Luís Henriques
PhD Candidate in Musicology at the University of Évora, where he holds a Licenciate Degree in Musicology, he is Master in Musical Sciences from the FCSH NOVA University of Lisbon. He is a collaborator of CESEM/UÉvora, MPMP and the Atelier Acroarte, and was a scholarship holder in the FCT project “ORFEUS”. He founded the Ensemble da Sé de Angra and Ensemble Eborensis, having performed concerts in Portugal and France and recorded a CD. His work has centred on Portuguese sacred vocal polyphony of the 16th and 17th centuries, especially that associated with Évora Cathedral, and music in the Azores since settlement to the beginning of the 20th century.
“O canto do ofício na Quaresma e Semana Santa no Mosteiro de S. Bento de Cástris: O manuscrito P-EVad Ms 29 e a sua organização”, em Antónia Fialho Conde e António Camões Gouveia (dirs.), Do Espírito do Lugar – Estética, Silêncio, Espaço, Luz. Évora: Publicações do Cidehus, 2016, 47-59.
“Polifonia na Sé de Angra: O Liber Missarum de Duarte Lobo”, Cadernos de Musicologia – Glosas 9 (Setembro 2013).
“Ensinar segundo o modelo do Motu Proprio de Pio X: A Schola Cantorum estabelecida na Sé de Angra do Heroísmo”, Revista Portuguesa de Educação 2 (Setembro 2012), 53-58.
Évora Cathedral was one of the most important centres of musical activity in Portugal since the beginning of the 16th century until the first decades of the 19th century. There, a polyphonic practice was established in the 16th century that was continued in the 17th century. While for the first half of this century that continuity has been well studied, several gaps arise with respect to its practice during the second half of the 17th century. Departing from the musical work of two composers and chapelmasters of Évora Cathedral – Diogo Dias Melgaz and Pedro Vaz Rego -, this thesis intends to contribute to a better understanding not only of the problematic of the polyphonic continuity in the musical work of these two composers, that coexists with a style markedly baroque, but also to a better understanding of the role and dimension that polyphony continued to have in the Cathedral’s musical activity during the second half of the 17th century.
