Album insights
Born in Ávila in 1548, Tomás Luis de Victoria, the greatest composer of the Spanish polyphonic music era in the 16th century, initiated his music training around 1558 at the local cathedral as a choirboy. Following his voice change, he embarked to Rome in 1565, entering the Collegium Germanicum as a student. Spending the next two decades in Rome, Victoria held significant positions at various locations. Notable among them were at S Maria di Monserrato church, Collegium Germanicum, Roman Seminar (where he succeeded Palestrina as maestro di cappella in 1571), and S Apollinare church. Ordained in 1575, Victoria later became chaplain at S Girolamo della Caritá church. Departing from Italy around 1587, he assumed the chaplaincy at Monasterio de las Descalzas de Santo Clara de la Villa de Madrid, serving the widowed Empress María, leading the priest and choir boys associated with the convent.
Widely recognized for his meticulous craftsmanship, Tomás Luis de Victoria had a modest output compared to other Renaissance composers like Palestrina and Lassus, releasing no secular works. Yet, his compositions, marked by intricate details and inventive flair, showcased his dedication to rigorous self-assessment over the years. Influenced by past Spanish masters and his time in Rome, particularly his probable interactions with Palestrina, Victoria's style boasted chromatic nuances and subtle harmonic shades, setting him apart from his contemporaries. His music, distinguished by passionate intensity, garnered him well-deserved acclaim.
The presented CD features a range of Victoria's works, predominantly composed for double choir, with intricate ties to the Virgin Mary or Marian liturgy contexts. Notably, a substantial portion of Victoria's limited opus is devoted to this category, encompassing ten Antiphon settings, seven Masses, and ten Motets out of his repertoire. Among these are two Ave maris stella settings among his liturgical compositions.
One of Victoria's elaborate works, the eight-voice Ave Regina caelorum, was originally employed in liturgy as an antiphon before and after singing Psalms. This motet was masterfully structured, incorporating homophonic passages and polyphonic dialogues, reflecting his compositional finesse.
Victoria's Missa Ave Regina caelorum, designed for two equivalent SATB choirs, serves as a "parody mass," hinged on his own two motets Ave Regina caelorum. Embracing a common practice of that era, Victoria derived material from existing motets to compile larger works, showcasing adept interplay between original and new elements, impeccably demonstrated in the Gloria and Credo movements.
Victoria's Ave Maria settings, one for four voices and the other for eight, eloquently reflect his artistry and reverence towards the Virgin Mary prayers, evoking emotive melodies in a predominantly homophonic style, contrasting the grandeur of his double-choir compositions.
Crafted for dual equal-strength choirs, Dixit Dominus and Laudate pueri Dominum feature vivacious antiphonal arrangements, while Nisi Dominus highlights rhythmic diversity and impressive contrasts. The Magnificat septimi toni, highlighted with polyphonic richness, signifies Victoria's nuanced approach to Marian hymns, employing fugal polyphony derived from the Gregorian chant.
In essence, Tomás Luis de Victoria's œuvre emerges as a testament to his innovative approach, intricate polyphonic structures, and devout reverence, solidifying his legacy as a revered figure in the realm of Renaissance polyphony.