Évora established itself in the sixteenth century as one of the most important Portuguese musical centres, maintaining that status until the 1820s Liberal Revolution. This activity was mostly centred in the Cathedral, although some other numerous religious institutions maintained a certain dynamic, which served as both a centre for musical…[Read more]

Livro de resumos do Seminário “Música Sacra em Évora no Século XVIII”, organizado pelo pólo da Universidade de Évora do Centro de Estudos de Sociologia e Estética Musical. Igreja de S. Vicente 16 de Fevereiro de 2017.
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Book of the International Coloquium “Instrumental Music in the Iberian World 1760-1820” that took place in the Gulbenkian Foundation, Lisbon, from June 14 to 16, 2013 (Staff member).

Apresentação do projecto “Música Sacra em Évora no Século XVIII” durante a “Semana da Ciência e Tecnologia na UÉ”, Parque de Ciência e Tecnologia do Alentejo, 22 de Novembro de 2016.

Edition of Portuguese composer Aires Fernandes’s (fl. 1550) two settings of the “Benedicamus Domino” and “Jesu Redemptor” for four voices. Polyphonia 38. Work is fully available at http://mpmp.pt/produto/polyphonia-38/

Preview of the edition of Portuguese humanist Damião de Goes (1502-1574) motet Surge propera amica mea for five voices (SSATTB). Polyphonia 34. Work is fully available at http://mpmp.pt/produto/polyphonia-34-goes-surge-propera-amica-mea/

Preview of the edition of Portuguese composer Estêvão de Brito’s (c.1575-1641) motet Heu Domine for six voices (SSAATB). Polyphonia 33. Work is fully available at http://mpmp.pt/produto/polyphonia-33/

Crítica para a edição online da revista Glosas, a propósito do concerto de Capella de Ministrers na Sé de Évora, a 3 de Outubro de 2015, no âmbito das XVIII Jornadas Internacionais “Escola de Música da Sé de Évora”.

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).