11.06 Friday 9pm

Opening Concert 

Divine Voices: Bach
e Polifonia Renascentista
Portuguesa
 
 
Pedro Teixeira Conductor
 
Programme
 
Manuel Cardoso (1566-1650) Magnificat secundi toni 1. Magnificat anima mea Dominum 
Estêvão Lopes-Morago (1575-1630) Lætentur cæli
Johann Sebastian Bach (1685-1750) Two-Part Inventions BWV 772-786, N.º 1, 2, 3
             
Manuel Cardoso (1566-1650) Magnificat secundi toni 2. Quia respexit
Duarte Lobo (1563/4-1646) Audivi vocem  
Johann Sebastian Bach (1685-1750) Two-Part Inventions BWV 772-786, N.º 4, 5, 6
 
Manuel Cardoso (1566-1650) Magnificat secundi toni 3. Et misericordia eius
Diogo Dias Melgás (1638-1700) In jejunio  
Johann Sebastian Bach (1685-1750) Two-Part Inventions BWV 772-786, N.º 7, 8, 9
 
Manuel Cardoso (1566-1650) Magnificat secundi toni 4. Deposuit potentes
Manuel Cardoso (1566-1650) Sitivit anima mea 
Johann Sebastian Bach (1685-1750) Two-Part Inventions BWV 772-786, N.º 10, 11, 12
 
Manuel Cardoso (1566-1650) Magnificat secundi toni 5. Suscepit Israel
Manuel Cardoso (1566-1650) Nos autem gloriari 
Johann Sebastian Bach (1685-1750) Two-Part Inventions BWV 772-786, N.º 13, 14, 15
 
Manuel Cardoso (1566-1650) Magnificat secundi toni 6. Gloria Patri
Estêvão de Brito (1570-1641) O Rex Gloriæ
 
 
::Programme Notes::
 
The opening concert of Capuchos Festival establishes a dialogue with its historic home: the Capuchos Convent. First erected in the late 1550’s, it was then part of the Arrabida Province of the Franciscan Order in Portugal, the siege of which was the Arrabida monastery, in the southern slopes of Arrabida hills, near Sesimbra. A funny fact about the Capuchos Convent is that it lies exactly midway between Arrabida monastery and the Friars Minor Capuchin convent in the Sintra hills to the northwest, which dates from the exact same time. The flourishing of these convents is contemporaneous with the Golden Age of Portuguese ‘a capella’ sacred polyphony which developed mainly from the Colégio dos Moços (‘Boys School’) of the Evora Cathedral, in Alentejo, and some of the most important personalities thereof are featured in today’s programme. But the programme is in itself a dialogue, for the vocal polyphony is interspersed with J. S. Bach’s 15 keyboard Inventions, which we’ll be hearing played on the cello. This dialogue makes all the more sense, since the bottom line for both repertories is the technique of counterpoint: 4- to 6-voice imitative counterpoint for the choral pieces, 2-voiced counterpoint on the side of the Inventions. And then again, counterpoint as a music composition technique is, of course, also a dialogue between its constituent voices. Last but not least, it should be mentioned that Bach’s Inventions are exactly contemporaneous with the construction of the huge Mafra Convent (cum Palace and Basilica), which king John V (reigned 1707-50) intended for the Friars Minor Capuchin.
 
Bernardo Mariano