The fifth Mass in the Missae quaternis, quinis et sex vocibus (1625) by the Portuguese composer Manuel Cardoso (1566-1650) is based on the five-voice motet Tui sunt caeli by Palestrina. The short Agnus Dei has the original model represented in the form of an unexpected cantus firmus in long values in the Tenor.
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The fourth Mass in the Missae quaternis, quinis et sex vocibus (1625) is based on the five-voice motet by Palestrina.
You can buy or download this score here. Remember, you can buy our scores for the price you want to support Ars Subtilior Editions!
Missae quaternis, quinis et sex
vocibus. Liber primus (1625)
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Missa
Miserere mihi Domine |
SSATTB |
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Missa
Tradent enim vos |
SAATB |
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Missa Puer
qui natus est |
SATTB |
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Missa Hic est
discipulus ille |
SSATB |
© 2022 Jorge Martín
The third Mass of the Missae quaternis, quinis et sex vocibus (1625) is based on the five-voice motet Puer qui natus est by Palestrina.
You can buy or download this score here. Remember, you can buy our scores for the price you want to support Ars Subtilior Editions!
© 2022 Jorge Martín
A Mass on the homonym motet by Palestrina. The final six-voice Agnus Dei closes with an impressive Trinitas in unitate canon with the riddle Qui sequitur me via recta non ambulat in tenebris.
You can buy or download this score here. Remember, you can buy our scores for the price you want to support Ars Subtilior Editions!
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.
You can buy or download this score here. Remember, you can buy our scores for the price you want to support Ars Subtilior Editions!
MIDI (Agnus Dei)
© 2021 Jorge Martín