Academic literature on the topic 'Liber Missarum'

Abstract The polyphonic models for five of the six imitation or parody Masses published by the Portuguese composer Filipe de Magalhães in his Missarum liber (Lisbon, 1636) are well known. However, for the sixth, O soberana luz, only tentative musical or contextual connections with works by other composers have been suggested, none of which satisfy the criteria for them to be considered as a model. In this article, I reveal that the homonymous spiritual madrigal by Stefano Limido is undoubtedly the piece that Magalhães used as the basis for his Mass. In addition, Magalhães’s general compliance with Pedro Cerone’s theoretical recommendations of 1613 for compositions of this type is demonstrated. In light of this information, new ideas are put forward—and previous ones re-evaluated—about the creative context of both works in the courtly circles of Philip IV, who was at that time the absolute sovereign of the Iberian Peninsula. An edition of the previously unpublished madrigal by Limido is included in the Appendix.

Articulus proemio, parte principali et conclusione constant. In proemio fontes iuris canonici de Sanctissima Eucharistia tractantes exponunntur et canones 897-899 Codicis luris Canonici explicantur. Pars principalis articuli in decem puncta dividitur, quia hoc in loco decem canones (ex 900-911) inveniuntur. 1. Secundum can. 900 §§ 1-2 minister Sanctissimae Eucharistiae est solus sacerdos valide ordinatus et lege canonica non impeditus. 2. Can. 901 permittit sacerdoti Missam celebranti applicare pro quibusvis fidelibus etiam defunctis. 3. Ad normam can. 903 sacerdotes peregrini litteras commendatitias sui ordinarii vel superioris religiosi secum habere debent, si Missam celebrare velint extra suam dioecesim. 4. Sacerdotibus valde commendatur frequens, immo cotidiana celebratio Sanctissimi Sacrificii (can. 904). 5. Exceptis diebus 2 novembris et 25 decembris non licet sacerdoti plus quam semel in die celebrare. Ordinarius loci concedere potest sacerdotibus ut bis in die et ter die dominica vel festo de praecepto Missam celebrent (can. 905 §§ 1-2). 6. Non licet celebrare Sacrificium Eucharisticum sine participatione alicuius saltem fidelis (can. 906). In celebratione eucharistica diaconus et laicus non potest actionibus fungi, quae sacerdotis celebrantis sunt propriae (can. 907). 8. Can. 909 obligat sacerdotes ad se praeparandum ante Missam et ad gratias agendum post Missam. Idem admittitur in libro Liturgiae Horarum lingua latina edito. Aliter vero proponit, minus recte iudicio auctoris liber Liturgiae Horarum in lingua polonica publicatus. 9. Ad normam can. 910 § 2 et can. 230 § 3 laicus ad sacram Communionem distribuendam deputari potest. In Polonia viri, sed non mulieres, nostris diebus, facultatem communionem distribuendi ab ordinario obtinere possunt. 10. Officium et ius Viaticum ad infirmos deferendi habent parochus, vicarii paroeciales - in paroecia, cappellanus - in sua cappellania et superior in communitate religiosa clericali aut in societate vitae apostolicae versantibus in domo. In casu necessitatis hoc facere protest quilibet sacrae Communionis minister (can. 911 §§ 1-2). Sub fine auctor affirmat conclusionem esse brevem quia proemium longum videtur.

Duarte Lobo foi um dos compositores portugueses que, no seu tempo, mais se distinguiu internacionalmente. Dele foram impressos quatro volumes de música na conhecida Oficina Plantiniana de Antuérpia, uma das mais conceituadas casas de impressão europeias. Em Portugal ainda fez imprimir na Casa Craesbeeck duas edições de cantochão. Contudo, é um dos poucos compositores portugueses cuja obra não foi editada em tempos modernos. Apesar de já terem sido editadas algumas obras do Liber Missarum de 1621, a identificação em Maio de 2012 de um volume deste livro de missas na Sé de Angra, conduziu à transcrição de três missas-paródia deste livro, que utilizam como modelo motetes do compositor espanhol Francisco Guerrero. Partindo da relação entre cada um dos modelos e respectivas missas pretende este estudo contribuir para uma melhor compreensão dos processos de imitação e emulação ainda utilizados pelos compositores portugueses no início do século XVII, centrando-se na análise do processo de composição presente nas três missas de Duarte Lobo, enquadrando-os no contexto ibérico da imitação de mestres conceituados como Francisco Guerrero e Cristóbal de Morales e a influência que estes tiveram nas gerações seguintes, onde se inclui Duarte Lobo.
Duarte Lobo was one of the most internationally distinguished Portuguese composers during his time. four volumes of his music were printed at the famous Oficina Plantiniana in Antwerp, one of the most reputable European printing houses. In Portugal he arranged for the printing of two editions of plainchant at the Craesbeeck house in Lisbon. Nevertheless, he is one of the few Portuguese composers whose work was not fully edited in modern times. Although some works from the 1621 Liber Missarum have already been edited, the identification in May 2012 of a volume of this book of masses at Angra Cathedral led to the transcription of three parody masses from this book, which use as a model motets by the Spanish composer Francisco Guerrero. Starting from the relation between each of the models and the respective masses this study aims to contribute to a better understanding of the processes of imitation and emulation still in use by the Portuguese composers at the beginning of the seventeenth century, focusing on the analysis of the process of composition present in the three masses by Duarte Lobo, putting them in the Iberian context of the imitation of established masters like Francisco Guerrero and Cristóbal de Morales and the influence they had on the following generations, where Duarte Lobo is included.