Vicente Lusitano (c. 1520 – c. 1561)[1] was a Portuguese composer and theorist of the late Renaissance. He is thought to have been of mixed race and it has been therefore suggested that his mother may have been of African descent.[2][3] Since the 1980s, he has been described as the first published black composer.[4][5][6][7]
Lusitano, which means "Portuguese", appears to be a nickname rather than a family name. He was born in Olivença, but little else is known for certain of his life, including the dates of his birth and death. Lusitano is described as pardo, indicating that he may have been of mixed European and non-European heritage.[6]
Some information about Lusitano is recorded a manuscript by Joao Franco Barreto:[4] he came from Olivença, became a Catholic priest, and was employed as a teacher at Padua, Viterbo and Rome. Barreto's manuscript was used by Diogo Barbosa Machado in his Bibliotheca Luzitana (published in Lisbon: Ignacio Rodrigues, 1752).
Very little of what Machardo wrote about Lusitano's life has been verified by any other source. However books and manuscripts of his musical compositions survive and are dated.[4] There is a record that Lusitano was in Rome in 1551 and that by 1561 he had converted to Protestantism and traveled to Germany. There is no record of him after 1561.[6]
From the dedication in one of his first works, it has been suggested that Lusitano was a tutor to the Portuguese Lencastre family, who also arrived in Rome in 1551, but as ambassador to the Papal court.[6][4]
During the time that Lusitano lived, composers were usually employed by the Church, but there is no evidence that he held a salaried post.[4][6]
Lusitano has been credited with a number of choral works, including Latin motets (published as Liber primus epigramatum que vulgo motetta dicuntur, 5, 6, 8vv, Rome, 1551) and a madrigal. In several works he references Josquin des Prez, who had died 30 years earlier. For example, he reworked des Prez' motet Inviolata, integra for more voices.
His works include:[6]
His style uses counterpoint.[6]
Lusitano's music has been revived in recent years, for example by The Marian Consort in 2021[8] and Chineke! Voices in 2022.[6] His motet Heu me Domine and 1562 madrigal All’hor ch’ignuda have been recorded.[1]
Before the performance revival, Lusitano was better remembered for his work as a theorist. In a 1551 debate in Rome, he espoused traditional views on the role of the three genera in music (diatonic, chromatic and enharmonic) over more radical ones put forward by Nicola Vicentino. Lusitano was deemed to have won the debate and Vicentino was fined. In 1555 Vicentino published an account of the debate that was recognised as misleading. This went on to influence later composers and may be a factor in omission of Lusitano from subsequent works on early European composers.[1]
Lusitano's Introduttione facilissima, et novissima, di canto fermo, figurato, contraponto semplice, et inconcerto (Rome, 1553, and again at Venice, 1561),[9] contains an introduction to music, a section on improvised counterpoint (setting new parts above or below a cantus firmus), and his views on the three genera.
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