Jordi Savall - Passion - Officivm Hebdomadæ Sanctæ (2021) [Hi-Res]

• Title: Passion - Officivm Hebdomadæ Sanctæ
  
• Year Of Release: 2021
  
• Label: Alia Vox
  
• Genre: Classical
  
• Quality: flac lossless (tracks) / flac 24bits - 88.2kHz
  
• Total Time: 03:21:24
  
• Total Size: 1.03 / 3.5 gb
  
• WebSite: Album Preview
  

Tracklist

01. Victoria Dominica in ramis palmarum Introductio. Unus ex discipulus
02. Victoria Dominica in ramis palmarum Antiphona. Hosanna filio David
03. Victoria Dominica in ramis palmarum Antiphona. Pueri Hebræorum
04. Victoria Dominica in ramis palmarum Passio secundum Mathæum
05. Victoria Dominica in ramis palmarum In elevatione Domini. O Domine Jesu Christe
06. Victoria Feria quinta in coena domini Ad matutinum. Introductio Eram quasi agnus
07. Victoria Feria quinta in coena domini In primo nocturno. Antiphon. Zelus domus tuæ. Versiculum Avertantur retrorsum
08. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio prima Incipit Lamentatio Jeremiæ Prophetæ
09. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio prima Aleph. Quomodo sedet
10. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio prima Beth. Plorans ploravit
11. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio prima Jerusalem, convertere ad Dominum
12. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio secunda Vau. Et egressus est
13. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio secunda Zain
14. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio secunda Antiphona. Recordata est Jerusalem
15. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio secunda
16. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio secunda Jerusalem, convertere ad Dominum
17. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio tertia Introductio
18. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio tertia Jod. Manum suam
19. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio tertia Caph. Omnis populus
20. Victoria Feria quinta in coena domini Lamentatio Jeremiae Prophetae. Lectio tertia Jerusalem, convertere ad Dominum
21. Victoria Feria quinta in coena domini In secundo notturno. Introductio Tenebrae factae sunt
22. Victoria Feria quinta in coena domini In secundo notturno. Versiculum Deus meus eripe me
23. Victoria Feria quinta in coena domini Sex tenebrae responsoria. Quartum Responsorium Amicus meus
24. Victoria Feria quinta in coena domini Sex tenebrae responsoria. Quintum Responsorium Judas mercator pessimus
25. Victoria Feria quinta in coena domini Sex tenebrae responsoria. Sextum Responsorium Unus ex discipulis
26. Victoria Feria quinta in coena domini In tertio notturno. Versiculum Exsurge Domine
27. Victoria Feria quinta in coena domini In tertio notturno. Septimum Responsorium Eram quasi agnus
28. Victoria Feria quinta in coena domini In tertio notturno. Octavum Responsorium Una hora
29. Victoria Feria quinta in coena domini In tertio notturno. Nonum Responsorium Seniores populi
30. Victoria Feria quinta in coena domini Ad laudes. Introductio Amicus meus
31. Victoria Feria quinta in coena domini Ad laudes. Canticum Zachariæ Benedictus Dominus
32. Victoria Feria quinta in coena domini Ad laudes. Psalmus 50 Miserere mei
33. Victoria Feria quinta in coena domini In elevatione corporis christi. In Missa Tantum ergo. Hymnus Pange Lingua
34. Victoria Feria sexta in passione Domini Ad matutinum. Introductio Ecce quomodo
35. Victoria Feria sexta in passione Domini In primo nocturno. Antiphona Astiterunt reges terrae
36. Victoria Feria sexta in passione Domini Lamentatio Jeremiae Prophetae. Lectio prima Heth
37. Victoria Feria sexta in passione Domini Lamentatio Jeremiae Prophetae. Lectio prima Jerusalem, convertere ad Dominum
38. Victoria Feria sexta in passione Domini Lamentatio Jeremiae Prophetae. Lectio secunda Lamed. Matribus suis dixerunt
39. Victoria Feria sexta in passione Domini Lamentatio Jeremiae Prophetae. Lectio secunda Mem. Cui comparabo te
40. Victoria Feria sexta in passione Domini Lamentatio Jeremiae Prophetae. Lectio secunda Jerusalem, convertere ad Dominum
41. Victoria Feria sexta in passione Domini Lamentatio Jeremiae Prophetae. Lectio tertia Aleph. Ego vir videns
42. Victoria Feria sexta in passione Domini Lamentatio Jeremiae Prophetae. Lectio tertia Aleph. Meminavit
43. Victoria Feria sexta in passione Domini Lamentatio Jeremiae Prophetae. Lectio tertia Jerusalem, convertere ad Dominum
44. Victoria Feria sexta in passione Domini In secundo notturno. Introductio Eram quasi agnus
45. Victoria Feria sexta in passione Domini In secundo notturno. Antiphona Vim faciebant
46. Victoria Feria sexta in passione Domini In secundo notturno. Versiculum Insurrexerunt in me
47. Victoria Feria sexta in passione Domini Sex tenebrae responsoria. Quartum Responsorium Tanquam ad latronem
48. Victoria Feria sexta in passione Domini Sex tenebrae responsoria. Quintum Responsorium Tenebrae factae sunt
49. Victoria Feria sexta in passione Domini Sex tenebrae responsoria. Sextum Responsorium Animam meam dilectam
50. Victoria Feria sexta in passione Domini In tertio notturno. Versiculum Locuti sunt adversum me lingua
51. Victoria Feria sexta in passione Domini In tertio notturno. Septimum Responsorium Tradiderunt me
52. Victoria Feria sexta in passione Domini In tertio notturno. Octavum Responsorium Jesum tradidit impius
53. Victoria Feria sexta in passione Domini In tertio notturno. Nonum Responsorium Caligaverunt oculi mei
54. Victoria Feria sexta in passione Domini Ad laudes. Introductio Tenebrae factae sunt
55. Victoria Feria sexta in passione Domini Ad laudes. Passio secundum Joannem
56. Victoria Feria sexta in passione Domini In adoratione crucis. Introductio Aleph
57. Victoria Feria sexta in passione Domini In adoratione crucis. Vere languores
58. Victoria Feria sexta in passione Domini In adoratione crucis. Antiphona Ecce lignum Crucis
59. Victoria Feria sexta in passione Domini Improperia. Popule meus
60. Victoria Sabbato sancto Ad matutinum. Introductio Heth
61. Victoria Sabbato sancto Ad matutinum. Antiphona & Versiculum In pace et idipsum
62. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio prima Heth. Misericordiæ Domini
63. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio prima Teth. Bonum est viro
64. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio prima Jerusalem, convertere ad Dominum
65. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio secunda Beth
66. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio secunda Aleph. Quomodo obscuratum est
67. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio secunda Beth. Filii Sion inclyti
68. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio secunda Jerusalem, convertere ad Dominum
69. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio secunda Versiculum. Tu exsurgens, Domine
70. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio tertia Incipit oratio Jeremiæ
71. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio tertia Recordare
72. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio tertia Pupili facti sumus
73. Victoria Sabbato sancto Lamentatio Jeremiae Prophetae. Lectio tertia Jerusalem, convertere ad Dominum
74. Victoria Sabbato sancto In secundo notturno. Introductio Astiterunt
75. Victoria Sabbato sancto In secundo notturno. Antiphona Elevamini portæ eternales
76. Victoria Sabbato sancto In secundo notturno. Versiculum Tu autem, Domine
77. Victoria Sabbato sancto Sex tenebrae responsoria. Quartum Responsorium Recessit pastor noster
78. Victoria Sabbato sancto Sex tenebrae responsoria. Quintum Responsorium O vos omnes
79. Victoria Sabbato sancto Sex tenebrae responsoria. Sextum Responsorium Ecce quomodo moritur
80. Victoria Sabbato sancto In tertio notturno. Antiphona Deus adjuvat me
81. Victoria Sabbato sancto In tertio notturno. Versiculum In pace factus est locus ejus
82. Victoria Sabbato sancto In tertio notturno. Septimum Responsorium Astiterunt reges
83. Victoria Sabbato sancto In tertio notturno. Octavum Responsorium Æstimatus sum
84. Victoria Sabbato sancto In tertio notturno. Nonum Responsorium Sepulto Domino
85. Victoria Sabbato sancto Ad laudes. Introductio Amicus meus
86. Victoria Sabbato sancto Ad laudes. Canticum Zachariæ Benedictus Dominus
87. Victoria Sabbato sancto Ad laudes. Psalmus 50 Miserere mei
88. Victoria Sabbato sancto Hymnus Vexilla regis more hispano

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).

La Capella Reial de Catalunya
Hespèrion XXI
Jordi Savall, conductor

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Year 2021 | Classical | FLAC / APE

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