Tomas Luis de Victoria or as he is sometimes known: the Spanish Palestrina, was a priest-composer, organist and singer of the late Renaissance.
Born in the province of Avila, around 1548, to Francisco Luis de Victoria and Francisca Suárez de la Concha. He was the seventh of nine children. When his father died in 1557 his uncle became his guardian.
While his family make up is known, most of his musical education is inferred.
What we do know is that his musical training began at Avila Cathedral as a choirboy. It is believed that his instruction in the keyboard may have also started during this time at the St. Giles school in Avila, known for it's music instruction. Its is also speculated that he took composition lessons from Bartolomé de Escobedo while in Avila.
As a teenager, he would go to Rome where it is assumed that he studied under Palestrina. While there he held the position of cantor at the seminary Collegium Germanicum and eventually was ordained an ordered priest in the Congregation of the Oratory founded by St Philip Neri. as a priest, he was appointed Maestro di Capella at S. Apollinare.
In 1587 he returned to his native Spain, receiving an appointment as chaplain to the Empress Maria sister to Philip II, who was in residence at the Monastery of Las Descalzas Reales (Barefoot Royals). Victoria worked here the rest of his life. During this time he traveled as his appointment allowed him, including attending the funeral of Palestrina in Rome. He died at the Monastery as a chaplain where he was buried in 1611. His tomb has yet to be identified.
Victoria is considered by many to be the greatest composer of sacred music (he wrote no secular music) of the late Renaissance from Spain. His music is described as having a mystical intensity and direct emotional appeal. Victoria use of dissonance is more free than in Palestrina and he preferred a more homophonic texture with rhythmic variety. He sometimes uses the device of word painting, commonly found in madrigals. He even composed some antiphonal works which were popular in the Venetian school.
1572 saw the publication of his first book of motets and in 1585 he wrote his Officium Hebdomadae Sanctae. The Officium Defunctorum and Requiem Mass for the Empress Maria written in 1605 is considered a masterpiece.
His music saw a revival in the 20th century with numerous recordings.
And now for the music...
O Magnum Mysterium à4 (1572)
The text for the O Magnum Mysterium comes from the Matins of Christmas:
The latin text translates to:
O great mystery,
and wonderful sacrament,
that animals should see the new-born Lord,
lying in a manger!
Blessed is the Virgin whose womb
was worthy to bear
Christ the Lord.
Alleluia!
Salve Regina à8 (double chorus - voicing: chorus 1: SSAB chorus 2: SATB)
The Salve Regina is a Marian Hymn that is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. It is also the final prayer of the Rosary. In English, the translation is:
Hail, holy Queen, Mother of Mercy,
our life, our sweetness and our hope.
To thee do we cry, poor banished children of Eve;
to thee do we send up our sighs,
mourning and weeping in this valley of tears.
Turn then, most gracious advocate,
thine eyes of mercy toward us;
and after this our exile,
show unto us the blessed fruit of thy womb, Jesus.
O clement, O loving, O sweet Virgin Mary.
O Quam Gloriosum à4
The text is a paraphrase of the Book of Revelations, Chapter 7, verse 9. It is the Antiphon to the Magnificat for the feast of All Saints, during the Second Vespers.
O how glorious is the kingdom
in which all the saints rejoice with Christ,
clad in robes of white
they follow the Lamb wherever he goes.
Tantum ergo à4 (you'll need to increase the volume since it is a live recording made during mass)
The text of the Tantum ergo is the last two verses of the hymn Pange Lingua by St. Thomas Aquinas, they are sung during veneration and Benediction of the Blessed Sacrament.
Down in adoration falling,
Lo! the sacred Host we hail,
Lo! o'er ancient forms departing
Newer rites of grace prevail;
Faith for all defects supplying,
Where the feeble senses fail.
To the everlasting Father,
And the Son Who reigns on high
With the Holy Ghost proceeding
Forth from Each eternally,
Be salvation, honor, blessing,
Might and endless majesty.
Amen.
From the 1605 Officium defunctorum (which includes an entire Requiem Mass)
Taedet animam meam à4
Introitus à6
I'll post more of the Officium Defunctorum/Requiem in the comments.
All scores for the above can be found here and here.
Next Week: Prokofiev's Cantata for the 20th Anniversary of the October Revolution, Op 74
Coming Weeks: Liszt: Either the Dante Symphony or the Faust Symphony, William Walton's Facade, Gian Carlo Menotti: Various works, Andreas Hammerschmidt, Music for Halloween, Amy Marcy Cheney Beach