Classical Sunday: de Victoria’s Last Works

Come with us on a journey to the time of St. Teresa of Ávila and St. John of the Cross.

The Tallis Scholars: Requiem Officium Defunctorum

Tomás Luis de Victoria (1548-1611)

Tomás Luis de Victoria (1548-1611) should undoubtedly be considered the most significant Spanish composer of his time.  He exclusively devoted his life and creative energies to the Catholic Church, and became one of the leading musical figures of the Counter-Reformation.’

In all of his music, the texts are in Latin and drawn from the Roman Catholic Liturgy.

Read more in the description of the above video on YouTube.

Classical Sunday: Dowland’s Lute Works

Dowland’s genius had a pervasive influence on the music of English and continental lutenists in the early seventeenth century.

John Dowland: Complete Lute Galliards Works/Renaissance/Lachrimae

 

John Dowland (1563-1626) – Complete Lute Works by the Master Paul O’Dette

Volume I

Almain For Lute, P 51 (00:00)
Pavana For Lute (02:29)
Mr Knights Galliard, P 36 (09:24)
My Lord Willobes Wellcome Home, P 66 (11:02)
Frogg Galliard, P 23A (12:22)
Fantasie For Lute, P 5 (15:53)
Lady Rich, Her Galliard, P 43 (18:13)
Lady Laiton’s Almain, P 48 (19:51)
Dream, P 75 (21:12) Galliard, P 104 (26:20)
Orlando Sleepeth, P 61 (28:01)
What If a Day, P 79 (29:28)
Winters Jomps, P 55 (30:55)
Galliard, P 35 (31:48)
Mr Giles Hobie’s Galliard, P 29 (33:29)
Dr. Cases Paven, P 12 (35:19)
Mellancholy Galliard, P 25 (40:14)
Galliard, P 27 (42:36)
Mistris Whittes Thingz, P 50 (44:24)
Go From My Window, P 64 (45:27)
Almain For Lute, P 49 (49:02)
Mistris Whittes P 56 (50:14)
Pavane For Lute, P 18 (51:15)
Galliard, P 30 (56:38)
Farewell Fantasia, P 3 (58:30)

Volume II

My Lady Hunsdons Puffe, P 54 (1:04:06)
Solus Cum Sola, P 10 (1:05:28)
Susanna Fair Galliard, P 91 (1:09:56)
Sir John Smith His Almaine, P 47 (1:11:46)
Robin, P 70 (1:14:14)
Galliard, P 22 (1:18:07)
Pipers Pavan, P 8 (1:19:50)
Pipers Galliard, P 19 (1:24:59)
As I Went To Walsingham (1:27:18)
Monsieur’s Almain (1:32:42)
Mrs Brigide Fleetwoods Paven, P 11 Solus Sine Sola (1:34:30)
First Galliard, P 20 (1:40:05)
Farawell, P 4 (1:41:30)
John Dowland’s Galliard, P 21 (1:45:03)
Aloe, P 68 (1:47:41)
Can She Excuse, P 42 (1:48:43)
A Coye Joye, P 80 (1:50:17)
Mrs Vauxes Gigge, P 57 (1:52:37)
Mrs Vaux Galliard, P 32 (1:53:32)
Sir Henry Guilford, His Almain (1:54:36)
Mignarda, P 34 (1:56:31)
Lachrimae Pavan, P 15 (1:59:58)
Galliard, P 26 (2:05:16)
Fantasia For Lute, P 1A (2:06:54)

Volume III

King Of Denmark, His Galliard, P 40 (2:10:44)
Mr John Langton’s Pavan, P 14 (2:13:36)
Mr John Langton’s Galliard, P 33 (2:19:36)
A Fancy, P 7 (2:22:16)
Pavan For Lute, P 16 (2:26:38)
Queene Elizabeth Her Galliard, P 41 (2:32:01)
Mrs Cliftons Allmaine, P 53 (2:33:09)
Lady Cliftons Spirit, P 45 (2:34:24)
Tarletones Riserrectione, P 59 (2:36:05)
Tarleton’s Willy, P 81 (2:39:30)
Fortune, P 62 (2:41:04)
Queenes Galliard, P 97 (2:43:31)
Wallsingham, P 67 (2:45:07)
A Galliarde On Walsingham, P 31 (2:49:56)
Dowland’s Adieu For Master Oliver Cromwell (2:51:49)
Ferdinando Earle Of Derby His Galliard, P 44 (2:57:20)
Lord Strang’s March, P 65 (2:59:51)
Mrs Nichols Almand, P 52 (3:01:25)
Forlorne Hope Fancye, P 2 (3:02:51)
Mr Dowland’s Midnight, P 99 (3:06:43)
Semper Dowland Semper Dolens, P 9 (3:08:30)

Volume IV

Preludium, P 98 (3:15:52)
A Fancy, P 6 (3:17:09)
Lachrimae, P 15 (3:20:02)
Galliard To Lachrimae, P 46 (3:25:26)
A Fantasia, P 71 (3:27:56)
An Almand, P 96 (3:33:38)
Pavana, P 94 (3:35:04)
Robert, Earl Of Essex, His Galliard, P 42A (3:42:17)
A Galliard – Upon A Galliard By Daniel Bachelar, P 28 (3:44:01)
My Lord Wilobies Welcom Home, P 66A (3:47:20)
The Shoemakers Wife In A Toy, P 58 (3:48:43)
The Lord Viscount Lisle, His Galliard, P 38 (3:49:51)
Coranto, P 100 (3:52:42) A Galliard, P 82 (3:54:46)
The Lady Russells Paven, P 17 (3:56:40)
Galliard – On Awake Sweet Love, P 92 (4:01:43)
The Frog Galliard, P 23 (4:03:31)

Volume V : Dowland’s genius had a pervasive influence on the music of English and continental lutenists in the early seventeenth century.  His lute music was imitated and parodied by a generation of prominent musicians.  The result is that excellent pieces written by others in the style of Dowland survive anonymously in various Elizabethan manuscripts.  Several of the works heard here are attributed to Dowland in the sources, but are unlikely to have been written by him.

A Fancy (4:05:32)
Pavana Dowlandi Angli (4:08:56)
Douland’s Rounde Batell Galyarde (4:14:18)
Pavin (4:15:54)
The Erle Of Darbies Galiard (4:21:28)
Mistris Norrishis Delight (4:24:18)
A Jig (4:26:02)
The Erle Of Essex Galliard (4:28:21)
Galliard (4:30:00)
Une Jeune Fillette (4:31:40)
Gagliarda (4:37:03)
Pavana Lachrimae (4:38:58)
Squires Galliard (4:45:00)
A Fancy (4:46:54)
Hasellwoods Galliard (4:52:48)
Sir Thomas Monson, His Pavin (4:54:26)
Sir Thomas Monson, His Galliard (5:00:33)
Almande (5:02:43)
Sir Henry Umptons Funerall (5:05:14)
Captayne Pipers Galliard (5:11:04)
A Fantasie (5:13:55)

Bonus : Tell me, true love (05:18:16)

Lute & Orpharion : Paul O’DETTE
Stéréo recordings in 1994-96, at Campion Center & Seiji Ozawa Hall, Massachusetts
Label : Harmonia Mundi

Classical Sunday: Zelenka’s Missa Omnium Sanctorum

Zelenka’s music is admired for its harmonic inventiveness and counterpoint.

J.D. Zelenka: Missa Omnium Sanctorum

Jan Dismas ZELENKA 1679-1745

Missa Omnium Sanctorum ZWV 21

Kyrie
1. Kyrie eleison
2. Christe eleison
3. Kyrie eleison

Gloria
4. Gloria in excelsis Deo
5. Qui tollis peccata mundi
6. Quoniam tu solus Sanctus I
7. Quoniam tu solus Sanctus II
8. Cum sancto Spiritu I
9. Cum sancto Spiritu II

Credo
10. Credo

Sanctus
11. Sanctus
12. Benedictus
13. Osanna

Agnus Dei
14. Agnus Dei
15. Dona nobis pacem

Kai Wessel [alto]
Gabriela Eibenová [soprano]
Jan Kobow [tenor]
Marián Krejčík, Tomáš Král [bass]

Ensemble Inégal
Prague Baroque Soloists
Adam Viktora [direction]

Jan Dismas Zelenka was raised in Central Bohemia, educated in Prague and Vienna, and spent his professional life in Dresden.  The greatest success during his career was the performance of the extensive composition ‘Sub olea pacis et palma virtutis’ in the presence of the Emperor Charles VI, shortly after his coronation as king of Bohemia in 1723.

Classical Sunday: Buxtehude’s Membra Jesu Nostri

The Crib and the Cross belong together.

Dietrich Buxtehude: Membra Jesu Nostri – René Jacobs, 2004

i. Ad pedes: Ecce super montes 0:16
ii. Ad genua: Ad uber portabimini 6:08
iii. Ad manus: Quid sunt plagae istae 14:02
iv. Ad latus: Surge amica mea 22:14
v. Ad pectus: Sicut modo geniti infantes 29:26
vi. Ad cor: Vulnerasti cor meum 37:58
vii. Ad faciem: Illustra faciem tuam 45:28

Dieterich Buxtehude, born 1637 or 1639 in Helsingborg (which belonged to Denmark at the time) and died 9 May 1707 in Luebeck, was a Danish-German Baroque organist and composer.  Today, he is considered one of the most important composers in Germany of the mid-Baroque.

In 1705, J.S. Bach, then a young man of twenty, walked from Arnstadt to Lübeck, a distance of more than 250 miles (400 kilometers), and stayed nearly three months to hear the Abendmusik which was a series of evening musical performances, to meet the pre-eminent Lübeck organist, to hear him play, and, as Bach explained, “to comprehend one thing and another about his art”.

 

Classical Sunday: Allegri’s Miserere mei Deus

I know it’s not Holy Week, but this is just too beautiful to wait for half a year or so to post it.

Gregorio AllegriMiserere mei Deus

The original translation of the psalm used for the piece was in Latin:

Miserere mei, Deus: secundum magnam misericordiam tuam.
Et secundum multitudinem miserationum tuarum, dele iniquitatem meam.
Amplius lava me ab iniquitate mea: et a peccato meo munda me.
Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper.
Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis, et vincas cum judicaris.
Ecce enim in iniquitatibus conceptus sum: et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae manifestasti mihi.
Asperges me hysopo, et mundabor: lavabis me, et super nivem dealbabor.
Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata.
Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele.
Cor mundum crea in me, Deus: et spiritum rectum innova in visceribus meis.
Ne proiicias me a facie tua: et spiritum sanctum tuum ne auferas a me.
Redde mihi laetitiam salutaris tui: et spiritu principali confirma me.
Docebo iniquos vias tuas: et impii ad te convertentur.
Libera me de sanguinibus, Deus, Deus salutis meae: et exsultabit lingua mea justitiam tuam.
Domine, labia mea aperies: et os meum annuntiabit laudem tuam.
Quoniam si voluisses sacrificium, dedissem utique: holocaustis non delectaberis.
Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus, non despicies.
Benigne fac, Domine, in bona voluntate tua Sion: ut aedificentur muri Ierusalem.
Tunc acceptabis sacrificium justitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.

This translation is from the 1662 Book of Common Prayer and is used in Ivor Atkins’ English edition of the Miserere (published by Novello):

Have mercy upon me, O God, after Thy great goodness
According to the multitude of Thy mercies do away mine offences.
Wash me thoroughly from my wickedness: and cleanse me from my sin.
For I acknowledge my faults: and my sin is ever before me.
Against Thee only have I sinned, and done this evil in thy sight: that Thou mightest be justified in Thy saying, and clear when Thou art judged.
Behold, I was shapen in wickedness: and in sin hath my mother conceived me.
But lo, Thou requirest truth in the inward parts: and shalt make me to understand wisdom secretly.
Thou shalt purge me with hyssop, and I shall be clean: Thou shalt wash me, and I shall be whiter than snow.
Thou shalt make me hear of joy and gladness: that the bones which Thou hast broken may rejoice.
Turn Thy face from my sins: and put out all my misdeeds.
Make me a clean heart, O God: and renew a right spirit within me.
Cast me not away from Thy presence: and take not Thy Holy Spirit from me.
O give me the comfort of Thy help again: and stablish me with Thy free Spirit.
Then shall I teach Thy ways unto the wicked: and sinners shall be converted unto Thee.
Deliver me from blood-guiltiness, O God, Thou that art the God of my health: and my tongue shall sing of Thy righteousness.
Thou shalt open my lips, O Lord: and my mouth shall shew [show] Thy praise.
For Thou desirest no sacrifice, else would I give it Thee: but Thou delightest not in burnt-offerings.
The sacrifice of God is a troubled spirit: a broken and contrite heart, O God, shalt Thou not despise.
O be favourable and gracious unto Sion: build Thou the walls of Jerusalem.
Then shalt Thou be pleased with the sacrifice of righteousness, with the burnt-offerings and oblations: then shall they offer young bullocks upon Thine altar.

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