Edition of Cardoso’s Lamentation for Maundy Thursday

The edition of the Lamentation for Maundy Thursday by Portuguese composer Manuel Cardoso (1566-1650) is now available at my MusicaNeo page. This is the Lectio II (Vau. Et egressus est) of the Lamentations scored for six voices (SSAATB). The work was published in Cardoso’s last print, the Livro de varios motetes…, printed in Lisbon at the Craesbeeck workshop in 1648. The Vau. Et egressus est is, in my opinion, one of Cardoso’s finest works.

This Lamentation has been recorded by several early music groups. Here you can find the Ars Nova Copenhagen, directed by Bo Holten, version. Not my favourite one, but the only available on YouTube.

Sheet music available here

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3 Comments Add yours

  1. Michigan Man says:

    How would you describe Portuguese Sacred Polyphonic Music vs Spanish or Italian? Curious for your insight

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  2. Michigan Man says:

    ^perhaps Renaissance style as well

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  3. These are really tricky questions. It depends not only of the geography but also of the time period. For instance, most of Portuguese polyphony I share here is from the first half of the 17th century, while Spanish one is mostly post-Tridentine (1570s-1620s). The Portuguese tend to make a lot of use of dissonances for expressive purposes (a technique used throughout the 16th c.). The thing, in my opinion, is that this use is frequently not prepared using the conventional counterpoint rules – there’s the interesting part – in a proto-baroque way. This Lamentation by Cardoso is a fine example of this (Magalhães’s “Commissa mea pavesco” too”). There is almost no rest in the voices through the counterpoint writing, especially in the final segments of the motets. Basically, they continue to use all of the devices inherited from the 16th century, but, in some cases, taken to the limit of the language.

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