Editing Manuel Cardoso (composer) (section)

{{Short description|Portuguese composer and organist}}
{{no footnotes|date=March 2016}}
'''Manuel Cardoso''' (baptized 11 December 1566 &ndash; 24 November 1650) was a [[Portugal|Portuguese]] composer and [[organ (music)|organist]]. With [[Duarte Lobo]] and [[John IV of Portugal]], he represented the "golden age" of Portuguese [[polyphony]].

Cardoso is not known to be related to an older contemporary composer of the same name; the precentor Manuel Cardoso, who published a book of Latin passions in [[Leiria]] in 1575.

Cardoso was born in [[Fronteira Municipality|Fronteira]], near [[Portalegre, Portugal|Portalegre]], most likely in 1566.  He attended the Colégio dos Moços do Coro, a choir school associated with the [[Évora]] cathedral, studying with [[Manuel Mendes]] and [[Cosme Delgado]].  In 1588 he joined the [[Carmelite]] order, taking his vows in 1589. In the early 1620s he was resident at the ducal household of [[Vila Viçosa]], where he was befriended by the Duke of Barcelos&mdash;later to become [[John IV of Portugal|King John IV]]. For most of his career he was the resident composer and organist at the Carmelite [[Carmo Convent (Lisbon)|Convento do Carmo]] in [[Lisbon]].

Cardoso's works are models of [[Giovanni Pierluigi da Palestrina|Palestrinian]] polyphony, and are written in a refined, precise style which completely ignores the development of the Baroque idiom elsewhere in Europe.  His style has much in common with [[Tomás Luis de Victoria]], in its careful treatment of [[Consonance and dissonance|dissonance]], occasional [[polychoral]] writing, and frequent [[cross relation|cross-relation]]s, which were curiously common among both [[Iberian Peninsula|Iberian]] and English composers of the time. Three books of [[mass (music)|masses]] survive; many of the works are based on [[motet]]s written by King John IV himself, and others are based on motets by Palestrina. Cardoso was widely published, often with the help of King John IV to defray costs. Many of his works&mdash;especially the elaborate polychoral compositions, which probably were the most progressive&mdash;were destroyed in the [[1755 Lisbon earthquake|Lisbon earthquake and fire of 1755]].