Music Editions Performed in Madeira Island
Several of my editions of eighteenth-century sacred vocal polyphony were performed in concert last March 16th in Porto Moniz, Madeira Island, by Grupo Vocal Olisipo. The concert was part of the festival “Música a Norte – Ciclo de Música Barroca” promoted by the Regional Government, and this concert was titled “Catholic and Protestant Baroque”.
The second part of the programme comprised Johann Sebastian Bach’s motet Jesu meine freude. The first part included a series of works by composers from Évora Cathedral, representing the “Catholic part” of the programme. I edited these works for the Editions MPMP and Grupo Vocal Olisipo is the first group to perform them. The programme comprised the motets Adjuva nos Deus and Salve Regina by Diogo Dias Melgaz and the psalm Beati omnes by Pedro Vaz Rego, both late-seventeenth-century and early-eighteenth-century composers from Évora Cathedral. The Lenten motets by Afonso Lobo (see below), the motet Sepulto Domino by André Rodrigues Lopo and the motet Dicebat Jesus by Miguel Anjo do Amaral, mid-eighteenth to late-eighteenth-century composers.
Several videos of rehearsal and live feed of the concert were published at the festival’s facebook page. Although very brief, one can listen to them as an example of the sound of this eighteenth-century repertory that was written. The first video is of the rehearsal in the church, singing the opening of André Rodrigues Lopo’s Sepulto Domino, a processional motet for the procession of the burrial on Good Friday. Lopo was a singer at the Cathedral chapel during the second half of the eighteenth century
The second video is a brief live feed from the concert that catches the middle section of Afonso Lobo’s motet Ductus est Jesus, one of his five motets for the sundays of Lent. This, as the other works, have been attributed to Spanish composer Alonso Lobo (being Afonso a Portuguese variation of the Spanish name), but almost immediately after a first audition one understands rapidly that these are much later works. In the study I made of Lobo’s works, I determined that they are surely mid-eighteenth-century. The motets were copied to two choirbooks that date from the second half of the eighteenth century, and I kept the name of the composer attributed there: Afonso Lobo, whom I do not known anything more about (it could have been a pseudonym).
More info about this concert HERE