- published: 23 May 2023
- views: 477
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remove the playlistPortuguese Renaissance
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- Renaissance (club)
Portuguese Renaissance
The Portuguese Renaissance refers to the cultural and artistic movement in Portugal during the 15th, 16th, and 17th centuries. Though the movement coincided with the Spanish and Italian Renaissances, the Portuguese Renaissance was largely separate from other European Renaissances and instead was incredibly important in opening Europe to the unknown and bringing a more worldly view to those European Renaissances, as at the time the Portuguese Empire spanned the globe.
As the pioneer of Age of Discoveries, Portugal flourished in the 15th, 16th, and 17th centuries, with voyages to India, the Orient, the Americas, and Africa. This immense trade network would create an incredibly wealthy Portuguese nobility and monarchy, that would become patrons for an incredible flourishing of culture, arts, and technology in Portugal and all over the world.
Context
Diplomats, merchants, students, humanists, scholars, and artists, from all over Europe, were drawn to Portugal during its Renaissance. The maritime trade of the Age of Discovery played a decisive role in the evolution of the Portuguese Renaissance. Trade intensified contacts with important centers of the Italian Renaissance and it allowed a new commercial bourgeoisie to prosper and have excess funds to become patrons of the Portuguese Renaissance, much like the other Renaissances of Europe.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Portuguese_Renaissance
Portuguese wine
Portuguese wine is the result of traditions introduced to the region by ancient civilizations, such as the Phoenicians, Carthaginians, Greeks, and mostly the Romans. Portugal started to export its wines to Rome during the Roman Empire. Modern exports developed with trade to England after the Methuen Treaty in 1703. From this commerce a wide variety of wines started to be grown in Portugal. And, in 1758, one of the first wine-producing region of the world, the Região Demarcada do Douro was created under the orientation of Marquis of Pombal, in the Douro Valley. Portugal has two wine producing regions protected by UNESCO as World Heritage: the Douro Valley Wine Region (Douro Vinhateiro) and Pico Island Wine Region (Ilha do Pico Vinhateira). Portugal has a big variety of local kinds, producing a very wide variety of different wines with distinctive personality.
History
Romans did much to expand and promote viticulture in their settlements in the province of Lusitania (mainly modern south Portugal). Wines were produced across the territory for both local consumption as well as export to Rome.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Portuguese_wine
Brazilian Portuguese
Brazilian Portuguese (português do Brasil [poʁtuˈɡez du bɾaˈziw] or português brasileiro [poʁtuˈɡez bɾaziˈlejɾu]) is a set of dialects of the Portuguese language used mostly in Brazil. It is spoken by virtually all of the 200 million inhabitants of Brazil and spoken widely across the Brazilian diaspora, today consisting of about two million Brazilians who have emigrated to other countries.
This variety of the Portuguese language differs, particularly in phonology and prosody, from varieties and dialects spoken in most Portuguese-speaking majority countries, including native Portugal and African countries – the dialects of which, partly because of the more recent end of Portuguese colonialism in these regions, tend to have a closer connection to contemporary European Portuguese. Despite this, Brazilian and European Portuguese vary little in formal writing (in many ways analogous to the differences encountered between American and British English).
In 1990, the Community of Portuguese Language Countries (CPLP), which included representatives from all countries with Portuguese as the official language, reached an agreement on the reform of the Portuguese orthography to unify the two standards then in use by Brazil on one side and the remaining Lusophone countries on the other. This spelling reform went into effect in Brazil on 1 January 2009. In Portugal, the reform was signed into law by the President on 21 July 2008 allowing for a 6-year adaptation period, during which both orthographies co-existed. All of the CPLP countries have signed the reform. In Brazil, this reform will be in force as of January 2016. Portugal and other Portuguese-speaking countries have since begun using the new orthography.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Brazilian_Portuguese
Renaissance
The Renaissance (UK /rᵻˈneɪsəns/, US /ˈrɛnᵻsɑːns/) is a period in Europe, from the 14th to the 17th century, considered the bridge between the Middle Ages and modern history. It started as a cultural movement in Italy in the Late Medieval period and later spread to the rest of Europe, marking the beginning of the Early Modern Age.
The Renaissance's intellectual basis was its own invented version of humanism, derived from the rediscovery of classical Greek philosophy, such as that of Protagoras, who said, that "Man is the measure of all things." This new thinking became manifest in art, architecture, politics, science and literature. Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of metal movable type sped the dissemination of ideas from the later 15th century, the changes of the Renaissance were not uniformly experienced across Europe.
As a cultural movement, it encompassed innovative flowering of Latin and vernacular literatures, beginning with the 14th century resurgence of learning based on classical sources, which contemporaries credited to Petrarch; the development of linear perspective and other techniques of rendering a more natural reality in painting; and gradual but widespread educational reform. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, and in science to an increased reliance on observation and inductive reasoning. Although the Renaissance saw revolutions in many intellectual pursuits, as well as social and political upheaval, it is perhaps best known for its artistic developments and the contributions of such polymaths as Leonardo da Vinci and Michelangelo, who inspired the term "Renaissance man".
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Renaissance
Renaissance (Monaco)
Renaissance is a political party in Monaco that represents the interests of SBM employees. They won 10.67% of the popular vote, and 1 out of 24 seats at the last legislative elections held on February 10, 2013. The seat is held by Eric Elena.
References
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Renaissance_(Monaco)
Renaissance (club)
Renaissance is a British electronic dance music club brand and record label. Renaissance was started by Geoff Oakes at Venue 44 in Mansfield, England in 1992. Renaissance was Geoff Oakes' antidote to the sci-fi imagery and dressed down clubbers of the 'rave' scene.
In 1993 Renaissance moved to a newly renovated former print works in Derby called The Conservatory. The Conservatory was only just finished in time for opening of Renaissance on the Saturday night but was decorated with the (by then) signature gold cherubs and velvet drapes which have become indicative of the oppulent style of Renaissance events. In 1995, Renaissance put on their first international show at Womb in Tokyo. Other international dates soon followed, and in 2007, Renaissance hosted over 150 shows in more than 25 countries around the world. The Renaissance monthly residency at the Cross nightclub in London was one of the longest running continuous club nights in the world, and ended in November 2007 when the venue closed permanently to make way for new development. They are known for their use of classical imagery in their packaging and advertising.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Renaissance_(club)
Podcasts:
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When was the Portuguese Renaissance?
When was the Portuguese Renaissance? Welcome to our fascinating journey into the Portuguese Golden Age, a remarkable period known as the Portuguese Renaissance. Join us as we delve into the world of exploration, cartography, navigation, art, and science that defined this extraordinary era. From the pioneering spirit of Portuguese explorers like Vasco da Gama and Bartholomeu Dias, to the intricate mapmaking techniques and revolutionary navigation instruments, we'll unravel the secrets of their maritime achievements. Discover the captivating artistry of Grão Vasco and the scientific contributions of Garcia de Orta, whose work shaped the fields of art and botany during this time of great cultural and intellectual flourishing. Witness the rise of the Portuguese Empire, its influence on globa...
published: 23 May 2023 -
How The Portuguese Empire Was Forged
#portuguese #portugal #empire CHECK OUT OUR MAP STORE HERE: https://www.redbubble.com/people/MapStory/shop WATCH THIS AND ALL OUR VIDEOS COMPLETELY AD-FREE OVER ON OUR SUBSTACK: https://thisishistory.substack.com/?r=2zq5ao&utm_campaign=pub-share-checklist The Portuguese Empire was composed of the overseas colonies, factories, and later overseas territories, governed by Portugal. It was one of the longest-lived colonial empires in European history, lasting almost six centuries from the conquest of Ceuta in North Africa in 1415, to the transfer of sovereignty over Macau to China in 1999. The empire began in the 15th century, and from the early 16th century it stretched across the globe, with bases in Africa, North America, South America, and various regions of Asia and Oceania. The Por...
published: 01 Mar 2024 -
Voces Angelicae (Portuguese Renaissance Church Music)
00:00 Jesu Redemptor (Estêvão Lopes Morago, c1570-c1630) 2C, 3T, 2B (1) 02:57 Laudate pueri (Lopes Morago) 3C, T, 3B (2) 08:34 Commissa mea (Lopes Morago) 2C, 2T, 2B (3) 13:02 Magnificat octavi toni (Lopes Morago) 3C, 3T, 3B (4) 20:54 Oculi mei (Lopes Morago) C, 2T, B (5) 23:43 Magnificat octavi toni (Duarte Lôbo, c1563-1646) C, 3T, 2B (6) Lamentationes Jeremiae Prophetae (Estêvão de Brito, c1570-1641) C, 2T, B (7) 29:40 Feria 5 coena Domini 35:10 Feria 6 in Parasceve 40:35 Sabbato in Parasceve 46:32 Asperges me (Filipe de Magalhães, 1565?-1652) C, T, 2B (8) Missa pro defunctis (Frei Manuel Cardoso, 1566-1630) 2C, 2T, 2B (9) 51:36 Introitus 59:50 Kyrie 1:03:03 Graduale 1:09:38 Offertorium * 1:17:35 Sanctus 1:19:56 Agnus Dei 1:22:46 Communio 1:26:20 Asperges me (Cardoso) C...
published: 03 May 2023 -
"Vida da minh'alma" - Renaissance Portuguese song (LYRICS + Translation)
Origin: Renaissance style song Artist: Capela Ultramarina Album: "A Cantar uma Cantiga" (2019) The Cancioneiro de Paris (in english: Paris Songbook) is one of the four Renaissance songbooks of 16th century Portuguese music, being one of the most important and the largest source of secular music of the Portuguese Renaissance. The vast majority of the cantigas, vilancetes and redondillas are anonymous, however, there are exceptions as is the case of this cantiga, "Vida da minh'alma". It is attributed to the Portuguese nobleman and poet Pedro or Pêro de Andrade Caminha, who was born in Porto probably in 1520 and died in Vila de Viçosa on September 9, 1589. During his lifetime, he gained a dishonourable reputation due to two events: his rivalry with the great poet Luís de Camões, and also h...
published: 30 Apr 2023 -
The PORTUGUESE Renaissance (15th-16th centuries) 🇵🇹 #portugal #historyshorts #shorts #historyfacts
The Portuguese Renaissance, beginning in the 15th tcentury, was a period of cultural resurgence and intellectual vibrancy. Fueled by the Age of Discoveries, Portugal experienced a profound transformation in arts, sciences, and exploration. Visionaries like poet Luís de Camões and playwright Gil Vicente emerged, contributing to a flourishing literary scene. Architecturally, the Manueline style, characterized by intricate detailing, adorned monuments such as the Jerónimos Monastery. Notably, the era coincided with Portugal's maritime prowess, epitomized by explorers like Vasco da Gama. The Portuguese Renaissance represents a golden age where creativity, knowledge, and exploration converged to shape the nation's cultural legacy.
published: 22 Jan 2024 -
Renaissance Lisbon | Capital of the World #history #portugalhistory #portugal #historyshorts
Portugal during the XVI century became the first global capital. It was the capital of the Portuguese empire.
published: 25 Nov 2023 -
Renaissance MASTER painter 🖌️ | Nuno Gonçalves #portugalhistory #portugal #history #historyshorts
Nuno Gonçalves was a Portuguese master painter of the Renaissance. He is remembered to art history as the best Portuguese painter.
published: 15 Dec 2023 -
Que he o que vejo (Portuguese Renaissance Music) - XVI century
Que he o que vejo, señora e vos ver, que me faz morrer d'amor e desejo que me faz morrer d'amor e desejo Minhas esperanças Todas se aumentam, Assi m'atormentam Vossas esperanças. Que vendovos vejo Mil magoas crecer E se vos não vejo Não posso viver E se vos não vejo Não posso viver E se vos não vejo Não posso viver E se vos não vejo Não posso viver. Cancioneiro D'Elvas - século 16
published: 07 Aug 2020 -
Opening of Camões' Lusíadas read in Renaissance Portuguese, Renaissance English and Modern English
In this video I read the opening stanzas of Camões' Lusiadas three times. First I read the original text in a reconstruction of Renaissance Portuguese pronunciation. More specifically, the phonology described by Camões' contemporary, the phonetician and grammarian Fernão de Oliveira). Next I read the first English translation (completed by Sir Richard Fanshawe in 1655) in a reconstruction of mid-to-late 17th century London English pronunciation. Finally, I read the same lines in my own translation using my own normal accent. The music is BrunuhVille's "Lusitanus" (somewhat edited to match the pace of the reading) because it's just so fitting. If you liked this video and want to help me make more things like it, head over to http://patreon.com/azforeman and make a m...
published: 22 Aug 2021 -
A la villa voy~ CANCIONEIRO DE ELVAS- Portuguese/Brazilian Renaissance Music (S. XVI)
"A la villa voy" del Cancioneiro de Elvas (Portugal~Brasil, Siglo XVI). El Cancionero de Elvas (Cancioneiro de Elvas, en portugués) (Elvas, Biblioteca Municipal Publia Hortensia, Ms 11793) (P-Em 11793) es un manuscrito portugués del siglo XVI con música y poemas de la época renacentista. Es una de las fuentes más importantes de música profana en la Península Ibérica, con obras en portugués y castellano. El manuscrito fue descubierto en 1928, en la Biblioteca Municipal de Elvas, por el musicólogo Manuel Joaquim y posteriormente publicado en 1940. Es uno de los cuatro cancioneros portugueses del siglo XVI que han llegado hasta nosotros. Los otros tres son: el Cancionero de Lisboa, el Cancionero de Belém y el Cancionero de París. Se desconoce la fecha exacta de su copia. Sin embargo, alguno...
published: 27 Dec 2013
developed with YouTube
6:39
When was the Portuguese Renaissance?
- Order: Reorder
- Duration: 6:39
- Uploaded Date: 23 May 2023
- views: 477
When was the Portuguese Renaissance?
Welcome to our fascinating journey into the Portuguese Golden Age, a remarkable period known as the Portuguese Renaissance...
When was the Portuguese Renaissance?
Welcome to our fascinating journey into the Portuguese Golden Age, a remarkable period known as the Portuguese Renaissance. Join us as we delve into the world of exploration, cartography, navigation, art, and science that defined this extraordinary era. From the pioneering spirit of Portuguese explorers like Vasco da Gama and Bartholomeu Dias, to the intricate mapmaking techniques and revolutionary navigation instruments, we'll unravel the secrets of their maritime achievements. Discover the captivating artistry of Grão Vasco and the scientific contributions of Garcia de Orta, whose work shaped the fields of art and botany during this time of great cultural and intellectual flourishing.
Witness the rise of the Portuguese Empire, its influence on global maritime trade, and the pursuit of the lucrative spice routes. Explore the challenges and triumphs faced by Portugal as it competed with other European powers in this age of discovery. Uncover the impact of Spanish rule and the subsequent Portuguese Restoration War, which shaped the course of history for this once-dominant nation. This video is your gateway to understanding the Portuguese Golden Age, its legacy, and how it played a pivotal role in shaping our world today. Embark on this captivating journey and unravel the rich tapestry of exploration, art, and scientific progress that characterized this extraordinary chapter in human history.
Welcome to our channel dedicated to the study of humanities! We are a community of scholars and enthusiasts passionate about exploring the diverse fields of history, literature, philosophy, art, culture, language, religion, anthropology, archaeology, musicology, mythology, ethnography, aesthetics, social sciences, linguistics, classics, humanities education, humanistic studies, humanities research, and humanities writing. Our goal is to create engaging and informative content that inspires curiosity and promotes understanding of the human experience. Join us on a journey through time and space as we explore the rich and complex tapestry of human civilization. Subscribe to our channel to stay up-to-date with our latest videos and join the conversation in the comments section. Thank you for joining us on this journey of discovery!
#PortugueseGoldenAge #ExplorationRevolution #MaritimeMasters
https://wn.com/When_Was_The_Portuguese_Renaissance
When was the Portuguese Renaissance?
Welcome to our fascinating journey into the Portuguese Golden Age, a remarkable period known as the Portuguese Renaissance. Join us as we delve into the world of exploration, cartography, navigation, art, and science that defined this extraordinary era. From the pioneering spirit of Portuguese explorers like Vasco da Gama and Bartholomeu Dias, to the intricate mapmaking techniques and revolutionary navigation instruments, we'll unravel the secrets of their maritime achievements. Discover the captivating artistry of Grão Vasco and the scientific contributions of Garcia de Orta, whose work shaped the fields of art and botany during this time of great cultural and intellectual flourishing.
Witness the rise of the Portuguese Empire, its influence on global maritime trade, and the pursuit of the lucrative spice routes. Explore the challenges and triumphs faced by Portugal as it competed with other European powers in this age of discovery. Uncover the impact of Spanish rule and the subsequent Portuguese Restoration War, which shaped the course of history for this once-dominant nation. This video is your gateway to understanding the Portuguese Golden Age, its legacy, and how it played a pivotal role in shaping our world today. Embark on this captivating journey and unravel the rich tapestry of exploration, art, and scientific progress that characterized this extraordinary chapter in human history.
Welcome to our channel dedicated to the study of humanities! We are a community of scholars and enthusiasts passionate about exploring the diverse fields of history, literature, philosophy, art, culture, language, religion, anthropology, archaeology, musicology, mythology, ethnography, aesthetics, social sciences, linguistics, classics, humanities education, humanistic studies, humanities research, and humanities writing. Our goal is to create engaging and informative content that inspires curiosity and promotes understanding of the human experience. Join us on a journey through time and space as we explore the rich and complex tapestry of human civilization. Subscribe to our channel to stay up-to-date with our latest videos and join the conversation in the comments section. Thank you for joining us on this journey of discovery!
#PortugueseGoldenAge #ExplorationRevolution #MaritimeMasters
24:54
How The Portuguese Empire Was Forged
- Order: Reorder
- Duration: 24:54
- Uploaded Date: 01 Mar 2024
- views: 451099
#portuguese #portugal #empire
CHECK OUT OUR MAP STORE HERE: https://www.redbubble.com/people/MapStory/shop
WATCH THIS AND ALL OUR VIDEOS COMPLETELY AD-FREE ...
#portuguese #portugal #empire
CHECK OUT OUR MAP STORE HERE: https://www.redbubble.com/people/MapStory/shop
WATCH THIS AND ALL OUR VIDEOS COMPLETELY AD-FREE OVER ON OUR SUBSTACK: https://thisishistory.substack.com/?r=2zq5ao&utm_campaign=pub-share-checklist
The Portuguese Empire was composed of the overseas colonies, factories, and later overseas territories, governed by Portugal. It was one of the longest-lived colonial empires in European history, lasting almost six centuries from the conquest of Ceuta in North Africa in 1415, to the transfer of sovereignty over Macau to China in 1999. The empire began in the 15th century, and from the early 16th century it stretched across the globe, with bases in Africa, North America, South America, and various regions of Asia and Oceania.
The Portuguese Empire originated at the beginning of the Age of Discovery, and the power and influence of the Kingdom of Portugal would eventually expand across the globe. In the wake of the Reconquista, Portuguese sailors began exploring the coast of Africa and the Atlantic archipelagos in 1418–1419, using recent developments in navigation, cartography, and maritime technology such as the caravel, with the aim of finding a sea route to the source of the lucrative spice trade. In 1488, Bartolomeu Dias rounded the Cape of Good Hope, and in 1498 Vasco da Gama reached India. In 1500, either by an accidental landfall or by the crown's secret design, Pedro Álvares Cabral reached what would be Brazil.
Over the following decades, Portuguese sailors continued to explore the coasts and islands of East Asia, establishing forts and factories as they went. By 1571, a string of naval outposts connected Lisbon to Nagasaki along the coasts of Africa, the Middle East, India, and South Asia. This commercial network and the colonial trade had a substantial positive impact on Portuguese economic growth (1500–1800) when it accounted for about a fifth of Portugal's per-capita income.
When King Philip II of Spain (Philip I of Portugal) seized the Portuguese crown in 1580, there began a 60-year union between Spain and Portugal known to subsequent historiography as the Iberian Union, although the realms continued to have separate administrations. As the King of Spain was also King of Portugal, Portuguese colonies became the subject of attacks by three rival European powers hostile to Spain: the Dutch Republic, England, and France. With its smaller population, Portugal found itself unable to effectively defend its overstretched network of trading posts, and the empire began a long and gradual decline. Eventually, Brazil became the most valuable colony of the second era of empire (1663–1825), until, as part of the wave of independence movements that swept the Americas during the early 19th century, it broke away in 1822.
The third era of empire covers the final stage of Portuguese colonialism after the independence of Brazil in the 1820s. By then, the colonial possessions had been reduced to forts and plantations along the African coastline (expanded inland during the Scramble for Africa in the late 19th century), Portuguese Timor, and enclaves in India (Portuguese India) and China (Portuguese Macau). The 1890 British Ultimatum led to the contraction of Portuguese ambitions in Africa.
Under António Salazar (in office 1932–1968), the Estado Novo dictatorship made some ill-fated attempts to cling on to its last remaining colonies. Under the ideology of pluricontinentalism, the regime renamed its colonies "overseas provinces" while retaining the system of forced labour, from which only a small indigenous élite was normally exempt. In August 1961, the Dahomey annexed the Fort of São João Baptista de Ajudá, and in December that year India annexed Goa, Daman, and Diu. The Portuguese Colonial War in Africa lasted from 1961 until the final overthrow of the Estado Novo regime in 1974. The Carnation Revolution of April 1974 in Lisbon led to the hasty decolonization of Portuguese Africa and to the 1975 annexation of Portuguese Timor by Indonesia. Decolonization prompted the exodus of nearly all the Portuguese colonial settlers and of many mixed-race people from the colonies. Portugal returned Macau to China in 1999. The only overseas possessions to remain under Portuguese rule, the Azores and Madeira, both had overwhelmingly Portuguese populations, and Lisbon subsequently changed their constitutional status from "overseas provinces" to "autonomous regions". The Community of Portuguese Speaking Countries (CPLP) is the cultural successor of the Empire, analogous to the Commonwealth of Nations for countries formerly part of the British Empire.
https://wn.com/How_The_Portuguese_Empire_Was_Forged
#portuguese #portugal #empire
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WATCH THIS AND ALL OUR VIDEOS COMPLETELY AD-FREE OVER ON OUR SUBSTACK: https://thisishistory.substack.com/?r=2zq5ao&utm_campaign=pub-share-checklist
The Portuguese Empire was composed of the overseas colonies, factories, and later overseas territories, governed by Portugal. It was one of the longest-lived colonial empires in European history, lasting almost six centuries from the conquest of Ceuta in North Africa in 1415, to the transfer of sovereignty over Macau to China in 1999. The empire began in the 15th century, and from the early 16th century it stretched across the globe, with bases in Africa, North America, South America, and various regions of Asia and Oceania.
The Portuguese Empire originated at the beginning of the Age of Discovery, and the power and influence of the Kingdom of Portugal would eventually expand across the globe. In the wake of the Reconquista, Portuguese sailors began exploring the coast of Africa and the Atlantic archipelagos in 1418–1419, using recent developments in navigation, cartography, and maritime technology such as the caravel, with the aim of finding a sea route to the source of the lucrative spice trade. In 1488, Bartolomeu Dias rounded the Cape of Good Hope, and in 1498 Vasco da Gama reached India. In 1500, either by an accidental landfall or by the crown's secret design, Pedro Álvares Cabral reached what would be Brazil.
Over the following decades, Portuguese sailors continued to explore the coasts and islands of East Asia, establishing forts and factories as they went. By 1571, a string of naval outposts connected Lisbon to Nagasaki along the coasts of Africa, the Middle East, India, and South Asia. This commercial network and the colonial trade had a substantial positive impact on Portuguese economic growth (1500–1800) when it accounted for about a fifth of Portugal's per-capita income.
When King Philip II of Spain (Philip I of Portugal) seized the Portuguese crown in 1580, there began a 60-year union between Spain and Portugal known to subsequent historiography as the Iberian Union, although the realms continued to have separate administrations. As the King of Spain was also King of Portugal, Portuguese colonies became the subject of attacks by three rival European powers hostile to Spain: the Dutch Republic, England, and France. With its smaller population, Portugal found itself unable to effectively defend its overstretched network of trading posts, and the empire began a long and gradual decline. Eventually, Brazil became the most valuable colony of the second era of empire (1663–1825), until, as part of the wave of independence movements that swept the Americas during the early 19th century, it broke away in 1822.
The third era of empire covers the final stage of Portuguese colonialism after the independence of Brazil in the 1820s. By then, the colonial possessions had been reduced to forts and plantations along the African coastline (expanded inland during the Scramble for Africa in the late 19th century), Portuguese Timor, and enclaves in India (Portuguese India) and China (Portuguese Macau). The 1890 British Ultimatum led to the contraction of Portuguese ambitions in Africa.
Under António Salazar (in office 1932–1968), the Estado Novo dictatorship made some ill-fated attempts to cling on to its last remaining colonies. Under the ideology of pluricontinentalism, the regime renamed its colonies "overseas provinces" while retaining the system of forced labour, from which only a small indigenous élite was normally exempt. In August 1961, the Dahomey annexed the Fort of São João Baptista de Ajudá, and in December that year India annexed Goa, Daman, and Diu. The Portuguese Colonial War in Africa lasted from 1961 until the final overthrow of the Estado Novo regime in 1974. The Carnation Revolution of April 1974 in Lisbon led to the hasty decolonization of Portuguese Africa and to the 1975 annexation of Portuguese Timor by Indonesia. Decolonization prompted the exodus of nearly all the Portuguese colonial settlers and of many mixed-race people from the colonies. Portugal returned Macau to China in 1999. The only overseas possessions to remain under Portuguese rule, the Azores and Madeira, both had overwhelmingly Portuguese populations, and Lisbon subsequently changed their constitutional status from "overseas provinces" to "autonomous regions". The Community of Portuguese Speaking Countries (CPLP) is the cultural successor of the Empire, analogous to the Commonwealth of Nations for countries formerly part of the British Empire.
- published: 01 Mar 2024
- views: 451099
2:34:32
Voces Angelicae (Portuguese Renaissance Church Music)
- Order: Reorder
- Duration: 2:34:32
- Uploaded Date: 03 May 2023
- views: 3087
00:00 Jesu Redemptor (Estêvão Lopes Morago, c1570-c1630) 2C, 3T, 2B (1)
02:57 Laudate pueri (Lopes Morago) 3C, T, 3B (2)
08:34 Commissa mea (Lopes Morago) 2C, ...
00:00 Jesu Redemptor (Estêvão Lopes Morago, c1570-c1630) 2C, 3T, 2B (1)
02:57 Laudate pueri (Lopes Morago) 3C, T, 3B (2)
08:34 Commissa mea (Lopes Morago) 2C, 2T, 2B (3)
13:02 Magnificat octavi toni (Lopes Morago) 3C, 3T, 3B (4)
20:54 Oculi mei (Lopes Morago) C, 2T, B (5)
23:43 Magnificat octavi toni (Duarte Lôbo, c1563-1646) C, 3T, 2B (6)
Lamentationes Jeremiae Prophetae (Estêvão de Brito, c1570-1641) C, 2T, B (7)
29:40 Feria 5 coena Domini
35:10 Feria 6 in Parasceve
40:35 Sabbato in Parasceve
46:32 Asperges me (Filipe de Magalhães, 1565?-1652) C, T, 2B (8)
Missa pro defunctis (Frei Manuel Cardoso, 1566-1630) 2C, 2T, 2B (9)
51:36 Introitus
59:50 Kyrie
1:03:03 Graduale
1:09:38 Offertorium *
1:17:35 Sanctus
1:19:56 Agnus Dei
1:22:46 Communio
1:26:20 Asperges me (Cardoso) C, 2T, B (10)
1:30:44 Lamentationes Jeremiae Prophetae (Cardoso) 2T, 2B (11)
1:36:04 Magnificat sexti toni (Cardoso) C, 2T, 2B (12)
Missa de Beata Virgine Maria (Magalhães) 2C, 2T, 4B (13)
1:43:57 Kyrie
1:47:24 Gloria
1:52:45 Credo
2:00:36 Sanctus
2:04:12 Agnus Dei
2:10:37 Ego dilecto meo (Brito) 2C, T, 2B (14)
2:15:02 Vidi Dominum (Brito) 3C, 2T, 4B (15)
2:18:43 Agnus Dei & Communio (Brito) 3C, 2T, 3B (16)
2:24:37 Crux Fidelis (Dom João IV, 1604-1656) 2C, 3T, 3B (17)
Pro Cantione Antiqua - Mark Brown, conductor
Countertenors (C):
James Bowman (2, 15)
Charles Brett (1, 3, 4, 8, 9, 13, 17)
Paul Eswood (2, 4, 5, 12, 14-16)
Timothy Penrose (9, 10, 16)
Kevin Smith (1-4, 6, 7, 13-17)
Tenors (T):
Paul Elliott (5, 7)
James Griffett (1, 3, 4, 6, 8-13, 15, 17)
James Lewingston (1, 3, 6, 9, 11, 17)
Ian Partridge (1, 2, 4-7, 10, 12-17)
Basses (B):
Brian Etheridge (2, 4, 6, 12, 13, 15-17)
Michael George (1-8, 10-17)
Christoher Keyte (4, 13, 15-17, *)
Stephen Roberts (1-4, 8, 9, 11, 13-17)
Bass dulcian: Andrew van der Beek (2, 12, 15)
Recorded on September 1980, St. John's Church, Hackney, London
Arte: detalle de Panorama da Cidade de Lisboa sob a protecção de Nossa Senhora de Porto Seguro (c1620), por Simão Rodrigues (c1560-1629) y Domingos Vieira Serrão (1570-1632)
https://wn.com/Voces_Angelicae_(Portuguese_Renaissance_Church_Music)
00:00 Jesu Redemptor (Estêvão Lopes Morago, c1570-c1630) 2C, 3T, 2B (1)
02:57 Laudate pueri (Lopes Morago) 3C, T, 3B (2)
08:34 Commissa mea (Lopes Morago) 2C, 2T, 2B (3)
13:02 Magnificat octavi toni (Lopes Morago) 3C, 3T, 3B (4)
20:54 Oculi mei (Lopes Morago) C, 2T, B (5)
23:43 Magnificat octavi toni (Duarte Lôbo, c1563-1646) C, 3T, 2B (6)
Lamentationes Jeremiae Prophetae (Estêvão de Brito, c1570-1641) C, 2T, B (7)
29:40 Feria 5 coena Domini
35:10 Feria 6 in Parasceve
40:35 Sabbato in Parasceve
46:32 Asperges me (Filipe de Magalhães, 1565?-1652) C, T, 2B (8)
Missa pro defunctis (Frei Manuel Cardoso, 1566-1630) 2C, 2T, 2B (9)
51:36 Introitus
59:50 Kyrie
1:03:03 Graduale
1:09:38 Offertorium *
1:17:35 Sanctus
1:19:56 Agnus Dei
1:22:46 Communio
1:26:20 Asperges me (Cardoso) C, 2T, B (10)
1:30:44 Lamentationes Jeremiae Prophetae (Cardoso) 2T, 2B (11)
1:36:04 Magnificat sexti toni (Cardoso) C, 2T, 2B (12)
Missa de Beata Virgine Maria (Magalhães) 2C, 2T, 4B (13)
1:43:57 Kyrie
1:47:24 Gloria
1:52:45 Credo
2:00:36 Sanctus
2:04:12 Agnus Dei
2:10:37 Ego dilecto meo (Brito) 2C, T, 2B (14)
2:15:02 Vidi Dominum (Brito) 3C, 2T, 4B (15)
2:18:43 Agnus Dei & Communio (Brito) 3C, 2T, 3B (16)
2:24:37 Crux Fidelis (Dom João IV, 1604-1656) 2C, 3T, 3B (17)
Pro Cantione Antiqua - Mark Brown, conductor
Countertenors (C):
James Bowman (2, 15)
Charles Brett (1, 3, 4, 8, 9, 13, 17)
Paul Eswood (2, 4, 5, 12, 14-16)
Timothy Penrose (9, 10, 16)
Kevin Smith (1-4, 6, 7, 13-17)
Tenors (T):
Paul Elliott (5, 7)
James Griffett (1, 3, 4, 6, 8-13, 15, 17)
James Lewingston (1, 3, 6, 9, 11, 17)
Ian Partridge (1, 2, 4-7, 10, 12-17)
Basses (B):
Brian Etheridge (2, 4, 6, 12, 13, 15-17)
Michael George (1-8, 10-17)
Christoher Keyte (4, 13, 15-17, *)
Stephen Roberts (1-4, 8, 9, 11, 13-17)
Bass dulcian: Andrew van der Beek (2, 12, 15)
Recorded on September 1980, St. John's Church, Hackney, London
Arte: detalle de Panorama da Cidade de Lisboa sob a protecção de Nossa Senhora de Porto Seguro (c1620), por Simão Rodrigues (c1560-1629) y Domingos Vieira Serrão (1570-1632)
- published: 03 May 2023
- views: 3087
3:52
"Vida da minh'alma" - Renaissance Portuguese song (LYRICS + Translation)
- Order: Reorder
- Duration: 3:52
- Uploaded Date: 30 Apr 2023
- views: 1037
Origin: Renaissance style song
Artist: Capela Ultramarina
Album: "A Cantar uma Cantiga" (2019)
The Cancioneiro de Paris (in english: Paris Songbook) is one of ...
Origin: Renaissance style song
Artist: Capela Ultramarina
Album: "A Cantar uma Cantiga" (2019)
The Cancioneiro de Paris (in english: Paris Songbook) is one of the four Renaissance songbooks of 16th century Portuguese music, being one of the most important and the largest source of secular music of the Portuguese Renaissance. The vast majority of the cantigas, vilancetes and redondillas are anonymous, however, there are exceptions as is the case of this cantiga, "Vida da minh'alma". It is attributed to the Portuguese nobleman and poet Pedro or Pêro de Andrade Caminha, who was born in Porto probably in 1520 and died in Vila de Viçosa on September 9, 1589.
During his lifetime, he gained a dishonourable reputation due to two events: his rivalry with the great poet Luís de Camões, and also his denunciation to the Inquisition by the humanist Damião de Góis (1571). Few of his poems were printed in the 16th century, that only until the publication of his works in 1791 by the Royal Academy of Sciences of Lisbon, there were few allusions to this figure or his writings. He is also thought to have participated in the expedition of King D. Sebastião to Alcácer Quibir.
This song portrays the main theme of longing and the painful separation from a lover. The narrator expresses the loss he feels for the "life of his soul", that is, for the person who gives meaning to his existence and who, since he was parted, has never been able to be happy or find satisfaction in life. The desire to be with this person is so strong that the narrator feels that he is losing his own life, that there is no sense in living without her, and the pain of her absence is so intense that he would rather die than live without his beloved.
°.•*𒆜☬༒꧂
Origem: Cantiga estilo renascentista
Artista: Capela Ultramarina
Álbum: "A Cantar uma Cantiga" (2019)
O Cancioneiro de Paris é um dos quatro cancioneiros renascentistas de música portuguesa do século XVI, sendo um dos mais importantes e a maior fonte de música secular do Renascimento português. A imensa maioria das cantigas, vilancetes e redondilhas são anónimas, contudo, há exceções como é o caso desta cantiga, "Vida da minh’alma". Esta é atribuída ao fidalgo e poeta português Pedro ou Pêro de Andrade Caminha, nascido no Porto provavelmente em 1520 e falecido na Vila de Viçosa em 9 de setembro de 1589.
Durante a sua vida, ganhou uma reputação desonrosa graças a dois fatores: a rivalidade com o grande poeta Luís de Camões, e também a denúncia à Inquisição do humanista Damião de Góis (1571). Poucos poemas seus foram imprimidos no século XVI, tanto que até à publicação, em 1791, das suas obras pela Academia Real de Ciências de Lisboa, poucas eram as alusões a esta figura ou aos seus escritos. Pensa-se ainda, que terá participado na expedição de D. Sebastião a Alcácer Quibir.
Esta canção retrata o tema principal da saudade e da separação dolorosa de um amor. O narrador expressa a falta que sente da "vida da sua alma", ou seja, da pessoa que dá sentido à sua existência e que, desde que se separou, nunca mais foi capaz de ser feliz ou encontrar satisfação na vida. O desejo de estar com essa pessoa é tão forte que o narrador sente que está perdendo a própria vida, que não há sentido em viver sem ela, tanto que a dor da sua ausência é tão intensa que este prefere morrer a viver sem a pessoa amada.
Source of the song (canção): https://www.youtube.com/watch?v=sx1LOJ5GfK8
Source of the lyrics (letra): https://pt.wikisource.org/wiki/Vida_da_minh%27alma
Artwork (arte): "Le Verrou" by Jean-Honoré Fragonard (between c.1777 and c.1779)
https://wn.com/Vida_Da_Minh'Alma_Renaissance_Portuguese_Song_(Lyrics_Translation)
Origin: Renaissance style song
Artist: Capela Ultramarina
Album: "A Cantar uma Cantiga" (2019)
The Cancioneiro de Paris (in english: Paris Songbook) is one of the four Renaissance songbooks of 16th century Portuguese music, being one of the most important and the largest source of secular music of the Portuguese Renaissance. The vast majority of the cantigas, vilancetes and redondillas are anonymous, however, there are exceptions as is the case of this cantiga, "Vida da minh'alma". It is attributed to the Portuguese nobleman and poet Pedro or Pêro de Andrade Caminha, who was born in Porto probably in 1520 and died in Vila de Viçosa on September 9, 1589.
During his lifetime, he gained a dishonourable reputation due to two events: his rivalry with the great poet Luís de Camões, and also his denunciation to the Inquisition by the humanist Damião de Góis (1571). Few of his poems were printed in the 16th century, that only until the publication of his works in 1791 by the Royal Academy of Sciences of Lisbon, there were few allusions to this figure or his writings. He is also thought to have participated in the expedition of King D. Sebastião to Alcácer Quibir.
This song portrays the main theme of longing and the painful separation from a lover. The narrator expresses the loss he feels for the "life of his soul", that is, for the person who gives meaning to his existence and who, since he was parted, has never been able to be happy or find satisfaction in life. The desire to be with this person is so strong that the narrator feels that he is losing his own life, that there is no sense in living without her, and the pain of her absence is so intense that he would rather die than live without his beloved.
°.•*𒆜☬༒꧂
Origem: Cantiga estilo renascentista
Artista: Capela Ultramarina
Álbum: "A Cantar uma Cantiga" (2019)
O Cancioneiro de Paris é um dos quatro cancioneiros renascentistas de música portuguesa do século XVI, sendo um dos mais importantes e a maior fonte de música secular do Renascimento português. A imensa maioria das cantigas, vilancetes e redondilhas são anónimas, contudo, há exceções como é o caso desta cantiga, "Vida da minh’alma". Esta é atribuída ao fidalgo e poeta português Pedro ou Pêro de Andrade Caminha, nascido no Porto provavelmente em 1520 e falecido na Vila de Viçosa em 9 de setembro de 1589.
Durante a sua vida, ganhou uma reputação desonrosa graças a dois fatores: a rivalidade com o grande poeta Luís de Camões, e também a denúncia à Inquisição do humanista Damião de Góis (1571). Poucos poemas seus foram imprimidos no século XVI, tanto que até à publicação, em 1791, das suas obras pela Academia Real de Ciências de Lisboa, poucas eram as alusões a esta figura ou aos seus escritos. Pensa-se ainda, que terá participado na expedição de D. Sebastião a Alcácer Quibir.
Esta canção retrata o tema principal da saudade e da separação dolorosa de um amor. O narrador expressa a falta que sente da "vida da sua alma", ou seja, da pessoa que dá sentido à sua existência e que, desde que se separou, nunca mais foi capaz de ser feliz ou encontrar satisfação na vida. O desejo de estar com essa pessoa é tão forte que o narrador sente que está perdendo a própria vida, que não há sentido em viver sem ela, tanto que a dor da sua ausência é tão intensa que este prefere morrer a viver sem a pessoa amada.
Source of the song (canção): https://www.youtube.com/watch?v=sx1LOJ5GfK8
Source of the lyrics (letra): https://pt.wikisource.org/wiki/Vida_da_minh%27alma
Artwork (arte): "Le Verrou" by Jean-Honoré Fragonard (between c.1777 and c.1779)
- published: 30 Apr 2023
- views: 1037
0:33
The PORTUGUESE Renaissance (15th-16th centuries) 🇵🇹 #portugal #historyshorts #shorts #historyfacts
- Order: Reorder
- Duration: 0:33
- Uploaded Date: 22 Jan 2024
- views: 2357
The Portuguese Renaissance, beginning in the 15th tcentury, was a period of cultural resurgence and intellectual vibrancy. Fueled by the Age of Discoveries, Por...
The Portuguese Renaissance, beginning in the 15th tcentury, was a period of cultural resurgence and intellectual vibrancy. Fueled by the Age of Discoveries, Portugal experienced a profound transformation in arts, sciences, and exploration. Visionaries like poet Luís de Camões and playwright Gil Vicente emerged, contributing to a flourishing literary scene. Architecturally, the Manueline style, characterized by intricate detailing, adorned monuments such as the Jerónimos Monastery. Notably, the era coincided with Portugal's maritime prowess, epitomized by explorers like Vasco da Gama. The Portuguese Renaissance represents a golden age where creativity, knowledge, and exploration converged to shape the nation's cultural legacy.
https://wn.com/The_Portuguese_Renaissance_(15Th_16Th_Centuries)_🇵🇹_Portugal_Historyshorts_Shorts_Historyfacts
The Portuguese Renaissance, beginning in the 15th tcentury, was a period of cultural resurgence and intellectual vibrancy. Fueled by the Age of Discoveries, Portugal experienced a profound transformation in arts, sciences, and exploration. Visionaries like poet Luís de Camões and playwright Gil Vicente emerged, contributing to a flourishing literary scene. Architecturally, the Manueline style, characterized by intricate detailing, adorned monuments such as the Jerónimos Monastery. Notably, the era coincided with Portugal's maritime prowess, epitomized by explorers like Vasco da Gama. The Portuguese Renaissance represents a golden age where creativity, knowledge, and exploration converged to shape the nation's cultural legacy.
- published: 22 Jan 2024
- views: 2357
0:33
Renaissance Lisbon | Capital of the World #history #portugalhistory #portugal #historyshorts
- Order: Reorder
- Duration: 0:33
- Uploaded Date: 25 Nov 2023
- views: 2673
Portugal during the XVI century became the first global capital. It was the capital of the Portuguese empire.
Portugal during the XVI century became the first global capital. It was the capital of the Portuguese empire.
https://wn.com/Renaissance_Lisbon_|_Capital_Of_The_World_History_Portugalhistory_Portugal_Historyshorts
Portugal during the XVI century became the first global capital. It was the capital of the Portuguese empire.
- published: 25 Nov 2023
- views: 2673
0:30
Renaissance MASTER painter 🖌️ | Nuno Gonçalves #portugalhistory #portugal #history #historyshorts
- Order: Reorder
- Duration: 0:30
- Uploaded Date: 15 Dec 2023
- views: 1572
Nuno Gonçalves was a Portuguese master painter of the Renaissance. He is remembered to art history as the best Portuguese painter.
Nuno Gonçalves was a Portuguese master painter of the Renaissance. He is remembered to art history as the best Portuguese painter.
https://wn.com/Renaissance_Master_Painter_🖌️_|_Nuno_Gonçalves_Portugalhistory_Portugal_History_Historyshorts
Nuno Gonçalves was a Portuguese master painter of the Renaissance. He is remembered to art history as the best Portuguese painter.
- published: 15 Dec 2023
- views: 1572
1:34
Que he o que vejo (Portuguese Renaissance Music) - XVI century
- Order: Reorder
- Duration: 1:34
- Uploaded Date: 07 Aug 2020
- views: 1162
Que he o que vejo,
señora e vos ver,
que me faz morrer
d'amor e desejo
que me faz morrer
d'amor e desejo
Minhas esperanças
Todas se aumentam,
Assi m'atormentam...
Que he o que vejo,
señora e vos ver,
que me faz morrer
d'amor e desejo
que me faz morrer
d'amor e desejo
Minhas esperanças
Todas se aumentam,
Assi m'atormentam
Vossas esperanças.
Que vendovos vejo
Mil magoas crecer
E se vos não vejo
Não posso viver
E se vos não vejo
Não posso viver
E se vos não vejo
Não posso viver
E se vos não vejo
Não posso viver.
Cancioneiro D'Elvas - século 16
https://wn.com/Que_He_O_Que_Vejo_(Portuguese_Renaissance_Music)_Xvi_Century
Que he o que vejo,
señora e vos ver,
que me faz morrer
d'amor e desejo
que me faz morrer
d'amor e desejo
Minhas esperanças
Todas se aumentam,
Assi m'atormentam
Vossas esperanças.
Que vendovos vejo
Mil magoas crecer
E se vos não vejo
Não posso viver
E se vos não vejo
Não posso viver
E se vos não vejo
Não posso viver
E se vos não vejo
Não posso viver.
Cancioneiro D'Elvas - século 16
- published: 07 Aug 2020
- views: 1162
4:43
Opening of Camões' Lusíadas read in Renaissance Portuguese, Renaissance English and Modern English
- Order: Reorder
- Duration: 4:43
- Uploaded Date: 22 Aug 2021
- views: 8222
In this video I read the opening stanzas of Camões' Lusiadas three times.
First I read the original text in a reconstruction of Renaissance Portuguese pronu...
In this video I read the opening stanzas of Camões' Lusiadas three times.
First I read the original text in a reconstruction of Renaissance Portuguese pronunciation. More specifically, the phonology described by Camões' contemporary, the phonetician and grammarian Fernão de Oliveira).
Next I read the first English translation (completed by Sir Richard Fanshawe in 1655) in a reconstruction of mid-to-late 17th century London English pronunciation.
Finally, I read the same lines in my own translation using my own normal accent.
The music is BrunuhVille's "Lusitanus" (somewhat edited to match the pace of the reading) because it's just so fitting.
If you liked this video and want to help me make more things like it, head over to http://patreon.com/azforeman and make a monthly pledge.
There you can see all kinds of stuff that I don't put on youtube (for example my weekly readings of Shakespeare's sonnets in Elizabethan phonology, my reading from Barbour's 'Bruce' in Early Scots, a reconstruction of Sir Isaac Newton's accent based on his phonetic notes, a reconstruction of 18th century Mandarin and more)
If you want to read more of my translation of the Lusíadas, you can read my rendering of the first 18 stanzas here on my blog at
https://poemsintranslation.blogspot.com/2018/06/camoes-opening-of-lusiadas-from.html
https://wn.com/Opening_Of_Camões'_Lusíadas_Read_In_Renaissance_Portuguese,_Renaissance_English_And_Modern_English
In this video I read the opening stanzas of Camões' Lusiadas three times.
First I read the original text in a reconstruction of Renaissance Portuguese pronunciation. More specifically, the phonology described by Camões' contemporary, the phonetician and grammarian Fernão de Oliveira).
Next I read the first English translation (completed by Sir Richard Fanshawe in 1655) in a reconstruction of mid-to-late 17th century London English pronunciation.
Finally, I read the same lines in my own translation using my own normal accent.
The music is BrunuhVille's "Lusitanus" (somewhat edited to match the pace of the reading) because it's just so fitting.
If you liked this video and want to help me make more things like it, head over to http://patreon.com/azforeman and make a monthly pledge.
There you can see all kinds of stuff that I don't put on youtube (for example my weekly readings of Shakespeare's sonnets in Elizabethan phonology, my reading from Barbour's 'Bruce' in Early Scots, a reconstruction of Sir Isaac Newton's accent based on his phonetic notes, a reconstruction of 18th century Mandarin and more)
If you want to read more of my translation of the Lusíadas, you can read my rendering of the first 18 stanzas here on my blog at
https://poemsintranslation.blogspot.com/2018/06/camoes-opening-of-lusiadas-from.html
- published: 22 Aug 2021
- views: 8222
3:39
A la villa voy~ CANCIONEIRO DE ELVAS- Portuguese/Brazilian Renaissance Music (S. XVI)
- Order: Reorder
- Duration: 3:39
- Uploaded Date: 27 Dec 2013
- views: 58706
"A la villa voy" del Cancioneiro de Elvas (Portugal~Brasil, Siglo XVI).
El Cancionero de Elvas (Cancioneiro de Elvas, en portugués) (Elvas, Biblioteca Municipa...
"A la villa voy" del Cancioneiro de Elvas (Portugal~Brasil, Siglo XVI).
El Cancionero de Elvas (Cancioneiro de Elvas, en portugués) (Elvas, Biblioteca Municipal Publia Hortensia, Ms 11793) (P-Em 11793) es un manuscrito portugués del siglo XVI con música y poemas de la época renacentista. Es una de las fuentes más importantes de música profana en la Península Ibérica, con obras en portugués y castellano.
El manuscrito fue descubierto en 1928, en la Biblioteca Municipal de Elvas, por el musicólogo Manuel Joaquim y posteriormente publicado en 1940. Es uno de los cuatro cancioneros portugueses del siglo XVI que han llegado hasta nosotros. Los otros tres son: el Cancionero de Lisboa, el Cancionero de Belém y el Cancionero de París.
Se desconoce la fecha exacta de su copia. Sin embargo, algunos factores permiten dar una datación aproximada:
En el manuscrito hay una canción con el texto de un poema escrito por el poeta Dom Manuel de Portugal, dedicada a su amada Doña Francisca de Aragón. Se sabe que el poema fue escrito alrededor de 1555.
Las páginas del libro poseen filigranas parecidas a las que se usaban en Italia hasta la década de 1570.
Todo ello permite afirmar que el Cancionero de Elvas fue copiado entre las décadas de 1560 y 1570, aproximadamente.
El tamaño del manuscrito es de 145 x 100 mm y consta de 100 folios de papel. Presenta restos de una encuadernación del siglo XVIII y fue encuadernado de nuevo en el año 1965. En la portada tiene la inscripción: "ROMANCES / de / J.J. d'A.".
Está dividido en dos secciones:
Sección I: Con 65 obras musicales. Parte de su contenido se ha perdido, concretamente faltan los folios: f. 1-39, 50, 105, 107 y 109. Carece de índice, probablemente debido a que se encontraba en los folios desaparecidos al principio del manuscrito.
Sección II: Contiene 36 poemas, sólo el texto, sin música. Tiene su propia numeración: f. 1-36.
La parte musical del libro contiene 65 obras polifónicas a 3 voces, en español y portugués, 3 de ellas incompletas. Todas las obras son anónimas. Sin embargo, a partir de la comparación de las piezas con las de otros cancioneros de orígen ibérico, se ha podido determinar la autoría de unas pocas: Juan del Encina (4 obras), Pedro de Escobar (2 o 3 obras) y Pedro de Pastrana (1 obra). La mayor parte de las obras son en castellano, siendo sólo 16 en portugués.
Se compone de cuatro colecciones: dos de ellas con obras del repertorio ibérico de alrededor de 1500, una con piezas portuguesas de la primera mitad del siglo XVI, y la última con obras de origen portugués, con influencia italiana, del tercer cuarto del siglo XVI.
Las obras han sido transcritas por tres musicólogos: Manuel Joaquim, Manuel Morais y Gil Miranda.
Obra extraída del álbum: MIL SUSPIROS DIÓ MARIA, Sacred and secular music from the Brazilian Renaissance.
Interpretan: CONTINENS PARADISI.
Dirige: Thais Ohara & Marcelo Ohara.
RICERCAR.
Música Virreinal, Música Colonial
https://wn.com/A_La_Villa_Voy~_Cancioneiro_De_Elvas_Portuguese_Brazilian_Renaissance_Music_(S._Xvi)
"A la villa voy" del Cancioneiro de Elvas (Portugal~Brasil, Siglo XVI).
El Cancionero de Elvas (Cancioneiro de Elvas, en portugués) (Elvas, Biblioteca Municipal Publia Hortensia, Ms 11793) (P-Em 11793) es un manuscrito portugués del siglo XVI con música y poemas de la época renacentista. Es una de las fuentes más importantes de música profana en la Península Ibérica, con obras en portugués y castellano.
El manuscrito fue descubierto en 1928, en la Biblioteca Municipal de Elvas, por el musicólogo Manuel Joaquim y posteriormente publicado en 1940. Es uno de los cuatro cancioneros portugueses del siglo XVI que han llegado hasta nosotros. Los otros tres son: el Cancionero de Lisboa, el Cancionero de Belém y el Cancionero de París.
Se desconoce la fecha exacta de su copia. Sin embargo, algunos factores permiten dar una datación aproximada:
En el manuscrito hay una canción con el texto de un poema escrito por el poeta Dom Manuel de Portugal, dedicada a su amada Doña Francisca de Aragón. Se sabe que el poema fue escrito alrededor de 1555.
Las páginas del libro poseen filigranas parecidas a las que se usaban en Italia hasta la década de 1570.
Todo ello permite afirmar que el Cancionero de Elvas fue copiado entre las décadas de 1560 y 1570, aproximadamente.
El tamaño del manuscrito es de 145 x 100 mm y consta de 100 folios de papel. Presenta restos de una encuadernación del siglo XVIII y fue encuadernado de nuevo en el año 1965. En la portada tiene la inscripción: "ROMANCES / de / J.J. d'A.".
Está dividido en dos secciones:
Sección I: Con 65 obras musicales. Parte de su contenido se ha perdido, concretamente faltan los folios: f. 1-39, 50, 105, 107 y 109. Carece de índice, probablemente debido a que se encontraba en los folios desaparecidos al principio del manuscrito.
Sección II: Contiene 36 poemas, sólo el texto, sin música. Tiene su propia numeración: f. 1-36.
La parte musical del libro contiene 65 obras polifónicas a 3 voces, en español y portugués, 3 de ellas incompletas. Todas las obras son anónimas. Sin embargo, a partir de la comparación de las piezas con las de otros cancioneros de orígen ibérico, se ha podido determinar la autoría de unas pocas: Juan del Encina (4 obras), Pedro de Escobar (2 o 3 obras) y Pedro de Pastrana (1 obra). La mayor parte de las obras son en castellano, siendo sólo 16 en portugués.
Se compone de cuatro colecciones: dos de ellas con obras del repertorio ibérico de alrededor de 1500, una con piezas portuguesas de la primera mitad del siglo XVI, y la última con obras de origen portugués, con influencia italiana, del tercer cuarto del siglo XVI.
Las obras han sido transcritas por tres musicólogos: Manuel Joaquim, Manuel Morais y Gil Miranda.
Obra extraída del álbum: MIL SUSPIROS DIÓ MARIA, Sacred and secular music from the Brazilian Renaissance.
Interpretan: CONTINENS PARADISI.
Dirige: Thais Ohara & Marcelo Ohara.
RICERCAR.
Música Virreinal, Música Colonial
- published: 27 Dec 2013
- views: 58706
6:39
When was the Portuguese Renaissance?
When was the Portuguese Renaissance?
Welcome to our fascinating journey into the Portugue...
published: 23 May 2023
When was the Portuguese Renaissance?
When was the Portuguese Renaissance?
- Report rights infringement
- published: 23 May 2023
- views: 477
When was the Portuguese Renaissance?
Welcome to our fascinating journey into the Portuguese Golden Age, a remarkable period known as the Portuguese Renaissance. Join us as we delve into the world of exploration, cartography, navigation, art, and science that defined this extraordinary era. From the pioneering spirit of Portuguese explorers like Vasco da Gama and Bartholomeu Dias, to the intricate mapmaking techniques and revolutionary navigation instruments, we'll unravel the secrets of their maritime achievements. Discover the captivating artistry of Grão Vasco and the scientific contributions of Garcia de Orta, whose work shaped the fields of art and botany during this time of great cultural and intellectual flourishing.
Witness the rise of the Portuguese Empire, its influence on global maritime trade, and the pursuit of the lucrative spice routes. Explore the challenges and triumphs faced by Portugal as it competed with other European powers in this age of discovery. Uncover the impact of Spanish rule and the subsequent Portuguese Restoration War, which shaped the course of history for this once-dominant nation. This video is your gateway to understanding the Portuguese Golden Age, its legacy, and how it played a pivotal role in shaping our world today. Embark on this captivating journey and unravel the rich tapestry of exploration, art, and scientific progress that characterized this extraordinary chapter in human history.
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#PortugueseGoldenAge #ExplorationRevolution #MaritimeMasters
24:54
How The Portuguese Empire Was Forged
#portuguese #portugal #empire
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published: 01 Mar 2024
How The Portuguese Empire Was Forged
How The Portuguese Empire Was Forged
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The Portuguese Empire was composed of the overseas colonies, factories, and later overseas territories, governed by Portugal. It was one of the longest-lived colonial empires in European history, lasting almost six centuries from the conquest of Ceuta in North Africa in 1415, to the transfer of sovereignty over Macau to China in 1999. The empire began in the 15th century, and from the early 16th century it stretched across the globe, with bases in Africa, North America, South America, and various regions of Asia and Oceania.
The Portuguese Empire originated at the beginning of the Age of Discovery, and the power and influence of the Kingdom of Portugal would eventually expand across the globe. In the wake of the Reconquista, Portuguese sailors began exploring the coast of Africa and the Atlantic archipelagos in 1418–1419, using recent developments in navigation, cartography, and maritime technology such as the caravel, with the aim of finding a sea route to the source of the lucrative spice trade. In 1488, Bartolomeu Dias rounded the Cape of Good Hope, and in 1498 Vasco da Gama reached India. In 1500, either by an accidental landfall or by the crown's secret design, Pedro Álvares Cabral reached what would be Brazil.
Over the following decades, Portuguese sailors continued to explore the coasts and islands of East Asia, establishing forts and factories as they went. By 1571, a string of naval outposts connected Lisbon to Nagasaki along the coasts of Africa, the Middle East, India, and South Asia. This commercial network and the colonial trade had a substantial positive impact on Portuguese economic growth (1500–1800) when it accounted for about a fifth of Portugal's per-capita income.
When King Philip II of Spain (Philip I of Portugal) seized the Portuguese crown in 1580, there began a 60-year union between Spain and Portugal known to subsequent historiography as the Iberian Union, although the realms continued to have separate administrations. As the King of Spain was also King of Portugal, Portuguese colonies became the subject of attacks by three rival European powers hostile to Spain: the Dutch Republic, England, and France. With its smaller population, Portugal found itself unable to effectively defend its overstretched network of trading posts, and the empire began a long and gradual decline. Eventually, Brazil became the most valuable colony of the second era of empire (1663–1825), until, as part of the wave of independence movements that swept the Americas during the early 19th century, it broke away in 1822.
The third era of empire covers the final stage of Portuguese colonialism after the independence of Brazil in the 1820s. By then, the colonial possessions had been reduced to forts and plantations along the African coastline (expanded inland during the Scramble for Africa in the late 19th century), Portuguese Timor, and enclaves in India (Portuguese India) and China (Portuguese Macau). The 1890 British Ultimatum led to the contraction of Portuguese ambitions in Africa.
Under António Salazar (in office 1932–1968), the Estado Novo dictatorship made some ill-fated attempts to cling on to its last remaining colonies. Under the ideology of pluricontinentalism, the regime renamed its colonies "overseas provinces" while retaining the system of forced labour, from which only a small indigenous élite was normally exempt. In August 1961, the Dahomey annexed the Fort of São João Baptista de Ajudá, and in December that year India annexed Goa, Daman, and Diu. The Portuguese Colonial War in Africa lasted from 1961 until the final overthrow of the Estado Novo regime in 1974. The Carnation Revolution of April 1974 in Lisbon led to the hasty decolonization of Portuguese Africa and to the 1975 annexation of Portuguese Timor by Indonesia. Decolonization prompted the exodus of nearly all the Portuguese colonial settlers and of many mixed-race people from the colonies. Portugal returned Macau to China in 1999. The only overseas possessions to remain under Portuguese rule, the Azores and Madeira, both had overwhelmingly Portuguese populations, and Lisbon subsequently changed their constitutional status from "overseas provinces" to "autonomous regions". The Community of Portuguese Speaking Countries (CPLP) is the cultural successor of the Empire, analogous to the Commonwealth of Nations for countries formerly part of the British Empire.
2:34:32
Voces Angelicae (Portuguese Renaissance Church Music)
00:00 Jesu Redemptor (Estêvão Lopes Morago, c1570-c1630) 2C, 3T, 2B (1)
02:57 Laudate pue...
published: 03 May 2023
Voces Angelicae (Portuguese Renaissance Church Music)
Voces Angelicae (Portuguese Renaissance Church Music)
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- published: 03 May 2023
- views: 3087
00:00 Jesu Redemptor (Estêvão Lopes Morago, c1570-c1630) 2C, 3T, 2B (1)
02:57 Laudate pueri (Lopes Morago) 3C, T, 3B (2)
08:34 Commissa mea (Lopes Morago) 2C, 2T, 2B (3)
13:02 Magnificat octavi toni (Lopes Morago) 3C, 3T, 3B (4)
20:54 Oculi mei (Lopes Morago) C, 2T, B (5)
23:43 Magnificat octavi toni (Duarte Lôbo, c1563-1646) C, 3T, 2B (6)
Lamentationes Jeremiae Prophetae (Estêvão de Brito, c1570-1641) C, 2T, B (7)
29:40 Feria 5 coena Domini
35:10 Feria 6 in Parasceve
40:35 Sabbato in Parasceve
46:32 Asperges me (Filipe de Magalhães, 1565?-1652) C, T, 2B (8)
Missa pro defunctis (Frei Manuel Cardoso, 1566-1630) 2C, 2T, 2B (9)
51:36 Introitus
59:50 Kyrie
1:03:03 Graduale
1:09:38 Offertorium *
1:17:35 Sanctus
1:19:56 Agnus Dei
1:22:46 Communio
1:26:20 Asperges me (Cardoso) C, 2T, B (10)
1:30:44 Lamentationes Jeremiae Prophetae (Cardoso) 2T, 2B (11)
1:36:04 Magnificat sexti toni (Cardoso) C, 2T, 2B (12)
Missa de Beata Virgine Maria (Magalhães) 2C, 2T, 4B (13)
1:43:57 Kyrie
1:47:24 Gloria
1:52:45 Credo
2:00:36 Sanctus
2:04:12 Agnus Dei
2:10:37 Ego dilecto meo (Brito) 2C, T, 2B (14)
2:15:02 Vidi Dominum (Brito) 3C, 2T, 4B (15)
2:18:43 Agnus Dei & Communio (Brito) 3C, 2T, 3B (16)
2:24:37 Crux Fidelis (Dom João IV, 1604-1656) 2C, 3T, 3B (17)
Pro Cantione Antiqua - Mark Brown, conductor
Countertenors (C):
James Bowman (2, 15)
Charles Brett (1, 3, 4, 8, 9, 13, 17)
Paul Eswood (2, 4, 5, 12, 14-16)
Timothy Penrose (9, 10, 16)
Kevin Smith (1-4, 6, 7, 13-17)
Tenors (T):
Paul Elliott (5, 7)
James Griffett (1, 3, 4, 6, 8-13, 15, 17)
James Lewingston (1, 3, 6, 9, 11, 17)
Ian Partridge (1, 2, 4-7, 10, 12-17)
Basses (B):
Brian Etheridge (2, 4, 6, 12, 13, 15-17)
Michael George (1-8, 10-17)
Christoher Keyte (4, 13, 15-17, *)
Stephen Roberts (1-4, 8, 9, 11, 13-17)
Bass dulcian: Andrew van der Beek (2, 12, 15)
Recorded on September 1980, St. John's Church, Hackney, London
Arte: detalle de Panorama da Cidade de Lisboa sob a protecção de Nossa Senhora de Porto Seguro (c1620), por Simão Rodrigues (c1560-1629) y Domingos Vieira Serrão (1570-1632)
3:52
"Vida da minh'alma" - Renaissance Portuguese song (LYRICS + Translation)
Origin: Renaissance style song
Artist: Capela Ultramarina
Album: "A Cantar uma Cantiga" (2...
published: 30 Apr 2023
"Vida da minh'alma" - Renaissance Portuguese song (LYRICS + Translation)
"Vida da minh'alma" - Renaissance Portuguese song (LYRICS + Translation)
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- published: 30 Apr 2023
- views: 1037
Origin: Renaissance style song
Artist: Capela Ultramarina
Album: "A Cantar uma Cantiga" (2019)
The Cancioneiro de Paris (in english: Paris Songbook) is one of the four Renaissance songbooks of 16th century Portuguese music, being one of the most important and the largest source of secular music of the Portuguese Renaissance. The vast majority of the cantigas, vilancetes and redondillas are anonymous, however, there are exceptions as is the case of this cantiga, "Vida da minh'alma". It is attributed to the Portuguese nobleman and poet Pedro or Pêro de Andrade Caminha, who was born in Porto probably in 1520 and died in Vila de Viçosa on September 9, 1589.
During his lifetime, he gained a dishonourable reputation due to two events: his rivalry with the great poet Luís de Camões, and also his denunciation to the Inquisition by the humanist Damião de Góis (1571). Few of his poems were printed in the 16th century, that only until the publication of his works in 1791 by the Royal Academy of Sciences of Lisbon, there were few allusions to this figure or his writings. He is also thought to have participated in the expedition of King D. Sebastião to Alcácer Quibir.
This song portrays the main theme of longing and the painful separation from a lover. The narrator expresses the loss he feels for the "life of his soul", that is, for the person who gives meaning to his existence and who, since he was parted, has never been able to be happy or find satisfaction in life. The desire to be with this person is so strong that the narrator feels that he is losing his own life, that there is no sense in living without her, and the pain of her absence is so intense that he would rather die than live without his beloved.
°.•*𒆜☬༒꧂
Origem: Cantiga estilo renascentista
Artista: Capela Ultramarina
Álbum: "A Cantar uma Cantiga" (2019)
O Cancioneiro de Paris é um dos quatro cancioneiros renascentistas de música portuguesa do século XVI, sendo um dos mais importantes e a maior fonte de música secular do Renascimento português. A imensa maioria das cantigas, vilancetes e redondilhas são anónimas, contudo, há exceções como é o caso desta cantiga, "Vida da minh’alma". Esta é atribuída ao fidalgo e poeta português Pedro ou Pêro de Andrade Caminha, nascido no Porto provavelmente em 1520 e falecido na Vila de Viçosa em 9 de setembro de 1589.
Durante a sua vida, ganhou uma reputação desonrosa graças a dois fatores: a rivalidade com o grande poeta Luís de Camões, e também a denúncia à Inquisição do humanista Damião de Góis (1571). Poucos poemas seus foram imprimidos no século XVI, tanto que até à publicação, em 1791, das suas obras pela Academia Real de Ciências de Lisboa, poucas eram as alusões a esta figura ou aos seus escritos. Pensa-se ainda, que terá participado na expedição de D. Sebastião a Alcácer Quibir.
Esta canção retrata o tema principal da saudade e da separação dolorosa de um amor. O narrador expressa a falta que sente da "vida da sua alma", ou seja, da pessoa que dá sentido à sua existência e que, desde que se separou, nunca mais foi capaz de ser feliz ou encontrar satisfação na vida. O desejo de estar com essa pessoa é tão forte que o narrador sente que está perdendo a própria vida, que não há sentido em viver sem ela, tanto que a dor da sua ausência é tão intensa que este prefere morrer a viver sem a pessoa amada.
Source of the song (canção): https://www.youtube.com/watch?v=sx1LOJ5GfK8
Source of the lyrics (letra): https://pt.wikisource.org/wiki/Vida_da_minh%27alma
Artwork (arte): "Le Verrou" by Jean-Honoré Fragonard (between c.1777 and c.1779)
0:33
The PORTUGUESE Renaissance (15th-16th centuries) 🇵🇹 #portugal #historyshorts #shorts #historyfacts
The Portuguese Renaissance, beginning in the 15th tcentury, was a period of cultural resur...
published: 22 Jan 2024
The PORTUGUESE Renaissance (15th-16th centuries) 🇵🇹 #portugal #historyshorts #shorts #historyfacts
The PORTUGUESE Renaissance (15th-16th centuries) 🇵🇹 #portugal #historyshorts #shorts #historyfacts
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- published: 22 Jan 2024
- views: 2357
The Portuguese Renaissance, beginning in the 15th tcentury, was a period of cultural resurgence and intellectual vibrancy. Fueled by the Age of Discoveries, Portugal experienced a profound transformation in arts, sciences, and exploration. Visionaries like poet Luís de Camões and playwright Gil Vicente emerged, contributing to a flourishing literary scene. Architecturally, the Manueline style, characterized by intricate detailing, adorned monuments such as the Jerónimos Monastery. Notably, the era coincided with Portugal's maritime prowess, epitomized by explorers like Vasco da Gama. The Portuguese Renaissance represents a golden age where creativity, knowledge, and exploration converged to shape the nation's cultural legacy.
0:33
Renaissance Lisbon | Capital of the World #history #portugalhistory #portugal #historyshorts
Portugal during the XVI century became the first global capital. It was the capital of the...
published: 25 Nov 2023
Renaissance Lisbon | Capital of the World #history #portugalhistory #portugal #historyshorts
Renaissance Lisbon | Capital of the World #history #portugalhistory #portugal #historyshorts
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- published: 25 Nov 2023
- views: 2673
Portugal during the XVI century became the first global capital. It was the capital of the Portuguese empire.
0:30
Renaissance MASTER painter 🖌️ | Nuno Gonçalves #portugalhistory #portugal #history #historyshorts
Nuno Gonçalves was a Portuguese master painter of the Renaissance. He is remembered to art...
published: 15 Dec 2023
Renaissance MASTER painter 🖌️ | Nuno Gonçalves #portugalhistory #portugal #history #historyshorts
Renaissance MASTER painter 🖌️ | Nuno Gonçalves #portugalhistory #portugal #history #historyshorts
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- published: 15 Dec 2023
- views: 1572
Nuno Gonçalves was a Portuguese master painter of the Renaissance. He is remembered to art history as the best Portuguese painter.
1:34
Que he o que vejo (Portuguese Renaissance Music) - XVI century
Que he o que vejo,
señora e vos ver,
que me faz morrer
d'amor e desejo
que me faz morrer
d...
published: 07 Aug 2020
Que he o que vejo (Portuguese Renaissance Music) - XVI century
Que he o que vejo (Portuguese Renaissance Music) - XVI century
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- published: 07 Aug 2020
- views: 1162
Que he o que vejo,
señora e vos ver,
que me faz morrer
d'amor e desejo
que me faz morrer
d'amor e desejo
Minhas esperanças
Todas se aumentam,
Assi m'atormentam
Vossas esperanças.
Que vendovos vejo
Mil magoas crecer
E se vos não vejo
Não posso viver
E se vos não vejo
Não posso viver
E se vos não vejo
Não posso viver
E se vos não vejo
Não posso viver.
Cancioneiro D'Elvas - século 16
4:43
Opening of Camões' Lusíadas read in Renaissance Portuguese, Renaissance English and Modern English
In this video I read the opening stanzas of Camões' Lusiadas three times.
First I read...
published: 22 Aug 2021
Opening of Camões' Lusíadas read in Renaissance Portuguese, Renaissance English and Modern English
Opening of Camões' Lusíadas read in Renaissance Portuguese, Renaissance English and Modern English
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- published: 22 Aug 2021
- views: 8222
In this video I read the opening stanzas of Camões' Lusiadas three times.
First I read the original text in a reconstruction of Renaissance Portuguese pronunciation. More specifically, the phonology described by Camões' contemporary, the phonetician and grammarian Fernão de Oliveira).
Next I read the first English translation (completed by Sir Richard Fanshawe in 1655) in a reconstruction of mid-to-late 17th century London English pronunciation.
Finally, I read the same lines in my own translation using my own normal accent.
The music is BrunuhVille's "Lusitanus" (somewhat edited to match the pace of the reading) because it's just so fitting.
If you liked this video and want to help me make more things like it, head over to http://patreon.com/azforeman and make a monthly pledge.
There you can see all kinds of stuff that I don't put on youtube (for example my weekly readings of Shakespeare's sonnets in Elizabethan phonology, my reading from Barbour's 'Bruce' in Early Scots, a reconstruction of Sir Isaac Newton's accent based on his phonetic notes, a reconstruction of 18th century Mandarin and more)
If you want to read more of my translation of the Lusíadas, you can read my rendering of the first 18 stanzas here on my blog at
https://poemsintranslation.blogspot.com/2018/06/camoes-opening-of-lusiadas-from.html
3:39
A la villa voy~ CANCIONEIRO DE ELVAS- Portuguese/Brazilian Renaissance Music (S. XVI)
"A la villa voy" del Cancioneiro de Elvas (Portugal~Brasil, Siglo XVI).
El Cancionero de ...
published: 27 Dec 2013
A la villa voy~ CANCIONEIRO DE ELVAS- Portuguese/Brazilian Renaissance Music (S. XVI)
A la villa voy~ CANCIONEIRO DE ELVAS- Portuguese/Brazilian Renaissance Music (S. XVI)
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- published: 27 Dec 2013
- views: 58706
"A la villa voy" del Cancioneiro de Elvas (Portugal~Brasil, Siglo XVI).
El Cancionero de Elvas (Cancioneiro de Elvas, en portugués) (Elvas, Biblioteca Municipal Publia Hortensia, Ms 11793) (P-Em 11793) es un manuscrito portugués del siglo XVI con música y poemas de la época renacentista. Es una de las fuentes más importantes de música profana en la Península Ibérica, con obras en portugués y castellano.
El manuscrito fue descubierto en 1928, en la Biblioteca Municipal de Elvas, por el musicólogo Manuel Joaquim y posteriormente publicado en 1940. Es uno de los cuatro cancioneros portugueses del siglo XVI que han llegado hasta nosotros. Los otros tres son: el Cancionero de Lisboa, el Cancionero de Belém y el Cancionero de París.
Se desconoce la fecha exacta de su copia. Sin embargo, algunos factores permiten dar una datación aproximada:
En el manuscrito hay una canción con el texto de un poema escrito por el poeta Dom Manuel de Portugal, dedicada a su amada Doña Francisca de Aragón. Se sabe que el poema fue escrito alrededor de 1555.
Las páginas del libro poseen filigranas parecidas a las que se usaban en Italia hasta la década de 1570.
Todo ello permite afirmar que el Cancionero de Elvas fue copiado entre las décadas de 1560 y 1570, aproximadamente.
El tamaño del manuscrito es de 145 x 100 mm y consta de 100 folios de papel. Presenta restos de una encuadernación del siglo XVIII y fue encuadernado de nuevo en el año 1965. En la portada tiene la inscripción: "ROMANCES / de / J.J. d'A.".
Está dividido en dos secciones:
Sección I: Con 65 obras musicales. Parte de su contenido se ha perdido, concretamente faltan los folios: f. 1-39, 50, 105, 107 y 109. Carece de índice, probablemente debido a que se encontraba en los folios desaparecidos al principio del manuscrito.
Sección II: Contiene 36 poemas, sólo el texto, sin música. Tiene su propia numeración: f. 1-36.
La parte musical del libro contiene 65 obras polifónicas a 3 voces, en español y portugués, 3 de ellas incompletas. Todas las obras son anónimas. Sin embargo, a partir de la comparación de las piezas con las de otros cancioneros de orígen ibérico, se ha podido determinar la autoría de unas pocas: Juan del Encina (4 obras), Pedro de Escobar (2 o 3 obras) y Pedro de Pastrana (1 obra). La mayor parte de las obras son en castellano, siendo sólo 16 en portugués.
Se compone de cuatro colecciones: dos de ellas con obras del repertorio ibérico de alrededor de 1500, una con piezas portuguesas de la primera mitad del siglo XVI, y la última con obras de origen portugués, con influencia italiana, del tercer cuarto del siglo XVI.
Las obras han sido transcritas por tres musicólogos: Manuel Joaquim, Manuel Morais y Gil Miranda.
Obra extraída del álbum: MIL SUSPIROS DIÓ MARIA, Sacred and secular music from the Brazilian Renaissance.
Interpretan: CONTINENS PARADISI.
Dirige: Thais Ohara & Marcelo Ohara.
RICERCAR.
Música Virreinal, Música Colonial
Portuguese Renaissance
The Portuguese Renaissance refers to the cultural and artistic movement in Portugal during the 15th, 16th, and 17th centuries. Though the movement coincided with the Spanish and Italian Renaissances, the Portuguese Renaissance was largely separate from other European Renaissances and instead was incredibly important in opening Europe to the unknown and bringing a more worldly view to those European Renaissances, as at the time the Portuguese Empire spanned the globe.
As the pioneer of Age of Discoveries, Portugal flourished in the 15th, 16th, and 17th centuries, with voyages to India, the Orient, the Americas, and Africa. This immense trade network would create an incredibly wealthy Portuguese nobility and monarchy, that would become patrons for an incredible flourishing of culture, arts, and technology in Portugal and all over the world.
Context
Diplomats, merchants, students, humanists, scholars, and artists, from all over Europe, were drawn to Portugal during its Renaissance. The maritime trade of the Age of Discovery played a decisive role in the evolution of the Portuguese Renaissance. Trade intensified contacts with important centers of the Italian Renaissance and it allowed a new commercial bourgeoisie to prosper and have excess funds to become patrons of the Portuguese Renaissance, much like the other Renaissances of Europe.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Portuguese_Renaissance
When was the Portuguese Renaissance?...
How The Portuguese Empire Was Forged...
Voces Angelicae (Portuguese Renaissance Church Mus...
"Vida da minh'alma" - Renaissance Portuguese song ...
The PORTUGUESE Renaissance (15th-16th centuries) 🇵...
Renaissance Lisbon | Capital of the World #histor...
Renaissance MASTER painter 🖌️ | Nuno Gonçalves #p...
Que he o que vejo (Portuguese Renaissance Music) -...
Opening of Camões' Lusíadas read in Renaissance Po...
A la villa voy~ CANCIONEIRO DE ELVAS- Portuguese/B...
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