VICTORIA Missa Gaudeamus

LAY CLERKS OF WESTMINSTER CATHEDRAL

MATTHEW MARTIN

MUSIC FOR THE FEAST OF THE ASSUMPTION

Victorias musical output was relatively small compared
with other major Renaissance composers such as
Palestrina (who published five times as much music) and
Lassus (who published even more), and he published no
secular music. The music he did publish, however, shows
a generally very high level of inspiration and musical
craftsmanship, and it is clearfrom the constant
revisions he made to the successive editions of his works
that appeared during his lifetime and from some of his
comments in prefaces to his worksthat he adopted a
highly critical attitude to what he wrote. In his dedication
to Pope Gregory XIII of his 1581 volume of Hymni totius
anni, he speaks of music being an art to which I am
instinctively drawn, and to the perfection of which I
have devoted long years of study, with the help and
encouragement of others of critical judgement.
Victorias Missa Gaudeamus is based on a motet,
Iubilate Deo omnis terra, by Morales which was written
in 1538 to celebrate the cessation of hostilities between
Francis I and Charles V as a result of mediation by the
Pope, Paul III, who persuaded them to meet and sign a
treaty at Nice. In the motet and the Mass both composers
make much use of the opening phrase of the introit
Gaudeamus omnesLet us all rejoiceas a cantus
firmus, upon which to build their music. Gaudeamus
omnes is a Mass Proper. Mass Propers are older forms of
the Mass liturgy which vary according to the date and/or
season of the liturgical calendar, and which can be
interpolated between movements of the Mass Ordinary, the
unvarying movements of the Mass as they were established
in a later era.
Girolamo Frescobaldi was born in Ferrara in September 1583 (the exact date has not yet been established)
and died in Rome on 1 March 1643. He is counted, along
with Sweelinck, as one of the most influential keyboard

HIS RECORDING by the lay clerks of Westminster

Cathedral presents a full choral, and instrumental,
celebration of Mass for the Feast of the Assumption
of the Blessed Virgin Mary, which falls on 15 August. It
is based on music by two major composers, Toms Luis
de Victoria and Girolamo Frescobaldi. Victorias Missa
Gaudeamus provides the central feature of an elaborate
liturgical sequence in which other musicincluding a
motet by Victoria, Mass Propers and other passages of
chant, and organ music by Frescobaldi in several forms
is interpolated between the movements of the Mass
Ordinary. This festive celebration of Mass is intended not
as a reconstruction of a known occasion in the early seventeenth century, but as a sort of musical offering illustrating
the complex liturgical structures becoming available in
a period when the resources for the enrichment of the
liturgy were growing steadily.
Toms Luis de Victoria, the greatest composer of the
Spanish sixteenth-century golden age of polyphonic
music, was born in Avila in 1548 and died in Spain in 1611.
In about 1558 he became a choirboy in Avila Cathedral,
where he received his earliest musical training. When his
voice broke he was sent to the Collegium Germanicum at
Rome where he was enrolled as a student in 1565. He was
to spend the next twenty years in Rome, where he occupied a number of posts of which the most important were
at S Maria di Monserrato, the Collegium Germanicum, the
Roman Seminary (where he succeeded Palestrina as
Maestro di cappella in 1571) and S Apollinare. In 1575 he
took holy orders and three years later was admitted to
chaplaincy at S Girolamo della Carit. Around 1587 he left
Italy and in that year took up an appointment as chaplain
to the dowager Empress Maria at the Royal Convent for
Barefoot Clarist Nuns, where he acted as maestro to the
choir of priests and boys that was attached to the convent.

be called in Italy, originally denoted an instrumental

arrangement of a polyphonic chanson; but, since the type
of material chosen for such reworkings often began with
passages of fugal imitation, the canzona came to be
regarded as a fugal form. Certainly this is how Frescobaldi
treats the Canzon dopo lEpistola. The term recercar
(Italian to search) comprehends three elements. First,
the concept of musical composition being a process of
searching; secondly, the idea of the recercar as a way of
trying out an instrument; and thirdly the use of the
form as means of exploring and displaying difficult and
demanding musical structures. The latter is certainly preeminent in the two recercars by Frescobaldi in this
recording.

composers of the early seventeenth century. He received

youthful acclaim as an organist. His early career was in
Ferrara, where the Duke Alphonso dEste had created
an impressive musical establishment, but by 1604 it is
recorded that Frescobaldi had been elected to the
Accademia di S Cecilia (a brotherhood of musicians in
Rome) and in 1607 he became organist of S Maria in
Trastevere. In 1608 he was elected organist of St Peters in
Rome, and thereafter his fame and professional standing
increased steadily both on account of his universally
admired organ and harpsichord playing and, as time went
on, thanks to the musical quality and style of his keyboard
works. It it is now thought that his late works begin to
foreshadow the style of the early Baroque period. From
1608 onwards Frescobaldi regularly published collections
of his works. The publication which has attracted most
attention and renown from subsequent generations is a set
published in Venice in 1635, entitled Fiori musicale di
diverse compositioni, tocatte, kyrie, canzone, capprici, e
recercare, a 4, in partiture . This includes three organ
Masses, and it is from this publication that all the four
organ interludes in the present disc have been derived.
These four pieces comprise an opening Toccata avanti
la Messa, a Canzon dopo lEpistola, a Recercar dopo il
Credo and another Recercar to end the service. The
toccata originated in the fifteenth century as a means
of displaying impressive manual dexterity and had a
loose form unbounded by the style and conventions of
vocal music. The earliest printed collections of toccatas
appeared in the late sixteenth century and Frescobaldi
played an important part in the development of the genre.
In his hands the contrasts in the passagework became
more marked and the rhythms more complex, and
chromaticism was sometimes introduced in place of
rapid movement. The canzon, or canzona as it came to

* * *
After the service bell this recording opens with an organ
toccata by Frescobaldi 1 . This has a loosely organized
four-part imitative structure and, after an initial flourish,
begins with some gently moving passagework over a bass
pedal note sustained for some four bars. This, however,
is quickly superseded by a section in which the tenor
introduces passages of much faster movement and greater
rhythmic energy, which quickly spread to other parts. The
movement is then rounded off with a final section which
reverts to a more relaxed movement with much suave
conjoint passagework leading to a peaceful close.
The first of the Mass Propers, the introit Gaudeamus
omnes 2 , is sung to traditional chant at the beginning of
the service at the entry of the clergy. Normally the texts and
melodies for different Feasts and seasons are different, but
Gaudeamus omnes is an exception to this practice and the
same chant is used, with minor variations of underlay, for
a number of different Feasts, including All Saints Day, the
Feast of the Assumption and half a dozen others.
3

The Kyrie 3 , the first movement of the Mass Ordinary,

is in six parts and is sung by the full choir of AATTBarB.
The music immediately shows its link with the introit
by using the chant and words of the first phrase of
Gaudeamus omnes as a cantus firmus in the second tenor
part, and with Morales Iubilate Deo by its employment of
figures from the motet.
The Gloria 4 , the second movement of the Mass
Ordinary, again sung by the full choir, also uses the introit
chant but, except in the final Amen, supplies the words
from the text of the Gloria, sometimes changing the
rhythym of the chant in order to do so. The Collect 5 is
a part of the service that is often read, but in this festal
performance the Collect prescribed for the Feast of the
Assumption is sung to traditional chant after a brief
responsory. The Epistle 6 is another part of the service
commonly spoken, but here again the prescribed text,
which is taken from Ecclesiasticus 24: 1120, is sung to
chant. The Gradual 7 , the second of the Mass Propers, is
here also sung to chant, the text taken from two extracts
from Psalm 45. The Alleluia 8 , another Mass Proper,
opens with several florid and melismatic enunciations of
Alleluia, followed by a verse referring to the Assumption
of the Blessed Virgin Mary and then a repeat of the
Alleluias. After a brief opening flourish, the Canzon dopo
lEpistola for organ 9 opens with a short Adagio chordal
section, which is soon followed by a brisk Allegro in an
attractive and lively fugal style.
Like the Collect and Epistle, the Gospel bl is another
part of the service that can be spoken, but here again the
prescribed text, which comes from Luke 10: 3842, is
chanted. It relates the gospel tale of Martha and Mary, in
which Mary sat at the feet of Christ and heard his word,
but Martha, preoccupied with preparing hospitality for her
illustrious guest, complained to him that Mary was not
helping her. Christ replied: Martha, Martha thou art

careful and troubled about many things. But one thing is

needful. Mary hath chosen the best part, which shall not
be taken away from her.
The Credo bm , the third movement of the Mass
Ordinary, is sung by the full choir and again the
Gaudeamus incipit is much in evidence in many subtle
variants mainly in the second tenor and baritone parts.
The Recercar dopo il Credo for organ bn begins in fugal
style with the striking entry in the top voice of an uncompromisingly angular subject which begins with an
unvocal leap up a minor sixth, descends a fourth, and then
continues with a five-note ascending chromatic scale. The
tenor voice answers this entry with an exact imitation of
it an octave lower, and the bass part then carries on the
imitation a fourth below. The fugal entries are soon joined
by a faster-moving passage in the alto line, a sort of
countersubject which is extensively imitated during the
remaining fugal entries. It is unlikely that Ebenezer Prout,
author of an illuminating nineteenth-century treatise on
fugue, would have wholeheartedly approved every detail of
these procedures, but it is difficult not to conclude that
this style of writing by Frescobaldi points the way towards
the development of the Baroque fugue. The second half of
the recercar continues in a more energetic and less fugal
mode, using the fugal theme several times in doubled note
values in combination with much imitative passagework of
a new countersubject.
Preceded by a brief responsory, the Offertory bo , the
fourth Mass Proper, is a short prescribed text referring to
the Assumption and the rejoicing of the Angels. The full
choir next sings the first half of the exquisite six-part motet
Vidi speciosam by Victoria bp , which takes its text from
the first Responsory at Matins for the Feast of the Assumption. The Preface bq , a chanted prayer with four opening
responsories, urges worshippers to lift up their hearts to
God, to offer thanks to him; and to join together in
4

of an extra voice produce imposing sonorities and a great

sense of spaciousness which provide an impressive finish
to the Mass.
The fifth Mass Proper, Communion cl , is a short
chanted text referring back to the Gospel tale of Mary and
Martha (see track bl ). This is followed by the second part
of the Victorias motet Vidi speciosam (see track bp for
the first part), Quae est ista cm , sung by the full choir. The
Post-communion cn is the last Mass Proper. After a brief
opening responsory, the chant celebrates the Assumption
and asks for the remission of sins through the intercession
of the Blessed Virgin Mary. The final item in this festal
celebration of Mass for the Assumption is another recercar
by Frecobaldi co . The organ music is in four parts with an
optional extra fifth part for chant. The organ parts weave
a close texture of imitative writing derived from the
Gaudeamus motif while the vocal part, using the same
motif in longer notes, soars above the texture periodically
enunciating the words Sancta Maria, ora pro nobis (Holy
Mary, pray for us) to provide a moving conclusion to the
whole Mass.

praising, blessing and proclaiming the Assumption of the

Blessed Virgin Mary.
The Sanctus br , the fourth movement of the Mass
Ordinary, follows, sung by the full choir. Once again the
Gaudeamus incipit in long notes is skilfully woven into
the texture of the music by the second tenor and baritone
voices, and, in the reduced-voice section Pleni sunt caeli,
by the first tenor. The first section of the Benedictus bs
the fifth movement of the Mass Ordinary, also sung by
the full choiris for four voices, but the final Hosanna
section is for six voices with the Gaudeamus motif
returning in the second tenor at the end.
The Pater noster bt , the chanted prayer Our Father,
which art in heaven, is introduced with a short responsory, before the full choir sings the two Agnus Dei
movements bu that end the Mass Ordinary. The first is in
six voices; the second is in seven, having an extra baritone
part to accommodate a new polyphonic device, a canon at
the octave between the second alto part and the first
baritone part. Both canonic parts retain the Gaudeamus
omnes words sung in long notes and this and the addition

JON DIXON 2009

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1 Toccata avanti la Messa organ

2 Introit chant

Toccata before the Mass

Gaudeamus omnes in Domino, diem festum celebrantes

sub honore Mariae virginis: de cuius assumptione
gaudent Angeli,
et collaudant Filium Dei.

Let us all rejoice in the Lord, celebrating

a feast day in honour of the Blessed Virgin Mary
for whose assumption Angels rejoice,
and give high praise to the Son of God.

Versus Eructavit cor meum verbum bonum:

dico ego opera mea regi.

Verse My heart is inditing of a good matter:

I speak of the things I have made touching the King.

Gloria Patri et Filio, et Spiritui Sancto:

sicut erat in principio et nunc,
et semper, et in saecula saeculorum. Amen.

Glory be to the Father, the Son and the Holy Ghost:

as it was in the beginning,
is now, and ever shall be. Amen.

3 Kyrie Missa Gaudeamus

Kyrie eleison. Christe eleison. Kyrie eleison.

Lord, have mercy. Christ, have mercy. Lord, have mercy.

4 Gloria Missa Gaudeamus

Gloria in excelsis Deo
et in terra pax hominibus bonae voluntatis.
Laudamus te. Benedicimus te.
Adoramus te. Glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex caelestis, Deus Pater omnipotens,
Domine Fili unigenite, Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi, miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus sanctus. Tu solus Dominus.
Tu solus altissimus, Jesu Christe.
Cum Sancto Spiritu
in gloria Dei Patris. Amen.

5 Collect chant

Dominus vobiscum.  Et cum spiritu tuo.

Oremus.
Famulorum tuorum, quaesumus Domine, delictis
ignosce: ut qui tibi placere de actibus nostris
non valemus: Genitricis Filii tui Domini nostri
Intercessione salvemur: qui tecum vivit et regnat

Glory to God in the highest

and on earth peace to men of goodwill.
We praise you. We bless you.
We worship you. We glorify you.
We give thanks to you for your great glory.
Lord God, heavenly King, almighty God the Father,
O Lord, the only begotten Son, Jesus Christ.
Lord God, Lamb of God, Son of the Father.
You take away the sins of the world, have mercy on us.
You take away the sins of the world,
receive our prayer.
You sit at the right hand of the Father, have mercy on us.
For you only are holy. You only are the Lord.
You only are the most high, Jesus Christ.
With the Holy Spirit
in the glory of God the Father. Amen.
The Lord be with you.  And with thy spirit.
Let us pray.
We beseech Thee, O Lord, disregard shortcomings of
your servants in as much as we are not strong enough
to please Thee with our acts: by the intercession of
the Mother of Thy Son our Lord, who liveth and reigneth

in unitate Spiritus Sancti Deus,

per omnia saecula saeculorum.  Amen.

with Thee in unity with the Holy Spirit, God for

ever and ever, may we be saved.  Amen.

6 Epistle chant
Lectio libri Sapientiae.
In omnibus requiem quaesivi,
et in haereditate Domini morabor.
Tunc praecepit et dixit mihi Creator omnium:
et qui creavit me, requievit in tabernaculo meo
et dixit mihi: In Jacob inhabita, et in Israel
haereditare et in electis meis mitte radices.
Et sic in Sion firmata sum, et in civitate
sanctificata similiter requievi, et in Jerusalem
potestas mea. Et radicavi in populo honorificato,
et in parte Dei mei haereditas illius,
et in plenitudine sanctorum detentio mea.
Quasi cedrus exaltata sum in Libano:
et quasi cypressus in monte Sion.
Quasi palma exaltata sum in Cades,
et quasi plantatio rosae in Jericho.
Quasi oliva speciosa in campis,
et quasi platanus exaltata sum iuxta aquam in plateis.
Sicut cinnamomum, et balsamum aromatizans odorem dedi:
quasi myrrha electa dedi suavitatem odoris.

A reading from the book of Wisdom.

In all these things I have sought rest, and in the
inheritance of the Lord shall I die.
Then the creator of all things, and he who created me,
gave me instruction and fixed a place for my tent
and said: Pitch your tent in Jacob, make Israel thine
inheritance and put down thy roots among my chosen people.
And thus in Sion I fixed my abode, and in the holy city
he has given me rest; and in Jerusalem
is my domain. I have taken root among a glorious people,
in the portion of my God, his heritage;
and I dwell in the full assembly of his saints.
Like a cedar in Lebanon I am raised aloft,
like a cypress on Mount Sion,
like a lofty palm in Cades,
and like a rose plantation in Jericho.
Like a beauteous olive in the fields
and like a tall plane tree I am exalted next to the water.
Like as cinnamon and fragrant balm,
like precious myrrh, I gave forth an odour of sweetness.

ECCLESIASTICUS 24: 1120

7 Gradual chant
Propter veritatem et mansuetudinem et iustitiam:
et deducet te mirabilater dextera tua.
Versus Audi filia et vide, et inclina aurem tuam:
quia concupivit rex speciem tuam.

Because of truth, justice and meekness

thy right hand shall teach thee terrible things.
Verse Hearken, O daughter and consider and incline
thine ear: for the King hath greatly desired thy beauty.

8 Alleluia chant
Alleluia.

Alleluia.

Versus Assumpta est Maria in caelum:

gaudet exercitus angelorum.

Verse Mary has been taken up into heaven:

a host of angels rejoice.

Alleluia.

Alleluia.

9 Canzon dopo lEpistola organ

bl Gospel chant

Dominus vobiscum.  Et cum spiritu tuo.

Sequentia sancti Evangelii secundum Lucam.
 Gloria tibi Domine.
In illo tempore: intravit Jesus in quoddam
castellum: et mulier quaedam Martha nomine,
excepit illum in domum suam: et huic erat soror
nomine Maria, quae etiam sedens secus pedes Domini,
audiebat verbum illius.
Martha autem satagebat circa frequens ministerium:
quae stetit, et ait: Domine, non est tibi
curae quod soror mea reliquit me solam ministrare?
Dic ergo illi ut me adiuvet.
Et respondens, dixit illi Dominus: Martha, Martha,
sollicita es et turbaris erga plurima.
Porro unum est necessarium. Maria optimam partem
elegit quae non auferetur ab ea.

Canzon after the Epistle

The Lord be with you.  And with thy spirit.
From the Gospel according to the holy Evangelist Luke.
 Glory to you, O Lord.
In that time it came to pass that Jesus entered into a
certain village: and a certain woman named Martha
received him into her house. And she had a sister
called Mary, who also sat at Jesuss feet
and heard his word.
But Martha was encumbered with much serving,
and came to him and said: Lord, dost Thou not care
that my sister hath left me to serve alone?
Bid her therefore to help me.
And Jesus answered and said unto her: Martha, Martha
thou art careful and troubled about many things.
But one thing is needful. Mary hath chosen the best part,
which shall not be taken away from her.

LUKE 10: 3842

bm Credo Missa Gaudeamus

Credo in unum Deum, Patrem omnipotentem
factorem caeli et terrae,
visibilium omnium et invisibilium.
Et in unum Dominum Jesum Christum,
Filium Dei unigenitum.
Et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine,
Deum verum de Deo vero.
Genitum, non factum, consubstantialem Patri:
per quem omnia facta sunt.
Qui propter nos homines et propter nostram salutem
descendit de caelis.
Et incarnatus est de Spiritu Sancto
ex Maria virgine: et homo factus est.

I believe in one God, the Father, the almighty

maker of heaven and earth,
of all that is seen and unseen.
I believe in one Lord, Jesus Christ,
the only begotten Son of God.
Eternally begotten of the Father.
God from God, light from light,
true God from true God.
Begotten not made, of one being with the Father:
through him all things were made.
For us men and for our salvation,
he came down from heaven.
By the power of the Holy Spirit he became
incarnate of the virgin Mary: and was made man.

Crucifixus etiam pro nobis: sub Pontio Pilato

passus et sepultus est.
Et resurrexit tertia die secundum scripturas.
Et ascendit in caelum:
sedet ad dexteram Patris.

For our sake he was crucified: under Pontius Pilate

he suffered death and was buried.
On the third day he rose again in accordance with the scriptures.
He ascended into heaven:
and is seated at the right hand of the Father.

Et iterum venturus est cum gloria

iudicare vivos et mortuos:
cuius regni non erit finis.

He shall come again in glory

to judge the living and the dead:
whose kingdom shall have no end.

Et in Spiritum Sanctum Dominum, et vivificantem:

qui ex Patre Filioque procedit.
Qui cum Patre et Filio simul adoratur
et conglorificatur; qui locutus est per Prophetas.
Et unam sanctam catholicam
et apostolicam Ecclesiam. Confiteor unum
baptisma in remissionem peccatorum.
Et exspecto resurrectionem mortuorum.
Et vitam venturi saeculi. Amen.

I believe in the Holy Spirit, the Lord, the giver of life:

who proceeds from the Father and the Son.
With the Father and the Son he is worshipped
and glorified; he has spoken through the Prophets.
I believe in one holy, catholic
and apostolic Church. I acknowledge one
baptism for the forgiveness of sins.
And I look for the resurrection of the dead.
And the life of the world to come. Amen.

bn Recercar dopo il Credo organ

bo Offertory chant

Dominus vobiscum.  Et cum spiritu tuo.

Oremus.
Assumpta est Maria in caelum: gaudent angeli,
collaudantes benedicunt Dominum. Alleluia.

Recercar after the Credo

The Lord be with you.  And with thy spirit.
Let us pray.
Mary has been taken up into heaven: the angels rejoice;
joining in praise they bless the Lord. Alleluia.

bp Vidi speciosam motet (part 1)

Vidi speciosam sicut columbam ascendentem
desuper rivos aquarum, cuius inaestimabilis
odor erat nimis in vestimentis eius:
et sicut dies verni circumdabant eam
flores rosarum et lilia convallium.

bq Preface Eucharistic prayer (chant)

I saw her, beautiful as a dove, ascending from above

streams of water, she whose sweet fragrance
was above price in garments deliciously perfumed,
and like a spring day, she was surrounded
by roses and lilies of the valley.

Per omnia saecula saeculorum.  Amen.

Dominus vobiscum.  Et cum spiritu tuo.
Sursum corda.  Habemus ad Dominum.
Gratias agimus Domino Deo nostro.
 Dignum et iustum est.

For all ages of ages.  Amen.

The Lord be with you.  And with thy spirit.
Lift up you hearts.  We lift them up to the Lord.
Let us give thanks to the Lord our God.
 It is right and proper so to do.

Vere dignum et iustum est, aequum et salutare,

nos tibi semper, et ubique gratias agere:
Domine sancte, Pater omnipotens, aeterne Deus:
et te in assumptione beatae Mariae semper
virginis collaudare, benedicere et praedicare. Quae et
unigenitum tuum Sancti Spiritus obumbratione concepit:
et virginitatis gloria permanente,

It is indeed right and proper, fair and salutary, that

always and everywhere we should give thanks to Thee
in like manner; Holy Lord, Father almighty, eternal God:
and to join together to praise, to bless and proclaim
Thy assumption, O blessed Mary ever virgin. She who
conceived by the Holy Spirit Thy only begotten Son:
in the glory of permanent virginity

lumen aeternum mundo effudit,

Jesum Christum Dominum nostrum.
Per quem maiestatem tuam laudant angeli,
adorant Dominationes, tremunt Potestates.
Caeli caelorumque Virtutes, ac beata seraphim,
socia exsultatione concelebrant.
Cum quibus et nostras voces, ut admitti iubeas,
deprecamur, supplici confessione dicentes:

she poured forth eternal light in the world,

Jesus Christ our Lord.
Through him angels praise Thy majesty,
Dominations adore, powers tremble.
Virtues of the heaven of heavens, and the blessed
seraphim celebrate together in exultation.
With whom we raise our voices, also in prayer, as you
grant us leave, saying in suppliant confession:

br Sanctus Missa Gaudeamus

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua.
Osanna in excelsis.

Holy, holy, holy, Lord God of power and might.

Heaven and earth are full of your glory.
Hosanna in the highest.

bs Benedictus Missa Gaudeamus

Benedictus qui venit in nomine Domini.
Osanna in excelsis.

bt Pater noster chant

Blessed is he who comes in the name of the Lord.

Hosanna in the highest.

Per omnia saecula saeculorum.  Amen.

Oremus. Praeceptis salutaribus moniti,
et divina institutione formati, audemus dicere:
Pater noster, qui es in caelis: sanctificetur nomen tuum:
adveniat regnum tuum: fiat voluntas tua,
sicut in caelo, et in terra.
Panem nostrum quotidianum da nobis hodie:
et dimitte nobis debita nostra, sicut
et nos dimittimus debitoribus nostris.
Et ne nos inducas in tentationem,
 sed libera nos a malo.

For all ages of ages.  Amen.

Let us pray. Taught by his saving precepts
and formed by his divine instruction we are bold to say:
Our Father, which art in heaven, hallowed be thy name;
thy kingdom come; thy will be done,
in earth as it is in heaven.
Give us this day our daily bread.
And forgive us our trespasses,
as we forgive them that trespass against us.
And lead us not into temptation;
 but deliver us from evil.

Per omnia saecula saeculorum.  Amen.

Pax Domini sit semper vobiscum.  Et cum spiritu tuo.

For all ages of ages.  Amen.

May the peace of the Lord be always with you.  And with thy spirit.

bu Agnus Dei Missa Gaudeamus

Agnus Dei, qui tollis peccata mundi,
miserere nobis.
Agnus Dei, qui tollis peccata mundi,
dona nobis pacem.

Lamb of God, you take away the sins of the world,

have mercy on us.
Lamb of God, you take away the sins of the world,
grant us peace.

10

cl Communion chant
Optimam partem elegit sibi Maria:
quae non auferetur ab ea in aeternum.

Mary hath chosen for herself the best part,

which shall not be taken away from her.

cm Vidi speciosam motet (part 2)

Quae est ista quae ascendit per desertum
sicut virgula fumi, ex aromatibus myrrhae
et thuris?
Et sicut dies verni circumdabant eam
flores rosarum et lilia convallium.

cn Post-communion chant

Who is she that has gone up from the desert,

like a column of smoke laden with the perfumes of myrrh
and frankincense?
And like a spring day, she was surrounded
by roses and lilies of the valley.

Dominus vobiscum.  Et cum spiritu tuo.

The Lord be with you.  And with thy spirit.

Oremus. Mensae caelestis participes effecti,

imploramus clementiam tuam, Domine Deus noster:
ut qui assumptionem Dei genitricis colimus,
a cunctis malis imminentibus eius intercessione liberemur.
Per eundem Dominum nostrum
Jesum Christum Filium tuum:
qui tecum vivit et regnat in unitate Spiritus Sancti Deus,
per omnia saecula saeculorum.  Amen.

Let us pray. Made participants of the heavenly table,

we implore Thy mercy, O Lord our God: so that,
as we celebrate the assumption of the Mother of God,
we may, by her intercession, be liberated from all besetting sins.
Through our same Lord,
Jesus Christ, Thy Son:
who liveth and reigneth with Thee in the unity of God
with the Holy Spirit, for ever and ever.  Amen.

Dominus vobiscum.  Et cum spiritu tuo.

Ite, Missa est.  Deo gratias.

The Lord be with you.  And with thy spirit.

Go, the Mass is ended.  Thanks be to God.

co Recercar organ and choir

Sancta Maria, ora pro nobis.

Holy Mary, pray for us.

All Hyperion and Helios compact discs may be purchased over the internet at

www.hyperion-records.co.uk
where you can also listen to extracts of all recordings and browse an up-to-date catalogue

11

 Jonathan Bungard

Lay clerks of Westminster Cathedral

countertenor David Allsopp, Ian Aitkenhead, Kevin Beckett, Stephen Burrows, David Gould, David Martin, Matthew Venner
tenor Jonathan Bungard, David Knight, Clifford Lister, Nicholas Keay*, Robert Watson
bass Stephen Alder , Michael Bundy, Colin Campbell, Julian Empett, William Gaunt, David Soar, Graham Titus +
+ = Celebrant
= Deacon
* = Sub-Deacon

12

THE CHOIR OF WESTMINSTER CATHEDRAL

Westminster Cathedral Choir is acclaimed as one of the
worlds great choirs. Since its foundation in 1903 it has
occupied a unique and enviable position at the forefront of
English church music, not least because of the groundbreaking work of its first Master of Music, Richard Terry,
who revived the great works of the English and Continental
Renaissance composers. The choirs fame grew under
Terry as it presented this forgotten music, revolutionizing
attitudes to the repertoire. Innovation continued under
George Malcolm who pioneered the development of the
choirs sound along Continental lines, resulting in a choir
that was truly revolutionary in both what and how it sang.
The choir continues these traditions under its present
Master of Music, Martin Baker, and it remains the only
Catholic Cathedral choir in the world to sing daily Mass
and Vespers. More recent holders of the post have included
Colin Mawby, Stephen Cleobury, David Hill and James
ODonnell.
The choirs reputation is ever-expanding and it continues to reach new audiences through its series of acclaimed

recordings on Hyperion. In 1998 the choir was awarding

the Gramophone Awards for Best Choral Recording of the
Year and Record of the Year for the performance of
Frank Martins Mass and Pizzettis Requiem.
The choir has a history of commissioning and performing new music, famous examples being Brittens Missa
brevis for boys voices, the Mass in G minor by Vaughan
Williams and compositions by Wood, Holst and Howells.
Within the last decade the choir has commissioned new
Masses from James MacMillan, Peter Maxwell Davies,
Judith Bingham, John Tavener, Matthew Martin and
Stephen Hough, all of which were first performed in the
context of the regular liturgies at Westminster Cathedral.
Westminster Cathedral Choir frequently features on
radio and television. When its busy liturgical schedule
permits it takes its music further afield. In addition to
regular concerts around the United Kingdom, recent tours
have included Hungary, Norway, Germany, Belgium, Italy,
Ireland and the USA.

also available
TOMS LUIS DE VICTORIA (15481611)
Missa Ave regina caelorum and other Marian music
WESTMINSTER CATHEDRAL CHOIR / MARTIN BAKER conductor
Compact Disc CDA67479
Recordings of Renaissance polyphony rarely come much better than this
(The Daily Telegraph)
TOMS LUIS DE VICTORIA (15481611)
Requiem
WESTMINSTER CATHEDRAL CHOIR / DAVID HILL conductor
Compact Disc CDA66250
Glorious. A rich, luminous acoustic halo seems to surround the music as it soars ever
upward (The Good CD Guide)

13

MATTHEW MARTIN was born in 1976 and read

THOMAS WILSON has been Assistant Organist at

Westminster Cathedral since 2004. In 2003 he moved to
the United Kingdom from New Zealand in order to
complete postgraduate study in organ performance and
musicology at the Royal Academy of Music. In addition
to working with the cathedral choir he has specific
responsibility for music at non-choral services. He was
previously Assistant Director and Organist of the choir of
Ealing Abbey and whilst in New Zealand was Organist and
Director of Music of the Metropolitan Cathedral of the
Sacred Heart in Wellington.

music at Magdalen College, Oxford, where he was organ

scholar. After graduating in 1997, he went on to the Royal
Academy of Music, London as a post-graduate student
winning all the major organ prizes, and subsequently
continued his studies in Paris with Marie-Claire Alain. He
was recently elected an Associate of the Royal Academy of
Music and is currently a teacher in keyboard skills and
organ improvisation there.
In 2000 Matthew was appointed Organist and
Choirmaster at the University Church of St Mary the Virgin
and Assistant Organist at New College, Oxford before
moving to Canterbury Cathedral in 2002 where he played
for the enthronement of Dr Rowan Williams as Archbishop. Since 2004 he has been Assistant Master of Music
at Westminster Cathedral. In addition to daily work with
the cathedral choir, he organizes and gives many of
the cathedrals organ recitals. These recently included
performances of the complete organ works of Jehan Alain
over five concerts and Messiaens Messe de la Pentecte
and La Nativit du Seigneur.
As well as his busy schedule as a recitalist and director,
Matthew is in increasing demand as a composer and his
music is widely performed both in this country and
further afield. Recent commissions have come from The
Cardinalls Musick, the choirs of Westminster Abbey and
St Pauls Cathedral, as well as a Mass to celebrate the Feast
of the Dedication of Westminster Cathedral. Each year
during August, Matthew directs the Nave Choir of boys and
men as part of the Edington Festival of Music within the
Liturgy.

Organ: Goetze and Gwynn (1996)

Principale
Ottava
Decimaquinta
Decimanona
Vigesimaseconda
Voce Umana from c

8'
4'
2'
11/3'
1'
8'

Temperament: 1/4 comma meantone

The keyboard is transposing (a = 390, 415, 440
and 465Hz).
The compass is Cc, with an octave of pedal pulldowns
(Cc)
Tuned and regulated by Malcolm Greenhalgh

14

MUSIQUE POUR LA FTE DE LASSOMPTION

ET ENREGISTREMENT des clercs de la cathdrale
de Westminster est consacr une clbration
chorale et instrumentale complte de la messe
pour la fte de lAssomption de la sainte Vierge Marie, qui
tombe le 15 aot. Elle repose sur la musique de deux
grands compositeurs, Toms Luis de Victoria et Girolamo
Frescobaldi. La Missa Gaudeamus de Victoria constitue
le principal lment dune squence liturgique labore
dans laquelle dautres musiquesnotamment des motets
de Victoria, des parties du propre de la messe et dautres
passages psalmodis, ainsi que de la musique pour orgue
de Frescobaldi sous diverses formessinsrent entre les
diffrentes parties de lordinaire de la messe. Cette
clbration festive de la messe na pas t conue comme
la reconstitution dun vnement prcis du dbut du
XVIIe sicle, mais comme une sorte doffrande musicale
illustrant les structures liturgiques complexes en vigueur
une poque o les moyens consacrs lenrichissement
de la liturgie ne cessaient de se dvelopper.
Toms Luis de Victoria, le plus grand compositeur de
lge dor de la musique polyphonique espagnole du
e
XVI sicle, est n Avila en 1548 et mort en Espagne en
1611. Vers 1558, il est entr la matrise de la cathdrale
dAvila, o il a reu les premires bases de sa formation musicale. Lorsque sa voix a mu, on la envoy au
Collegium Germanicum de Rome, o il a t inscrit comme
tudiant en 1565. Il allait passer les vingt annes suivantes
Rome, occupant plusieurs postes importants, notamment
Santa Maria di Monserrato, au Collegium Germanicum,
au Sminaire romain (o il a succd Palestrina comme
maestro di cappella en 1571) et San Apollinare. En 1575,
il est entr dans les ordres et, trois ans plus tard, a t
admis laumnerie de San Girolamo della Carit. Vers
1587, il a quitt lItalie et, la mme anne, est devenu le
chapelain de limpratrice douairire Marie au couvent

royal des surs clarisses (aux pieds nus), tout en dirigeant

le chur de prtres et de garons attach ce couvent.
Luvre musicale de Victoria est relativement restreinte
compare celle dautres grands compositeurs de la
Renaissance comme Palestrina (qui a publi cinq fois plus
de musique) et Lassus (qui en a publi encore davantage) ; et il na laiss aucune uvre profane. Cependant, la
musique quil a publie rvle en gnral un trs haut
niveau dinspiration et de comptence musicale. Les
rvisions constantes quil a apportes aux ditions successives de ses uvres parues de son vivant et certaines de
ses remarques dans des prfaces ses uvres montrent
lvidence quil avait une attitude trs critique propos de
ce quil crivait. Dans la ddicace au pape Grgoire XIII de
son volume dHymni totius anni de 1581, il parle de la
musique comme d un art vers lequel je suis instinctivement attir et la perfection duquel jai consacr de
longues annes dtude, avec laide et lencouragement
dautres personnes au jugement critique .
La Missa Gaudeamus de Victoria repose sur un motet
de Morales, Iubilate Deo omnis terra, crit en 1538 pour
clbrer la fin des hostilits entre Franois Ier et Charles
Quint, grce la mdiation du pape Paul III, qui les
persuada de se rencontrer et de signer un trait Nice.
Dans ce motet et dans la messe, les deux compositeurs
font largement appel la premire phrase de lIntrot,
Gaudeamus omnes Rjouissons-nous comme
cantus firmus, phrase sur laquelle ils construisent
leur musique. Gaudeamus omnes est lun des lments
du propre de la messe. Les propres de la messe sont
danciennes formes de la liturgie de la messe qui varient
selon la date et/ou la saison du calendrier liturgique ; ils
peuvent sinsrer entre les parties de lordinaire de la
messe, qui constituent les lments fixes de la messe tels
quils ont t tablis une poque ultrieure.

15

Girolamo Frescobaldi est n Ferrare en septembre

1583 (on ignore toujours la date exacte) et mort Rome
le 1er mars 1643. Il compte, avec Sweelinck, parmi les
compositeurs de musique pour instruments clavier les
plus influents du dbut du XVIIe sicle. Dans sa jeunesse,
il a connu beaucoup de succs comme organiste. Le dbut
de sa carrire sest droul Ferrare, o le duc Alphonse
dEste avait cr un tablissement musical impressionnant, mais on sait quen 1604 Frescobaldi a t lu
lAcadmie Sainte-Ccile (confrrie de musiciens Rome)
et, en 1607, il est devenu organiste de Santa Maria in
Trastevere. En 1608, il a t lu organiste de Saint-Pierre
de Rome et, par la suite, sa renomme et sa rputation
professionnelle nont cess de se dvelopper grce son
talent dorganiste et de claveciniste que tous admiraient
puis, au fil des ans, grce la qualit musicale et au style
de ses uvres pour clavier. On estime aujourdhui que ses
dernires uvres annoncent le style du dbut de lre
baroque. partir de 1608, Frescobaldi a rgulirement
publi des recueils de ses uvres. Celui qui a attir le plus
largement lattention et la reconnaissance des gnrations
suivantes est un recueil publi Venise en 1635, Fiori
musicale di diverse compositioni, tocatte, kyrie,
canzone, capprici, e recercare, a 4, in partiture . Il
comprend trois messes pour orgue, et cest de ce recueil
que sont tirs les quatre interludes pour orgue du prsent
disque.
Ces quatre pices comportent tout dabord une
Toccata avanti la Messa, un Canzon dopo lEpistola, un
Recercar dopo il Credo et un autre Recercar pour
terminer loffice. La toccata a vu le jour au XVe sicle.
Ctait une pice destine mettre en valeur une dextrit
manuelle impressionnante, pice de forme assez libre,
indpendante du style et des conventions de la musique
vocale. Les premiers recueils imprims de toccatas datent
de la fin du XVIe sicle et Frescobaldi a jou un rle

important dans le dveloppement du genre. Sous sa

plume, les contrastes dans les traits sont plus accentus et
les rythmes plus complexes ; le chromatisme se substitue
parfois un mouvement rapide. La canzon, ou canzona
comme on a fini par lappeler en Italie, dsignait
lorigine un arrangement instrumental dune chanson
polyphonique ; mais comme le type de matriel choisi
pour ces nouvelles versions commenait souvent par des
passages dimitation fugue, la canzona a fini par tre
considre comme une forme fugue. Cest exactement
de cette faon que Frescobaldi traite la Canzon dopo
lEpistola. Le terme recercar ( chercher en italien)
comprend trois lments. Dabord, le concept de composition musicale en tant que processus de recherche ; puis,
lide du recercar en tant que manire dessayer un
instrument ; et enfin, lutilisation de la forme comme
moyen pour explorer et rvler des structures musicales
difficiles et exigeantes. Ce dernier lment domine
nettement dans les deux recercars de Frescobaldi qui
figurent dans cet enregistrement.
* * *
Aprs la cloche de loffice, cet enregistrement commence
par une toccata pour orgue de Frescobaldi 1 . Elle
prsente une structure imitative quatre parties assez
librement organise et, aprs le brio des premiers accords,
elle dbute avec des traits qui voluent doucement sur
une pdale de basse soutenue pendant environ quatre
mesures. Toutefois, elle est vite remplace par une section
dans laquelle le tnor introduit des passages beaucoup
plus rapides et dune plus grande nergie rythmique, qui
se diffuse vite dans les autres parties. Le mouvement se
termine ensuite sur une section finale qui revient un
tempo plus dtendu avec de nombreux traits conjoints
dune certaine onctuosit menant une conclusion
paisible.
16

orgue 9 commence par une courte section en accords

Adagio, rapidement suivie dun Allegro rapide dans un
style fugu sduisant et anim.
Comme la Collecte et lptre, lvangile bl , est une
autre partie de loffice qui peut tre lue, mais ici encore le
texte du jour, tir de lvangile selon saint Luc, 10 : 3842,
est psalmodi. Cest la page de lvangile qui met en scne
Marthe et Marie : Marie tant assise aux pieds du Christ
coutait sa parole , alors que Marthe, absorbe par les
prparatifs quimposaient laccueil de son illustre invit,
se plaignait lui de ce que Marie ne laidait pas. Et le
Christ lui a rpondu : Marthe, Marthe, tu tinquites et
tagites pour beaucoup de choses ; pourtant il en faut peu,
une seule mme. Cest Marie qui a choisi la meilleure
part ; elle ne lui sera pas enleve.
Le Credo bm , troisime partie de lordinaire de la
messe, est chant par lensemble du chur et une fois
encore lincipit Gaudeamus est bien perceptible dans
de nombreuses variantes subtiles essentiellement la
partie de second tnor et celle de baryton.
Le Recercar dopo il Credo pour orgue bn dbute dans
un style fugu avec une entre saisissante la voix
suprieure : il sagit dun sujet rsolument angulaire qui
commence par un saut inchantable dune sixte mineure,
descend dune quarte, puis continue sur une gamme
chromatique ascendante de cinq notes. La voix de tnor
rpond cette entre avec une imitation exacte loctave
infrieure et la partie de basse reprend cette imitation une
quarte plus bas. Les entres fugues sont bientt rejointes
par un passage plus rapide la ligne dalto, une sorte de
contre-sujet longuement imit au cours des entres
fugues qui suivent. Il est peu probable quEbenezer
Prout, auteur dun lumineux trait sur la fugue au XIXe
sicle, en aurait approuv sans rserve tous les dtails,
mais il est difficile de ne pas dduire que ce style dcriture
de Frescobaldi ouvre la voie au dveloppement de la fugue

La premire partie du propre de la messe, lIntrot

Gaudeamus omnes 2 , est chant sur la psalmodie
traditionnelle au dbut de loffice, lentre du clerg.
Normalement, les textes et mlodies pour les diverses
ftes et saisons sont diffrents les uns des autres, mais
Gaudeamus omnes est une exception cette pratique
et la mme psalmodie est reprise, avec des variantes
mineures sous-jacentes, pour plusieurs ftes diffrentes,
notamment la Toussaint, la fte de lAssomption et une
demi-douzaine dautres ftes.
Le Kyrie 3 , premire partie de lordinaire de la messe,
est six voix et chant par lensemble du chur
(AATTBarB). La musique rvle immdiatement sa
relation avec lIntrot en utilisant la psalmodie et les
paroles de la premire phrase du Gaudeamus omnes
comme cantus firmus au second tnor, et avec le Iubilate
Deo de Morales par lemploi de figures du motet.
Le Gloria 4 , deuxime partie de lordinaire de la
messe, une fois encore chant par lensemble du chur,
utilise aussi la psalmodie de lIntrot mais, sauf dans
l Amen final, il reprend les paroles du texte du Gloria,
changeant parfois le rythme de la psalmodie pour ce faire.
La Collecte 5 fait partie de loffice qui est gnralement lu,
mais, dans ce genre de festivit, la Collecte de la fte de
lAssomption est chante sur une psalmodie traditionnelle
aprs de brefs rpons. Lptre 6 est une autre partie
du service communment parl, mais ici encore le
texte du jour, emprunt lEcclsiastique 24 : 1120, est
psalmodi. Le Graduel 7 , deuxime partie du propre de
la messe, est ici galement psalmodi, le texte provenant
de deux extraits du Psaume 45. LAllluia 8 , qui fait aussi
partie du propre de la messe, commence par plusieurs
nonciations fleuries et mlismatiques du mot Allluia ,
suivies dun verset faisant rfrence lassomption de la
Sainte Vierge Marie, puis dune rptition des Allluias .
Aprs une courte fioriture, la Canzon dopo lEpistola pour
17

Les deux parties en canon conservent les paroles du

Gaudeamus omnes chantes en valeurs longues ; ladjonction dune voix supplmentaire produit des sonorits
impressionnantes et une impression de grandeur qui
donne un fini imposant la messe.
La cinquime partie du propre de la messe, la
Communion cl , est un court texte psalmodi qui se rfre
nouveau lvocation de Marie et de Marthe dans
lvangile (voir plage bl ). Il est suivi de la seconde partie
du motet de Victoria Vidi speciosam (voir plage bp
pour la premire partie), Quae est ista cm , chante
par lensemble du chur. La Post-communion cn est
la dernire partie du propre de la messe. Aprs un bref
rpons initial, la psalmodie clbre lAssomption et
demande la rmission des pchs par lintercession de
la Sainte Vierge Marie. Le dernier volet de cette clbration
de la Messe de lAssomption est un autre recercar de
Frescobaldi co . La musique dorgue quatre parties
comporte une cinquime voix supplmentaire optionnelle
pour la psalmodie. Les parties dorgue tissent une
texture serre dcriture imitative drive du motif du
Gaudeamus , alors que la partie vocale, sur le mme
motif en valeurs plus longues, slve priodiquement audessus de la texture sur les mots Sancta Maria, ora pro
nobis ( Sainte Marie, priez pour nous ) afin dapporter
une conclusion mouvante lensemble de la messe.

baroque. La seconde moiti du recercar se poursuit dans

un mode plus nergique et moins fugu, en utilisant le
thme fugu plusieurs reprises en valeurs doubles avec
de nombreux traits imitatifs dun nouveau contresujet.
Prcd dun bref rpons, lOffertoire bo , quatrime
partie du propre de la messe, est un court texte impos qui
se rfre lAssomption et lallgresse des anges. Tout le
chur chante ensuite la premire moiti du charmant
motet six voix Vidi speciosam de Victoria bp , dont le texte
est tir du premier Rpons de Matines pour la fte
de lAssomption. La Prface bq , prire psalmodie avec
quatre rpons initiaux, exhorte les fidles lever leur
cur vers Dieu, Lui adresser leurs remerciements et
sunir pour louer, rendre grce et proclamer lAssomption
de la sainte Vierge Marie.
Vient ensuite le Sanctus br , quatrime partie de
lordinaire de la messe, chant par tout le chur. Une
fois encore, lincipit Gaudeamus en valeurs longues est
habilement tiss dans la texture de la musique par les voix
de second tnor et de baryton et, dans le Pleni sunt
caeli crit pour un effectif vocal rduit, par le premier
tnor. La premire section du Benedictus bs cinquime
partie de lordinaire de la messe, galement chante par
lensemble du churest quatre voix, mais la section
finale Hosanna est six voix avec la fin le retour du motif
du Gaudeamus au second tnor.
Le Pater noster bt , la prire psalmodie Notre Pre
qui es aux cieux , est introduit par un court rpons.
Lensemble du chur chante ensuite les deux parties de
lAgnus Dei bu qui concluent lordinaire de la messe. La
premire est six voix ; la seconde sept voix, avec une
partie de baryton supplmentaire justifie par un nouveau
procd polyphonique, un canon loctave entre la
seconde partie dalto et la premire partie de baryton.

JON DIXON 2009

Traduction MARIE-STELLA PRIS

18

MUSIK ZUM MARI HIMMELFAHRTSFEST

Kniglichen Barfer-Klarissenkonvent an, wo er als
Maestro des dem Konvent zugehrigen Chors von
Priestern und Knaben ttig war.
Im Vergleich zu anderen bedeutenden Komponisten
der Renaissance wie etwa Palestrina (der fnf Mal sowie
Musik verffentlichte) und Lassus (der noch mehr
publizierte) war Victorias musikalisches uvre relativ
gering, und er verffentlichte sogar gar keine weltliche
Musik. Die Musik, die er publizierte weist jedoch einen
hohen Grad von Inspiration und musikalisch versierter
Handwerklichkeit auf, und durch die stndigen Revisionen, die er in den aufeinanderfolgenden Ausgaben seiner
zu seinen Lebzeiten erschienenen Werke anlegte, sowie
aus einigen Kommentaren in den Vorworten zu seinen
Werken wird klar, dass er allem, was er schrieb, eine
uerst kritische Einstellung entgegenbrachte. In seiner
Widmung an Papst Gregor XIII. in seinem Band Hymni
totius anni von 1581 sagt er, dass Musik eine Kunst [ist],
zu der ich mich instinktiv hingezogen fhle, und um
deren Vervollkommnung ich mich mit der Hilfe und
Ermutigung anderer kritisch Eingestellter in vielen langen
Jahren des Studiums bemhte.
Victorias Missa Gaudeamus basiert auf der Motette
Iubilate Deo omnis terra von Morales, die 1583 zur Feier
der Waffenruhe zwischen Franois I. und Charles V.
geschrieben wurde, die durch die Vermittlung von Papst
Paul III. erreicht wurde, der die beiden berredet hatte,
sich in Nizza zu treffen und einen Vertrag zu unterzeichnen. In der Motette wie in der Messe verwenden die
beiden Komponisten vielfach die Anfangsphrase des
Introitus Gaudeamus omnesLasst uns frohlocken
als Cantus firmus, auf dem sie ihre Musik aufbauen.
Gaudeamus omnes ist eine Proprium-Messe. PropriumMessen sind eine ltere Form der Messliturgie, die sich
je nach Datum und/oder Jahreszeit des liturgischen

IESE AUFNAHME der Lay Clerks der Kathedrale

von Westminster prsentiert eine vollstndige
Chor- und Instrumentalfeier der Messe fr das
Himmelfahrtsfest Unserer Lieben Frau, das auf den 15.
August fllt. Sie basiert auf Musik von zwei bedeutenden
Musikern, Toms Luis de Victoria und Girolamo Frescobaldi. Victorias Missa Gaudeamus steht im Mittelpunkt
einer komplexen liturgischen Folge, in der andere
Musikeinschlielich Motetten von Victoria, Messproprien und andere Choralpassagen sowie Orgelmusik
von Frescobaldi in verschiedenen Gestaltenzwischen
die Stze des Messordinariums eingeschoben werden.
Diese feierliche Messe ist nicht als Rekonstruktion einer
bekannten Gelegenheit vom Anfang des 17. Jahrhunderts
gedacht, sondern als eine Art musikalische Gabe, die die
komplexen liturgischen Strukturen illustriert, die in einer
Periode verfgbar wurden, in der die Ressourcen zur
Bereicherung der Liturgie zusehends anwuchsen.
Toms Luis de Victoria, der grte Komponist des
spanischen goldenen Zeitalters polyphoner Musik im
16. Jahrhundert wurde 1548 in Avila geboren und starb
1611 in Spanien. Um 1558 wurde er Chorknabe in der
Kathedrale von Avila, wo er seine frheste musikalische
Ausbildung erhielt. Als seine Stimme brach, wurde er nach
Rom zum Collegium Germanicum geschickt, wo er 1565
als Student eingeschrieben wurde. Er sollte seine nchsten
20 Jahre in Rom verbringen, wo er eine Anzahl
verschiedener Positionen inne hattedie bedeutendsten
waren an Santa Maria di Monserrato, dem Collegium
Germanicum, dem Rmischen Priesterseminar (wo er
1571 die Nachfolge von Palestrina als Maestro di cappella
antrat) und San Apollinare. 1575 wurde er ordiniert und
drei Jahre spter Kaplan an San Girolamo della Carit. Um
1587 verlie er Italien und nahm in diesem Jahr eine
Anstellung als Kaplan der Kaiserinwitwe Maria am

19

Gottesdienstes. Die Toccata hat ihren Ursprung im 15.

Jahrhundert als Vehikel, um beeindruckende Fingerfertigkeit zur Schau zu stellen, und besa eine lose Form,
die nicht durch den Stil und die Konventionen der
Vokalmusik beschrnkt war. Die frhesten gedruckten
Sammlungen von Toccaten erschienen Ende des 16.
Jahrhunderts, und Frescobaldi spielte eine bedeutende
Rolle in der Entwicklung des Genres. In seinen Hnden
wurden die Kontraste im Passagenwerk ausgeprgter, die
Rhythmen komplexer, und an Stelle schneller Bewegung
wurde oft Chromatik eingesetzt. Die Kanzone oder
canzona, wie sie in Italien hie, beschrieb ursprnglich
eine Instrumentalbearbeitung einer polyphonen Chanson,
aber da das fr solche Behandlung gewhlte Material
meist mit Passagen fugaler Imitation begann, wurde die
Canzona als fugale Form betrachtet. So behandelt
Frescobaldi auch die Canzon dopo lEpistola. Der
Ausdruck Recercar (Italienisch fr suchen) enthlt drei
Elemente: erstens das Konzept, dass musikalische
Komposition ein Prozess des Suchens ist, zweitens die
Idee, das Recercar zu verwenden, um ein Instrument
auszuprobieren, drittens den Gebrauch der Form als
Mittel, schwierige und anspruchsvolle musikalische
Strukturen zu erforschen und zur Schau zu stellen.
Letzteres ist in den beiden Recercars Frescobaldis in
dieser Aufnahme ein vorherrschendes Element.

Kalenders ndern, und die zwischen die Stze des

Messordinariums, den unvernderlichen Stzen der
Messe, die sich spter etablierten, eingeschoben werden
knnen.
Girolamo Frescobaldi wurde im September 1583 in
Ferrara geboren (das genaue Datum konnte bisher nicht
bestimmt werden) und starb am 1. Mrz 1643. Er zhlt
neben Sweelinck als einer der einflussreichsten Komponisten fr Tasteninstrumente vom Anfang des 17.
Jahrhunderts. Er erfuhr bereits im Jugendalter Ansehen
als Organist. Seine frhe Laufbahn fand ihn in Ferrara, wo
Herzog Alfonso dEste ein beeindruckendes musikalisches
Etablissement geschaffen hatte, aber bereits 1604 gibt es
Belege dafr, dass Frescobaldi in die Accademia di Santa
Cecilia (eine Bruderschaft von Musikern in Rom)
aufgenommen worden war, und 1607 wurde er Organist
an Santa Maria in Trastevere. 1608 wurde er als Organist
an St. Peter in Rom gewhlt, und von da an wuchsen sein
Ruhm und sein professionelles Ansehen sowohl wegen
seines universell bewunderten Orgel- und Cembalospiels
und im Laufe der Zeit auch der musikalischen Qualitt
und dem Stil seiner Werke fr Tasteninstrumente stetig.
Heute werden seine spten Werke als Vorlufer des frhen
Barockstils betrachtet. Ab 1608 verffentlichte Frescobaldi
regelmig Sammlungen seiner Werke. Die Verffentlichung, die das grte Aufsehen erregte, und ihm die
meiste Anerkennung von nachfolgenden Generationen
einbrachte, ist ein Band, der 1635 in Venedig verffentlicht
wurde; die Fiori musicale di diverse compositioni,
tocatte, kyrie, canzone, capprici, e recercare, a 4, in
partiture . Dieser enthlt drei Orgelmessen, aus denen
die vier Orgelinterludien auf der vorliegenden CD
entnommen wurden.
Diese vier Stcke sind eine einleitende Toccata avanti
la Messa, eine Canzon dopo lEpistola, ein Recercar dopo
il Credo und ein weiteres Recercar zum Abschluss des

* * *
Nach den Luten der Glocke beginnt diese Einspielung mit
einer Orgeltoccata von Frescobaldi 1 . Diese besitzt eine
lose organisierte, vierstzige, imitative Struktur und
beginnt mit sanft flieendem Passagenwerk ber einem
etwa vier Takte lang gehaltenen Orgelton im Bass. Dies
wird jedoch bald von einem neuen Abschnitt verdrngt,
in dem der Tenor einige Passagen mit schnelleren
Notenwerten und grerer rhythmischer Energie einfhrt,
20

ebenfalls choraliter vorgetragen. Das Graduale 7 , das

zweite der Messproprien wird wiederum choraliter auf
einen Text von zwei Auszgen aus Psalm 45 gesungen. Das
Alleluia 8 , ein weiteres Messproprium, beginnt mit
mehreren zierreichen, melismatischen Rufen von
Alleluia, gefolgt von einer Strophe, die auf die
Himmelfahrt Unserer Lieben Frau anspielt und einer
Wiederholung der Alleluias. Nach einem kurzen
einleitenden Schnrkel beginnt die Canzon dopo
lEpistola fr Orgel 9 mit einem kurzen akkordischen
Adagio, dem bald ein rasches Allegro in attraktivem,
lebhaften Fugenstil folgt.
Wie Tagesgebet und Lesung ist auch das Evangelium bl
ein Teil des Gottesdienstes, der gesprochen werden kann,
aber auch hier wird der vorgeschriebene Text aus Lukas
10: 3842 gesungen. Er schildert die Geschichte von
Marta und Maria, in der Maria zu Christus Fen sa und
seinen Worten zuhrte, aber Marta, die sich viel Mhe
gab, fr ihren berhmten Gast zu sorgen, beschwerte sich,
dass Maria ihr nicht half. Christus antwortete: Marta,
Marta, du hast viel Sorge und Mhe. Eins aber ist Not.
Maria hat das gute Teil erwhlt; das soll nicht von ihr
genommen werden.
Das Credo bm , der dritte Satz des Messordinariums
wird vom vollen Chor gesungen, und das GaudeamusIncipit ist vorwiegend in der zweiten Tenor- und
Baritonstimme reichlich in vielen feinen Varianten zu
vernehmen.
Das Recercar dopo il Credo fr Orgel bn beginnt im
Fugenstil mit dem bemerkenswerten Einsatz der Oberstimme mit einem kompromisslos kantigen Thema,
das mit einem unsanglichen Sprung einer kleinen
Sexte anhebt, eine Quarte absteigt und dann mit
einer fnfnotigen chromatischen Skala weitergeht. Den
Fugeneinstzen gesellt sich bald eine schnellere Passage
in der Altstimme hinzu, eine Art Kontrasubjekt, das in

die sich bald in die anderen Stimmen ausbreiten. Der Satz

wird dann mit einem Schlussabschnitt abgerundet, der
wieder zu entspannterem Tempo mit vielfltigem glattem,
verbundenem Passagenwerk zurckkehrt und zu einem
friedlichen Ende fhrt.
Das erste Messproprium, der Introitus Gaudeamus
omnes 2 , wird am Anfang des Gottesdienstes beim
Einzug der Kleriker als traditioneller Choral gesungen.
Normalerweise sind die Texte und Melodien fr verschiedene Texte und Jahreszeiten unterschiedlich, aber
Gaudeamus omnes ist eine Ausnahme zu dieser Regel,
und der gleiche Choral wird fr mit leichten Veriationen
im Text eine Anzahl verschiedener Feste verwendet,
einschlielich Allerheiligen, Mari Himmelfahrt und
einem Halbdutzend mehr.
Das Kyrie 3 , der erste Satz des Messordinariums, ist in
sechs Stimmen (AATTBarB) angelegt und wird vom vollen
Chor gesungen. Die Musik weist sofort ihre Verbindung
mit dem Introitus auf, da sie den Choral und die Worte der
ersten Phrase des Gaudeamus omnes als Cantus firmus
im zweiten Tenor verwendet und bezieht sich auf Morales
Iubilate Deo, indem sie Figuren aus der Motette
verwendet.
Das Gloria 4 ,der zweite Satz des Messordinariums,
wird wiederum vom Tuttichor gesungen und verwendet
ebenfalls die Choralmelodie des Introitus, aber auer
im abschlieenden Amen mit dem mit gelegentlich
erforderlichen rhythmischen nderungen unterlegten Text
des Gloria. Das Tagesgebet (Collecta) 5 ist ein Element
der Messe, das oft gelesen wird, aber in dieser festlichen
Auffhrung wird das fr Mari Himmelfahrt bestimmte
Tagesgebet nach einem kurzen Responsorium auf eine
traditionellen Choralmelodie gesungen. Die Lesung 6 ist
wiederum ein Element des Gottesdienstes, das gewhnlich
gesprochen wird, aber der vorgeschriebene Text aus
Ecclesiasticus (Jesus Sirach) 24: 1120 wird hier aber
21

eingefhrt, bevor der Chor die beiden Agnus Dei-Stze bu

singt, mit denen das Messordinarium schliet. Das erste
ist in sechs Stimmen, das zweite in sieben, mit einer
zustzlichen Baritonstimme, um ein neues polyphones
Mitteleinen Kanon in der Oktave zwischen der zweiten
Altstimme und der ersten Baritonstimmezu erlauben.
Beide kanonischen Stimmen behalten die Worte
Gaudeamus omnes bei, die in langen Notenwerten
gesungen werden; dies und die zustzliche Stimme
produzieren eine imponierende Klangflle und ein
groartiges Gefhl von Gerumigkeit, die die Messe zu
einem beeindruckenden Abschluss bringen.
Das fnfte Messproprium, Communio cl ist ein kurzer
choraliter gesungener Text, der sich auf die Evangeliumsgeschichte von Maria und Marta (siehe Track bl ) zurck
bezieht. Darauf folgt der zweite Teil von Victorias Motette
Vidi speciosam (fr den ersten Teil siehe Track bp ), Quae
est ista cm , der vom vollen Chor gesungen wird. Das
Schlussgebet cn ist das letzte Messproprium. Nach einem
kurzen einleitenden Responsorium feiert der Choralgesang die Himmelfahrt und bittet um Erlass der Snden
durch die Frbitte Unserer Lieben Frau. Das letzte Stck
in dieser festlichen Messfeier fr Mari Himmelfahrt ist
ein weiteres Recercar von Frescobaldi co . Die Orgelmusik
ist vierstzig mit einer fnften Stimme fr Gesang ad
libitum. Die Orgelstimmen weben einen dichten imitativen Satz, der aus dem Gaudeamus-Motiv entwickelt
wird, whrend die Gesangsstimme, die das gleiche Motiv in
lngeren Notenwerten verwendet, ber dem Satz schwebt
und periodisch die Worte Sancta Maria, ora pro nobis
(Heilige Maria, bitte fr uns) singt, und einen
bewegenden Abschluss zur gesamten Messe bietet.

den brigen Fugeneinstzen ausgiebig imitiert wird. Es ist

unwahrscheinlich, dass Ebenezer Prout, Autor einer
aufschlussreichen Abhandlung ber die Fuge im 19.
Jahrhundert, alle Details dieser Prozedur befrwortet
htte, aber es wre schwierig, nicht den Schluss zu ziehen,
dass Frescobaldis Schreibstil den Weg zur Entwicklung der
Barockfuge bahnte. Die zweite Hlfte des Recercars geht in
energischerem, weniger fugalem Stil weiter und verwendet
das Fugenthema mehrmals in doppelten Notenwerten,
vielfach mit imitativem Passagenwerk eines neuen
Kontrasubjekts kombiniert.
Nach einem kurzen Responsorium folgt das vierte
Messproprium, das Offertorium bo , ein kurzer festgelegter
Text, der auf Mari Himmelfahrt und den Jubel der Engel
anspielt. Der volle Chor singt die erste Hlfte der
exquisiten sechsstimmigen Motette Vidi speciosam von
Victoria bp , deren Text aus dem ersten Responsorium zur
Matutin fr Mari Himmelfahrt stammt. Das Prfatium
bq , ein gesungenes Gebet mit vier einleitenden Responsorien, mahnt die Kirchgnger, ihre Herzen zu Gott zu
erheben, ihm zu danken und sich zum Lob, Segen und
der Verkndung der Himmelfahrt Unserer Lieben Frau zu
vereinen.
Es folgt das Sanctus br , der vierte Satz des
Messordinariums, vom vollen Chor gesungen. Das
Gaudeamus-Incipit ist wiederum in langen Notenwerten
in den musikalischen Satz der zweiten Tenor- und
Baritonstimme und im kleiner besetzten Abschnitt Pleni
sunt caeli in den ersten Tenor verwoben. Der erste
Abschnitt des Benedictus bs dem fnften Satz des
Messordinariums, ebenfalls vom vollen Chor gesungen
ist fr vier Stimmen, aber das abschlieende Hosanna ist
fr sechs Stimmen, und das Gaudeamus-Motiv kehrt
am Ende im zweiten Tenor wieder.
Das Pater noster bt , das choraliter gesungene Vater
unser im Himmel wird von einem kurzen Responsorium

JON DIXON 2009

bersetzung RENATE WENDEL

22

Sources
Missa Gaudeamus: Dominico Basa, Rome 1585
Vidi speciosam: Alessandro Gardano, 1575
Editions
The above editions were prepared and produced by Jon Dixon of JOED Music,
234 Stanley Park Road, Carshalton Beeches, Surrey, SM5 3JP

Recorded in Westminster Cathedral, London, on 710 July 2008

Recording Engineer JULIAN MILLARD
Recording Producer MARK BROWN
Booklet Editor TIM PARRY
Executive Producer SIMON PERRY
P & C Hyperion Records Ltd, London, MMIX
Front illustation: The Assumption of the Virgin by Jean-Franois de Troy (16791752)
Muse des Beaux-Arts, Rouen, France / Lauros / Giraudon / The Bridgeman Art Library, London

Copyright subsists in all Hyperion recordings and it is illegal to copy them, in whole or in part, for any purpose whatsoever, without
permission from the copyright holder, Hyperion Records Ltd, PO Box 25, London SE9 1AX, England. Any unauthorized copying
or re-recording, broadcasting, or public performance of this or any other Hyperion recording will constitute an infringement of
copyright. Applications for a public performance licence should be sent to Phonographic Performance Ltd, 1 Upper James Street,
London W1F 9DE

23

CDA67748

TOMS LUIS DE VICTORIA

Missa Gaudeamus

(15481611)

a liturgical sequence, with organ works by Girolamo Frescobaldi (15831643)

FRESCOBALDI
CHANT
VICTORIA
VICTORIA
CHANT
CHANT
CHANT
CHANT
FRESCOBALDI
CHANT
VICTORIA
FRESCOBALDI
CHANT
VICTORIA
CHANT
VICTORIA
VICTORIA
CHANT
VICTORIA
CHANT
VICTORIA
CHANT
FRESCOBALDI

1
2
3
4
5
6
7
8
9
bl
bm
bn
bo
bp
bq
br
bs
bt
bu
cl
cm
cn
co

Toccata avanti la Messa organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Introit: Gaudeamus omnes mode I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Kyrie Missa Gaudeamus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gloria Missa Gaudeamus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Collect: Famulorum tuorum, quaesumus Domine . . . . . . . . . . . . . . . . . . .
Epistle: Lectio libri Sapientiae . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gradual: Propter veritatem mode V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Alleluia: Assumpta est Maria in caelum mode V . . . . . . . . . . . . . . . . . . . . . . .
Canzon dopo lEpistola organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gospel: In illo tempore: intravit Jesus in quoddam castellum . . . . . . . . . .
Credo Missa Gaudeamus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recercar dopo il Credo organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Offertory: Assumpta est Maria mode VIII . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Motet: Vidi speciosam, Part 1: Vidi speciosam . . . . . . . . . . . . . . . . . . . . . .
Preface: Vere dignum et iustum est, aequum et salutare . . . . . . . . . . . . . .
Sanctus Missa Gaudeamus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Benedictus Missa Gaudeamus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pater noster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Agnus Dei Missa Gaudeamus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Communion: Optimam partem elegit sibi Maria mode VIII . . . . . . . . . . . . . .
Motet: Vidi speciosam, Part 2: Quae est ista . . . . . . . . . . . . . . . . . . . . . . . .
Post-communion: Mensae caelestis participes effecti . . . . . . . . . . . . . . . . .
Recercar: Sancta Maria organ & choir . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

LAY CLERKS OF WESTMINSTER CATHEDRAL

THOMAS WILSON organ
MATTHEW MARTIN conductor

[1'15]
[3'39]
[4'26]
[7'50]
[0'59]
[2'24]
[2'47]
[2'25]
[1'13]
[2'01]
[11'23]
[2'39]
[2'08]
[3'45]
[2'54]
[3'15]
[2'43]
[1'58]
[5'13]
[0'44]
[3'19]
[1'43]
[2'24]

CDA67748
Duration 73'20

TOMS LUIS DE VICTORIA

(15481611)

Missa Gaudeamus
1
3

FRESCOBALDI Toccata avanti la Messa organ [1'15] 2 INTROIT Gaudeamus omnes [3'39]
VICTORIA Kyrie Missa Gaudeamus [4'26] 4 VICTORIA Gloria Missa Gaudeamus [7'50]
5 COLLECT Famulorum tuorum, quaesumus Domine [0'59] 6 EPISTLE Lectio libri Sapientiae [2'24]
7 GRADUAL Propter veritatem [2'47] 8 ALLELUIA Assumpta est Maria in caelum [2'25]
9 FRESCOBALDI Canzon dopo lEpistola organ [1'13]
bl GOSPEL In illo tempore: intravit Jesus in quoddam castellum [2'01]
bm VICTORIA Credo Missa Gaudeamus [11'23]
bn FRESCOBALDI Recercar dopo il Credo organ [2'39] bo OFFERTORY Assumpta est Maria [2'08]
bp VICTORIA Vidi speciosam part 1 [3'45] bq PREFACE Vere dignum et iustum est, aequum et salutare [2'54]
br VICTORIA Sanctus Missa Gaudeamus [3'15] bs VICTORIA Benedictus Missa Gaudeamus [2'43]
bt Pater noster [1'58] bu VICTORIA Agnus Dei Missa Gaudeamus [5'13]
cl COMMUNION Optimam partem elegit sibi Maria [0'44] cm VICTORIA Vidi speciosam part 2 [3'19]
cn POST-COMMUNION Mensae caelestis participes effecti [1'43]
co FRESCOBALDI Recercar: Sancta Maria organ & choir [2'24]

LAY CLERKS OF WESTMINSTER CATHEDRAL

THOMAS WILSON organ
MATTHEW MARTIN conductor
MADE IN ENGLAND

www.hyperion-records.co.uk
HYPERION RECORDS LIMITED . LONDON . ENGLAND

Hyperion
CDA67748

VICTORIA MISSA GAUDEAMUS

LAY CLERKS OF WESTMINSTER CATHEDRAL / MATTHEW MARTIN

a liturgical sequence for the Feast of the Assumption, with organ works by Girolamo Frescobaldi (15831643)

DDD

VICTORIA MISSA GAUDEAMUS

LAY CLERKS OF WESTMINSTER CATHEDRAL / MATTHEW MARTIN

Hyperion
CDA67748

NOTES EN FRANAIS + MIT DEUTSCHEM KOMMENTAR