Jordi Savall, Hesperion XXI & La Capella Reial de Catalunya – Passion: Officivm Hebdomadae Sanctae (2021) [FLAC 24bit/88,2kHz]

Tom’as Luis de Victoria’s OFFICIUM HEBDOMADAE SANCTAE 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 Tom’as 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 Tom’as 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 gr^ace plus belle que la beaut’e” (“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 HEBDOMADAE SANCTAE, 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 Andr’es Montilla-Acurero).

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 Hebraeorum
04. Victoria: Dominica in ramis palmarum: Passio secundum Mathaeum
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 tuae. Versiculum “Avertantur retrorsum”
08. Victoria: Feria quinta in coena domini: Lamentatio Jeremiae Prophetae. Lectio prima “Incipit Lamentatio Jeremiae Prophetae”
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 Zachariae “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. Misericordiae 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 Jeremiae”
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 portae 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 “AEstimatus 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 Zachariae “Benedictus Dominus”
87. Victoria: Sabbato sancto: Ad laudes. Psalmus 50 “Miserere mei”
88. Victoria: Sabbato sancto: Hymnus Vexilla regis more hispano