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The Tenebræ responsories come from an immense collection of polyphonic music for Holy Week, the Officium Hebdomadæ Sanctæ, published by Victoria in 1585, which brings together several pieces written during the twenty years he spent in Rome. The responsories, brought together here, form part of a much longer Tenebræ, which essentially combined the monastic Hours of matins and lauds, for each of the final three days of the Holy Week. One of the characteristic traits of this service consists in the progressive extinguishing of fifteen votive candles until the church is finally plunged into the darkness from which the ceremony draws its name. The responsory is one part of a much broader liturgy, which was for the most part sung in plainsong. The musical richness of Victoria's polyphonic compositions made a striking contrast to this liturgy. Such an effect is harder to effect in concert, or even on a recording, where we are outside the liturgical context: here, we have uninterrupted polyphony. While the music is very varied, the uninterrupted use of the same mode and the same textures in three or four pieces throughout these 18 Responsories could, at times, give the impression that one is listening to a single piece. To counteract that impression, here and there the Stile Antico vocal ensemble has introduced extracts from readings of the Lamentations, sung in plainsong at the end of each Responsory. And so the contrast is restored. The programme closes with the luminous and oh-so-soothing six-voice motet for Holy Week O Domine Jesu Christi, again published in Rome in 1576. © SM/Qobuz
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Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Anonymous, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Anonymous, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Anonymous, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Tomás Luis de Victoria, Composer - Stile Antico, Ensemble, MainArtist
harmonia mundi harmonia mundi
Album review
The Tenebræ responsories come from an immense collection of polyphonic music for Holy Week, the Officium Hebdomadæ Sanctæ, published by Victoria in 1585, which brings together several pieces written during the twenty years he spent in Rome. The responsories, brought together here, form part of a much longer Tenebræ, which essentially combined the monastic Hours of matins and lauds, for each of the final three days of the Holy Week. One of the characteristic traits of this service consists in the progressive extinguishing of fifteen votive candles until the church is finally plunged into the darkness from which the ceremony draws its name. The responsory is one part of a much broader liturgy, which was for the most part sung in plainsong. The musical richness of Victoria's polyphonic compositions made a striking contrast to this liturgy. Such an effect is harder to effect in concert, or even on a recording, where we are outside the liturgical context: here, we have uninterrupted polyphony. While the music is very varied, the uninterrupted use of the same mode and the same textures in three or four pieces throughout these 18 Responsories could, at times, give the impression that one is listening to a single piece. To counteract that impression, here and there the Stile Antico vocal ensemble has introduced extracts from readings of the Lamentations, sung in plainsong at the end of each Responsory. And so the contrast is restored. The programme closes with the luminous and oh-so-soothing six-voice motet for Holy Week O Domine Jesu Christi, again published in Rome in 1576. © SM/Qobuz
About the album
- 1 disc(s) - 22 track(s)
- Total length: 01:11:09
- 1 Digital booklet
- Main artists: Stile Antico
- Composer: Various Composers
- Label: harmonia mundi
- Genre: Classical
harmonia mundi harmonia mundi
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