{"id":3649,"date":"2025-06-12T18:04:02","date_gmt":"2025-06-12T17:04:02","guid":{"rendered":"https:\/\/www.scherzoeditions.com\/webshop\/?post_type=product&p=3649"},"modified":"2025-06-14T10:57:47","modified_gmt":"2025-06-14T09:57:47","slug":"choral-music-ofthe-17th-centuryantonio-ramos-da-rochafrancisco-barbosaanonymous","status":"publish","type":"product","link":"https:\/\/www.scherzoeditions.com\/webshop\/shop\/choral-music-ofthe-17th-centuryantonio-ramos-da-rochafrancisco-barbosaanonymous\/","title":{"rendered":"Choral Music of<\/strong>the 17th century: Volumes 1-4<\/strong>Ant\u00f3nio Ramos da RochaFrancisco BarbosaAnonymous"},"content":{"rendered":"

Duration: ca. 75′ | Pages: 128 Master\/108 Choir | Year: 17th century\/2025<\/strong><\/p>\n

We are very proud to present, in collaboration with Scherzo Editions, the first volumes of Choral Music of the 17th century as part of the series Portuguese Musical Heritage.
\nThe compositions presented in these initial volumes are housed in the Musical Archive held by the Funda\u00e7\u00e3o Casa de Bragan\u00e7a at Vila Vi\u00e7osa. The original manuscripts from which these compositions are drawn were copied in the first half of the 18th century in large choir book format. The compositions presented in these first four volumes are alternatim settings of vespers psalms, magnificats and hymns (motets). The polyphonic sections use white mensural notation without barlines (for a discussion of barlines added to certain manuscripts see the preface to volumes 3 and 4). They are for four vocal parts, generally with the designations of Soprano, Alto, Tenor and Basso. Black note notation is used for the chants.
\nThe following editorial practices have been observed:
\n– original time signatures have generally been kept but all note values have been halved;
\n– barlines and the resulting necessary ties have been added when they don\u2019t exist in the original manuscript;
\n– clefs have been modernized where necessary;
\n– accidentals found in the original manuscript are presented in front of the note, courtesy accidentals are listed in parentheses in front of the note, and editorial accidentals are placed above the note;
\n– text missing from the original manuscript has been added in capital letters;
\n– for ease of performance, chant selections not included in the original manuscript have been added using the appropriate psalm tone.
\nThe editors wish to acknowledge the assistance and expertise of the staff at the Funda\u00e7\u00e3o Casa de Bragan\u00e7a at Vila Vi\u00e7osa, and the founder and owner of Scherzo Editions, Jo\u00e3o Vidinha, for his willingness to take on this project.<\/p>\n

Brett Scott<\/strong>
\nGon\u00e7alo d’Alc\u00e2ntara Louren\u00e7o<\/strong><\/p>\n

VOLUME 1 – Anonymous<\/strong><\/p>\n

PATREM CANAMUS INCLYTUM
\nJESU DULCIS
\nPRAECLARA CUSTOS VIRGINUM
\nJAM SOL RECEDIT<\/p>\n

This first volume is a collection of alternatim hymns (motets) appropriate for vespers services, either for general use or for specific feast days. The hymn Jesu dulcis memoria is found in the choirbook labeled A-011 in the Musical Archives at the Funda\u00e7\u00e3o Casa de Bragan\u00e7a at Vila Vi\u00e7osa, created in 1738 and containing 31 anonymous hymns. The remaining hymns are found in the choirbook labeled A-012, believed to have been created between 1730 and 1750, and containing psalm settings, magnificat settings, and hymn settings.
\nIt is clear that the two anonymous hymns Jam sol recedit and Praeclara custos are related. The two possibilities are one was derived from the other, or they were both generated from an earlier composition. There is common music between these two motets, and in the case of Jam sol recedit, the final text stanza of Praeclara custos is erroneously substituted for the proper text. For this final stanza, the editors have included both the text as it appears in the manuscript and the appropriate text in brackets for the Jam sol recedit hymn.<\/p>\n

VOLUME 2 – Anonymous<\/strong><\/p>\n

MAGNIFICAT 1
\nMAGNIFICAT 2
\nMAGNIFICAT 3<\/p>\n

The three alternatim magnificat settings found in the volume are found in the choirbook labeled A-012, believed to have been created between 1730 and 1750, and containing psalm settings, magnificat settings, and hymn settings. The first of these settings is for high voices, labeled in the editions as Soprano, Mezzo-Soprano, Alto, and Tenor, although the tenor part could possibly be sung as an alto part. The remaining two settings are for Soprano, Alto, Tenor, and Bass voices.<\/p>\n

VOLUME 3 – Francisco Barbosa\/Ant\u00f3nio Ramos da Rocha<\/strong><\/p>\n

IN CONVERTENDO (Barbosa)
\nCONFITEBOR (Rocha)
\nCREDIDI PROPTER (Rocha)
\nBEATI OMNES (Rocha)<\/p>\n

This volume contains four alternatim vesper psalm settings found in the choirbook labeled A-013, believed to have been created between 1730 and 1750. These psalms are attributed to Barbosa and Rocha, possibly referring to the composers Francisco Barbosa (died 1622) and Ant\u00f3nio Ramos da Rocha (died 1669), associated with the Cathedral in the city of Set\u00fabal. All of the psalm settings in A-013 have modern barlines, perhaps a later editorial addition when the choirbook was created.<\/p>\n

VOLUME 4 – Ant\u00f3nio Ramos da Rocha<\/strong><\/p>\n

BEATUS VIR
\nDIXIT DOMINUS
\nLAUDATE PUERI
\nLAUDATE DOMINUM<\/p>\n

This volume contains four alternatim vesper psalm settings found in the choirbook labeled A-013, believed to have been created between 1730 and 1750. These psalms are labeled as composed by Rocha, a possible attribution to Ant\u00f3nio Ramos da Rocha (died 1669), associated with the Cathedral in the city of Set\u00fabal. All of the psalm settings in A-013 have modern barlines, perhaps a later editorial addition when the choirbook was created.<\/p>\n","protected":false},"excerpt":{"rendered":"

for Choir<\/strong>
\nALL VOLUMES INCLUDING 1 SCORE AND 8 SEPARATE SCORES.
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