Tomás Luis de Victoria - Missa Surge Propera

Описание: Sounds a whole tone lower than score

Missa Surge Propera
Composer: Tomás Luis de Victoria (ca. 1548 - 1611)
Performers: Mixolydian, dir. Piers Schmidt

Kyrie: 0:00
Gloria: 2:55
Credo: 9:49
Sanctus: 19:54
Benedictus: 22:01
Agnus Dei: 24:17
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"Tomás Luis de Victoria (1548–1611), the greatest composer of the Spanish sixteenth-century ‘golden age’ of polyphonic music, was born in Ávila in 1548 and died in Spain in 1611. In about 1558 he became a choirboy in Ávila Cathedral, where he received his earliest musical training. When his voice broke he was sent to the Collegium Germanicum at Rome where he was enrolled as a student in 1565. He was to spend the next twenty years in Rome, where he occupied a number of posts of which the most important were at S Maria di Monserrato, the Collegium Germanicum, the Roman Seminary (where he succeeded Palestrina as maestro di cappella in 1571) and S Apollinare. In 1575 he took holy orders and three years later he was admitted to the chaplaincy at S Girolamo della Carità. Around 1587 he left Italy and in that year took up an appointment as chaplain to the dowager Empress Maria at the Royal Convent for Barefoot Clarist Nuns in Madrid, where he acted as maestro to the choir of priests and boys that was attached to the convent. Victoria served the dowager Empress from then up to her death in 1603. After that and until his own death in 1611 he held the less arduous post of organist, but the terms of his continued employment at the Convent brought him such advantages that he is said to have turned down more than one prestigious invitation to become maestro di cappella elsewhere. [...]

The Missa Surge propera is a parody Mass, based upon a motet of the same title by Palestrina, which was published in Rome by Alessandro Gardane in 1583. The motet was written for the Feast of the Visitation of the Blessed Virgin Mary (falling on 2 July). The text of the motet is taken from the Song of Songs, a biblical source of superb love poetry. As Michael Noone has pointed out, Victoria’s choice of this motet is consistent with his predilection for motets with texts taken from this source; no fewer than four of his fifteen parody Masses are based on motets whose texts are drawn from this controversial (at least in the sixteenth century) source of inspiration. It is interesting to note that, though the great bulk of Palestrina’s output was of sacred music, and he evidently thought of himself as primarily a composer of religious music, he nevertheless wrote a few books of secular and spiritual madrigals, and his fourth book of motets, published in Rome by Alessandro Gardane in 1584, was devoted entirely to settings of poetry from the Song of Songs. To judge by the many reprints of it that appeared, it was to prove one of his most popular works. The work was dedicated to Pope Gregory XIII and in the celebrated preface to it Palestrina excoriates ‘the love songs of men dominated by passion’ and says that he blushes and grieves to think that he was once one of their number, adding that though he could not change the past and undo what had been done, he had mended his ways. This, however, did not prevent him publishing a second book of madrigals a couple of years later."

~Jon Dixon

Source: https://www.hyperion-records.co.uk/dc...
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