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

69 Partitions
31 MP3

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Victoria, Tomas Luis de: "Missa Officium Defunctorum" for Wind Sextet

"Missa Officium Defunctorum" for Wind Sextet
Tomas Luis de Victoria

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

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Genre :


Arrangeur :
Editeur :
Tomas Luis de VictoriaMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Tomás Luis de Victoria (ca. 1548-1611) was the most renowned Spanish Renaissance polyphonist. His works are characterized by mystical fervor and nobility of musical concepts. He was the seventh child of 11 born in Ávila to Francisco Luis de Victoria and Francisca Suárez de la Concha. His father's death in 1557 left the family in the care of an uncle who was a priest. Victoria spent several years as a choirboy in Ávila Cathedral.

In 1565 (or 1563) Victoria entered the German College at Rome. This was a Jesuit school lavishly supported by Philip II and Otto von Truchsess von Waldburg, the cardinal archbishop of Augsburg. Victoria served as organist at the Aragonese church of S. Maria di Monserrato in Rome from 1569 to 1574. In 1571 the German College hired him to teach music to the young boys. He was ordained on Aug. 28, 1575. From that year to 1577 he directed the German College choir singing at the church of S. Apollinare in Rome; from 1578 to 1585 he held a chaplaincy at S. Girolamo della Carità, the church of the newly founded Oratorians at Rome.

Victoria returned to Spain in 1587 and until 1603 served as chapelmaster of the Descalzas Reales convent in Madrid, where Philip II's sister, the Dowager Empress Maria, and her daughter, Princess Margaret, resided. From 1604 until his death on Aug. 27, 1611, he was also the organist at the convent.

In 1572 Victoria dedicated his first, and still most famous, publication to Cardinal Truchsess, a great connoisseur of church music. The 33 motecta ranging from four to eight voices in this collection include the sensuous Vere languores and O vos omnes, which to this day form the bedrock of Victoria's reputation with the broad public that knows nothing of his Magnificats, hymns, sequences, psalms, antiphons, and 20 Masses—five of which appeared in 1576, four more in 1583, seven in 1592, and the rest in 1600 and 1605.

In his 1572 motets Victoria closely followed the detail technique of Giovanni Pierluigi da Palestrina, evincing a commanding mastery of Palestrina's dissonance treatment. Personal contact with Palestrina and perhaps even lessons probably explain Victoria's absorption of the technique. From 1566 to 1571 Palestrina served as chapelmaster at the Roman College near the German College. What distinguishes Victoria's personal manner in 1572 from Palestrina's is the younger composer's frequent recourse to printed accidentals, his fondness for what would now be called melodic minor motion (sharps ascending, naturals descending), and the anticipation of 19th-century functional harmony.

Written for the funeral of Empress Maria, whose service was the composer as chaplain of the Descalzas Reales of Madrid, this Gregorian paraphrase is the last of the works published by Victoria, but no one is sure if it is the last of his compositions. The work includes the relevant parts of the Missa pro Defunctis, which Victoria adds a Lectio for four voices on a text of Job, the motet Versa est in luctum with texts by the same author, and the responsory Libera me.

Officium Defunctorum is scored for six-part chorus. It was possibly intended to be sung with two singers to each part and includes an entire Office of the Dead: in addition to a Requiem Mass, Victoria sets an extra-liturgical funeral motet, a lesson that belongs to Matins (scored for only SATB and not always included in concert performances), and the ceremony of Absolution which follows the Mass. Polyphonic sections are separated by unaccompanied chant incipits Victoria printed himself. The Soprano II usually carries the cantus firmus, though "it very often disappears into the surrounding part-writing since the chant does not move as slowly as most cantus firmus parts and the polyphony does not generally move very fast."

Source: Wikipedia ( ctoria) ).

Although originally created for six (6) voices (SSATTB), I created this Interpretation of the "Missa Officium Defunctorum" (Office of the Dead) for Wind Sextet (Flute, Oboe, Bb Clarinet, English Horn, French Horn & Bassoon).
Source / Web :MuseScore
Ajoutée par magataganm le 2019-03-28

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Cette partition est associée à la collection de magataganm :
arrangements à vent
Liste des partitions :
› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Haubois et basson
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Hautbois, Cor anglais, Basson
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "Album Leaf" from Lyric Pieces for Clarinet & Strings
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings
› "Amen Chorus" for Oboes & Strings

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