Antonio Pereyra da Costa (c.1697-1770)
- Concerto grosso (b-moll) 'Concertos grossos com doys violins, e
violão de concertinho obrigados: e outros doys violins, viola e orgão,
de concerto grosso a arbitrio
... opera premeira' (1741)
Performers: Ensemble Bonne Corde; Diana Vinagre (conductor)
Painting: Jan Josef Horemans (1682-1759) - A park landscape with a musical party outside an Italianate villa
Further info: Concerti Grossi
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Portuguese composer and priest. His early years are unknown. He served
as the mestre de capela at the Cathedral of Funchal in Madeira from
around 1740 until his death. While contemporary accounts, such as the
1750 Gazeta de Lisboa, attest to his composition of vocal works for
regional religious observances, his enduring musicological significance
rests upon his surviving Opus 1, a collection of twelve concerti grossi
(1741). This corpus constitutes a critical milestone in Iberian music
history, representing both the sole extant set of 18th-century concerti
grossi of Portuguese provenance and the first printed musical
publication by a Madeira-based musician. Stylistically, Pereira da
Costa’s instrumental work demonstrates a rigorous mastery of the
Corellian Italianate structural model, which he innovatively synthesized
with distinct Iberian melodic and rhythmic idioms to produce a highly
localized and vibrant expression of the late Baroque aesthetic. He also
published 12 Serenatas for the Guitar (London, c.1755).
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