為免影響表演者及觀眾，請將鬧錶、傳呼機及手提電話的響鬧裝置關上。在場內請勿吸煙及飲食，亦請勿擅自攝影、錄音及錄影。並請尊重聖堂的神聖及莊嚴的本質。多謝合作。

Com vista a nao prejudicar os artistas e os espectadores, agradece-se que silenciem os telemoveis, aparelhos de recado e relogios. Pede-se, ainda, o favor de nao fumar, comer nem beber, bem como de nao filmar, gravar nem fotografar durante o espectaculo, sem a devida autorizacao. Mantenham, por favor, o respeito pela solenidade da Igreja.

To avoid disturbance to the performers and audiences, please switch off the beeping devices on your alarm watches, pagers and mobile phones.? We also forbid smoking, eating and drinking, as well as unauthorized photography, audio and video recordings during the performance. Please respect the solemnity and holiness of the Church.

 

18 / 5 / 2008 ( 16:00 ) 聖若瑟修院教堂 Igreja do Seminario de Sao Jose / Chapel of St. Joseph Seminary

節目表 / Programme

1.	Missa O Magnum Mysterium 偉大的奧跡彌撒曲 Kyrie 垂憐曲 Lord, have mercy Gloria 光榮經 Glory to God in the highest Credo 信經 I believe Sanctus 聖聖聖 Holy Holy Holy Lord Benedictus 讚美曲 Blessed is He Agnus Dei 羔羊經 Lamb of God	Tomas Luis de Victoria? (1548-1611)
2.	O Magnum Mysterium 偉大的奧跡 O Great Mystery	Pedro de Cristo (1545-1618)
3.	Quem Vidistis 你們看見了誰 Shepherds, whom have you seen	Estevao Lopes Morago (1575-1630)
4.	Opera Quae Ego Facio 我所做的一切 These work that I perform	Diogo Dias Melgaz (1638-1700)
5.	Clamabar Autem Mulier Channanea 客納罕婦人A Canaanite woman crieth		Pedro Escobar (1465-1535?)
6.	In Monte Oliveti 山園祈禱 On the Mount of Olives	Francisco Martins (1620-1680)
7.	O Vos Omnes 汝眾過路者 O all ye that pass by	Tomas Luis de Victoria
8.	Christus Factus Est 基督服從至死 Christ was made obedient	Joaquim Casimiro (1808-1862)
9.	Adjuva Nos求你幫助我們 Help us, O God	Diogo Dias Melgaz
10.	Regina Coeli 天王后喜樂 Queen of Heaven, Rejoice	Pedro de Cristo

伊比利亞音樂的黃金時期      -伍星洪
        西班牙與葡萄牙的合唱黃金時期是約於十五至十六世紀的文藝復興時期及隨後的巴洛克時期。
        西班牙這個文化古老的國家具有很不凡的音樂，當時重要的音樂家如Juan de Encina（1468-1529）、Alonso Lobo（1555-1617）、Cristobal Morales（約1500-1553）、Francisco Guerrero（1528-1599）、Tomas Luis de Victoria（約1548-1611）等，而後者一生祇寫作聖樂，藝術成就亦最高。西班牙的合唱音樂緊隨基督宗教傳統，修道院及大教堂是主要的音樂活動中心。當時的合唱主無伴奏多聲部結構，盛於卡洛斯五世CarlosV王朝後的菲利普二世Filipe II統治時代。
        葡萄牙於十五世紀初已有關於從事複音音樂活動的記載。
        在葡萄牙的音樂歷史中，D•Duarte（1391-1438）和D•Joao IV（1604-1656）兩位國王是葡萄牙音樂獲得巨大保護和發展的功臣，後者還是作曲家和音樂理論家，他大量收集世界各地的樂譜和音樂著作，使葡萄牙的音樂藏書成為歐洲之冠，可借這一大批藏書全毀於1755年的地震。於十六世紀在Filipe II統治期間（1581-1640），Evora大教堂是舉世聞名的音樂學校，複音音樂獲得高度成熟的發展，複音大師人材輩出，出自這學府的音樂家有Manuel Mendes（1547-1605）、Duarte Lobo（1565-1646）、Manuel Cardoso（1566-1650）、Filipe de Magalhaes（1563-1653）、D•Pedro de Cristo（1545-1618）、Estevao Lopes Morago（1575-1630）、Diogo Dias Melgaz（1638-1700）等。至十七世紀在D•Joao IV的大力保護和推動下，葡萄牙的複音音樂更獲得進一步的發展。

The Peak of Iberian Music

        The height of Spanish and Portuguese choral tradition is around the Renaissance of the 15th & 16th centuries and the ensuring Baroque period.
        As an ancient country with rich cultural heritage, there is a tradition of music of exceptional quality in Spain. Famed musicians and composers of that era include Juan de Encina (1468-1529), Alonso Lobo (1555-1617), Cristobal Morales (c. 1500-1553), Francisco Guerrero (1528-1599), Tomas Luis de Victoria (c.1548-1611), and the latter was singularly devoted to the writing of sacred music and whose superlative artistic skills meet no rival. Spanish choral music is a natural companion to Christian liturgy and tradition, while monasteries, churches and cathedrals form the nuclei of musical activities. A cappella singing in parts flourished during the reign of Filipe II after the dynasty of Carlos V.
        Records about the musical activities involving polyphonic singing in Portugal can be traced back to as early as the early 15th century.
        Two kings deserve particular mention as they guaranteed the promising and sustained development of music in Portugal’s history: D. Duarte (1391-1438) and D. Joao IV (1604-1656). The latter is a composer cum music theorist in his own right who put together a massive collection of music scores and writings from all over the world, thus making Portugal the country possessing the richest collection of musical work in Europe. Sadly all these treasures went down with the rubbles during an earthquake in 1755. Under Filipe II (1581-1640), the cathedral of Evora was a world-renowned music school where polyphonic music achieved towering success with a of number of masters in the art of polyphony: Manuel Mendes (1547-1605), Duarte Lobo (1565-1646), Manuel Cardoso (1566-1650), Filipe de Magalhaes (1563-1653), D. Pedro de Cristo (1545-1618), Estevao Lopes Morago (1575-1630), Diogo Dias Melgaz (1638-1700), etc. Portuguese polyphony made further advances with the vigorous promotion by D. Joao IV in the 17th century.
Joao Ng