The Foundation Juan March commemorates the fourth centenary of the death of Tomás Luis of Victoria

The Foundation Juan March commemorates the fourth centenary of the death of Tomás Luis of Victoria

 

Coinciding with the fourth concert dedicated to the Music for the Good one to Die, the Foundation Juan March has dedicated this Thematic Monday to the interpretation on the part of the group Music Ficta of three of the big works of Tomás Luis of Victoria.

This year there are commemorated four hundred years of the death of the artist, born in Avila in 1548, and different conferences and concerts will be realized to honor him. The Foundation March received inside its musical programming the first one.

The Renaissance Castilian School takes as a main figure Tomás Luis of Victoria, continued by another two big personalities: Cristóbal de Morales - main representative of the Andalusian School - and Francisco Guerrero - disciple of previous and teacher of chapel of the Cathedral of Seville-. It will be Victoria the one that contributes to this genre its most particular educations learned in Rome, where it went with seventeen years and where priest devoted himself also, going so far as to be related to San Filippo Neri. There he studied in Collegium Germanicum, institution of the Jesuits dedicated to impelling the fundamental beginning of the Catholic Counter-Reformation. Of this beginning it will divide big part of its musical inspiration.

 

All its work is sacred. Its main characteristics are the austerity and the intensity of the same ones. And also, almost all, they have a “precise and concise liturgical functionality”, as points out Claudio Gallico in its History of the Music. Between its compositions he emphasizes the taste for the motet, which consists of a born polyphonic composition in the XIIIth century, of religious characteristics and of Biblical topic fundamentally, that it will be evolving until the XVIIth century. It will be from the XVth when it already does not present any musical accompaniment, staying only the voices “to capella”.

In addition to the motet, and inside the religious fervor, they stand out for its elaborate skill and the feeling of the death Officium Hebdomadae Sactae and Officium Defunctorum, that it is one of the pieces that Musician Ficta interpreted. This deep-rooted sense of the death in the native tradition will be very frequent in the Spain of the XVth century, with the Popular folk songs for the Death of its Father, of Jorge Manrique, the influence of Dante's work (Hell, Purgatory and Paradise) in the poems of the Marquess of Santillana, already Prerrenacentista, and especially in the transition of the Renaissance to the Baroque, it will be felt in the paintings of Valdés Leal and its allegories of Finis Gloriae Mundi.

Its work is slightly abundant. For example, opposite to 103 Palestrina masses, Victoria just composed 21. It it stems from the big mission that it was attacking with the achievement of its music: a contribution to the “exaggeration of the God's Kingdom”, as point out Encirclements and I will Fit in its monograph of the artist. Of it it leaves steadfastness in one of the dedications that directs Felipe II in a masses book: "… I tackled the task of putting in my music, especially, that part that to every step is celebrated in the Catholic Church. So: to what better end must it serve the music, but to the sacred praises of that immortal God of who the rhythm and the compass proceed …?”.

It will be from 1596 when it turns into teacher of the Empress Maria, sister of Felipe II, in the Convent of the Barefooted Real ones, where he was living in closing ceremony. And it will be for her that it composes the famous Officium Defunctorum, finished in 1603, and that it was released in 1605 for its funeral in the current Collegiate church of San Isidro, and not in the Barefooted Real ones, as was thought in the beginning, since the dimensions of this Monastery were too much reduced for an event as important as it was the funeral of the sister of the King.

 

This Office bases on the history of a man who asks God why he must scare with the death and the darkness when the life already of for itself is a tears vale, as points out the director of the set, Raúl Mallavibarrena. Tomás Luis of Victoria contributed a clear dramatic element of the death: the man must face it with compassion, faith and humility.

The program that Musician Ficta offered was a clear summary of what native of Avila supposed the work of the clergyman: the Responses of Darkness for the Maundy Thursday, Officium Defunctorum and the motet Vadam et circumibo civitatem. Mallavibarrena, emphasizes from the last one the brilliant disposition of the voices, in a clear dialogue between serious and sharp following the poems of Singing of the Cantares, characteristic, on the other hand, already very baroque.

The set Musician Ficta goes from 1992 devoting itself to the interpretation of music and religious polyphony of the Renaissance. Its last original album is the one that they have dedicated to Tomás Luis of Victoria with its Eighteen Responses of Darkness. In this occasion, the interpreters were:

I fall with Fruits, soprano

Lore Agustín, soprano

Jordi Abelló, high place

José Pizarro, tenor

Ariel Hernández, tenor

Tomás Maxè, under

Raúl Mallavibarrena, the director

The Cycle of Music for the Good one to Die is completed on February 7 with authors' Dies Irae like César Franck or Johann Sebastian Bach; on March 7 with Réquiem de Schubert and Mozart interpreted by Quartet Voce; on April 4 with Tombeau. In memóriam, with Ann Guijarro to the piano; and finally, on May 9, the Lamentations, with Giuseppe De Vittorio as tenor and Ensemble Laboratorio ‘600.

Almudena Martínez Martín


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The Foundation Juan March commemorates the fourth centenary of the death of Tomás Luis of Victoria | Magazine Atticus

The Foundation Juan March commemorates the fourth centenary of the death of Tomás Luis of Victoria

The Foundation Juan March commemorates the fourth centenary of the death of Tomás Luis of Victoria

 

Coinciding with the fourth concert dedicated to the Music for the Good one to Die, the Foundation Juan March has dedicated this Thematic Monday to the interpretation on the part of the group Music Ficta of three of the big works of Tomás Luis of Victoria.

This year there are commemorated four hundred years of the death of the artist, born in Avila in 1548, and different conferences and concerts will be realized to honor him. The Foundation March received inside its musical programming the first one.

The Renaissance Castilian School takes as a main figure Tomás Luis of Victoria, continued by another two big personalities: Cristóbal de Morales - main representative of the Andalusian School - and Francisco Guerrero - disciple of previous and teacher of chapel of the Cathedral of Seville-. It will be Victoria the one that contributes to this genre its most particular educations learned in Rome, where it went with seventeen years and where priest devoted himself also, going so far as to be related to San Filippo Neri. There he studied in Collegium Germanicum, institution of the Jesuits dedicated to impelling the fundamental beginning of the Catholic Counter-Reformation. Of this beginning it will divide big part of its musical inspiration.

 

All its work is sacred. Its main characteristics are the austerity and the intensity of the same ones. And also, almost all, they have a “precise and concise liturgical functionality”, as points out Claudio Gallico in its History of the Music. Between its compositions he emphasizes the taste for the motet, which consists of a born polyphonic composition in the XIIIth century, of religious characteristics and of Biblical topic fundamentally, that it will be evolving until the XVIIth century. It will be from the XVth when it already does not present any musical accompaniment, staying only the voices “to capella”.

In addition to the motet, and inside the religious fervor, they stand out for its elaborate skill and the feeling of the death Officium Hebdomadae Sactae and Officium Defunctorum, that it is one of the pieces that Musician Ficta interpreted. This deep-rooted sense of the death in the native tradition will be very frequent in the Spain of the XVth century, with the Popular folk songs for the Death of its Father, of Jorge Manrique, the influence of Dante's work (Hell, Purgatory and Paradise) in the poems of the Marquess of Santillana, already Prerrenacentista, and especially in the transition of the Renaissance to the Baroque, it will be felt in the paintings of Valdés Leal and its allegories of Finis Gloriae Mundi.

Its work is slightly abundant. For example, opposite to 103 Palestrina masses, Victoria just composed 21. It it stems from the big mission that it was attacking with the achievement of its music: a contribution to the “exaggeration of the God's Kingdom”, as point out Encirclements and I will Fit in its monograph of the artist. Of it it leaves steadfastness in one of the dedications that directs Felipe II in a masses book: "… I tackled the task of putting in my music, especially, that part that to every step is celebrated in the Catholic Church. So: to what better end must it serve the music, but to the sacred praises of that immortal God of who the rhythm and the compass proceed …?”.

It will be from 1596 when it turns into teacher of the Empress Maria, sister of Felipe II, in the Convent of the Barefooted Real ones, where he was living in closing ceremony. And it will be for her that it composes the famous Officium Defunctorum, finished in 1603, and that it was released in 1605 for its funeral in the current Collegiate church of San Isidro, and not in the Barefooted Real ones, as was thought in the beginning, since the dimensions of this Monastery were too much reduced for an event as important as it was the funeral of the sister of the King.

 

This Office bases on the history of a man who asks God why he must scare with the death and the darkness when the life already of for itself is a tears vale, as points out the director of the set, Raúl Mallavibarrena. Tomás Luis of Victoria contributed a clear dramatic element of the death: the man must face it with compassion, faith and humility.

The program that Musician Ficta offered was a clear summary of what native of Avila supposed the work of the clergyman: the Responses of Darkness for the Maundy Thursday, Officium Defunctorum and the motet Vadam et circumibo civitatem. Mallavibarrena, emphasizes from the last one the brilliant disposition of the voices, in a clear dialogue between serious and sharp following the poems of Singing of the Cantares, characteristic, on the other hand, already very baroque.

The set Musician Ficta goes from 1992 devoting itself to the interpretation of music and religious polyphony of the Renaissance. Its last original album is the one that they have dedicated to Tomás Luis of Victoria with its Eighteen Responses of Darkness. In this occasion, the interpreters were:

I fall with Fruits, soprano

Lore Agustín, soprano

Jordi Abelló, high place

José Pizarro, tenor

Ariel Hernández, tenor

Tomás Maxè, under

Raúl Mallavibarrena, the director

The Cycle of Music for the Good one to Die is completed on February 7 with authors' Dies Irae like César Franck or Johann Sebastian Bach; on March 7 with Réquiem de Schubert and Mozart interpreted by Quartet Voce; on April 4 with Tombeau. In memóriam, with Ann Guijarro to the piano; and finally, on May 9, the Lamentations, with Giuseppe De Vittorio as tenor and Ensemble Laboratorio ‘600.

Almudena Martínez Martín


Bookmark

Filed file: General

Did he like this article? Subscribe to my RSS feed and to obtain more discharges!

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