Requiem Tomás Luis De Victoria Initially Calm, Though Insecure, but Finally Attempting to Recreate an ‘Authentic’ Complex Ceremony – Versa Est in Luctum (C

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Requiem Tomás Luis De Victoria Initially Calm, Though Insecure, but Finally Attempting to Recreate an ‘Authentic’ Complex Ceremony – Versa Est in Luctum (C Tomás Luis de Victoria Deux-Elles Armonico Consort Requiem Tomás Luis de Victoria Initially calm, though insecure, but finally Attempting to recreate an ‘authentic’ complex ceremony – Versa est in luctum (c. 1548 – 1611) almost a cry of despair, there being no performance of this work requires a certain is a a likely candidate. As the Libera me understandable conclusion. amount of conjecture. We are uncertain was sung, the coffin would have been Christopher Monks about the placement of certain motets and sprinkled with holy water and incensed. Officium Defunctorum we cannot be sure about precise The ceremonies end with the singing of 1605 performance practices in Spain at the dawn the ancient supplication: ‘Lord have mercy, Victoria’s Requiem was written in memory of the 17th century. Furthermore, although Christ have mercy, Lord have mercy’. To of the Dowager Empress Maria, daughter liturgical books survive, many details the very end Victoria’s Requiem Victoria composed one of the most of Charles V, wife of Maximilian II and concerning ritual are not included. demonstrates an Iberian fervour within a astonishing settings of the Requiem Mass, mother of two emperors. It was published spiritual serenity, most fitting for the final probing deeply both into theological in 1605 and seems to have been the last The Taedet animam meam comes from rites of an Empress. May she rest in peace. meaning and into the complexity of human work composed before his own death in the Offices of Lauds and Matins which emotions. 1611. Thus, the composer’s description of would have been sung around the coffin, this work as his ‘swan song’ was unhappily before Mass. The setting of the Mass is Victoria uses the Requiem Mass to paint a apt; it is a Requiem for both an Empress more contrapuntal than the Taedet – it is musical portrait of grief, where time stands and a composer and indeed an age – the scored for six-part choir with divided Alfonso Lobo still and the world, a different place end of Spain’s golden century and the end trebles, alto, divided tenors and bass. The (1555 – 1617) through the veil of sorrow, moves slowly, of Renaissance music. plainsong melodies, sung by high voices sometimes painfully. The polyphony is in accordance with the original Versa est in luctum solemn but incredibly intense; dissonance, The Empress died on February 26, 1603 manuscript, are taken over into the which might usually be short, is and was buried three days later in what polyphonic fabric in the second treble part. Alfonso Lobo’s Versa est in luctum was augmented to draw out the hurt, passion we believe to have been a very simple The first treble soars above and below this written in 1598 for Philip II of Spain’s and confusion. ceremony. The great funeral rites took chant giving the whole texture a wonderful memorial at Toledo Cathedral. It is one of place on April 22 and 23 in the church of luminosity that has at times been described a group of seven motets that follow six of Versa est is an exquisite setting of the St Peter and St Paul, where Madrid as ‘ritualised weeping in music’. At the end Lobo’s Masses entitled ‘for devout singing words ‘My harp is turned to mourning’. Cathedral now stands. It was for these of Mass the Deacon gives the Dismissal. at solemn Mass’. It is likely that it was sung Victoria once again returns to slow-moving services that Victoria composed his music. at the end of the Missa pro defunctis and, polyphony; the human mind is deep in In common with other settings of the time, At this point the assembled clergy would as with the Victoria Requiem, this setting thought, oblivious to the world outside. Victoria did not confine his setting to the have moved back to the coffin to perform of the words, ‘My harp is turned to Mass alone, but also included items from the Great Absolution. It seems likely that mourning’, provides an emotional We end with the final pleading: ‘Lord have the Office of the Dead and the Great something would have been sung while the underpinning to the text. mercy, Christ have mercy, Lord have mercy.’ Absolution. preparations were being made for this © 2005 David Buckley - 1 - - 2 - Tomás Luis de Victoria commencer, bien qu’incertaine, mais pour Essayer de recréer une interprétation probable. Pendant que l’on chantait Libera (c. 1548 – 1611) finir presque un cri de désespoir, n’y ayant « authentique » de cette œuvre requiert un me, le cercueil était aspergé d’eau bénite aucune conclusion compréhensible. certain nombre de conjectures. Nous ne et encensé. La cérémonie se terminait par Officium Defunctorum Christopher Monks sommes pas certains du placement de cer- le chant de l’ancienne supplication: tains motets ni des pratiques d’exécution ‘Seigneur, aie pitié de nous, Christ, aie pitié 1605 espagnoles précises à l’aube du XVIIème de nous, Seigneur, aie pitié de nous’. Le Requiem de Victoria fut écrit à la siècle. Qui plus est, bien que des recueils Jusqu’à la fin, le Requiem de Victoria Victoria composa l’une des plus mémoire de l’impératrice douairière liturgiques aient survécu, beaucoup de démontre une ferveur ibérique dans une étonnantes mises en musique de la messe Maria, fille de Charles V, épouse de détails sur le rituel nous manquent. sérénité spirituelle, la plus appropriée de Requiem, explorant en profondeur à la Maximilien II et mère de deux empereurs. pour les derniers rites consacrés à une fois la signification théologique et la Il fut publié en 1605 et semble être la Le Taedet animam meam vient de l’Office impératrice. Qu’elle repose en paix. complexité des émotions humaines. dernière œuvre qu’il composa avant sa de Louanges et de l’Office du Matin que mort en 1611. Ainsi, la qualification de l’on chantait autour du cercueil, avant la Victoria se sert de la messe de Requiem cette œuvre par son compositeur de messe. La mise en musique de la messe Alfonso Lobo pour peindre un portrait musical de la « chant du cygne » était malheureusement est plus contraponctuelle que le Taedet – (1555 – 1617) peine, où le temps s’immobilise et le opportune ; c’est un Requiem à la fois pour elle est composée pour une chorale à six monde, un endroit différent à travers le une impératrice, un compositeur et une voix comprenant deux sopranos, un alto, Versa est in luctum voile du chagrin, bouge lentement, parfois époque : la fin du siècle d’or de l’Espagne deux ténors et une basse. Les mélodies du dans la douleur. Sa polyphonie est et la fin de la musique de la Renaissance. plain-chant, chantées par des voix aiguës Versa est in luctum d’Alfonso Lobo fut écrit solennelle mais incroyablement intense; la suivant le manuscrit original, sont en 1598 pour la messe de souvenir de dissonance, qui est d’habitude plutôt L’impératrice s’éteignit le 26 février 1603 transportées dans le tissu polyphonique Philipe II d’Espagne à la cathédrale de courte, est augmentée pour prolonger la et ses funérailles eurent lieu trois jours dans le second soprano. Le premier Tolède. Il fait partie de sept motets qui peine, la passion et la confusion. plus tard lors d’une cérémonie que nous soprano s’élève au-dessus et en-dessous de suivent six Messes de Lobo intitulées pensons très simple. Les grands rites ce chant, donnant à la texture une merveill- « pour le chant dévoué à la messe Versa est est une mise en musique exquise funèbres se déroulèrent le 22 et 23 avril euse luminosité que l’on a parfois qualifiée solennelle ». On pense qu’il était chanté à des mots « Ma harpe se tourne vers le dans l’église Saint Pierre et Saint Paul, où de « larmes ritualisées en musique ». A la la fin de la Missa pro defunctis et, tout deuil ». Victoria retourne à une polyphonie se trouve aujourd’hui la cathédrale fin de la messe, le diacre donne le Congé. comme le Requiem de Victoria, cette mise lente, l’esprit humain est absorbé dans ses madrilène. C’est pour ces services que en musique des mots « Ma harpe se tourne pensées, oublieux du monde extérieur. Victoria composa sa musique. Comme A ce moment-là, les membres du clergé vers le deuil » offre une base émotionnelle d’autres mises en musique de l’époque, rejoignent le cercueil pour procéder à au texte. On finit par la dernière prière « Seigneur, Victoria ne les limita pas à la seule messe, l’Absoute. On chantait probablement © 2005 David Buckley aie pitié de nous, Jésus, aie pitié de nous, mais inclut également l’Office des Morts pendant la préparation de cette cérémonie (traduction Florence Grammond) Seigneur, aie pitié de nous ». Calme pour et l’Absoute. complexe – Versa est in luctum est - 3 - - 4 - Tomás Luis de Victoria Schrei der Verzweiflung. Das Ende oder der doch mit einer gewissen Vermutung an die vorbereitet wurde, wurde auch weiter (c. 1548 – 1611) Abschluss ist nicht klar zu hören. Sache herangehen. Wir wissen nicht genau, einiges leise gesungen- zum Beispiel Versa Christopher Monks wohin gewisse Motette gehören , und dann est in luctum. Sowie dann Libera me Officium Defunctorum 1605 sind wir auch nicht sicher wie die gesungen ist, wird der Sarg mit heiligem Victorias Requiem war zu Ehren von der Aufführungen im Spanien zu Anfang des l7. Wasser bespritzt und beweihraeuchert. Victoria hat eine höchst erstaunliche Königin-Witwe Maria, Tochter von Charles des Jahrhunderts waren, Wenn auch liturgische Vertonung seiner Requiem-Messe V., Ehefrau von Maximiliam des II und Mutter Bücher überleben, so sind doch viele Details Die Zeremonie endet mit dem Gesang der komponiert, von tiefer theologischer von zwei Kaiser geschrieben.
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