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Views from the Choir Loft

Rehearsal Videos • Victoria’s “Ave Maria” (SATB)

Jeff Ostrowski · December 10, 2015

942 IMAGE AVE MARIA Tomás Luis de Victoria SATB EOPLE ENJOYED the “O Magnum Mysterium” rehearsal videos, so I went ahead and created individual practice videos for the SATB “Ave Maria” attributed to Tomás Luis de Victoria:

* *  PDF Download • “Ave Maria” (SATB)

EQUAL VOICES : YouTube   •   Mp3 Audio

SOPRANO : YouTube   •   Audio

ALTO : YouTube   •   Audio

TENOR : YouTube   •   Audio

BASS : YouTube   •   Audio

These videos are intended to help amateur choirs learn. When you’re listening, please remember that I’m a tenor! (I do my very best with the other voice parts.)

FOR YEARS, WE HAVE BEEN TOLD that T. L. de Victoria (d. 1611) did not write this piece. Many believed that Karl Proske wrote it under a false name, publishing it in his 1854 collection. But consider these original manuscripts shared by my friend Nancho Alvarez. If Nancho reads this article, perhaps he can let me know the date of these manuscripts—they do not seem like something Proske would write. 1

939 AVE MARIA Tomás Luis de Victoria SATB 940 AVE MARIA Tomás Luis de Victoria SATB 941 AVE MARIA Tomás Luis de Victoria SATB

I’m not so sure Victoria—toward the very end of his life—could not have written this piece. Here are six reasons why:

(1) The music is of a very high quality.

(2) The Tenor and Bass lines in measures 14-16 remind me of a section in Victoria’s “Domine non sum dignus.”

(3) The 3/4 section toward the end is reminiscent of pieces by Victoria and other composers of that time, such as Jacobus Handl-Gallus.

(4) The incipit at the beginning is certainly something Victoria would have done, and comes directly from the Gregorian version. In fact, if you carefully examine the Gregorian melody—such as the phrase “Sancta Maria”—you’ll see that many melodies are based on the plainsong. As a Roman Catholic priest, Victoria loved to use the plainsong melodies in his polyphonic compositions.

(5) The composer says “JESUS CHRISTUS” instead of “Jesus,” which reminds me of what was done to the Holy Name in Victoria’s “O Magnum Mysterium.”

(6) Victoria did not compose a 4-voice AVE MARIA, except for this one. Therefore, it fills a lacuna in his repertoire.

In addition, the use of chromaticism seems—in my humble opinion—to match what was being done circa 1605AD.

 


NOTES FROM THIS ARTICLE:

1   Part books had generally fallen out of fashion by the 19th century. The entire 1854 collection by Carl Proske—called “Musica Divina”—can be downloaded HERE.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 16, 2023

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Whether celebrated with priest and people facing each other or with priest and people together facing the same direction, every Eucharist is Christ coming to meet us, gracing us with a share in his own divine life.”

— Most Rev’d Arthur J. Serratelli (1 December 2016)

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