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Reviewer: J.
F. Weber The 18 responsories for Tenebrae (Matins for the last three days of Holy Week, just before Easter) have been a favorite single disc of Tomás Luis de Victoria (1548–1611) since George Malcolm’s swan song on leaving the Westminster Cathedral Choir in 1959 (Argo ZRG 5149, later ECS 747). The first recording actually came from the monks of Montserrat on the rare Studio S. M. 33-15/16 in 1955. The set was also recorded by Bruno Turner (Fanfare 14:1), Maxwell Fernie on Tartar TRL 024, David Hill (13:1), Peter Phillips (14:5), Harry Christophers (15:6), Raúl Mallavibarrena on Enchiriadis EN 2029, and Nigel Short (37:4). It is the most admired and frequently recorded part of the complete Officium Hebdomadae Sanctae (Office of Holy Week), the composer’s masterpiece along with the later Officium Defunctorum, an even more popular single disc. Matins consists of three nocturns, each made up of three psalms with antiphons and three lessons with three responsories. Victoria, like other composers, chose to set the lessons of each first nocturn, since the texts were taken from the Lamentations of Jeremiah, originally sung in a florid chant, leaving their responsories to be sung in chant. He also set the responsories of the second and third nocturns, which were each preceded by a simple lesson tone. A service already long was thus extended even further. Hence it was often celebrated on the previous evening (Baroque settings were titled Wednesday, Thursday, and Friday). That was not all; it was followed by the Office of Lauds, which concluded with the canticle Benedictus and Psalm 50 (51), Miserere, also set in polyphony in this era.
Stilo antico, a group I have admired ever since its first disc, adds some relevant fillers. The first lamentation of each day is sung in chant following the day’s responsories, and O Domine Jesu Christe, one of the motets from the complete Office, is added at the end. The singing, one voice to a part, is exquisite; the main alternative to this vocal group is Josep Cabré (29:2) for the best comprehensive approach to the Officium on three discs. For the responsories alone, this disc must be compared with Harry Christophers, whose 18 responsories run longer than this entire program. The difference is important: Stile antico omits the da capo respond (RVr instead of RVrR) for the third responsory of each nocturn. The omission is significant, for the extended responsory that closes each nocturn provides a solemn conclusion. I haven’t seen this omission on records since George Malcolm’s set, which was constrained by the LP side lengths. I retain a fondness for the choir of men and boys that David Hill directed in his swan song with the same choir that George Malcolm directed. All the other versions are from small vocal ensembles, all larger than one voice to a part. Stile antico produces a remarkably full tone for a solo group and their enunciation is exquisite. The chant lamentations are sung in fine style with no attempt at finding some unusual interpretation or source. Oddly, however, there is alternation of solo voices from the Hebrew vowel (the text is an acrostic in the original) to the lamentation text, hardly the way it would have been sung. Still, allowing for these reservations, this is a fine version that will please the group’s admirers. | ||||
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