Mateus d’Aranda’s (c.1495-1548) motet Adjuva nos Deus, for four voices, was recorded by my group Ensemble Eborensis, in our open rehearsal at Évora Museum, 6 June 2014, with the video produced by associação de ideias. This motet is the only complete work to have survived by Aranda, which together with two fragments of a Credo and the musical examples of his polyphony treatise (1535) make the bulk of his extant works. The perfomance follows my edition of Aranda’s surving works for Edições mpmp, with the addition of musica ficta and the correction of wrong notes present in early transcriptions and also misplaced text.
Mateus d’Aranda was mestre de capela and mestre da claustra at Évora Cathedral from at least 1528 until 1544. During this period at Évora he published two treatises – one on plainchant (1533) and one on mesural chant (1535) – which are thought to be the first music to be printed in Portugal. Although a very important music theoretician, as a composer almost nothing is kwnown of him. The only works that survived are two fragments of a Credo and a motet, which uses the text from the tract for Feria Quarta in Cinerum, for four voices.
Here Ensemble Eborensis is Ana Lopes (superius), Ana Lúcia Carvalho (altus), Luís Henriques (tenor) and Afonso Teles (bassus).