Date: March 28, 2009. Location: Church of San Cipriano, Zamora. Context: Sixth Porch Festival concert Zamora 2009. Program: Works for the passion of Giovanni Pierluigi da Palestrina, Thomas Tallis, Alonso Lobo and Tomas Luis de Victoria. Performers: Choir Tenebrae - Nigel Short, here.
I can not think of a better way to start my journey in this new, shared and exciting project, which attempted to convey in the most honest and direct what we witness in the beautiful, Romanesque church of San Cipriano, capital of Zamora, on Saturday. Come on with it, well ...
Easter: the time of recollection that in certain parts of the world is used as an instrument of worship by believers, false devotees, religious and party ... and that in past times we had the good habit of creating music for the texts used in the liturgies for this purpose by some of the great masters of the West, resulting in what is now called lessons darkness, Lamentations of Jeremiah, Offcium Tenebrarum ... This is the case of works which we now occupy, a program focused on to music by some of the absolute masters of the European Renaissance. The first part consisted of the Stabat Mater (another of the texts, which is composed Jacopone da Todi, used to reflect on the time of passion) Giovanni Pierluigi da Palestrina (c.1525-1594). Being as the master Roman paradigm of the polyphonic style is more academic, rigorous and sober, was not expected vocal fireworks, and ornamental, in the Italian score, but still, a masterpiece was created by this prodigious mind shaped by his pen. Composed for 8 voices, double chorus 4 ( Cantus, Altus , Tenor, Bassus / Cantus, Altus , Tenor, Bassus ), creates an atmosphere quite polychoral, assigning each entry between the two choruses as if they were echoes. Palestrina develops Here is a great technique fabordones and leaves us in a subtle memory sparingly ternary beats syncopated rhythms. The dramatic depth of the work is discharged, at times, by section intended for a slightly smaller voices, creating a tragic-like atmosphere is well worth the text, and now treated in a delicate, sometimes forceful. At that time, one began to discern that what I was witnessing had overtones of becoming exceptional. The magnificent work palestriniana lamentations followed the two known to sign, at the time (c.1560), Britain Thomas Tallis (c.1505-1585)-both for Holy Thursday. Although in the playbill did not specify which of the mourning was to be interpreted, it points out the interpretation of one of them in the general script of the festival, though not clarified which one, however, were ultimately interpreted both lamentations (whose actual name is often distinguished with a number I and II). Trails are part of the body parts most-performed in English and is very understandable if we consider that Tallis shows its expertise in two authentic marvels polyphonic. They are true wonders in many ways: the colors that use, incredible dissonance employed, which has been in the first, just before the final verse Jerusalem, ad Dominum Deum tuum convertere is a true display of harmonic genius, "modulations tremendously expressive use of homophony in the points for better understanding and in which the text becomes especially important, a series of imitations from Exemplary definitely different voices and a masterful use of melismas that used in the music of the Hebrew letters of alephato , giving way to each of the different verses. This was one of the most daunting of all the evening, along with what came next, which was none other than the interpretation of other lamentations, this time created by the talent of Alonso Sevilla Lobo (1555-1617). Much has been said and rightly so, about the English Golden Age and the crucial importance of the trident Victoria-Morales-Guerrero had for the development of music in our country. This is fine and is more than evident, but the golden age not only built the three minds, but talent like Alonso Lobo helped, greatly, to the musical capital hopefully endorse and is starting to be claimed as he deserves. These laments are true masterpieces of human creativity. It was played here one of his regrets, specifically written for Holy Saturday in the Wolf shows its expressive capacity to offer a piece-of MINUTES extraordinary and wide-in which sustained very long melismas used on alephato are its most recognizable and that serve as rest and contemplation to meet the curved lines lines that flank the piece. Along with pieces by Thomas Tallis, made up the most magical moment and moving the whole show.
Share of cantus , part of the motet O magnum mysterium , Victoria. Excerpted from the book Motecta , 1572 and obtained http://tomasluisdevictoria.org/
After proper rest, much needed to be able to assimilate what had been offered there, after a first half that had the not inconsiderable period of one hour and ten minutes, we were offered a second half composed exclusively of responsories the great Tomás Luis de Victoria (1548-1611). Six of them were offered, namely: Amicus Meus , Mercator Iudas Pessimus , Unus ex meis discipulus , Eram quasi agnus , An hour and populi Seniors, for whatever it is, probably The collection of sacred music that crowns the Mount Olympus of musical art in the Renaissance: the Hebdomadae Officium Sanctae -composed and published in Rome in 1585 -. For more focused information, it should be noted that these correspond to the responsories Fair fifth; In Coena Domini, Ad Matutinam; In Night Secondo (top three) and fifth Fair; In Coena Domini, Ad Matutinam; In Tertio Nocturno (the other three), all composed for four voices. No need to explain, at this point in the score, the teacher Avila is a true genius in the art of narrating scenes by means of the notation and the level of drama that gets in these works, the common denominator of feeling abandoned and betrayal by the surrounding Christ, is absolutely exemplary, as well as demonstrate some of the mills utlizando by the teacher: Resources rhythmic-like acceleration, to indicate quickly the captors, slow chords and rhythms slowed to give example of the Lord's burial, the version introduced in some verses to use only three voices, and even only two-in the case of Amicus meus, "as a means to indicate whether participants in the scene are many or few, young or old as the harmonic resources to stage the minor mode dark or not to conclude in the tonic chord to represent the suspension where it displays the text, to alter the use of the tessitura (the model basic cantus, altus , tenor , Bassus, the two cantus, altus , tenor), thus showing that it was an absolute ruler that has been called musical emotions. It should be noted, too, the use of singing lessons from each of the responses, performed in plainchant, which were entrusted to various members of the vocal ensemble, voices both male and female. As a tip, before the constant and unleashed applause and cheers to them by the public, were pleased to receive a gift by Pau Casals, who was none other than his famous O vos omnes, that although it was too anachronistic, is an absolutely beautiful work, especially in the imperfect cadence that ends and it changes a lot the previous idea that one can have this Catalan musician-at least for me it was a real surprise, when I discovered it about three years.
And if the evening turned into something absolutely captivating is due in large part to the massive and near-perfect interpretation of such wonderful works, saw fit to give us the British set Tenebrae Choir -of suggestive and appropriate name for the occasion, as can be seen, "headed by former singer Nigel Short. The English Chamber Choir, created a few years ago, has based its activity both in ancient music, as in contemporary creations, some of which have been created expressly for them. Usually act by creating a unique atmosphere, using candles, wearing robes and nestling and playing with the acoustics of each site, using the space to create stereos, surround sound, completely surrounding the listener, who enjoys a unique sensation. For our concert only used part of its usual performance: lighting by tenebrarios, beautiful, indeed, that had been created by the School of Art Zamora, apart from the stereo-unsuitable for certain codes, and using a black dress "to the use. " The result of the lighting is always a strength and a guarantor of success, but outside of the festival because the illuminating light was responsible for a hideous orange light with three apses that were behind them, giving the whole look horribly kitsch , breaking, so any possible spectacular environment could be created. Yet as the music is, above all, music and must be removed from any kind of additives, we enjoyed an absolutely memorable interpretation. Composed of 17 voices, four on each side, with the exception of the soprano, with five, gave us a very intimate and delicate versions, though occasionally the odd dropped really strong, too strong, perhaps, at times, " however, tenderness and cleaning who played most of the passages made me forget that detail. The choir sounded absolutely binding, therefore, that in the work of Palestrina, double choir, each choir sounded absolutely identical to another, making it virtually impossible to distinguish, if not for ample space between them. But the filling was not its only virtue: an impressive pitch, fantastic expression, diction more than good-plus in the case of singing in Latin, English, a superb balance, although at times in the first part I missed something more low-as usual, as the English choirs focus more attention on the upper parts of all-a beautiful color on every string, exquisite brilliance in the sopranos, with that voice almost white color -a sound so distinctive colocadísimo head open in the tenors, a string of high-consisting of a countertenor, contralto, and three very delicate and ever-present which is not as common as a desirable and low strong and steady, always marking the harmonic character of each piece. In short, true hearts, with authentic British sound , that little or nothing to envy you, if they continue playing like this day-the largest of these codes. Note the highly solvent with fragments that were resolved in which Short saw fit to use a single voice part to emphasize certain moments in the score, as well as the magnificent interventions that took place individually in each interresponsoriales singing plainchant. He had already witnessed a concert of this group three years ago and I remember that at that Once I stayed with a wonderful flavor, but had to take into account that at that time numbered among its ranks several voices very, very experienced in these matters, real heavyweights in England and this time have been presented with a set completely renovated with the youth flag-was really impressive to see the average age of members, and who managed to sound as one, truly united. Despite being reduced in favor of interpretations in the number of components, the use of two voices by which I believe is best for these fights, I must admit that the outcome for these 17 voices was quite impressive and so surprising that after three days from that moment, I'm still trying to recover and give credit to what I witnessed.
The direction of Nigel Short, as expected, was absolutely gorgeous: a fairly refined, with an elegant, quite detailed, in terms of inputs are concerned, marking well the ideas I wanted to say ... all the good that can be expected someone who knows both the Renaissance repertoire (for his work with The Tallis Scholars or The King's Singers) and contemporary (especially the latter). I stay with two details of his address: 1 .- The small license, perhaps not very historical, yes, that was taken to make certain ritardandos and tenuti to enjoy and highlight the diverse and extraordinary dissonances that had in some parts, especially in the first part; 2 .- The way we had to contain the public at the end of each work, to take those seconds that the music needs to give its final word and disappear, thereby avoiding those annoying applause that the public tends to be given before the music has disappeared.
In short, an absolutely memorable concert, which had long enjoyed and not enjoyed, for although there were those who saw in these works absolutely soporific and struggled to hold from start to finish, although is true that for these concerts are to be something these combat-hardened, the absolute beauty, harmony and sincerity that I found in those works and the total sublimation to which they were elevdadas for those young singers, as I have rarely have heard, there were moments were truly magical, exciting and memorable until you leave this world, again lost in the darkness and letting the light that once lit up, seeping between the water as if it were between the fingers .
Tomás Luis de Victoria. Responsorial: One hour. Album: Officium Sanctae Hebdomadae. La Colombina - Josep Cabré, address. Glossa 2005 Thomas Tallis. I. Lamentation Album: Latin Church Music. Taverner Consort & Choir - Andrew Parrott, address. Virgin Veritas x2 1999-2003
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