Resumen de Fernando de Almeida (d. 1660): tradition and innovation in mid-seventeenth-century portuguese sacred music
Joao Vaz, João Pedro d'Alvarenga
- español
La Biblioteca del Palacio Ducal de Vila Viçosa posee tres grandes libros de coro con repertorio polifónico destinado a la Semana Santa, preparados entre 1735 y 1736 por un copista de la Iglesia Patriarcal. Estos libros de coro contienen todas las obras de Fernando de Almeida (m. 1660) que hayan sobrevivido hasta los días de hoy. La comparación de la música de Fernando de Almeida con la de su cási contemporáneo João Lourenço Rebelo (1610-1661) evidencia las distintas orientaciones en la música sacra portuguesa de principios a mediados del siglo XVII, especialmente cuando observadas bajo las premisas estéticas y composicionales explanadas en la Defensa de la mvsica moderna (1649) del Rey D. João IV. El estilo concertato de Rebelo se acerca de los compositores del Norte de Italia. La inventiva del estilo de Fernando de Almeida, particularmente notable en sus Responsorios a ocho voces para la Semana Santa, incorpora prominentes características barrocas en el molde de la tradición manierista ibérica.
- English
The Library of the Ducal Palace at Vila Viçosa preserves three large choirbooks of polyphonic repertoire intended for Holy Week, prepared between 1735 and 1736 by a copyist of the Patriarchal Church. These choirbooks contain all the known extant works by Fernando de Almeida (died in 1660). When comparing the music of Fernando de Almeida with that of his near contemporary João Lourenço Rebelo (1610-1661), the different trends in Portuguese early- to mid-seventeenth-century church music become clear, especially if viewed in the light of the acknowledged aesthetic and compositional premises explained in the 1649 Defensa de la mvsica moderna by King João IV. Rebelo’s concertato works incline towards the style of north-Italian composers. The ingenuity of Fernando de Almeida’s style, which is particularly noticeable in his eight-voice Holy Week responsories, lays in the integration of prominent Baroque features within the mould of Iberian Mannerist tradition.
