Filipe de Magalhães, one of the most important Portuguese composers of his time, initially worked at Évora Cathedral, where he trained under Manuel Mendes and was considered his favorite pupil. Together with other renowned composers such as Duarte Lobo and Manuel Cardoso, he shaped the musical life of Évora. Later, Magalhães held prestigious positions in Lisbon, including the directorship of the Capela Real, which he held from 1623 to 1641. His pupils included Estêvão de Brito and Estêvão Lopes Morago, who continued Évora's musical tradition.
His work, 'Cantus ecclesiasticus,' has been cherished for generations and cemented his reputation as an outstanding choral master. The collections 'Missarum liber' and 'Cantica Beatissimae Virginis', though published later, were dedicated to royal dignitaries and enriched the musical landscape associated with the Spanish court. The masses 'Missa Veni Domine' and 'Missa Vere Dominus est', included in these collections, draw on motets by Francisco Guerrero and Pierre de Manchicourt. Both works demonstrate Magalhães' compositional skill, particularly through his use of ostinato structures and the sophisticated treatment of Manchicourt's motifs.
Furthermore, the 'Magnificat primi toni', included in the 'Cantica Beatissimae Virginis', is part of this recording. The musicians opted for a polyphonic performance, thus reinterpreting historical performance practices. The program is embedded in Magalhães’ expressive six-part motets, which set emotional and deeply religious accents in a concise form.