Epigrama que abre a obra “Defensa de la mvsica moderna, contra errada opinion del Obispo Cyrillo Franco” de D. João IV, impressa em Lisboa no ano de 1650 pela oficina Craesbeeck.

Edition of Estêvão Lopes Morago’s (c.1575-c.1630) motet “Filiae Jerusalem” for four voices (SATB) from Viseu Catedral choirbook Ms 3, now preserved at the Districtal Archive. This work was to be performed during Holy Week in the Good Friday ceremonies.

Edition of Portuguese composer Pedro de Cristo’s (c.1550-1618) villancico “Ai mi Dios” from choirbook P-Cug MM 36. The work is thought to be for three voices (SAT) and an instrumental bass (B). The edition provides a text realization for the instrumental part.

Artigo para a versão online da revista Glosas acompanhando o vídeo pelo Grupo Vocal Olisipo do motete Mulier quae erat, para cinco vozes, do compositor português Manuel Cardoso, no âmbito do 450.º aniversário do seu nascimento (1566-1650). Publicação original disponível em http://glosas.mpmp.pt/motete-mulier-quae-erat-manuel-cardoso/

The idea of an historical soundscape of the urban space was one of the many areas that developed from a wider idea of what is now called as cultural landscape. This idea of mapping urban sounds from an historical perspective was pioneered in the Iberian Peninsula with a project that involved the Andalusian cities of Seville and Granada and other…[Read more]

Livro de materiais para a oficina de cantochão realizada no âmbito do Encontro “Arte e Património” 2017, a 28 de Abril de 2017 na capela do Solar dos Noronhas, Ribeira Seca, ilha de São Jorge.

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.
http://www.musicaevora.wordpress.com

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).