Tomás Luis de Victoria

Tomás Luis de Victoria (sometimes Italianised as da Vittoria) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.
Life and career
Victoria was born in Sanchidrián in the province of Ávila, 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 Suárez 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 Ávila 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 Ávila Cathedral. Because he was such an accomplished organist, many believe that he began studying the keyboard at an early age from a teacher in Ávila. Victoria most likely began studying "the classics" at St. Giles's, a boys' school in Ávila. This school was praised by St.Teresa of Avila and other highly regarded people of music.
After receiving a grant from Philip II in 1565, Victoria went to Rome and became cantor at the German College founded by St. Ignatius Loyola. He may have studied with Palestrina around this time, though the evidence is circumstantial; certainly he was influenced by the Italian's style. For some time, beginning in 1573, Victoria held two positions, one being at the German College and the other being at the Pontifical Roman Seminary. He held the positions of chapelmaster and instructor of plainsong. In 1571, he was hired at the German College as a teacher and began earning his first steady income. After Palestrina left the Seminary, Victoria took over the position of maestro. Victoria was ordained a priest in 1574 by bishop Thomas Goldwell. Before this he was made a deacon, but did not serve long in that capacity as typically deacons became priests soon after. In 1575, Victoria was appointed Maestro di Capella at S. Apollinare. Church officials would often ask Victoria for his opinion on appointments to cathedral positions because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist. He did not stay in Italy, however.
In 1587 Philip II honoured Victoria's desire to return to his native Spain, naming him chaplain to his sister, the Dowager Empress María, daughter of Charles V, who had been living in retirement with her daughter Princess Margarita at the Monasterio de las Descalzas de St. Clara at Madrid from 1581. In 1591, Victoria became a godfather to his brother Juan Luis's daughter, Isabel de Victoria. Victoria worked for 24 years at Descalzas Reales, serving for 17 years as chaplain to the Empress until her death, and then as convent organist. Victoria was also being paid much more at the Descalzas Reales than he would have earned as a cathedral chapelmaster, receiving an annual income from absentee benefices from 1587 to 1611. When the Empress Maria died in 1603, she willed three chaplaincies in the convent, with one going to Victoria. According to Victoria, he never accepted any extra pay for being a chapelmaster, and became the organist rather than the chapelmaster. Such was the esteem in which he was held that his contract allowed him frequent travel away from the convent. He was able to visit Rome in 1593 for two years, attending Palestrina's funeral in 1594. He died in 1611 in the chaplain's residence and was buried at the convent, although his tomb has yet to be identified.
Music
Victoria is the most significant composer of the Counter-Reformation in Spain, and one of the best-regarded composers of sacred music in the late Renaissance, a genre to which he devoted himself exclusively. Victoria's music reflected his personality, expressing the passion of Spanish mysticism and religion. Victoria was praised by Padre Martini for his melodic phrases and his joyful inventions. His works have undergone a revival in the 20th century, with numerous recent recordings. Many commentators hear in his music a mystical intensity and direct emotional appeal, qualities considered by some to be lacking in the arguably more rhythmically and harmonically placid music of Palestrina. There are quite a few differences in their compositional styles, such as treatment of melody and quarter-note dissonances.
Victoria 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 originate the development of psalm settings or antiphons for two choirs, but he continued and increased the popularity of such repertoire. Victoria republished works that had appeared previously, and incorporated revisions into each reissue.
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.
Two influences in Victoria's life were Giovanni Maria Nanino and Luca Marenzio, whom Victoria admired for their work in madrigals rather than church music. It has been speculated that Victoria took lessons from Escobedo at an early age before moving to Rome.
Victoria claimed that he composed his most creative works under his patron Otto, Cardinal von Truchsess. However, Stevenson does not believe that he learned everything about music under Cardinal Truchsess's patronage. During the years that Victoria was devoted to Philip II of Spain, he expressed exhaustion from his compositional work. Most of the compositions that Victoria wrote that were dedicated to Cardinal Michele Bonelli, Philip II of Spain, or Pope Gregory XIII were not compensated properly.
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, occurred). 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.
His most famous work, and his masterpiece, Officium Defunctorum, is a Requiem Mass for the Empress Maria.
Works
The number of voices are included in parentheses
Masses
Alma redemptoris mater (8)
Ascendens Christus (5)
Ave maris stella (4)
Ave regina coelorum (8)
De Beata Maria Virgine (5)
Dum complerentur (6)
Gaudeamus (6)
Laetatus sum (12)
O magnum mysterium (4)
O quam gloriosum (4)
Pro defunctis (4)
Pro defunctis (6)
Pro Victoria (9)
Quam pulchra sunt (4)
Quarti toni (4)
Salve regina (8)
Simile est regnum coelorum (4)
Surge propera (5)
Trahe me post te (5)
Vidi speciosam (6)
Spurious
Dominicalis (4)
Pange lingua (4)
Magnificat (each sets just the odd verses polyphonically, or just the even verses, a few set all)
Odd / Even
primi toni (4)
secondi toni (4)
terti toni (4)
quarti toni (4)
quinti toni (4)
sexti toni (4)
septime toni (4)
octavi toni (4)
Both
primi toni (8)
sexti toni (12)
Lamentations
Cogitavit Dominus (4)
Ego vir videns (5)
Et egressus est (4)
Incipit lamentation Jeremiae (4)
Incipit oratio Jeremiae (6)
Manum suam (5)
Matribus suis dixerunt (4)
Misericordiae Domini (4)
Quomodo obscuratum (4)
Motets
Four voices
Beati inmaculatin
Benedicam Dominum
Date ei de fructu
Doctor bonus amicus Dei Andreas
Domine non sum dignus
Duo seraphim clamabant
Ecce sacerdos magnus
Ego sum panis vivus
Estote fortes in bello
Gaudent in coelis animae Sanctorum
Hic vir despiciens mundum
Iste sanctus pro lege
Magi viderunt stellam
Ne timeas, Maria
O decus apostolicum
O doctor optime
O magnum mysterium
O quam gloriosum est regnum
O quam metuendus
O regnum coeli
O sacrum convivium
O vos omnes
Pueri Hebraeorum
Quam pulchri sunt grassus tui
Sancta Maria, succurre miseris
Senex puerum portabet
Veni, sponsa Christi
Vere languores nostros
Five voices
Ascendens Christus in altum
Cum beatus Ignatius
Descendit angelus Domini
Dum complerentur dies Pentecostes
Ecce Dominus veniet
Gaude, Maria virgo
O lux et decus Hispaniae
Resplenduit facies ejus
Six Voices
Ardens est cor meum
Beata es Virgo Maria
Benedicta sit Sancta Trinitas
Congratulamini mihi
Nigra sum
O Domine Jesu Christe
O sacrum convivium
Quem vidistis, pastores
Surrexit Pastor Bonus
Trahe me post te
Tu es Petrus
Vadam, et circumibo civitatem
Vidi speciosam
Versa est in luctum
Eight voices
Ave Maria
Domine in virtute tua
O Ildephonse
Vidi speciosam
Canticles
Benedictus Dominus
Nunc dimittis (4)
Nunc dimittis (5)
Hymns
(All 4 voices except Tantum ergo, 5)
Ad caenam agni provide
Ad preces nostras
Aurea luce et decore
Ave maris stella (even verses)
Ave maris stella (odd verses)
Christe redemptor omnium I
Christe redemptor omnium II
Conditor alme siderum
Decus egregie Paule
Deus tuorum militum
Exultet caelum laudibus
Hostis Herodes impie
Huius obtentu Deus
Iste confessor
Jesu corona virginum
Jesu nostra redemptio
Lauda mater Ecclisia
Lucis creator optime
O lux beata Trinitas
Pange lingua I
Pange lingua II
Quicumque Christum queritis
Quodcumque vinclis (also Petrus beatus catenarum)
Rex gloriose martyrum
Salvete flores martyrum
Sanctorum meritis
Tantum ergo sacramentum
Te Deum laudamus
Te lucis ante terminum
Tibi Christe splendor patris
Tristes errant apostoli
Urbs beata Jerusalem
Veni creator spiritus
Vexilla Regis prodeunt I
Vexilla Regis prodeunt II
Magnificats
(odd or even verses, 4 voices)
Primi toni (4)
Secondi toni (4)
Terti toni (4)
Quarti toni (4)
Quinti toni (4)
Sexti toni (4)
Septime toni (4)
Octavi toni (4)
Both
Primi toni (8 voices)
Sexti toni (12 voices)
Lamentations
Maundy Thursday
Incipit lamentation Jeremiae (4)
Et egressus est (4)
Manum suam (5)
Good Friday
Cogitavit Domino's (4)
Matribus suis dixerunt (4)
Ego vir videns (5)
Holy Saturday
Misericordiae Domini (4)
Quomodo obscuratum (4)
Incipit oratio Jeremiae (6)
Lesson
Taedet animam meam
Litany
de beata Virgine
Passions
St. Matthew
St. John
Psalms
(Number, voices, [Mode, verses])
Nisi Dominus (126, 8)
Super flumina Babylonis (136, 8)
Dixit Dominus (109, 8)
Laudate pueri Dominum (112, 8)
Laudate Dominum omnes gentes (116, 8)
Laudate sum (121, 12)
Ecce nunc benedicite (135, 8)
Dixit Dominus (109, 4, I, odd)
Confitebor tibi Domine (110, 4, 4, odd)
Beatus vir (111, 4, 8, even)
Laudate pueri Dominum (112, 4, 6, even)
Lauda Jerusalem (147, 4, 7, odd)
Confitebor tibi Domine (110, 4, 4, even)
Beatus vir (111, 4, 8, odd)
Nisi Dominus (126, 4, 8, odd)
Credidi (115, 4, 6, odd)
Tenebrae Responsories
Thursday Matins
Amicus meus
Judas mercator pessimus
Unus ex discipulis meis
Thursday Lauds
Eram quasi agnus
Una hora
Seniores populi
Friday Matins
Tamquam ad latronem
Tenebrae factae sunt
Animam meam dilectam
Friday Lauds
Tradiderunt me
Jesum tradidit impius
Caligaverunt oculi mei
Saturday Matins
Recessit pastor noster
O vos omnes
Ecce quomodo moritur Justus
Saturday Lauds
Astiterunt reges terrae
Aestimatus sum
Sepulto Domino
Sequences
Lauda Sion salvatorem (8)
Victimae Paschali (8)
Veni Sancte Spiritus (8)
Selected recordings
The following are recordings of music by Tomás Luis de Victoria. As in all of his music, the texts are in Latin and drawn from the Roman Catholic Liturgy.
Victoria, Tenebrae Responsories. Pro Cantione Antiqua: Deutsche Harmonia Mundi CD GD77056
Victoria, Et Jesum. Motets, antífonas y partes de miss. Carlos Mena, Juan Carlos Rivera: CD Harmonia Mundi Iberica 987042
Victoria, Officium Defunctorum. Musica Ficta, Raúl Mallavibarrena: Enchiriadis CD EN 2006
Victoria, Sacred Works. Ensemble Plus Ultra: DGG Archiv CD DDD 0289 477 9747 0 AM 10
Victoria, Tenebrae Responsories. The Tallis Scholars: GIMELL. CDGIM 022
Victoria, Lamentations of Jeremiah. The Tallis Scholars: GIMELL. CDGIM 043
Victoria, Gesualdo, Palestrina, White, Lamentations. Nordic Voices: CHANDOS CHACONNE. CHAN 0763
Victoria, Misas y Motetes. Ars Combinatoria, Canco López: Musaris. Mars 03-21161/16.
Select recordings of music by Victoria are discussed in an article published in March 2011 by Gramophone
Notes
References
Books
Journal and encyclopedia articles
Further reading
G. Edward Bruner, DMA: "Editions and Analysis of Five Missa Beata Virgine Maria by the Spanish Composers: Morales, Guerreo, Victoria, Vivanco, and Esquivel." DMA diss., University of Illinois at Urbana-Champaign, 1980.[facsimile: University Microfilms International, Ann Arbor, MI]
Olmos, Ángel Manuel: "El testamento y muerte de Tomás Luis de Victoria. Nuevos familiares del músico y posible razón para su vuelta a España", Revista de Musicología, vol. XXXV, nº1 (2012), pp. 53–60
Olmos, Ángel Manuel: "Las obras de Tomás Luis de Victoria en la tablatura para órgano de Pelplin (Polonia), Biblioteka Seminarium, 304–8, 308a (1620–1630)", en Morales, Luisa (Ed.): Cinco Siglos de Música de Tecla Española, (Leal, 2007), pp. 87–124
Olmos, Ángel Manuel: "Tomás Luis de Victoria et le monastère des 'Descalzas' à Madrid : réfutation d'un mythe", Le Jardin de Musique, I/2, (2004) pp. 121–128
Olmos, Ángel Manuel: "Aportaciones a la temprana historia musical de la capilla de las Descalzas Reales (1587–1608)", Revista de Musicología, vol. XXVI, nº 2 2003, pp. 439–489
External links
Victoria dedicated website, in Spanish and English
Recordings of Victoria by the Umeå Academic Choir
List of works Catálogo de la obra de Tomás Luis de Victoria
1548 births
1611 deaths
Classical composers of church music
People from the Province of Ávila
Spanish classical composers
Spanish male classical composers
Musicians from Castile and León
Renaissance composers
16th-century composers
Spanish Roman Catholic priests
Oratorians