Is this the face of Cardoso?

Is this the face of Cardoso?

 
 Image via  Wikipedia

Image via Wikipedia

 

Well, in a word, no.

It is reported that King John IV of Portugal, an admirer of Cardoso’s music and supporter of his publications, kept his portrait hanging in his library (so the preface to Portugaliæ Musica tells us), but we have to assume that this was destroyed along with the library in the Lisbon earthquake of 1755.

Yet, a simple Google image search for Cardoso brings up this portrait, which also adorns his Wikipedia, CPDL and IMSLP pages. The painting is Portrait of a Young Gentleman (1600s) by Domenikos Theotokopoulos (better known as El Greco due to his Greek heritage). El Greco painted numerous named portraits, none of which is Cardoso, and there is no reason to suppose that he, living in Venice, Rome and, from 1577, Toledo in Spain, would have met or even heard of Cardoso. The Tallis Scholars’ recording of Cardoso’s 6-voice Requiem used this portrait as its cover and this appears to have been misunderstood by others as being a portrait of the composer. 

 
Cardoso Tallis.jpg
 

El Greco had sought to gain King Philip IV of Spain’s patronage, but the two royal commissions he did secure were not favourably received, effectively destroying that hope. By contrast, Cardoso was well-respected by Philip who provided him with a theme which became the basis for the six Missæ Ab initio, the sixth of which was the final Mass of our Cardoso450 project, as well as a theme for the Missa Philippina. Together with the plainchant-themed Missa de beata Virgine these Masses make up Cardoso’s 1636 Liber tertias missarum which he dedicated to Philip.

The very lack of connection between Cardoso and El Greco via Philip IV is an opportunity to reflect on the precious little information we have about Cardoso and so many other Renaissance composers who live now almost exclusively through their music. El Greco’s anonymous portrait may have served as an erroneous image of Cardoso; we are fortunate at the Carmelite Priory to have gained a more vivid image of him through having performed his Masses and motets during the last two years.

2018 Music List January-March

Our new music list is now available. We start off 2018 with the charming Missa Ad præsepio by George Malcolm, a former Master of Music at Westminster Cathedral. Its simple, pastoral style is a good detox after the excesses, musical or otherwise, of Christmas. 

Although the Baptism of the Lord doesn’t fall on a Sunday this year, we’re indulging one last piece of Christmas music with Clemens O magnum mysterium on Sunday 14th January. A much sunnier piece than the Poulenc, Palestrina and Victoria settings we sang over Christmas, it perhaps emphasises the joy of the Incarnation above the sense of mystery the others highlight.

Diego Ortiz Alma Redemptoris Mater has, it seems, been waiting in the wings for many years to be included on a music list. It is a long-standing favourite of the Director of Music, though we sadly won’t be performing it quite as it is here with doubling instruments and spatially separated choirs – from this performance you probably wouldn’t guess that it is only 6-parts throughout.

Two Gesualdo motets prefigure the sombre mood of Lent but are balanced by two 8-part Masses, programmed to mark the changing of Marian Antiphons, Victoria Missa Alma Redemptoris Mater and Padilla Missa Ave Regina cælorum

Our next project – The Forrest-Heyther Partbooks – starts on Ash Wednesday. This project will programme the 18 Masses contained in the partbooks alongside contemporary and near-contemporary works from the Tudor period. During Lent we perform some of the larger-scale works by Byrd, William Mundy, Tallis and White, pieces that will split between the Offertory and Communion. The details of the project are still being tweaked (maybe some time off after Cardoso450 would have been sensible) but will be available in February.

2017 Q4 music list

The new music list is now available. It is not only the final list of 2017, but also the end of Cardoso450, a project that has been a constant companion since February 2016. Cardoso's 6-part Requiem was one of the works that encouraged the project into existence; it is fitting that it should be one of the final works we perform. But what of the rest?

Read More