Tomás Luis de Victoria

In Memoriam Tomás Luis de Victoria – Proms 2011: The Tallis Scholars

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400 years ago today, Tomás Luis de Victoria, one of the very finest Renaissance composers, died. To commemorate his passing, a little over three weeks ago the Tallis Scholars directed by Peter Phillips gave a late-night Prom concert dedicated to Victoria’s music.

The concert begins with one of the Motecta Festorum, Victoria’s first volume of motets, published in 1572 and marking a significant point in his career. The stirring text of Dum complerentur recalls the scene –but not, despite what the programme note says, the actual act – of the descending upon the Apostles of the Holy Spirit, and the references to sound and noise clearly got Victoria rather excited (the Tallis Scholars take it at a helpfully brisk tempo). The music can’t sit still, although the opening section, setting the scene, is downplayed, the first ‘Alleluia’ barely allowed to grow before it’s quickly interrupted (‘Et subito’). But now everything heats up; at the reference to a “sound from heaven”, Victoria lingers on the word ‘sonus’, the repeating downward lines hinting at the forthcoming climax. The second ‘Alleluia’ is allowed to develop more, but it’s not until after the next phrase, likening the sound to a “hurricane in its fury”, that Victoria unleashes a lengthy ‘Alleluia’, laden with overlapping descending lines, akin to a peal of church bells. The text then goes round in a little tautological circle, effectively setting the scene again, but affording Victoria the opportunity to explore ‘sonus’ again, this time with more extended melismas, in some of the motet’s most breathtaking material. It closes with a repeat of much of the earlier music, allowing the listener to revel again in the sheer exhilaration of that climactic ‘Alleluia’. Read more

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Office of Tenebrae (Westminster Cathedral)

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This afternoon’s broadcast of what is usually Choral Evensong, was fittingly transformed for Holy Week into the service of Tenebrae, from Westminster Cathedral. Tenebrae is something of a curiosity, the legacy of a rather odd Holy Week practice of transferring the usual morning offices of Matins and Lauds to the evening before; the practice only continues today, if at all, on Wednesday, thus preserving the unique liturgies of Maundy Thursday and Good Friday. Having experienced a service of Tenebrae myself (it was included in Tewkesbury’s Musica Deo Sacra festival a couple of years back), i can testify to its beauty, and also to its symbolic power in this most black week of the year—especially the ceremonial snuffing out of candles. It’s an extremely long service; indeed, a quick glance in my copy of the Liber Usualis reveals that the combined offices contain no fewer than 16 antiphons, 13 psalms, nine lessons, nine responsories and two canticles. Clearly, this is far too long for an hour-long broadcast (typically, it would take around three hours), so today’s service was a kind of “Diet Tenebrae”, drastically slimmed down, using a selection from the complete liturgy. Read more

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The balance of austerity and grief: Victoria – O vos omnes

Posted on by 5:4 in Lent Series, Seasonal | Leave a comment

One of the greatest difficulties, i feel, with writing music for Holy Week, is the need to be objectively austere, while also expressing some sense of the highly-wrought feelings that pervade the week. i don’t mean in some ghastly “stiff upper lip” way; that would be dishonest and repressed. One must engage with the events recounted in the texts in an intellectual way, grappling with their meaning (the theology if you like), while never forgetting that they are an expression of utter tragedy, a tragedy in which we have all played our part, and so emotions must be given absolutely free reign too. To compose music that sits within, and seeks to interact with, such a darkly complex space, is a challenge indeed. A challenge, it seems, too many composers have attempted – and failed. We were subjected to just such a failure last Sunday at the Abbey: a performance of Arthur Somervell’s The Passion of Christ. It’s not a piece worth speaking of for long, except to say that it was typically Victorian, all wallpaper and soft edges. i don’t take sugar with my Passion, thank you, and Somervell’s was laced with saccharine at every opportunity; Jesus, from the cross, didn’t so much sing as croon. It was revolting, and one can only hope the Abbey makes better quality choices in future.

No such problems with the music of Tomás Luis de Victoria. Victoria has an uncanny gift for producing compositions that strike a perfect, delicate balance, teeming with complexity, abundant in life and interest, while ever keeping the emotions near to the surface. A sumptuous example of that is his setting of the Holy Week text O vos omnes:

O vos omnes, qui transitis per viam, attendite, et videte: Si est dolor similis sicut dolor meus. Attendite, universi populi, et videte dolorem meum.
(“O you that pass by, behold, and see: can there be any sorrow like my sorrow? Behold, everyone, and see my sorrow.”) Read more

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