Manuel Cardoso (1566–1650) was a Portuguese composer and organist. Along wi… Read Full Bio ↴Manuel Cardoso (1566–1650) was a Portuguese composer and organist. Along with Duarte Lobo and King João IV of Portugal, he represented the "golden age" of Portuguese polyphony.
Cardoso was born in Fronteira, near Portalegre, most likely in 1566. He attended the Colégio dos Moços do Coro, a choir school associated with the Évora cathedral, studying with Manuel Mendes and Cosme Delgado. In 1588 he joined the Carmelite order, taking his vows in 1589. In the early 1620s he was resident at the ducal household of Vila Viçosa, where he was befriended by the Duke of Barcelos—later to become King John IV. For most of his career he was resident composer and organist at the Convento do Carmo. He died in Lisbon.
Cardoso's works are models of Palestinian polyphony, and are written in a refined, precise style which completely ignores the development of the Baroque idiom elsewhere in Europe. His style has much in common with Victoria, in its careful treatment of dissonance, occasional polychoral writing, and frequent cross-relations, which were curiously common among both Iberian and English composers of the time. Three books of masses survive; many of the works are based on motets written by King John IV himself, and others are based on motets by Palestrina. Cardoso was widely published, often with the help of King John IV to defray costs. Many of his works—especially the elaborate polychoral compositions, which probably were the most progressive—were destroyed in the Lisbon earthquake and fire of 1755.
Cardoso was born in Fronteira, near Portalegre, most likely in 1566. He attended the Colégio dos Moços do Coro, a choir school associated with the Évora cathedral, studying with Manuel Mendes and Cosme Delgado. In 1588 he joined the Carmelite order, taking his vows in 1589. In the early 1620s he was resident at the ducal household of Vila Viçosa, where he was befriended by the Duke of Barcelos—later to become King John IV. For most of his career he was resident composer and organist at the Convento do Carmo. He died in Lisbon.
Cardoso's works are models of Palestinian polyphony, and are written in a refined, precise style which completely ignores the development of the Baroque idiom elsewhere in Europe. His style has much in common with Victoria, in its careful treatment of dissonance, occasional polychoral writing, and frequent cross-relations, which were curiously common among both Iberian and English composers of the time. Three books of masses survive; many of the works are based on motets written by King John IV himself, and others are based on motets by Palestrina. Cardoso was widely published, often with the help of King John IV to defray costs. Many of his works—especially the elaborate polychoral compositions, which probably were the most progressive—were destroyed in the Lisbon earthquake and fire of 1755.
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Magnificat secundi toni
Manuel Cardoso Lyrics
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LA COLOMBE
FREI MANUEL CARDOSO { FRONTEIRA 1566~1650 LISBONNE } « MAGNIFICAT SECUNDO TONI « EXTRAIT DU RECUEIL « CANTICA BEATAE VIRGINIS MARIAE {1613} ~ PORTUGUESE POLYPHONIE ~ BO HOLTEN ~ . Quelle merveille, et qu’elle polyphonie de l’ensemble, voix vocales grandiose, de cette œuvres de FREI MANUEL CARDOSO, exceptionnel bravo. CARDOSO compositeur organiste portugais de la fin de la Renaissance, et du début de la musique Baroque. Aux côtés de compositeurs comme FILIPE DE MAGALHÃES {1563~1653}, de DUARTE LOBO {1565~1646}, ESTEVAO DE BRITO {1570~1641}, et du roi JOÃO IV, roi du Portugal {1604~1656}, il représente « L’ ÂGE D’ OR « de la polyphonie portugaise. FREI MANUEL CARDOSO, effectue des études musicales et théologiques à la cathédrale d’ ÉVORA où, très jeune, il devient Maître de Chapelle. En 1589, il entre chez Les Carmes de Lisbonne. Il sera jusqu’à sa mort le directeur musical de La Chapelle de l’Ordre, puis sous-prieur et, des 1647, vicaire de province. C’est l’un des compositeurs les plus remarquables de l’école polyphonique d’ ÉVORA, musique austère d’ expression mystique d’ une grande habileté contrapuntique. Œuvres principales : CANTICA BEATAE MARIAE VIRGINIS a 4 - 5 voix. Trois Livres de Messes à 4, 5 où 6 voix. LIVRO de VARIO MOTETES, OFFICIO DA SEMANA SANTA E OUTRAS COUSAS a 4 voix. Plusieurs œuvres conservées à l’état de manuscrit périrent lors du tremblement de terre de 1755. Merci pour ce chef-d’œuvre, de FREI MANUEL CARDOSO, grands compositeurs de la fin du XVIe siècle, et du début du XVIIe siècle, qui est éternel, et ce moment de musique de la Renaissance, et cette video que j’ai énormément aimé sublime.