Jordi Savall Tomas Luis de Victoria: Passion - Officium Hebdomadae Sanctae Hybrid Multi-Channel & Stereo 3SACD
Jordi Savall Tomas Luis de Victoria: Passion - Officium Hebdomadae Sanctae Hybrid Multi-Channel & Stereo 3SACD

Share:

Jordi Savall Tomas Luis de Victoria: Passion - Officium Hebdomadae Sanctae Hybrid Multi-Channel & Stereo 3SACD

Jordi Savall

$36.99
 
 
 
Availability: Preorder
In Stock An In Stock item is available to ship normally within 24 business hours.
Preorder A Preorder is an item that has not yet been released. Typically the label will set a projected release date (that is subject to change). If a projected release date is known, we will include this in the description in red. Other Preorders are set to release "TBA." This means that release date is yet "To Be Announced". The Preorder can be released anywhere between weeks, months or years from its initial announcement.
Backordered An Out Of Stock item is an item that we normally have available to ship but we are temporarily out of. We do not have a specific date when it will be coming.
Awaiting Repress Awaiting repress titles are in the process of being repressed by the label. No ETA is available at this time.
Expected On When an item is Out Of Stock and we have an estimated date when our stock should arrive, we list that date on our website in the part's description. It is not guaranteed.
Special Order A Special Order item is an item that we do not stock but can order from the manufacturer. Typical order times are located within the product description.
SKU:
AVSAM9943
UPC:
8435408099431

Coming July 18, 2021 pre-order your copy today! Orders with both pre-order and in stock items will have all in stock items shipped immediately!

Jordi Savall Conducts Victoria's Officium Hebdomadae Sanctae!

Tomás Luis de Victoria's OFFICIUM HEBDOMADÆ SANCTÆ is one of the most compelling examples of creative genius in a composer, a toweringly poignant and masterpiece on the Passion of Christ, a pure but infinitely subtle creation, Ad majorem Dei gloriam.

More than 70 years ago, the sequences of Gregorian chant and polyphonic music such as that of Tomás Luis de Victoria made a profound impression on Savall's musical experience at that time from 1949 to 1953, when he was a chorister under the direction of Joan Just in the boys' choir of the Piarist school at Igualada, Catalonia. To have been submerged in the beauty of that music during his childhood unquestionably made a lasting impact and shaped certain aspects of his education as a chorister, and particularly his musical sensibility. The memory of those spellbinding chants also had a decisive influence on his choice to study the cello a few years later, just before he turned 15, when he was spellbound one evening at a rehearsal of Mozart's Requiem. It was after that evening of extraordinary intensity, and thanks to Joan Just, who conducted the choir of the Schola Cantorum in Igualada, that he fully realized the power of music and decided to become a musician.

To embark - well into the 21st century - on the performance of a great religious masterpiece composed more than 400 years ago for the celebration of the liturgical offices of its own very specific age poses a number of crucial questions and as many exceptional challenges. How are we to conceive a present-day interpretation of a composition so intimately associated with Christian worship in the Counter-Reformation, remaining faithful to the composer's intention and the musical practice of his day, whilst at the same time ensuring that it conveys all the work's beauty and spirituality without neglecting its liturgical purpose? What is the essential quality of a work of art which makes it possible for a piece of music composed in 1585 to continue to move and touch us deeply today? To what extent can the artistic dimension of that work of art exist independently of the liturgical context which inspired it? Can we today feel the full spiritual force and beauty of these Gregorian chants and ancient polyphonies completely independently of the liturgical purpose for which they were created? How can we, as musicians and singers of the 21st century, truly grasp the profound spiritual message and the artistic sense that Tomás Luis de Victoria conveys in this colossal masterpiece?

Ultimately, the answers to all these questions are to be found in the music; in other words, in the last analysis, it is the essence of the music itself which provides the key to unlocking its mystery. We know that music admits no duplicity, least of all the music of Victoria, and that is why the utmost purity of commitment and sensibility are required of the performers: each voice, each instrument must own the profound meaning of each melody and modulation, sharing with the other voices the absolute need to find meaning and, above all, "grace." As La Fontaine said, "Cette grâce plus belle que la beauté" ("That grace which is more beautiful than beauty itself") because it directly touches our soul. So before all else, we must study the original document, since any transcription is in itself an interpretation. First of all, we had to study the original edition of the collection printed at Rome in 1585 under the title OFFICIUM HEBDOMADÆ SANCTÆ, and subsequently the corresponding Gregorian antiennes, especially in the case of the Passions, where Victoria composed only some of the verses (21 verses for the St. Matthew and 14 for the St. John), corresponding to the passages in which several characters intervene.

In contrast to other pieces from the Officium, such as Tantum ergo, Vexilla regis, written in the "moro hispano," or Spanish style, in the two Passions Victoria uses the Gregorian chant customary in the Roman tradition. Savall and company, therefore, based their reconstruction of the Evangelist's and Jesus's Gregorian parts, corresponding to the two Passions according to St. Matthew and St. John included in the Officium, on Giovanne Domenico Guidetti (JOHANNE GVIDETTO BONONIENS in the printed edition) CANTUS ECCLESIASTICUS (brilliantly performed and sung by "cantor" and celebrant Andrés Montilla-Acurero).

Tomás Luis de Victoria's OFFICIUM HEBDOMADÆ SANCTÆ is one of the most compelling examples of creative genius in a composer, a toweringly poignant and masterpiece on the Passion of Christ, a pure but infinitely subtle creation, Ad majorem Dei gloriam.

Features

  • Hybrid Multi-Channel & Stereo SACD
  • 3 Discs

Musicians

Andrés Montilla-Acurero cantor
La Capella Reial de Catalunya
Hespèrion XXI
Lluís Vilamajó preparation of the vocal ensemble
Jordi Savall conductor

Selections

SACD1

    DOMINICA IN RAMIS PALMARUM

  1. 1-5.- Pueri Hebræorum. Passio secundum Mathæum. O Domine Jesu Christe
  2. FERIA QUINTA IN CENA DOMINI

  3. 6-20. - LAMENTATIO JEREMIÆ PROPHETÆ (Lectio Prima, Lectio Secunda, Lectio Tertia)
  4. 21-29.SEX TENEBRÆ RESPONSORIA
  5. 30-33. AD LAUDES. Benedictus Dominus. Miserere. Pange lingua

SACD2

    FERIA SEXTA IN PASSIONE DOMINI

  1. 1-10. LAMENTATIO JEREMIÆ PROPHETÆ
  2. 11-20. SEX TENEBRÆ RESPONSORIA
  3. 21-22. AD LAUDES. Passio secundum Joannem
  4. 23-26. IN ADORATIONE CRUCIS. Vere languores. Popule meus

SACD3

    SABBATO SANCTO

  1. 1-14. LAMENTATIO JEREMIÆ PROPHETÆ
  2. 15-25. SEX TENEBRÆ RESPONSORIA
  3. 26-29. AD LAUDES. Benedictus Dominus. Miserere. Vexilla regis
Description

Coming July 18, 2021 pre-order your copy today! Orders with both pre-order and in stock items will have all in stock items shipped immediately!

Jordi Savall Conducts Victoria's Officium Hebdomadae Sanctae!

Tomás Luis de Victoria's OFFICIUM HEBDOMADÆ SANCTÆ is one of the most compelling examples of creative genius in a composer, a toweringly poignant and masterpiece on the Passion of Christ, a pure but infinitely subtle creation, Ad majorem Dei gloriam.

More than 70 years ago, the sequences of Gregorian chant and polyphonic music such as that of Tomás Luis de Victoria made a profound impression on Savall's musical experience at that time from 1949 to 1953, when he was a chorister under the direction of Joan Just in the boys' choir of the Piarist school at Igualada, Catalonia. To have been submerged in the beauty of that music during his childhood unquestionably made a lasting impact and shaped certain aspects of his education as a chorister, and particularly his musical sensibility. The memory of those spellbinding chants also had a decisive influence on his choice to study the cello a few years later, just before he turned 15, when he was spellbound one evening at a rehearsal of Mozart's Requiem. It was after that evening of extraordinary intensity, and thanks to Joan Just, who conducted the choir of the Schola Cantorum in Igualada, that he fully realized the power of music and decided to become a musician.

To embark - well into the 21st century - on the performance of a great religious masterpiece composed more than 400 years ago for the celebration of the liturgical offices of its own very specific age poses a number of crucial questions and as many exceptional challenges. How are we to conceive a present-day interpretation of a composition so intimately associated with Christian worship in the Counter-Reformation, remaining faithful to the composer's intention and the musical practice of his day, whilst at the same time ensuring that it conveys all the work's beauty and spirituality without neglecting its liturgical purpose? What is the essential quality of a work of art which makes it possible for a piece of music composed in 1585 to continue to move and touch us deeply today? To what extent can the artistic dimension of that work of art exist independently of the liturgical context which inspired it? Can we today feel the full spiritual force and beauty of these Gregorian chants and ancient polyphonies completely independently of the liturgical purpose for which they were created? How can we, as musicians and singers of the 21st century, truly grasp the profound spiritual message and the artistic sense that Tomás Luis de Victoria conveys in this colossal masterpiece?

Ultimately, the answers to all these questions are to be found in the music; in other words, in the last analysis, it is the essence of the music itself which provides the key to unlocking its mystery. We know that music admits no duplicity, least of all the music of Victoria, and that is why the utmost purity of commitment and sensibility are required of the performers: each voice, each instrument must own the profound meaning of each melody and modulation, sharing with the other voices the absolute need to find meaning and, above all, "grace." As La Fontaine said, "Cette grâce plus belle que la beauté" ("That grace which is more beautiful than beauty itself") because it directly touches our soul. So before all else, we must study the original document, since any transcription is in itself an interpretation. First of all, we had to study the original edition of the collection printed at Rome in 1585 under the title OFFICIUM HEBDOMADÆ SANCTÆ, and subsequently the corresponding Gregorian antiennes, especially in the case of the Passions, where Victoria composed only some of the verses (21 verses for the St. Matthew and 14 for the St. John), corresponding to the passages in which several characters intervene.

In contrast to other pieces from the Officium, such as Tantum ergo, Vexilla regis, written in the "moro hispano," or Spanish style, in the two Passions Victoria uses the Gregorian chant customary in the Roman tradition. Savall and company, therefore, based their reconstruction of the Evangelist's and Jesus's Gregorian parts, corresponding to the two Passions according to St. Matthew and St. John included in the Officium, on Giovanne Domenico Guidetti (JOHANNE GVIDETTO BONONIENS in the printed edition) CANTUS ECCLESIASTICUS (brilliantly performed and sung by "cantor" and celebrant Andrés Montilla-Acurero).

Tomás Luis de Victoria's OFFICIUM HEBDOMADÆ SANCTÆ is one of the most compelling examples of creative genius in a composer, a toweringly poignant and masterpiece on the Passion of Christ, a pure but infinitely subtle creation, Ad majorem Dei gloriam.

Features

  • Hybrid Multi-Channel & Stereo SACD
  • 3 Discs

Musicians

Andrés Montilla-Acurero cantor
La Capella Reial de Catalunya
Hespèrion XXI
Lluís Vilamajó preparation of the vocal ensemble
Jordi Savall conductor

Selections

SACD1

    DOMINICA IN RAMIS PALMARUM

  1. 1-5.- Pueri Hebræorum. Passio secundum Mathæum. O Domine Jesu Christe
  2. FERIA QUINTA IN CENA DOMINI

  3. 6-20. - LAMENTATIO JEREMIÆ PROPHETÆ (Lectio Prima, Lectio Secunda, Lectio Tertia)
  4. 21-29.SEX TENEBRÆ RESPONSORIA
  5. 30-33. AD LAUDES. Benedictus Dominus. Miserere. Pange lingua

SACD2

    FERIA SEXTA IN PASSIONE DOMINI

  1. 1-10. LAMENTATIO JEREMIÆ PROPHETÆ
  2. 11-20. SEX TENEBRÆ RESPONSORIA
  3. 21-22. AD LAUDES. Passio secundum Joannem
  4. 23-26. IN ADORATIONE CRUCIS. Vere languores. Popule meus

SACD3

    SABBATO SANCTO

  1. 1-14. LAMENTATIO JEREMIÆ PROPHETÆ
  2. 15-25. SEX TENEBRÆ RESPONSORIA
  3. 26-29. AD LAUDES. Benedictus Dominus. Miserere. Vexilla regis
ISBN
PREORDER
ASSOC
S
Genre
Classical
If Can Be Discounted
YES
Discontinued
NO
Inventory
.00
Construct
0
Dropship
0
Record Speed Record Size
Artist
Jordi Savall
Title
Tomas Luis de Victoria: Passion - Officium Hebdomadae Sanctae
Composer
Additional Artists
La Capella Reial de Catalunya, Hesperion XXI
Record Weight
Record Speed
Multi Channel
Stereo
1
Mono
Colored
Picture Disc
1/2 Speed
DMM
Out of Print
Sell Hold/Repressing
Direct to disc
Creation Date
04-29-2021
Release Date
Scratch & Dent
0
Availability
Preorder
Format
SACD
back to top