Magalhães: Missa Veni Domine & Missa Vere Dominus est

Featuring

Luís Toscano
Cupertinos
Filipe de Magalhaes
Francisco Guerrero
Pierre de Manchicourt

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Compositional Technique

In Missa Veni Domine, Magalhães frequently uses two melodic motifs from an ostinato in the original motet by Francisco Guerrero, particularly emphasizing it in the concluding Agnus Dei II with an additional fifth voice.

Interpretation

For this recording of Magnificat primi toni, the Cupertinos chose to sing the entire text polyphonically, using the first-tone version of all twelve verses, a practice once favored in institutions like the Papal Chapel.

Composer Biography

Magalhães served as master of the Royal Chapel in Lisbon from 1623 to 1641, succeeding Francisco Garro (d1623), and left an indelible mark as one of Portugal's most esteemed musicians.

Composer Biography

Filipe de Magalhães (c 1563-1652) was considered the most acclaimed Portuguese composer among his contemporaries and was a favorite pupil of Manuel Mendes (c 1547-1605).

Composition History

Magalhães's 1636 polyphonic music volumes, Missarum liber and Cantica Beatissimae Virginis, were dedicated to Philip III of Portugal (Philip IV of Spain) and Dom João, who later became King John IV of Portugal, marking the end of the Iberian Union.

Composition History

The Missa Veni Domine and Missa Vere Dominus est are based on motets by Spanish composer Francisco Guerrero (1528-1599) and Franco-Flemish composer Pierre de Manchicourt (c 1510-1564), reflecting the strong cultural ties between Portugal and Spain.

Recording & Production

The Cupertinos ensemble transcribed both Masses interpreted on this album directly from the original printed copy, preserved in the General Library of the University of Coimbra.