Alma Dei genitrix

SSAATB

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Ave mundi spes Maria

SSAATB

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Gaude Barbara beata

SSATTB

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Dum clamaremus ad Dominum

SSATTB

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Eleva Domine

SSATTB

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Quae celebrat thermas

SSAATB

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© 2021 Jorge Martín



Thursday, 1 July 2021

Nicolas Gombert (c. 1495-c. 1560): Missa Media vita (SAATB)

One of the few Renaissance Masses that reduces the number of voices of the original model (our edition of Media vita can be found here).

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© 2021 Jorge Martín