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Victoria's massive publication of 1585, the OfficiumHebdomadae Sanctae, was never intended as a self-contained 'work': alongside the famous Tenebrae settings, it includes Lamentations for the... — Gramophone Classical Music Guide, 2010
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Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Show 46 remaining works on this recording Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Schola Antiqua Juan Carlos Asensio Hide 46 works on this recording
2010
Victoria's massive publication of 1585, the OfficiumHebdomadae Sanctae, was never intended as a self-contained 'work': alongside the famous Tenebrae settings, it includes Lamentations for the three holy days, the Improperia ('Reproaches'), and music for Palm Sunday and for the St John and St Matthew Passions. Given the scale of these liturgies, a full CD re-creation is a practical impossibility.
Josep Cabré, director of La Colombina, therefore steers a pragmatic course, presenting enough of the surrounding plainchant to give a sense of its scale in relation to the polyphony.
This sensible strategy works well, reconciling the complete presentation of the publication's contents with a more contextually sensitive approach. To the extent that both aims are fulfilled, this recording takes its place as one of the most significant contributions to Victoria's already impressive discography.
It's worth mentioning Victoria's use of a handful of simple recurring motifs (usually associated with specific words or phrases) that he would no doubt have expected his listeners to recognise. A recording such as this is probably the only way to experience the cumulative effect of such a strategy, now that actual liturgical performances within Holy Week are a thing of the past.
As to the performances, the polyphony is polished and involving in equal measure, although the emotional intensity associated with Victoria seems inversely proportional to the number of singers used. (They respond particularly well to the pieces scored for high voices, surely some of the most memorable music here.) While the inclusion of plainchant is both logical and effective, the manner in which it is sung is nearer to Solemnes than to the metrical approach that has sometimes been urged (and put into practice) for this period. The recording achieves a good presence, however, and enhances the performance's ambient qualities.