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.

The Convent of São Gonçalo in Angra do Heroísmo (Terceira, Azores) was established in 1542, when Brás Pires do Canto obtained papal authorisation for the construction of a convent destined to the contemplativa order of the Poor Clares. The church of São Gonçalo de Amarante was inaugurated in 1776, housing the Irmandade de Nossa Senhora da Boa M…[Read more]

In the right panel of Hieronymous Bosch’s triptych “Garden of Earthly Delights” (dating from between 1490 and 1510), that illustrates Hell, one can find several music instruments and musicians depicted. A detail shows a choir singing from a score inscribed on a pair of buttocks, next o an open choir book under a lute. Gregório Paniagua…[Read more]

Spanish vihuelist Luys de Narváez’s (fl.1526-1549) intabulation of Josquin des Prez’s (c.1450-1521) “Hosanna” from the Missa Faysant regretz. Work was published in El tercero libro del Delphin de musica (1538).

Organ of Igreja Matriz de Santa Cruz, Praia da Vitória (Terceira, Azores) built by Portuguese organ builder António Xavier Machado e Cerveira in 1793.

Spanish vihuelist Luys de Narváez (fl. 1526-1549) “Diferencias sobre Guardame las vacas” from El sesto libro del Delphim de musica (1538).