Posts Tagged ‘Anniversary’

Livre du Saint Sacrement

April 27, 2017

Today is one of the notable musical dates of 2017: the 25th anniversary of the death of Messiaen. Some might recall that I’ve ambitions to listen to all of his music this year, and today I was enjoying Livre du Saint Sacrement, one of his major compositions for organ. Here is the final section, “Offrande et Alléluia final”, played by Monica Czausz.

I adore Messiaen’s organ music; for me is the greatest composer for the instrument after Bach. Imagine, for a moment, that the throne room of Heaven were opened, and we could hear the music of the Heavenly Court. It would be terrible and majestic, like an angelic host, solemn, and so beautiful that it would overwhelm our senses, just as the sight of that Court would dazzle our eyes. It would, in other words, sound like the music of Messiaen.

Musical anniversaries in 2017

January 6, 2017

With the turning of the year, I like to plan a few focused listening projects that I’ll undertake during the coming year, and often I structure these projects around significant anniversaries.

After looking through a comprehensive list (Thanks, Osbert.) of such anniversaries, I’ve settled on the following as worthy of personal observance:

Birthdays

450 years

  • Claudio Monteverdi
  • Thomas Campion

Memorials

25 years

  • John Cage
  • Olivier Messiaen

50 years

  • Zoltán Kodály

250 years

  • Georg Philipp Telemann

500 years

  • Heinrich Isaac

The heavyweights for me are Messiaen’s 25th and Monteverdi’s 450th; I’ll be spending a lot of time with each of those wonderful composers. For Messiaen, I’ll be listening to the piano music, the organ music, the Quatuor, his symphony, and the large-scale orchestral works. For Monteverdi it will be his madrigals (all nine books), at least three of his operas, and his sacred music, especially the Vespers of 1610.

My collection of music by the others is more modest in scale, but I’ll make an effort to get to know it better. I have the feeling that Cage, in particular, wrote a lot of music that I don’t know at all; I also have the feeling it may not be worth my time. I have similar thoughts about Telemann. Kodály, I think, will reward attention.

Apart from these, I’m also planning to focus this year on the music of Bruckner and Elgar. Why Elgar? It’s odd, but for several months I’ve been feeling that I’d really like to immerse myself in his music. I can’t explain it. Perhaps an hour or two in his company will cure me.

Remembering Victoria

August 27, 2011

Today marks the 400th anniversary of the death of Tomás Luis de Victoria. Unquestionably one of the great figures in late Renaissance music, he also happens to be one of my favourites. A Spanish priest during the Counter-Reformation, he wrote (so far as I know) exclusively sacred music, and is probably best remembered today for his Holy Week music, a Requiem Mass, and a handful of gorgeous motets, principally O quam gloriosum, O magnum mysterium, and a lovely Ave Maria.

His music, while being broadly in the style of contemporaries like Palestrina and Byrd, often has a special quality that is hard to describe, but which makes it somehow especially alluring. I have had the privilege to sing his music on a few occasions, and I can testify that it is just as beautiful from within as from without. Harry Christophers, director of the British choir The Sixteen (which has itself recorded some of the most attractive performances of Victoria’s music), summed him up in this way:

“Scholar, mystic, priest, singer, organist and composer – six persons all rolled into one and that is, quite simply, why Victoria is the most outstanding composer of the Renaissance. He devoted his life to the church, and his works reveal such heartfelt passion that there are times, in performance, when we are almost overwhelmed by their intensity.”

♦♦♦♦♦

Here are a few of the best Victoria recordings of which I am aware, with samples where available:

Victoria: Cantica Beatae Virginae
Jordi Savall; Hesperion XX; La Capella Reial de Catalunya

This collection of a dozen or so Marian motets is a gem. Instruments are used to fill out the aural background, giving the music a lush, rich texture. The singing is robust and warm, not at all the cool, bloodless kind of singing one sometimes associates with polyphony. Here is the Ave Maria:

♦♦♦♦♦

Victoria: Officium Hebdomadae Sanctae
La Colombina

A big (3+ hours) collection of Victoria’s music for Holy Week, superbly sung and evocatively recorded. Passion narratives, Tenebrae music, motets, antiphons, and hymns are all included, intermixed with some Gregorian chant. It’s a beautiful experience to hear it. I have written about this recording before.

♦♦♦♦♦

Victoria: Et Iesum
Carlos Mena; Juan Carlos Rivera

This disc was on my best of the decade list last year, and I haven’t changed my mind about that. The concept is unusual: Victoria’s polyphonic sacred music is arranged for solo voice and instrumental accompaniment, a practice that was apparently current in Victoria’s own day. The simplicity of the settings brings out the beauty of the vocal line, and the singing, by counter-tenor Carlos Mena, is ravishing. As far as I am concerned, music does not get much better than this. Here is the Salve regina:

♦♦♦♦♦

In Paradisum: Music of Victoria and Palestrina
The Hilliard Ensemble

This disc includes only four pieces by Victoria, but it warrants inclusion on this short list because of the absorbing and exalting singing. Victoria’s music is heard alongside that of Palestrina, and both are interwoven into the Gregorian Requiem. It’s a special recording. Here they sing Peccantem me: