u/AmantedeHandel

Ontem chegou estes dois calhamaços. Juntos eles totalizam 2.300 páginas!

O Diccionario de la Música Labor é um dos maiores dicionários espanhóis desse tipo publicado no século 20 (mais precisamente, sua primeira edição é de 1954). Primeiramente foi compilado pelo musicólogo Joaquim Pena i Costa (1873-1944), mas ele morreu antes de terminar sua obra-prima, e o trabalho foi continuado pelo sacerdote Higinio Anglés Pamies (1888-1969).

Uma amiga bibliotecária me presenteou com esta preciosidade. O livro está em péssimo estado de conservação e em breve ele vai ser restaurado por mim. O livro é notável por conter um soneto escrito à mão por Albino Forjaz de Sampaio (1884-1949), autor de um dos livros mais vendidos em Portugal durante o século XX, Palavras Cínicas, lançado em 1905.

This portrait is a copy of a posthumous portrait of Cimabue published in the book Le vite de' più eccellenti pittori, scultori, e architettori, written by Giorgio Vasari.

Although heavily influenced by Byzantine models, Cimabue is generally regarded as one of the first great Italian painters to break from the Italo-Byzantine style. Compared with the norms of medieval art, his works have more lifelike figural proportions and a more sophisticated use of shading to suggest volume. According to Italian painter and historian Giorgio Vasari, Cimabue was the teacher of Giotto, the first great artist of the Italian Proto-Renaissance.

Based on a census (a survey of the number of inhabitants in each residence, with details of ages and other living conditions, whether "captives" or "freedmen") in the Vila of São José (present-day Tiradentes, Minas Gerais, Brazil), conducted in 1795, we know that Manuel Dias de Oliveira was then 60 years old – which leads us to believe that he was born between 1734 and 1735. His birthplace and family, however, remain unknown. It is only known that from the 1760s until his death in 1813, he resided in the village of São José (today Tiradentes), having served as captain of an infantry regiment (ordinance or auxiliary foot troop) of freed mulatto men in the Arraial da Laje (today Resende Costa), as well as calligrapher and composer for the main brotherhoods in the Comarca do Rio das Mortes, among them, not only in the village of São José, but also in the village of São João d’El Rey (then the head of the Comarca) and Arraial de Nossa Senhora da Piedade da Borda do Campo (today Barbacena), in addition to other comarcas.

Gabriel Fernandes da Trindade (1798–1854) was a Brazilian violinist, singer, teacher, and composer, active in Rio de Janeiro in the first half of the 19th century. Author of songs and duets for two violins, he composed the oldest known Brazilian chamber music works and belonged to the first generation of Brazilian composers to have works printed during their lifetime. Son of José Fernandes da Trindade and Quitéria Coelho de Almeida, he was part of a family of musicians from Vila Rica, Minas Gerais, who moved to Rio de Janeiro around 1805, where he developed his professional activities.

Antônio Carlos Gomes (1836–1896) was a Brazilian composer notable for being the first New World composer whose work was accepted by Europe. He was the only non-European who was successful as an opera composer in Italy, during the "golden age of opera" contemporary to Verdi and Puccini, and the first composer of non-European lineage to be accepted into the classic tradition of music.

Younger than Verdi, yet older than Puccini, Carlos Gomes achieved his first major success in a time when the Italian audiences were eager for a new name to celebrate and Puccini had not yet officially started his career. After the successful premiere of Il Guarany, Gomes was considered the most promising new composer. Verdi said his work was an expression of "true musical genius". Liszt said that “it displays dense technical maturity, full of harmonic and orchestral maturity.”

Originally from Burgundy, Francés has been documented as residing in León, Spain since before 1434 and until May 1468, the date of his death. He worked on an altarpiece for the León Cathedral, around July 25, 1434. A year later he had fixed his residence along with his wife Juana Martinez to Cardiles Street, in a house owned by the city council. By 1461 the painter had executed major expansions to the house. He added a kitchen with cellar, yard, well, stable and barn, and farms.

Andrés Marzal de Sas, or Andreu Marçal de Sax was a painter of Dutch origin who worked in Valencia, Spain. Based on his name, he was from Sas van Gent, although some sources indicate he may have been from Saxony. Between 1393 and 1399, he collaborated with Pere Nicolau. His only documented work is a "Doubting Thomas", now in the museum of Valencia Cathedral. A document from 1410 indicates that he was awarded a pension by the City Council, as he had become ill and fallen into poverty.

Together with Pere Nicolau, he is considered to be a major representative of the International Gothic style and helped introduce Early Netherlandish painting to Spain. He also worked with Guerau Gener from 1405 to 1407, and with Gonçal Peris Sarrià, in 1405, for a Nativity altarpiece. His influence on Gener is apparent in the Gothic altarpiece of Santes Creus, which Gener painted with Lluís Borrassà.

Some art historians have tentatively credited him with the "Altarpiece of Saint George" also known as the "Centenar de la Ploma", after a guard of crossbowmen, organized in 1365 by King Peter IV of Aragon, as an escort for the official banners of Valencia. The altarpiece also depicted the Battle of the Puig. That panel, dated c.1400, is now preserved at the Victoria and Albert Museum. It has also been suggested that he was merely a collaborator and that the central panels were largely the work of Miguel Alcañiz.

Juan de Urrede or Juan de Urreda was a Flemish singer and composer active in Spain in the service of the Duke of Alba, King Ferdinand and Queen Isabella. He was born Johannes de Wreede in Bruges. His father was Rolandus de Wreede, organist at St Donatian. He was refused a clerkship at the same cathedral because a father and son were not allowed to work in the same institution. He served as a clerk at the church of Our Lady in Bruges from 1457 to 1460, when his name disappears from the record. It is believed that he left for Spain at this time. His name reappears in 1476, when he was paid in the service of the Duke of Alba's household. On 17 June 1477 he became a singer and maestro de capilla at the Aragonese royal chapel. During his service at the chapel, he applied for the Salamanca University professorship and petitioned for a change to their system of electing professors, but his requests and application were denied. Urrede's name vanishes after 1482 and it is not known if this is when he died, as the house records for the following years are lost.

His compositions are unique in that they blend Flemish traditions with new Spanish elements. He adopted the canción form and the chant tradition of Spain, but elements of the Franco-Burgundan school from his homeland are apparent in his writing. While he was not the only Spanish-Flemish composer at the time, he is certainly the most well-known, with many of his works influencing other Spanish Renaissance composers. In addition to Urrede, Johannes Cornago and Enrique de Paris, Spanish composers who were taught in the north, were instrumental in the spread of Flemish ideas throughout the Iberian Peninsula.

The villancico was one of the main poetic-musical forms of Baroque sacred music in the Iberian Peninsula and its colonies. It emerged from the evolution of the villancicos (also called vilancetes) of the Renaissance. Its popularity was such that it filled churches with worshippers during festivities, and practically all the great Iberian composers of the 17th century wrote villancicos.

In colonial Brazil, the only villancico on record is Matais de Incêndios, found in the Mogi das Cruzes group. The "Mogi das Cruzes Group" is an important collection of musical manuscripts, likely copied in the 1730s, containing Luso-Brazilian sacred music, discovered by IPHAN historian Jaelson Bitran Trindade on the front and back covers of the Charter Book of the Village of Mogi das Cruzes.

Heroe, egregio, douto, peregrino, also known as Recitative and Aria for José Mascarenhas, is the oldest piece of secular vocal music with lyrics in Portuguese ever found in Brazil. His style derives from the Neapolitan operatic school, then very popular in Brazil, and he skillfully uses the Baroque technique of "painting words," the musical illustration of the text, within the perspective of the theory of affects.

It was composed in 1759 by an unknown composer, sometimes attributed to Father Caetano de Melo de Jesus, choirmaster of the Cathedral of Salvador. Despite the name by which it is known, it retains only a fragment of the traditional cantata structure, being composed solely of a recitative and a da capo aria. Its libretto salutes, in typically Baroque rhetoric, the Portuguese magistrate José Mascarenhas Pacheco Pereira Coelho de Melo, one of the founders of the Academia dos Renascidos and a member of the Conselho Ultramarino, and deplores the difficulties he had faced in the Brazilian colony. Mascarenhas, then in Salvador, the capital of Bahia, had fallen ill, and the music, presented at the Academy on July 2 of that year, celebrated his recovery.

The only manuscript source of this work was acquired by Alberto Frederico de Morais Lamego (1870-1951) under unknown circumstances and location, and first published in his book A Academia Brazilica dos Renascidos, in 1923. The first edition of the work was produced by Régis Duprat in 1965, and its first recording was made by the Collegium Musicum of the Ministry of Education and Culture Radio, under the direction of George Kiszely and with soprano Olga Maria Schroeter.

António Marques was born in Lisbon in 1639. Lésbio is merely an academic title referring to the Greek island of Lesbos associated with the origin of lyric poetry.

He wrote his first villancicos in 1660 and subsequently held several positions including teaching the choirboys of the Royal Chapel (in 1669), scribe of the Accounts (in 1680), librarian of the grand Royal Library of Music (in 1692) and finally master of the Royal Chapel (appointed on January 15, 1698, succeeding Filipe da Madre de Deus).

He achieved great recognition from his contemporaries, becoming an active member of the Academia dos Singulares. He was also highly esteemed by King Pedro II of Portugal, his second wife, Maria Sofia Isabel of Neuburg, and Catherine of Braganza. He died in Lisbon on November 27, 1709, the eve of the feast of Saint Cecilia, patron saint of musicians.

He wrote and composed sacred and secular music in Latin, Spanish, and Portuguese. Of his Latin works, only Victimae Paschalis laudes for the celebration of Easter has survived, but several compositions in Portuguese and Spanish have come down to us, especially villancicos.

In addition to writing the lyrics for many of his villancicos, he also wrote poetry in Spanish, Portuguese, and Latin. An example of this is the work: "The Star of Portugal, the happy birth of the Serene Infanta" (1669), dedicated to the birth of Princess Isabel Luisa Josefa of Braganza.

The shift in musical tastes and the consequent prohibition of villancicos in 1724, along with the destruction of the Royal Library of Music by the 1755 earthquake, meant that little of his work survived. What did survive is due to his great fame and prolific output.

With modernity came a renewed interest in the history of music, which led to Marquis Lésbio's compositions gaining considerable notoriety.

Martin Codax was probably a Galician minstrel active in the mid- to third quarter of the 13th century. Although he is one of only two authors present in the medieval Portuguese songbooks whose compositions were also preserved in an individual manuscript, the so-called Vindel Parchment, where they are accompanied by their respective musical notation (the other author being King Dinis, with the Sharrer Parchment), nothing concrete is known about his biography. His surname seems to rule out the possibility of a high social status. He would therefore have been a minstrel or jongleur, probably linked to Vigo, Spain, a location repeatedly mentioned in his compositions.

"Mia Irmana Fremosa, treides comigo" is one of the best-known Cantiga de Amigo by Codax. In it, the maiden urges her beautiful sister to go to the sanctuary of Vigo, where the sea is rough, to watch the waves. In truth, as we understand in the last two stanzas, this trip is a pretext to be with her "friend," who will also go there (as she confesses, now addressing her mother). Note, moreover, how the refrain, remaining unchanged, gains, in these final stanzas, another (ambiguous) meaning.

Johannes Symonis (Jehan Simon) Hasprois (died 1428) was a French composer originally from Arras. Four of his works of music survive in four different manuscripts, and he may also have written a treatise on astrology.

Hasprois led an itinerant life. His career began in royal courts. In 1378, in our earliest record of him, he was serving at the court of Ferdinand I of Portugal, but by 1380 he was at the court of Charles V of France. His career afterwards was in the church. In 1384 he was the petit vicaire (lesser vicar) of Cambrai Cathedral, and in the same diocese he obtained the rectorate of the parish church of Liessies, probably in 1388. He also held benefices at Arras, Rozoy in the Aisne département and Cambrai Cathedral. He left his parish between August 1390 and 1393 and went to serve as a private chaplain to Pope Clement VII at the Papal chapel at Avignon. As his name always precedes that of Johannes de Bosco, who became a chaplain in 1391, in the registers, it is likely that he was appointed chaplain earlier than 1391. Hasprois continued to serve under Benedict XIII down to 1403. He was possibly the same person as the magister Johannes Symonis who attended the Council of Constance in 1417 and wrote an essay on astrology. Hasprois served in the Roman Curia as an apostolic notary until his death in 1428.

Hasprois's early two-voice ballade "Puisque je sui fumeux" is "a prime example of the exceedingly complex style of the ars subtilior." The text of this ballade is also preserved anonymously as "Balade de maistre fumeux". It is similar to a rondeau by Solage, "Fumeux fume par fumee", and both were probably written for the "highly eccentric circle" gathered around Jean Fumée. If so, then it probably dates to the time when Hasprois was at the court of Charles V.

Juan Cornago (or Johannes Cornago) is the earliest Spanish composer with a large number of surviving works. Almost nothing is known of Cornago's origins. He may be the Juan Carnago of Calahorra, La Rioja, Spain, who solicited Pope Martin V for prebends in various parishes between 1420 and 1429. It is certain that he is the Cornago, a Franciscan, who graduated from the University of Paris in 1449. Then from 1453 he was in Naples serving in the royal chapel of Alfonso V of Aragon, where Pope Calixtus III issued him a bull in order to officially recognize him as Alfonso's chaplain. Cornago was so famed that he received a very high yearly salary of 300 ducats, more than even Josquin des Prez at the height of his career. After the death of Alfonso in 1466 he continued to serve as chief almoner in the chapel under Alfonso's son, Fernando I of Naples. Cornago was the leading songwriter at the Aragonese court in Naples. Later in 1475 he transferred to the chapel of Fernando the Catholic in Spain, where he is last recorded singing in the court.

One of his most popular surviving compositions, Missa 'Ayo visto lo mappamundi', was based on a popular Sicilian song in barzelletta form. It is one of the earliest surviving masses that is based on a secular cantus firmus, which was quite rare at the time. The mass reflects the English mass, which he likely learned about during his studies in Paris. It features duets at the beginnings of movements, a head motive, asymmetrical phrases, repetitive rhythmic patterns, and colorful harmonic progressions. It was written in 1452 for the coronation the marriage of Holy Roman Emperor Frederick III and Leonora of Portugal, and a superscript associates the mass with the Virgin Mary.

His Spanish songs are some of the earliest polyphonic canciones written in Castilian. He sourced the poetry from famed Castilian poets, such as Marqués de Santillana, Juan de Mena, and Pedro de Torellas. Five of his nine surviving Spanish songs feature text written by known poets. Morte o merce, one of his Italian songs from his time in Fernando I's court, is through-composed and representative of the humanist movement which emphasized words over music. This can be seen in its simple musical style and treatment of the text.

Gaspar Fernandes (sometimes written Gaspar Fernández, the Spanish version of his name) was a Portuguese-Mexican composer and organist active in the cathedrals of Santiago de Guatemala (present-day Antigua Guatemala) and Puebla de los Ángeles, New Spain (present-day Mexico).

Most scholars agree that the Gaspar Fernandes listed as a singer in the cathedral of Évora, Portugal, is the same person as the Gaspar Fernández who was hired on 16 July 1599 as organist and organ tuner of the cathedral of Santiago de Guatemala. In 1606, Fernandes was approached by the dignitaries of the cathedral of Puebla, inviting him to become the successor of his recently deceased friend Pedro Bermúdez as chapel master. He left Santiago de Guatemala on 12 July 1606, and began his tenure in Puebla on 15 September. He remained there until his death in 1629.

Gregorio Mariano de Soberanis was born in Mexico City in 1708. He was the son of Juan de Soberanis and Paulina de la Encarnacion Altamirano. He married Magdalena Antonia de Silva in Mexico City in 1732. Five children were born from this union. Gregorio Mariano de Soberanis died in Mexico City in 1743. His music is preserved in the cathedrals of Mexico—a Mass for two in G minor, of which only the bass and durango parts remain; in the latter, a villancico from 1745 entitled "Pendiente en una cruz" (Hanging on a Cross). Several of his works are also found in Guatemala: in one of them, the sung "Logre sacro Hymeneo," dedicated to the Blessed Sacrament, the indication "Por Soberanis en México" appears; in the villancico "Niño hermoso" (Beautiful Boy) there is a reference that says "Gregorio Soberanis, en México"; Finally, in the duet with Saint Francis of Paola, "Qual antorcha al orbe que luce" (Like a torch shining for the world), a note indicates that it was sung "In 1755 in Carmen, Mexico". If he lived in New Spain, it has not yet been possible to determine in which musical center he performed, but, according to the last work cited, he could have been in the Carmelite convent in the San Ángel neighborhood of Mexico City.

Ignácio Parreiras Neves was born around 1730 in Vila Rica, Minas Gerais, Brazil. Very little is known about his life. In 1752, he became a member of the Brotherhood of Saint Joseph of the Mulatto Men and worked for this brotherhood and for the mayor of his hometown. From 1776 to 1782, he was also the organist of the Church of Our Lady of Mercy and Forgiveness. A considerable part of his musical output is lost, and only three works have survived to this day. He died between 1792 and 1794.

Bernhard Ycart (also appearing as: Bernar, Bernardus; Hycart, Hycaert, Icart, Ycaert) was a Spanish Renaissance singer and composer active in the 15th century at the Aragonese court in Naples. He was probably originally from Catalonia.

Virtually little is known about his life. He is mentioned in John Hothby's "Dialogus in arte musica" and in Gaffurius's "Tractatus practicabilium proportionum," and it seems he was part of their circle in northern Italy, or at least his music was known in those regions, since some of his works are among those added by Johannes Bonadies to the Codex Faenza between 1473 and 1474.

The next documents that mention Ycart place him in Naples. The first of these is a decree from Pope Paul II dated October 27, 1478, granting Ycart a territorial abbey at the Monastery of Santa Maria del Pendino in Basilicata. The same document mentions Ycart as a cleric of the Diocese of Tortosa. In another document dated October 25 or 27, 1480, he appears on the list of singers in the royal chapel of Ferdinand I of Naples, of which Johannes Tinctoris was also a member.

Lusitano, a Portuguese-language term for "Portuguese", appears to be a descriptive nickname rather than a family name. Little is known of his life. He was born in Olivença, likely around 1520. Lusitano is described as pardo, a Portuguese term indicating he was of mixed European and non-European heritage. It has been suggested that his mother may have been of African descent. According to a manuscript by the 17th-century Portuguese critic João Franco Barreto, Lusitano came from Olivença, became a Catholic priest, and was employed as a teacher at Padua, Viterbo and Rome. His books and manuscripts of his musical compositions survive and are dated. Lusitano was in Rome by 1551. From the dedication of one of his first works, it has been suggested that Lusitano was a tutor to the Portuguese Lencastre family, who also arrived in Rome in 1551 as ambassador to the Papal court. By 1561 he had married, converted to Calvinist Protestantism, and traveled to Germany. There is no record of him after 1561. When he last appears in the historical record he was living in the Duchy of Württemberg.