Manuel Cardoso
Portuguese composer and organist
Manuel Cardoso (baptized 11 December 1566 – 24 November 1650) was a Portuguese composer and organist. With Duarte Lobo and John 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 the resident composer and organist at the Carmelite Convento do Carmo in Lisbon.
Cardoso's works are models of Palestrinian 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 Tomás Luis de Victoria, in its careful treatment of dissonance, occasional polychoral writing, and frequent cross-relations, which were 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.
Read more about this composer on Wikipedia.
- Amen dico vobis
- Asperges me
- Cum audisset Johannes
- Domine, tu mihi lavas pedes?
- Feria quinta in coena domini
- In monte Oliveti
- Ipse est qui post me
- Lamentatio Feria quinta in Coena Domini: Lectio II
- Lamentatio Feria quinta in Coena Domini: Lectio II: I. Vau. Et egressus est
- Lamentatio Feria quinta in Coena Domini: Lectio II: II. Zain. Recordata est Jerusalem
- Lamentatio Feria quinta in Coena Domini: Lectio II: III. Jerusalem, Jerusalem, convertere ad Dominum Deum tuum
- Lamentationes Jeremiae prophetae
- Magnificat
- Magnificat secundi toni a 4
- Magnificat sexti toni
- Magnificat “Secundi toni” a 5 voci
- Missa Regina caeli
- Missa Regina caeli: Agnus Dei
- Missa Regina caeli: Credo
- Missa Regina caeli: Gloria
- Missa Regina caeli: Kyrie
- Missa Regina caeli: Sanctus / Benedictus
- Missa pro defunctis
- Missa pro defunctis: I. Introitus
- Missa pro defunctis: II. Kyrie
- Missa pro defunctis: III. Graduale
- Missa pro defunctis: IV. Offertorium
- Missa pro defunctis: V. Sanctus
- Missa pro defunctis: VI. Agnus Dei
- Missa pro defunctis: VII. Communio
- Missa “Miserere mihi Domine”
- Missa “Miserere mihi Domine”: Agnus Dei I & II
- Missa “Miserere mihi Domine”: Credo
- Missa “Miserere mihi Domine”: Gloria
- Missa “Miserere mihi Domine”: Kyrie
- Missa “Miserere mihi Domine”: Motet “Non mortui qui sunt in inferno”
- Missa “Miserere mihi Domine”: Motet “Sitivit anima mea”
- Missa “Miserere mihi Domine”: Sanctus. Benedictus
- Mulier quae erat
- Non mortui qui sunt in inferno
- Nos autem gloriari
- Omnis vallis
- Panis Angelicus
- Quid hic statis?
- Requiem
- Requiem: Agnus Dei I, II & III
- Requiem: Communio "Lux aeterna"
- Requiem: Graduale "Requiem aeternam"
- Requiem: Introitus "Requiem Aeternam"
- Requiem: Kyrie
- Requiem: Offertorium "Domine, Jesu Christe"
- Requiem: Responsorium "Libera me"
- Requiem: Sanctus & Benedictus
- Sitivit anima mea
- Tristis est anima mea
- Tua est potentia
- Tulerunt lapides

