Filipe de Magalhães (c. 1571-1652): Missa Non turbetur cor vestrum (SSATB)

The fifth Mass of the Missarum liber cum antiphonis (Lisbon, 1636) by the Portuguese composer Filipe de Magalhães (c. 1571-1652) is based on an unknown motet. The Missa Non turbetur cor vestrum could even be a nod to the own composer's name, as Philip the Apostle is mentioned in several motets with the Non turbetur cor vestrum text: Philippe, qui videt me, videt et Patrem meum. 

This Mass is the most complex in the Missarum liber cum antiphonis, as it ends with a spectacular Agnus Dei for seven voices with a canon 4 in 1 and the Sanctus has two canons in the Superius 2 with the indications Gradatim ascendit ("Ascended gradually") and Vado, venio et redio (something like "I go, I come back and I go again").

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Filipe de Magalhães (c. 1571-1652)

Missarum liber cum antiphonis (Lisbon, 1636)

Missa de Beata Virgine Maria	SATB	Buy
Missa Veni Domine	SATB	Buy
Missa Si ignoras te	SATB	Buy
Missa Vere Dominus est	SATB	Buy
Missa Non turbetur cor vestrum	SSATB	Buy

©2024 Jorge Martín

Duarte Lobo (c. 1565-1646): Missa Elisabeth Zachariae (SATTB)

The fifth mass in the Liber missarum IIII. V. VI. et VIII. vocibus (1621) by the Portuguese composer Duarte Lobo (c. 1565-1646) is based on the five-voice motet Elisabeth Zachariae by the Spanish composer Francisco Guerrero, Lobo's favourite composer (the other two masses in the Liber missarum based on Guerrero's motets are the Missa Sancta Maria, available here and the Missa Dicebat Jesus, available here).

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Duarte Lobo (c. 1565-1646)

Liber missarum IIII. V. VI. et VIII. Vocibus (1621)

Missa Sancta Maria	SATB	Buy
Missa de Beata Virgine	SATB	Buy
Missa Dicebat Jesus	SATB	Buy
Missa Valde honorandus est	SATB	Buy
Missa Elisabeth Zachariae	SATTB	Buy

©2024 Jorge Martín

Manuel Cardoso (1566-1650): Missa Tui sunt caeli (SATB)

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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©2023 Jorge Martín

Filipe de Magalhães (c. 1571-1652): Missa Vere Dominus est (SATB)

The fourth Mass of the Missarum liber cum antiphonis (Lisbon, 1636) by Filipe de Magalhães (c. 1571-1652) is based on the five-voice motet Vere Dominus est by Pierre de Manchicourt (c. 1510-1564). While the original motet is for five voices, the Mass is set for four voices, except for the Agnus Dei.

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Filipe de Magalhães (c. 1571-1652)

Missarum liber cum antiphonis (Lisbon, 1636)

Missa de Beata Virgine Maria	SATB	Buy/Download
Missa Veni Domine	SATB	Buy/Download
Missa Si ignoras te	SATB	Buy/Download
Missa Vere Dominus est	SATB	Buy/Download

©2023 Jorge Martín

Duarte Lobo (c. 1565-1646): Missa Valde honorandus est (SATB)

A Mass by the Portuguese composer Duarte Lobo (c. 1565-1646) based on the four-voice motet by Palestrina. The most fascinating moment occurs in the Agnus Dei: Duarte Lobo points to a single note of the Cantus with an enigmatic canon with this single indication: Cantus secundus. Sic eum volo manere. The words have a symbolic meaning and have a close relation with the original motet, dedicated to St. John the Apostle: in John 21:22-23 Jesus says Si sic eum volo manere donec veniam, quid ad te? Tu me sequere ("If I will that he remain till I come, what is that to you? You follow me."). This means that the Cantus secundus must remain on that single note (that is, that voice must repeat one single note on the whole Agnus Dei).

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©2023 Jorge Martín

Pedro de Cristo (c. 1550-1618): Quae est ista (SSATB)

A beautiful motet attributed to the Portuguese composer Pedro de Cristo (c. 1550-1618). The source of Quae est ista, copied by Pedro de Cristo himself, has four voices written down and indicates a beginning and an end of a canon in the Cantus, but omits its interval. However, the only possible option is a canon ad unisono, producing a very similar sound to the famous motet Ave virgo sanctissima by Francisco Guerrero. Could Pedro de Cristo have known and been inspired by the motet of Guerrero?

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©2022 Jorge Martín

Manuel Cardoso (1566-1650): Missa Hic est discipulus ille (SSATB)

The fourth Mass in the Missae quaternis, quinis et sex vocibus (1625) is based on the five-voice motet by Palestrina.

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Manuel Cardoso (1566-1650)

Missae quaternis, quinis et sex vocibus. Liber primus (1625)

Missa Miserere mihi Domine	SSATTB	Buy/Download
Missa Tradent enim vos	SAATB	Buy/Download
Missa Puer qui natus est	SATTB	Buy/Download
Missa Hic est discipulus ille	SSATB	Buy/Download

© 2022 Jorge Martín

Filipe de Magalhães (c. 1571-1652): Missa Si ignoras te (SATB)

The third Mass of the Missarum liber cum antiphonis (Lisbon, 1636) by Filipe de Magalhães (c. 1571-1652) is based on the five-voice motet Si ignoras te by Christian Hollander (c. 1512-1569), which was published in 1554, more than 80 years before (our edition of Si ignoras te can be purchased here). This Mass is rather unusual as it reduces the voices of the original model (like Gombert in the Missa Media vita).

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© 2022 Jorge Martín

Duarte Lobo (c. 1565-1646): Missa Dicebat Jesus (SATB)

The third Mass in the Liber missarum IIII. V. VI. et VIII. vocibus (Antwerp, 1621) by Duarte Lobo (c. 1565-1646) is based on a motet by the Spanish composer Francisco Guerrero.

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© 2022 Jorge Martín

Manuel Cardoso (1566-1650): Missa Puer qui natus est (SATTB)

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.

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© 2022 Jorge Martín

Filipe de Magalhães (c. 1571-1652): Missa Veni Domine (SATB)

The second Mass of the Missarum liber cum antiphonis (Lisbon, 1636) by Filipe de Magalhães (c. 1571-1652) is based on the motet Veni Domine by the Spanish composer Francisco Guerrero. In the five-voice Agnus Dei the Superius 2 sings the ostinato Veni Domine et noli tardare from the original motet.

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© Jorge Martín

Duarte Lobo (c. 1565-1646): Missa de Beata Virgine (SATB)

The first Mass in the Liber missarum IIII. V. VI. et VIII. vocibus (Antwerp, 1621) by the Portuguese composer Duarte Lobo (c. 1565-1646). The Agnus Dei is scored for five voices with a canon (Quinta vox per tempora sequitur me. Quatuor tacendo initio finem reperies) where the Altus sings only the Breves of the Superius.

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© Jorge Martín

Manuel Cardoso (1566-1650): Missa Tradent enim vos (SAATB)

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.

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© Jorge Martín

Filipe de Magalhães (c. 1571-1652): Missa de Beata Virgine Maria (SATB)

The first Mass of Missarum liber cum antiphonis (Lisbon, 1636) by the Portuguese Renaissance composer Filipe de Magalhães (c. 1571-1652).

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© 2021 Jorge Martín

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

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