The actual church of S. Vicente is the third temple built since the Middle Ages. In its origins, it consisted of am oratory dedicated to S. Vicente, that in the fifteenth century was enclosed by a church sponsored by Luís Lourenço. This temple, dated from 1467 was already ruined in 1559. The new sixteenth-century church was sposored by humanist G…[Read more]

A “Adoração dos Pastores” com Glória Angelical (pormenor) data de c.1595, encontrando-se actualmente no Museu de Évora. Este quadro tem proveniência no mosteiro cisterciense feminino de S. Bento de Cástris, Évora. Nele encontra-se uma cena de anjos músicos, representando vários instrumentos de sopro e de corda, como um aerofone de palheta dupla, v…[Read more]

Construction of Burgos Cathedral began in 1221, following French Gothic patterns. It had major changes in the fifteenth and sixteenth centuries. In the sixteenth century, besides the modifications to several chapels, highlights the construction of a new dome by Juan de Vallejo, who replaced the Juan de Colonia (sunk after a hurricane). The stalls…[Read more]

Setting of “Jesu Redemptor” by composer Estêvão Lopes Morago (c.1575-c.1630) for five voices (SSATB). Recorded by Ensemble Eborensis August 28, 2014, in the church of São João Evangelista (Convent of Lóios), Évora.

Motet “Puer natus est nobis” for three voices (originally for SAT, in this recording for SST) by Spanish composer Christóbal de Morales. The Altus part was adapted to the superius tessitura with some sections transposed an octave higher than the original. Recorded by Ensemble Eborensis, December 15, 2015 in the church of S. Vicente (Évora).

Antiphon “Asperges me” by Portuguese composer Duarte Lobo (c.1566-1646) for four voices (originally for SATB, in this recording for SSAT) from his 1621 Liber Missarum. Recorded by the Schola of Ensemble Eborensis in the commemorating concert of the foral of Aguiar, Paroquial Church of Aguiar, June 10, 2016.

First setting of “Jesu Redemptor” for four voices (originally for SATB, in this recording for SSAT) by Portuguese composer Filipe de Magalhães (c.1571-1652), from his “Cantus Ecclesiasticum” print of 1698. Recorded by the Schola of Ensemble Eborensis in the commemorating concert of the foral of Aguiar, Paroquial Church of Aguiar, June 10, 2016.

Responsory “Vinea mea electa” for Good Friday Matins by Portuguese composer Francisco Martins (1628-1680) for four voices (originally for SATB, in this recording for SSAT). Recorded by the Schola of Ensemble Eborensis in the commemorating concert of the foral of Aguiar, Paroquial Church of Aguiar, June 10, 2016.

Antiphon “Assumpta est Maria” for the office of Lauds in Festo Assumptio Mariae, from choirbook P-EVad Mús. Lit. n.º 35 from the Cistercan feminine monastery of S. Bento de Cástris. Recorded by the Schola of Ensemble Eborensis in the commemorating concert of the foral of Aguiar, Paroquial Church of Aguiar, June 10, 2016.

The second antiphon for the office of Lauds in Festo Conceptio B.M.V., from eighteenth-century choirbook P-AHc MM 383, from the musical archive of the Capitular Archive of Angra Cathedral (Terceira, Azores).

The third antiphon for the office ofLauds in Festo Expectatio B. M. V., from eighteenth-century choirbook P-AHc MM 383, from the musical archive of the Capitular Archive of Angra Cathedral (Terceira, Azores).

The second antiphon for the office ofLauds in Festo Expectatio B. M. V., from eighteenth-century choirbook P-AHc MM 383, from the musical archive of the Capitular Archive of Angra Cathedral (Terceira, Azores).

Motet “O bone Jesu” for four voices (originally for SATB, in this recording for SSAT) by composer Estêvão Lopes Morago (c.1575-c.1630). Recorded by the Schola of Ensemble Eborensis in the concert “Lumen ad Revelationem”, III Residência Cisterciense S. Bento de Cástris, September 19, 2015, in the church of the Monastery of S. Bento de Cástris (Évora).

Setting of “Jesu Redemptor” (originally for ATB, in this recording for SST) by Portuguese composer Filipe de Magalhães (c.1571-1652), published in his “Cantus Ecclesiasticum” print of 1698. Recorded by Ensemble Eborensis in the concert “Lumen ad Revelationem”, III Residência Cisterciense S. Bento de Cástris, September 19, 2015, in the church of th…[Read more]

Antiphon “Speciosa facta es” for Matins in the feast of the Purification of the Virgin from choirbook P-EVad Mús. Lit. n.º 68, from the Cistercian feminine monastery of S. Bento de Cástris. Recorded by the Schola of Ensemble Eborensis in the concert “Lumen ad Revelationem”, III Residência Cisterciense S. Bento de Cástris, September 19, 2015, in t…[Read more]

Introit “Lux fulgebit” for Christmas mass from choirbook P-EVad Mús. Lit. n.º 34, from the Cistercian feminine monastery of S. Bento de Cástris. Recorded by the Schola of Ensemble Eborensis in the concert “Lumen ad Revelationem”, III Residência Cisterciense S. Bento de Cástris, September 19, 2015, in the church of the Monastery of S. Bento de Cást…[Read more]

Luis Venegas de Henestrosa’s (c.1510-1570) intabulation of António de Cabezón’s “Pavana con su glosa”. Work was published in Henestrosa’s Libro de cifra nueva (Alcalá de Henares, 1557).

Spanish vihuelist Luys de Narváez (fl.1526-1549) intabulation of the “Cum Sancto Spiritu” section of Josquin des Prez’s (c.1450-1521) Missa [Sine nomine]. Work was published in Narváez’s Tercero libro del Delphin de musica (1538).

Composer and organist Gonzalo de Baena’s (c.1476-80-c.1540) intabulation of the the hymn “Ave maris stella” from his “Arte nouamente inuentada pera aprender a tanger” (Lisbon: German Galharde, 1540, ff. 29v-30r).

The church Matriz of Nossa Senhora dos Remédios is located in the village of Fajãzinha, Flores Island. The church was constructed from around 1771 to 1778 under the guidance of Father Alexandre Pimentel de Mesquita. Work on the bell tower begin on 1747. It resumed in 1796, ultimately leading to its conclusion on May 23, 1834.