The following paper is a prepublication, in Portuguese translation, of a chapter now in press in its original language (Spanish). It will be published in the peer-reviewed book Musical Exchanges, 1100-1650: Iberian Connections (Kassel, Reichenberger, 2015), edited by Manuel Pedro Ferreira.  Acknowledgment of the relevance of the circulation of Portuguese music and musicians to the New World from the sixteenth century onwards contrasts with the shortage of publications concerning this theme based on Hispano-American historical sources. Beginning with a review of musical sources and archives of church documents in Guatemala and Mexico, this article aims to examine, though not exhaustively, the presence of Portuguese musicians and the spread of Portuguese music in the viceroyalty of New Spain and the province of Guatemala, particularly in the cities of Puebla de los Ángeles and Santiago de los Caballeros de Guatemala, during the sixteenth and seventeenth centuries. 

Although it may have happened, it is not certain that Viana da Mota was familiar with the work of Hugo Wolf during his years in Berlin. However, his Lieder, composed intermittently from the age of fifteen, show a remarkable assimilation of the German tradition and assume some formal characteristics that can be associated with the work of this composer. This article aims to situate Viana da Mota’s production in the context of the Germanic tradition of the Lied, as well as the influence that his songs had on Portuguese music in the twentieth century, namely on composers such as Fernando Lopes Graça and Joly Braga Santos. The individual characteristics in which this pianist and composer differentiates his works for piano and voice with German texts from those he composed with Portuguese texts, will also be discussed, and a series of musical performance problems raised by them is similarly addressed.  

ln spite of condemnation by the Pope and Cistercian hierarchy of the use of polyphonic music in the liturgy, the early 14th-century 'Las Huelgas Manuscript' (Hu) was probably compiled as a working copy at the Monastery of Las Huelgas, Burgos. There is substantial evidence to link the manuscript with Johan Rodrigues, probably an aide of the Portuguese princess D. Branca. The polyphony it contains, especially the motets, was most likely to have been performed during solemn ceremonies, including funerals, and in the paraliturgies, such as anniversary or foundation commemorations. The author concludes that most of the unique features of Hu ultimately need to be related to its place of origin.

Antonio Tedeschi (1702-70) was a Neapolitan priest employed in 1733 by King John V of Portugal as a singer at the Royal and Patriarchal Chapel in Lisbon. Here Tedeschi was active first at the Ribeira Palace, and later, after the Earthquake of 1755 and until his death in 1770,  at the Ajuda Palace. He also worked as a poet, librettist and composer. Eighty sacred vocal works by him survive today, not only in the Lisbon Cathedral Archive but also in some other libraries and archives, both in Portugal and Italy. A group of eleven works stands out among his output. They were written for the feast of Our Lady of Sorrows, and comprise a set of five Vespers psalms with Magnificat, three sequences and two motets, all composed in the 1760s, approximately. This article aims to contextualize these compositions, through researching instructions in liturgical manuals and historical reports, and establishing comparisons with contemporary musical works written for the same feast. It presents a survey of all the known manuscript sources as well as a summary of a formal and stylistic analysis, focused on what seem to be its most pertinent aspects. The objective is to reveal the work of a composer practically unknown nowadays but treasured in his own time, and to contribute to a better understanding of Portuguese 18th-century sacred music.

A new serenata by Domenico Scarlatti, Clori e Fileno, was recently discovered in a manuscript kept in US-AAu (unfortunately not complete). Composed in Rome in 1712 for an unknown occasion, it is for two voices (S, A), two violins and continuo. The author describes the manuscript, analyses the poetic text of the serenata, by an unknown poet, and its music, furnishing a transcription of a duet and of an aria. The new serenata shows a high originality and an idiosyncratic style that recalls that typical research of whimsical solutions, that sense of irony and of humor, that clearness and concision of compositional structure peculiar to the Sonatas for harpsichord by Scarlatti. The number of serenatas surely composed by Scarlatti for Rome (9) and for Lisbon (11) is very high and probably higher than we can assume from the known sources. The time is come for seriously evaluating the importance of these and other vocal compositions (sacred and secular) by Scarlatti and the influence they had in his global artistic development in Italy, Portugal and Spain.

Starting from a theoretical approach to the state of research with regard to the preservation of contemporary musical heritage, this paper concentrates particularly on the case of Portugal and aims to set out a preliminary overview of the subject. On account of the increasing complexity of the processes, techniques and media used, several composers have been experiencing difficulties in transmitting their musical work by means of conventional notation, for which reason important information now resides in the memory and testimonies of composers and performers. Given this, many authors have already pointed out the importance of documentation as a strategy for preservation. It is precisely upon this perspective that this article seeks to reflect, bringing to the discussion examples illustrative of this reality, namely, Jogo Projectado II (1981) by Clotilde Rosa and Itinerário do Sal (1999-2006) by Miguel Azguime. Through these examples, we hope to raise awareness among the academic and scientific community of the importance and necessity of developing research into this subject and hence to contribute to an important new area of research based on a specific and very recent heritage.