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In the latter half of the 18th century, the Portuguese court saw the emergence of distinctive instrumental practices within it's sacred repertoire. Among these innovations were works composed for Holy Week that featured concertante violas but conspicuously omitted violins. This unusual instrumentation became a hallmark not only of daily court music but also of Portuguese music as a whole. This tradition likely reflects the profound influence of Neapolitan music in Portugal, aligning with a broader practice of incorporating solo bass instruments to enhance the solemnity of liturgical occasions, such as Holy Week and All Souls' Day. One of the most notable composers of the Patriarchal Chapel to embrace this style was Jose Joaquim dos Santos. Born in obidos in 1747, he entered the Patriarchal Seminary in 1754, studying under the renowned Neapolitan composer David Perez. By 1763, Santos had joined the seminary's teaching staff, where he remained a central figure until his death in 1801. His work exemplifies the rich interplay of local tradition and Neapolitan influence. Album Tracks 1. Responsories for Good Friday~In Primo Nocturno. Responsorium I Omnes amici mei 2. Responsories for Good Friday~In Primo Nocturno. Responsorium II Velum templi scissum est 3. Responsories for Good Friday~In Primo Nocturno. Responsorium III Vinea mea electa 4. Responsories for Good Friday~In Secundo Nocturno. Responsorium IV Tamquam ad latronem existis 5. Responsories for Good Friday~In Secundo Nocturno. Responsorium V Tenebrae factae sunt 6. Responsories for Good Friday~In Secundo Nocturno. Responsorium VI Animam meam dilectam tradidi 7. Responsories for Good Friday~In Tertio Nocturno. Responsorium VII Tradiderunt me 8. Responsories for Good Friday~In Tertio Nocturno. Responsorium VIII Jesum tradidit impius 9. Responsories for Good Friday~In Tertio Nocturno. Res
