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BIBLIOTHÈQUE
Victoria, Tomas Luis de Tomas Luis de Victoria
Espagne Espagne
(1548 - 1611)

68 Partitions
30 MP3
39 MIDI





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Victoria, Tomas Luis de: "Missa Quam pulchri sunt" for Woodwind Quartet

"Missa Quam pulchri sunt" for Woodwind Quartet
Tomas Luis de Victoria




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Compositeur :Tomas Luis de VictoriaVictoria, Tomas Luis de (1548 - 1611)
Instrumentation :

Quatuor ą vent

Genre :

Renaissance

Arrangeur :
Editeur :
Tomas Luis de VictoriaMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Tomįs Luis de Victoria (1548 – 1611) was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer as well as a Catholic priest. However, he preferred the life of a composer to that of a performer.

Victoria was born in Sanchidriįn in the province of Įvila, Castile around 1548 and died in 1611. Victoria's family can be traced back for generations. Not only are the names of the members in his immediate family known, but even the occupation of his grandfather. Victoria was the seventh of nine children born to Francisco Luis de Victoria and Francisca Suįrez de la Concha. His mother was of converso descent. After his father's death in 1557, his uncle, Juan Luis, became his guardian. He was a choirboy in Įvila Cathedral. Cathedral records state that his uncle, Juan Luis, presented Victoria's Liber Primus to the Church while reminding them that Victoria had been brought up in the Įvila Cathedral. Because he was such an accomplished organist, many believe that he began studying the keyboard at an early age from a teacher in Įvila. Victoria most likely began studying "the classics" at St. Giles's, a boys' school in Įvila. This school was praised by St.Teresa of Avila and other highly regarded people of music.

He was a master at overlapping and dividing choirs with multiple parts with a gradual decreasing of rhythmic distance throughout. Not only does Victoria incorporate intricate parts for the voices, but the organ is almost treated like a soloist in many of his choral pieces. Victoria did not begin the development of psalm settings or antiphons for two choirs, but he continued and increased the popularity of such repertoire. Victoria reissued works that had been published previously, and included new revisions in each new issue.

Victoria published his first book of motets in 1572. In 1585 he wrote his Officium Hebdomadae Sanctae, a collection which included 37 pieces that are part of the Holy Week celebrations in the Catholic liturgy, including the eighteen motets of the Tenebrae Responsories.

Stylistically, his music shuns the elaborate counterpoint of many of his contemporaries, preferring simple line and homophonic textures, yet seeking rhythmic variety and sometimes including intense and surprising contrasts. His melodic writing and use of dissonance is more free than that of Palestrina; occasionally he uses intervals which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths (for example, a melodic diminished fourth occurs in a passage representing grief in his motet Sancta Maria, succurre). Victoria sometimes uses dramatic word-painting, of a kind usually found only in madrigals. Some of his sacred music uses instruments (a practice which is not uncommon in Spanish sacred music of the 16th century), and he also wrote polychoral works for more than one spatially separated group of singers, in the style of the composers of the Venetian school who were working at St. Mark's in Venice.

The mass (Latin: missa), a form of sacred musical composition, is a choral composition that sets the invariable portions of the Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism) to music. Most masses are settings of the liturgy in Latin, the liturgical sacred language of the Catholic Church's Roman liturgy, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there are many masses (often called "communion services") written in English for the Church of England. Musical masses take their name from the Catholic liturgy called "the mass" as well. Masses can be a cappella, that is, without an independent accompaniment, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass.

Source: Wikipedia (https://en.wikipedia.org/wiki/Tom%C3%A1s_Luis_de_Victo ria ).

Although originally created for four (4) voices (SATB), I created this Interpretation of the "Missa Quam pulchri sunt" (How beautiful are thy steps) for Woodwind Quartet (Flute, Oboe, Bb Clarinet & Bassoon).

Download the sheet music here: https://musescore.com/user/13216/scores/5642959
Source / Web :MuseScore
Ajoutée par magataganm le 2019-07-15



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Cette partition est associée ą la collection de magataganm :
flûte
flûte
Dispositions Flute
Liste des partitions :
› Élévation from 30 Pièces pour Orgue for Flute & Strings
› "Matribus suis dixerunt" for Woodwind Quintet
› "2 Alma Redemptoris Mater" for Woodwinds & Strings - Vents et Quintet ą cordes
› "3 Gradualia" for Winds & Strings - Vents & Orchestre Cordes
› "A Christmas Air" for Flutes & Harp - Flute et Harpe
› "A Cup of Tea" Reel for Flute - Flūte seule
› "A Dieu Celle" for Woodwind Sextet - Sextuor ą vent.
› "A Pretty Maid Milking the Cow" for Flute, Oboe & Harp - Flūte, Hautbois, Harpe
› "A Swiss Melody" for Flute Quartet - Quatuor de Flūtes
› "Abendlied" for Woodwind Quartet - Quatuor ą vent






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