 | Victoria, Tomas Luis de - "Missa Gaudeamus" for Wind Sextet Sextuor à vent. |
VoirPDF : "Missa Gaudeamus" for Wind Sextet (37 pages - 464.71 Ko)107x⬇ MP3 : "Missa Gaudeamus" for Wind Sextet 27x⬇ 267x
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| Compositeur : | Victoria, Tomas Luis de (1548 - 1611) | ||
| Instrumentation : | Sextuor à vent. | ||
| Genre : | Renaissance | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 02 Avr 2019 Tomás Luis de Victoria (1548 – 1611) was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer as well as a Catholic priest. However, he preferred the life of a composer to that of a performer. 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. He 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 begin the development of psalm settings or antiphons for two choirs, but he continued and increased the popularity of such repertoire. Victoria reissued works that had been published previously, and included new revisions in each new issue. Tomas Luis de Victoria's first book of Masses, published in Rome in 1576, includes three Parody Masses (or Imitation Masses). These three settings are based on motets by Francisco Guerrero (Simile est regnum coelorum), Cristobal de Morales (Gaudeamus), and himself (Dum complerentur). All three of these Masses, published while the twenty-eight-year-old Spaniard was teaching at his Alma Mater, the Jesuit Collegio Germanic, display both the strength of his own personality, and the influence of Palestrina. The general musical language is that of classical "Roman School" polyphony, but specific moments of drama contain more abrupt melodic gestures than would be found in the music of Palestrina. The style of his treatment of his model, likewise, displays both the techniques of common practice, and the stamp of individuality. The standard Sixteenth-century practice of "Parody" in a Mass setting requires each major section of the piece to begin with a recognizable musical allusion to the model composition, and conclude with closing material from it as well. In the Dum complerentur Mass, Victoria acknowledges such conventions, but also demonstrates an easy facility with the handling of his own music. The model composition is his own motet, its text suitable for the Feast of Pentecost. To the motet's original five voices, Victoria adds a sixth in this Mass. As convention would have it, several movements (Kylie I, Gloria, Sanctus, and Benedictus) all approximate the opening of his motet, and the Credo opens with material from the motet's second part. But each movement opens not with a classical Point of Imitation, but rather with a clever reworking of several elements of the contrapuntal texture. In general, the order of voices is shuffled, and the most important motivic material throughout the Mass stems from a pair of subsidiary motives from the model, countermelodies to the motet opening. What appears to be the principal motive of the model actually opens only the Benedictus. The opening of Sanctus, heard twice in long tones drifting above the other voices' foundation, just suggests this head motive. Agnus Dei I and II return to Victoria's favorite subsidiary motives, with the novelty of setting paraphrases of both simultaneously. Already this early in his career, Victoria evidences a tightness of detail concurrent with a developing freedom of formal structure, both of which combine in a piece of fervent individuality. Source: Wikipedia (https://en.wikipedia.org/wiki/Tom%C3%A1s_Luis_de_Victo ria ). Although originally created for five (6) voices (SSAATB), I created this Interpretation of the "Missa Gaudeamus" (Joyful Celebration) for Wind Sextet (Flute, Oboe, Bb Clarinet, English Horn, French Horn & Bassoon). | |||
