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The Golden Age, 16th-century Spain. | 0:00:13 | 0:00:16 | |
A turbulent, tumbling mix of heroism, Catholic mysticism, | 0:00:18 | 0:00:22 | |
conquistadors and Inquisition. | 0:00:22 | 0:00:25 | |
And out of this turmoil came this extraordinary music. | 0:00:26 | 0:00:29 | |
Spiritual, stirring, sublime. | 0:00:29 | 0:00:32 | |
The sound of God's own composer. | 0:00:32 | 0:00:37 | |
This film marks the 400th anniversary | 0:00:37 | 0:00:39 | |
of the death of Tomas Luis de Victoria | 0:00:39 | 0:00:42 | |
and the masterpieces you'll hear | 0:00:42 | 0:00:44 | |
are among the greatest works of devotional music ever written. | 0:00:44 | 0:00:47 | |
And they'll be sung by one of the world's greatest choirs... | 0:00:47 | 0:00:50 | |
..The Sixteen. | 0:00:50 | 0:00:52 | |
The Sixteen is conducted by its founder, | 0:00:55 | 0:00:57 | |
Harry Christophers, in the glorious setting | 0:00:57 | 0:01:00 | |
of the Church of San Antonio de los Alemanes, | 0:01:00 | 0:01:03 | |
here in Madrid. | 0:01:03 | 0:01:04 | |
Victoria was not only the greatest composer | 0:01:06 | 0:01:08 | |
of the Spanish Renaissance. | 0:01:08 | 0:01:10 | |
For me, he is actually the greatest composer | 0:01:10 | 0:01:12 | |
in the Renaissance, full stop. | 0:01:12 | 0:01:14 | |
He's, quite simply, a genius. | 0:01:14 | 0:01:16 | |
The highest states of mystical prayer were a gift granted by God. | 0:01:17 | 0:01:22 | |
Victoria must have had that sort of experience | 0:01:22 | 0:01:25 | |
to be able to produce that music | 0:01:25 | 0:01:27 | |
that is on a higher plane than other forms of music. | 0:01:27 | 0:01:31 | |
The music opens a window onto the world | 0:01:31 | 0:01:34 | |
of this intensely spiritual man, musician, priest and mystic. | 0:01:34 | 0:01:38 | |
This is an opportunity to celebrate his life and his creations, | 0:01:38 | 0:01:41 | |
some of the most glorious work of the late Renaissance | 0:01:41 | 0:01:44 | |
and the Spanish Golden Age. | 0:01:44 | 0:01:46 | |
Victoria has always been part of my musical life | 0:02:06 | 0:02:08 | |
but he remains something of a mystery. | 0:02:08 | 0:02:11 | |
Other composers, like the Italian Palestrina | 0:02:11 | 0:02:14 | |
or the Englishmen Byrd and Tallis, have always had a sharper profile. | 0:02:14 | 0:02:18 | |
But Harry Christophers believes that Victoria is a composer of genius | 0:02:18 | 0:02:22 | |
and that his works are only now | 0:02:22 | 0:02:24 | |
beginning to achieve their proper prominence. | 0:02:24 | 0:02:27 | |
One of the most amazing things, for me, about Victoria is, you know, | 0:02:27 | 0:02:30 | |
the way you can interpret his music. | 0:02:30 | 0:02:32 | |
The way you can be incredibly daring about dynamics, | 0:02:32 | 0:02:36 | |
and sometimes in performance, you know, we as a group, | 0:02:36 | 0:02:40 | |
we feel so overpowered by the emotion that his music can give us. | 0:02:40 | 0:02:46 | |
Within a very simple motet, you can create these incredible effects | 0:02:46 | 0:02:50 | |
that have the listener sitting well up on their seat | 0:02:50 | 0:02:53 | |
and they don't know what's going to happen next. | 0:02:53 | 0:02:56 | |
It's that sort of... | 0:02:59 | 0:03:01 | |
..drive of emotion that is so phenomenal about his music. | 0:03:01 | 0:03:06 | |
The Sixteen specialises in music of this period, | 0:03:10 | 0:03:13 | |
and for this programme the choir has travelled to Spain | 0:03:13 | 0:03:16 | |
to perform some of Victoria's greatest works | 0:03:16 | 0:03:19 | |
in this hidden, baroque jewel in the heart of Madrid. | 0:03:19 | 0:03:23 | |
The Church of San Antonio de los Alemanes | 0:03:24 | 0:03:27 | |
was built during Victoria's lifetime, | 0:03:27 | 0:03:29 | |
and in this remarkable oval building | 0:03:29 | 0:03:32 | |
every surface is painted with depictions | 0:03:32 | 0:03:35 | |
of the life of Saint Anthony and of Spanish royalty. | 0:03:35 | 0:03:39 | |
The acoustic here is ideal | 0:03:39 | 0:03:40 | |
for displaying the glories of this music. | 0:03:40 | 0:03:43 | |
Victoria grew to maturity in what was a turbulent | 0:03:57 | 0:04:00 | |
and exciting time in Spanish history. | 0:04:00 | 0:04:02 | |
Europe was still recovering from the seismic shifts | 0:04:02 | 0:04:05 | |
of the Reformation, when the doctrines, rituals and structures | 0:04:05 | 0:04:08 | |
of the Catholic Church had been challenged | 0:04:08 | 0:04:11 | |
at the very deepest level. | 0:04:11 | 0:04:13 | |
Music, painting, architecture were all crucial tools | 0:04:13 | 0:04:17 | |
in the Catholic revival, | 0:04:17 | 0:04:19 | |
what was also known as the Counter-Reformation. | 0:04:19 | 0:04:21 | |
It's small wonder that someone | 0:04:21 | 0:04:23 | |
with Victoria's talent and faith would flourish. | 0:04:23 | 0:04:26 | |
Victoria was a fervent Catholic | 0:04:28 | 0:04:30 | |
who longed for a closer relationship with his God. | 0:04:30 | 0:04:33 | |
And his music is also architectural, | 0:04:33 | 0:04:35 | |
responsive to the buildings it was written for. | 0:04:35 | 0:04:38 | |
He was able to write so that his voices soared, | 0:04:38 | 0:04:40 | |
like the churches, up to heaven. | 0:04:40 | 0:04:43 | |
The first piece the choir is going to perform | 0:04:43 | 0:04:47 | |
is Sancta Maria Succurre Miseris. | 0:04:47 | 0:04:49 | |
Veneration of the Blessed Virgin Mary is at the core of Catholicism | 0:04:49 | 0:04:53 | |
and of Spanish Catholicism in particular. | 0:04:53 | 0:04:55 | |
Victoria wrote many settings of texts devoted to the Virgin. | 0:04:58 | 0:05:02 | |
His particularly fervent, sensuous word-painting | 0:05:02 | 0:05:05 | |
made him supreme among Renaissance composers. | 0:05:05 | 0:05:09 | |
Victoria's music elucidates the plaintive text, | 0:05:09 | 0:05:13 | |
"Holy Mary, succour the wretched, | 0:05:13 | 0:05:15 | |
"help the faint-hearted, | 0:05:15 | 0:05:17 | |
"revive the weeping." | 0:05:17 | 0:05:19 | |
Tomas Luis de Victoria was born in 1548 | 0:08:32 | 0:08:35 | |
in the ancient, fortified city of Avila. | 0:08:35 | 0:08:39 | |
Avila lies 50 miles to the northwest of Madrid, | 0:08:39 | 0:08:42 | |
surrounded by the plateau of the Central Sierras. | 0:08:42 | 0:08:46 | |
Rising up against the austere, dry landscape of gigantic boulders, | 0:08:46 | 0:08:50 | |
it's a bleak but beautiful setting. | 0:08:50 | 0:08:53 | |
We have some tantalising details of Victoria's life. | 0:08:56 | 0:08:58 | |
We know, for instance, that he was the seventh of 11 children | 0:08:58 | 0:09:01 | |
and that his family was upwardly mobile. | 0:09:01 | 0:09:04 | |
Businessmen, naval commanders, ecclesiastics... | 0:09:04 | 0:09:07 | |
Two of his uncles were priests. | 0:09:07 | 0:09:09 | |
His father died when he was nine. Aged ten, he joined the choir | 0:09:10 | 0:09:14 | |
in the 12th-century cathedral here in Avila, | 0:09:14 | 0:09:17 | |
a centre of spiritual rejuvenation, especially mysticism. | 0:09:17 | 0:09:21 | |
Here he studied the rudiments of music, by singing and organ playing. | 0:09:21 | 0:09:26 | |
But, remarkably, it was also here that the legendary Spanish mystic Teresa of Avila, | 0:09:26 | 0:09:30 | |
later Saint Teresa, happened to live. | 0:09:30 | 0:09:34 | |
This warm-hearted, shrewd, gifted nun | 0:09:34 | 0:09:36 | |
became one of the iconic figures of the Catholic faith | 0:09:36 | 0:09:39 | |
and she knew the young Victoria. | 0:09:39 | 0:09:42 | |
Saint Teresa was a mystic. | 0:09:43 | 0:09:45 | |
She described her intense spiritual experiences | 0:09:45 | 0:09:48 | |
in physical, even sexual terms, and it seems that Victoria | 0:09:48 | 0:09:51 | |
sought to create a world in sound which has parallels | 0:09:51 | 0:09:55 | |
with her writings and beliefs. | 0:09:55 | 0:09:57 | |
What a marvellous building this is. | 0:10:05 | 0:10:08 | |
It's filled with the richest decoration but, somehow, | 0:10:08 | 0:10:11 | |
perhaps because of the quality of the stone, it feels as light as air. | 0:10:11 | 0:10:15 | |
And what a joy it must have been | 0:10:15 | 0:10:17 | |
to have heard the choir singing from here, | 0:10:17 | 0:10:20 | |
tracing with one's ear the play of distinct voices | 0:10:20 | 0:10:23 | |
in some masterpiece of polyphony. | 0:10:23 | 0:10:25 | |
Victoria, as a young boy, would have sat on one of these benches | 0:10:25 | 0:10:28 | |
reading his music from the large central lectern, | 0:10:28 | 0:10:31 | |
and in fact the cathedral still owns beautifully illuminated manuscripts | 0:10:31 | 0:10:35 | |
from the 16th century that Victoria himself would have read. | 0:10:35 | 0:10:39 | |
At this time, only men and boys were allowed to sing in the choir. | 0:10:49 | 0:10:53 | |
Harry Christophers uses women in his choir, | 0:10:53 | 0:10:55 | |
and the soprano voices are specially selected | 0:10:55 | 0:10:58 | |
for their bell-like clarity | 0:10:58 | 0:10:59 | |
in order to emulate the sound of boys singing. | 0:10:59 | 0:11:02 | |
A defining moment in any male chorister's life and musical career | 0:11:23 | 0:11:27 | |
is when his voice breaks. | 0:11:27 | 0:11:29 | |
This happened to Victoria when he was 17, | 0:11:29 | 0:11:32 | |
but he was considered talented enough for the King himself | 0:11:32 | 0:11:35 | |
to sponsor his further education. | 0:11:35 | 0:11:37 | |
Philip II of Spain paid out 45,000 maravedis, a large sum of money, | 0:11:37 | 0:11:42 | |
and Victoria left the small town of Avila and travelled to Rome | 0:11:42 | 0:11:46 | |
to study with the Jesuits, a powerful, indeed aggressive, force | 0:11:46 | 0:11:49 | |
in the world of education | 0:11:49 | 0:11:51 | |
and an order that saw itself as an army fighting to defend | 0:11:51 | 0:11:54 | |
the traditional practices and beliefs of the Catholic Church. | 0:11:54 | 0:11:57 | |
The Salve Regina is the most famous hymn to the Virgin Mary | 0:12:04 | 0:12:07 | |
and it's set by all Renaissance composers. | 0:12:07 | 0:12:10 | |
Victoria actually made one or two settings of this piece. | 0:12:10 | 0:12:14 | |
The one we're performing is for double choir. | 0:12:14 | 0:12:18 | |
Beautiful layers of texture that he uses, | 0:12:18 | 0:12:21 | |
just oscillating from one choir to the other. | 0:12:21 | 0:12:24 | |
In 1565, Victoria entered the Collegium Germanicum. | 0:12:47 | 0:12:52 | |
It was an international centre of excellence, | 0:12:52 | 0:12:55 | |
with particular emphasis on the German missionary priesthood. | 0:12:55 | 0:12:58 | |
It was run by a committee of six cardinal protectors, | 0:12:58 | 0:13:02 | |
who decided that the collegians should wear red cassocks, | 0:13:02 | 0:13:05 | |
which is why they became known popularly as "gamberi cotti", | 0:13:05 | 0:13:08 | |
boiled lobsters. | 0:13:08 | 0:13:10 | |
Victoria was recommended to the college | 0:13:10 | 0:13:12 | |
by no less a person than Saint Teresa of Avila herself. | 0:13:12 | 0:13:14 | |
In the 16th century, Renaissance Rome was the cultural centre | 0:13:14 | 0:13:18 | |
of Europe, a thriving city for musicians and artists. | 0:13:18 | 0:13:22 | |
It was the place to gain an international reputation. | 0:13:22 | 0:13:25 | |
All the major composers of the time went there, | 0:13:25 | 0:13:28 | |
including Victoria's great Spanish predecessor, Cristobal de Morales. | 0:13:28 | 0:13:32 | |
And Victoria almost certainly met, | 0:13:32 | 0:13:34 | |
and may even have been taught by, Palestrina, | 0:13:34 | 0:13:36 | |
dubbed "the Prince of Music", | 0:13:36 | 0:13:39 | |
and perhaps the most important composer of the time. | 0:13:39 | 0:13:42 | |
In Rome, Victoria becomes fluent in Latin, | 0:13:43 | 0:13:46 | |
he teaches and is eventually appointed Maestro di Cappella | 0:13:46 | 0:13:50 | |
at the Collegium Germanicum, where he studied. | 0:13:50 | 0:13:54 | |
Crucially, in 1575, he's ordained as a priest, | 0:13:54 | 0:13:57 | |
a sign of his devotion to the Church. | 0:13:57 | 0:13:59 | |
And it's a true vocation. | 0:13:59 | 0:14:02 | |
He never composed anything other than sacred music. | 0:14:02 | 0:14:05 | |
And yet, he must have been homesick. | 0:14:05 | 0:14:07 | |
He left his heart in Spain, | 0:14:07 | 0:14:09 | |
and you can hear this in his motet of exile, | 0:14:09 | 0:14:12 | |
Super Flumina Babylonis. | 0:14:12 | 0:14:14 | |
400 years after Victoria's death, | 0:18:18 | 0:18:20 | |
how can we be certain the way we're performing is how Victoria intended? | 0:18:20 | 0:18:25 | |
Fortunately, there's a rich archive of Victoria's music, | 0:18:25 | 0:18:28 | |
and I've come to the Santa Ana monastery in Avila | 0:18:28 | 0:18:31 | |
to see some of his original printed scores. | 0:18:31 | 0:18:35 | |
The first book I'm shown contains four separate parts | 0:18:35 | 0:18:38 | |
that could be untied and handed out to the different voices. | 0:18:38 | 0:18:41 | |
It was printed in Venice in 1572 when Victoria was 26 years old. | 0:18:41 | 0:18:47 | |
So, is this a sign that he was already successful? | 0:18:47 | 0:18:52 | |
Do we have any examples of his handwriting, at all? | 0:19:11 | 0:19:15 | |
And these are instructions for the printer, is that right? | 0:19:46 | 0:19:49 | |
Victoria's music was sent out to European cathedrals and colleges, | 0:19:51 | 0:19:55 | |
certainly to Germany, Austria, Poland and Spain. | 0:19:55 | 0:19:58 | |
I asked Alfonso if this made Victoria well-off. | 0:19:58 | 0:20:02 | |
Is he the genius of Spanish Renaissance music, in your mind? | 0:20:24 | 0:20:30 | |
So, a modern harmonic sense? | 0:20:45 | 0:20:46 | |
-Well, Alfonso, thank you very much indeed. -Gracias. | 0:20:47 | 0:20:52 | |
Victoria wrote a lot of music for Lent. | 0:20:52 | 0:20:57 | |
And the service of Tenebrae is incredibly important | 0:20:57 | 0:21:00 | |
in that build-up to Good Friday. | 0:21:00 | 0:21:03 | |
Tenebrae, literally "darkness", so this was the evening service. | 0:21:03 | 0:21:08 | |
They're very direct expressions of emotion | 0:21:08 | 0:21:11 | |
and, for me, this is where Victoria is at his best. | 0:21:11 | 0:21:14 | |
In 1583, Victoria dedicated a book of Masses to his monarch, | 0:23:37 | 0:23:41 | |
King Philip II of Spain. | 0:23:41 | 0:23:44 | |
He wrote, "For to what better end should music serve, | 0:23:44 | 0:23:47 | |
"than to the sacred praises of that God | 0:23:47 | 0:23:50 | |
"from whom proceeds rhythm and measure?" | 0:23:50 | 0:23:54 | |
The luxurious nature of these publications reflects, in some way, | 0:23:54 | 0:23:57 | |
the high esteem in which Victoria was held during his own lifetime | 0:23:57 | 0:24:00 | |
and it also reflects | 0:24:00 | 0:24:02 | |
the wonderful, strange textures and colours of his music. | 0:24:02 | 0:24:06 | |
He asks voices to sing very high in their range, for example, | 0:24:06 | 0:24:09 | |
which must, at the time, have seemed new and daring. | 0:24:09 | 0:24:13 | |
At the great Prado Museum in Madrid, I've come to admire the work | 0:24:17 | 0:24:20 | |
of a contemporary of Victoria's from Rome. | 0:24:20 | 0:24:22 | |
A painter from Crete, who was also getting noticed. | 0:24:22 | 0:24:26 | |
He called himself a devout Catholic | 0:24:27 | 0:24:29 | |
and became known for his dramatic religious paintings. | 0:24:29 | 0:24:32 | |
His name was Domenikos Theotokopoulos, | 0:24:32 | 0:24:34 | |
who would later become famous in Spain as El Greco, | 0:24:34 | 0:24:39 | |
The Greek. | 0:24:39 | 0:24:41 | |
I particularly love this painting, the Annunciation, | 0:24:46 | 0:24:50 | |
and it's a work that inhabits much the same world as Victoria's music. | 0:24:50 | 0:24:53 | |
It has the same drama, the same sense of theatre. | 0:24:53 | 0:24:57 | |
A combination of intense spiritual aspiration | 0:24:57 | 0:24:59 | |
and the delight in the physical world. | 0:24:59 | 0:25:02 | |
El Greco said that colour was the most important element | 0:25:02 | 0:25:05 | |
in his work, and here are great blocks of it, pinks and blues | 0:25:05 | 0:25:09 | |
and browns and greens. And at the centre, a burst of light, | 0:25:09 | 0:25:14 | |
as the Holy Spirit comes through the canvas | 0:25:14 | 0:25:16 | |
to visit the, no doubt, terrified Mary. | 0:25:16 | 0:25:18 | |
Looking round at El Greco's work strikes a chord. | 0:25:23 | 0:25:26 | |
His paintings remind me that Victoria's music | 0:25:26 | 0:25:29 | |
was also recognised at the time as colourful, | 0:25:29 | 0:25:31 | |
or, to use the Greek word, chromatic. | 0:25:31 | 0:25:35 | |
This was an expressive tool, because Victoria was not just | 0:25:36 | 0:25:38 | |
a composer of pure music, he was also a word-painter. | 0:25:38 | 0:25:42 | |
Victoria often used text from the Song of Songs, | 0:25:44 | 0:25:48 | |
a book in the Bible that's a rich, sensuous love poem, | 0:25:48 | 0:25:51 | |
that was also used as an allegory | 0:25:51 | 0:25:52 | |
for Christ's relationship with his church, | 0:25:52 | 0:25:54 | |
and for many of the feasts of Mary. | 0:25:54 | 0:25:57 | |
For one of these, the Assumption, Victoria wrote a motet | 0:25:57 | 0:26:01 | |
and chose the very beautiful words, | 0:26:01 | 0:26:03 | |
"She, whose fragrance was above price, | 0:26:03 | 0:26:05 | |
"in garments delicately perfumed, | 0:26:05 | 0:26:08 | |
"like a spring day, she was surrounded | 0:26:08 | 0:26:11 | |
"by roses and lilies of the valley." | 0:26:11 | 0:26:13 | |
Particularly apt for this rather delicate, fragile Mary. | 0:26:13 | 0:26:18 | |
And then, much to my delight, at the top of the painting, | 0:26:18 | 0:26:21 | |
watching the whole scene, is a group of musicians. | 0:26:21 | 0:26:25 | |
I wonder what music was going through | 0:26:27 | 0:26:29 | |
El Greco's head when he painted this. | 0:26:29 | 0:26:31 | |
Victoria's, perhaps. | 0:26:31 | 0:26:33 | |
Vidi Speciosam is a very special motet | 0:26:45 | 0:26:48 | |
and we must remember that the Song of Songs is basically | 0:26:48 | 0:26:51 | |
pagan love poetry written, probably, 300 years before the birth of Christ. | 0:26:51 | 0:26:56 | |
There's no doubt about it, he clearly enjoyed writing them. | 0:26:58 | 0:27:01 | |
In many ways it was the closest to opera he ever got. | 0:27:01 | 0:27:04 | |
They're very, very sensual texts. | 0:27:04 | 0:27:07 | |
Tomas Luis de Victoria spent two decades in Rome, | 0:33:27 | 0:33:30 | |
where he established himself | 0:33:30 | 0:33:32 | |
as a highly successful and celebrated composer. | 0:33:32 | 0:33:35 | |
His work was being performed in churches all across Europe. | 0:33:35 | 0:33:38 | |
But he wanted his music to be sung further afield. | 0:33:38 | 0:33:41 | |
He supervised sets of his scores to be sent to Mexico, | 0:33:41 | 0:33:45 | |
to Lima, Peru, and Bogota, Columbia. | 0:33:45 | 0:33:48 | |
He had conquistadors in his family, | 0:33:48 | 0:33:51 | |
and the new world would have seemed exciting and exotic to him. | 0:33:51 | 0:33:54 | |
In Mexico, his scores were so popular they ran out of copies | 0:33:54 | 0:33:59 | |
and had to write parts out by hand. | 0:33:59 | 0:34:01 | |
It's fascinating to think that, nearly a hundred years | 0:34:02 | 0:34:05 | |
after Christopher Columbus's discovery of the Americas, | 0:34:05 | 0:34:08 | |
ships would come back to Europe | 0:34:08 | 0:34:10 | |
laden with gold, silver, copper, cocoa beans, spices... | 0:34:10 | 0:34:13 | |
But they'd also go back the other way, | 0:34:13 | 0:34:15 | |
and in their cargoes they would have had copies of Victoria's music. | 0:34:15 | 0:34:20 | |
Same ports, different trade. | 0:34:20 | 0:34:23 | |
And a gift from the Old World to the young Catholic congregations | 0:34:23 | 0:34:26 | |
of the New. | 0:34:26 | 0:34:29 | |
Also at this time, other composers would be transcribing | 0:34:29 | 0:34:32 | |
Victoria's work for their own use, often for teaching purposes. | 0:34:32 | 0:34:36 | |
This way, his music infused the homes and palaces of the rich, | 0:34:36 | 0:34:39 | |
for education, or private devotion. | 0:34:39 | 0:34:41 | |
One of his best-loved pieces, O Quam Gloriosum, | 0:34:44 | 0:34:46 | |
was arranged by others for voice and lute, | 0:34:46 | 0:34:49 | |
giving us a tantalising glimpse | 0:34:49 | 0:34:51 | |
into how music was performed and taught outside the church. | 0:34:51 | 0:34:54 | |
Sacred music wasn't just for the divine service | 0:35:01 | 0:35:05 | |
and for the performance by an all-male choir, | 0:35:05 | 0:35:09 | |
which, of course, it would have been in Victoria's time. | 0:35:09 | 0:35:13 | |
There are many examples of this sort of repertoire being done | 0:35:13 | 0:35:17 | |
where you have a very florid lute accompaniment to the single voice | 0:35:17 | 0:35:20 | |
and this would have probably been | 0:35:20 | 0:35:23 | |
for teaching the young princess how to sing. | 0:35:23 | 0:35:26 | |
It could also have been used for private devotion | 0:35:34 | 0:35:37 | |
in the chapel of any stately home. | 0:35:37 | 0:35:39 | |
Still in Rome, Victoria was becoming homesick. | 0:38:29 | 0:38:33 | |
In 1583 he dedicated his Missarum Libri Duo, | 0:38:33 | 0:38:37 | |
his Book of Masses, to Philip II, his king and emperor, | 0:38:37 | 0:38:40 | |
and expressed his desire to return home to Spain, | 0:38:40 | 0:38:44 | |
"to spend my time in the contemplations of the divine, | 0:38:44 | 0:38:47 | |
"as befits a priest." | 0:38:47 | 0:38:49 | |
We don't know why he decided to leave | 0:38:49 | 0:38:51 | |
what must have been a very successful career in Rome. | 0:38:51 | 0:38:54 | |
It seems that some instinct | 0:38:54 | 0:38:55 | |
was telling him to pursue a different, quieter path. | 0:38:55 | 0:38:58 | |
Maybe he was just tired of living abroad. | 0:38:58 | 0:39:00 | |
We do know that he was in demand. | 0:39:00 | 0:39:02 | |
He had offers from the splendid cathedrals | 0:39:02 | 0:39:05 | |
in both Saragossa and Seville. | 0:39:05 | 0:39:07 | |
Victoria's long-range courtship of Philip II | 0:39:07 | 0:39:11 | |
would pay off with a post in Madrid. | 0:39:11 | 0:39:13 | |
At his nearby royal palace, El Escorial, | 0:39:13 | 0:39:16 | |
the King would have enjoyed performances of Victoria's music. | 0:39:16 | 0:39:20 | |
At this time, Philip, already ruler of vast swathes of the known world, | 0:39:20 | 0:39:25 | |
was preparing his fearsome armada to invade England | 0:39:25 | 0:39:29 | |
and persuade the bolshie English back into the Catholic fold. | 0:39:29 | 0:39:33 | |
His second wife, Mary Tudor, Queen Mary of England, | 0:39:34 | 0:39:37 | |
had died 30 years previously and, soon after, | 0:39:37 | 0:39:39 | |
Philip had sought to marry her sister Elizabeth I, who refused him. | 0:39:39 | 0:39:45 | |
Now, Philip assembled his fleets to attack England. | 0:39:45 | 0:39:49 | |
He would be defeated, a significant omen | 0:39:49 | 0:39:51 | |
of the decline of the Spanish Golden Age. | 0:39:51 | 0:39:54 | |
Philip was afflicted with terrible gout | 0:39:56 | 0:39:58 | |
which meant that, for the most part, he was confined to quarters, | 0:39:58 | 0:40:01 | |
but, ever the committed Catholic, he was determined | 0:40:01 | 0:40:04 | |
that he should still be able to witness Mass from here, | 0:40:04 | 0:40:08 | |
his tiny bed tucked away into a corner of El Escorial. | 0:40:08 | 0:40:12 | |
If I open this small door that leads off his bedroom... | 0:40:15 | 0:40:20 | |
..what do we see? | 0:40:20 | 0:40:22 | |
The high altar of the Palace Basilica, | 0:40:22 | 0:40:24 | |
his very own en-suite chapel. | 0:40:24 | 0:40:27 | |
So, Philip could watch the priests celebrating Mass, | 0:40:27 | 0:40:30 | |
but the congregation couldn't see him. | 0:40:30 | 0:40:32 | |
And, of course, he must have heard the music | 0:40:32 | 0:40:35 | |
and, one hopes, taken some solace from it. | 0:40:35 | 0:40:39 | |
In fact, we think that Philip died | 0:40:39 | 0:40:41 | |
in this very bedroom, listening to the sound of the choir at dawn. | 0:40:41 | 0:40:46 | |
Among Victoria's extensive canon of work | 0:41:01 | 0:41:04 | |
is sublime music for special services, | 0:41:04 | 0:41:07 | |
and particularly remarkable is his work for Holy Week. | 0:41:07 | 0:41:10 | |
It's virtually unique for a 16th-century composer in its scope, | 0:41:12 | 0:41:16 | |
liturgical music which takes worshippers on a journey, | 0:41:16 | 0:41:19 | |
each piece of music fulfilling a specific purpose. | 0:41:19 | 0:41:23 | |
His Lamentations offer a particular intensity of expression, | 0:41:23 | 0:41:28 | |
passionate, sombre, mysterious. | 0:41:28 | 0:41:30 | |
The Lamentations of Jeremiah | 0:41:33 | 0:41:35 | |
have been set by all the finest Renaissance composers. | 0:41:35 | 0:41:39 | |
Victoria's set is quite amazing. | 0:41:39 | 0:41:41 | |
What constantly, for me, sets Victoria apart | 0:41:43 | 0:41:46 | |
from all other composers is that he absolutely gets to the bottom | 0:41:46 | 0:41:51 | |
of these texts. They are very, very personal interpretations. | 0:41:51 | 0:41:55 | |
They're very sustained settings. | 0:42:15 | 0:42:18 | |
They're incredibly difficult to sing because they need total control. | 0:42:18 | 0:42:23 | |
When you sing them, you have to feel you're kneeling on bare stone | 0:42:23 | 0:42:27 | |
and it's got to feel uncomfortable. | 0:42:27 | 0:42:30 | |
Unlike El Greco, who was sacked by Philip II, | 0:44:41 | 0:44:44 | |
Victoria enjoyed royal patronage for the rest of his life. | 0:44:44 | 0:44:48 | |
The King's family liked him | 0:44:48 | 0:44:49 | |
and he wrote music for their services on several occasions. | 0:44:49 | 0:44:52 | |
Whereas the King lived in his vast, specially designed palace, | 0:44:52 | 0:44:56 | |
with its magnificent chapel, his sister, Maria, | 0:44:56 | 0:44:59 | |
on her return to Spain after the death of her husband, | 0:44:59 | 0:45:02 | |
the Emperor Maximilian, led a very different life. | 0:45:02 | 0:45:05 | |
She moved to the secluded, intimate dwelling | 0:45:05 | 0:45:07 | |
of the convent of Las Descalzas Reales. | 0:45:07 | 0:45:11 | |
It was here that Victoria worked as chaplain. | 0:45:11 | 0:45:14 | |
At that time, it was a kind of safe house for royalty, | 0:45:14 | 0:45:16 | |
home to 33 strictly cloistered nuns, | 0:45:16 | 0:45:19 | |
Maria's daughter, the Infanta Margarita, being one of them. | 0:45:19 | 0:45:23 | |
They were called the Barefoot Nuns, | 0:45:24 | 0:45:26 | |
after the simple sandals they wore all year round. | 0:45:26 | 0:45:28 | |
This is where Victoria worked, very happily, for quarter of a century. | 0:45:42 | 0:45:46 | |
It was here that he played the organ, taught singing, | 0:45:46 | 0:45:50 | |
served as a priest, worshipped in the chapel. | 0:45:50 | 0:45:52 | |
We know that the elite of Madrid used to come to this convent | 0:45:52 | 0:45:55 | |
in order to listen to Victoria's music, | 0:45:55 | 0:45:57 | |
and we also know that he was still being published | 0:45:57 | 0:45:59 | |
because he travelled to Rome to oversee an edition of his works, | 0:45:59 | 0:46:03 | |
so he obviously still had the desire | 0:46:03 | 0:46:05 | |
that his music should be known and performed. | 0:46:05 | 0:46:07 | |
The priests here would have had to have been | 0:46:15 | 0:46:18 | |
very accomplished singers of plainchant and polyphony, | 0:46:18 | 0:46:21 | |
so Victoria was in his element. | 0:46:21 | 0:46:23 | |
By all accounts, he was a friendly, jovial man. | 0:46:23 | 0:46:27 | |
He didn't see his faith | 0:46:27 | 0:46:28 | |
as a means of cutting himself off from the world, | 0:46:28 | 0:46:30 | |
he became part of the community here, | 0:46:30 | 0:46:32 | |
playing the organ, taking daily Mass and still composing. | 0:46:32 | 0:46:36 | |
His royal patron, the Empress Maria, | 0:46:36 | 0:46:38 | |
so valued Victoria's work that when she died | 0:46:38 | 0:46:41 | |
she bequeathed to him a chaplaincy for life, | 0:46:41 | 0:46:44 | |
which secured his future. | 0:46:44 | 0:46:46 | |
She also chose to be laid in this marble tomb, | 0:46:46 | 0:46:49 | |
right here in the choir room, | 0:46:49 | 0:46:50 | |
rather than next to her brother in El Escorial. | 0:46:50 | 0:46:53 | |
Victoria responded by writing what is arguably his finest work, | 0:46:55 | 0:47:00 | |
a requiem not just for his patron but for an age, | 0:47:00 | 0:47:03 | |
representative, perhaps, of the dying embers of Spain's golden era. | 0:47:03 | 0:47:08 | |
The Requiem of 1605 is Victoria's final work. | 0:47:08 | 0:47:12 | |
It's a simply magnificent statement | 0:47:12 | 0:47:14 | |
of dignified and reverent spirituality. | 0:47:14 | 0:47:16 | |
Victoria's Requiem of 1605 is the greatest legacy of Victoria's output. | 0:47:40 | 0:47:46 | |
For me, it's the finest Requiem written by any Renaissance composer. | 0:47:46 | 0:47:50 | |
It's a beautiful setting of some very enlightening words. | 0:47:51 | 0:47:57 | |
Victoria's view of the world was a pretty rosy one, | 0:51:01 | 0:51:04 | |
and there was never any indication that he suffered from doubt. | 0:51:04 | 0:51:07 | |
His faith was always absolutely secure. | 0:51:07 | 0:51:10 | |
Understanding this and understanding, too, | 0:51:10 | 0:51:13 | |
the mystical dimension to his work | 0:51:13 | 0:51:15 | |
makes listening to his music a completely different experience. | 0:51:15 | 0:51:19 | |
The fashion for mysticism | 0:51:19 | 0:51:21 | |
of the type encouraged by his mentor, Teresa of Avila, | 0:51:21 | 0:51:24 | |
fits perfectly with the ecstatic nature of Victoria's music. | 0:51:24 | 0:51:27 | |
Teresa of Avila, for instance, recommended | 0:51:30 | 0:51:34 | |
that her nuns could follow their moods. | 0:51:34 | 0:51:37 | |
If they were feeling sad or anxious, | 0:51:37 | 0:51:39 | |
they could choose themes from the Passion, | 0:51:39 | 0:51:42 | |
visualising scenes from the Passion, as if present, | 0:51:42 | 0:51:45 | |
using their imagination to visualise small details, | 0:51:45 | 0:51:49 | |
such as the tears and the sweat of anxiety experienced by Christ, | 0:51:49 | 0:51:56 | |
and Victoria must have had that sort of experience. | 0:51:56 | 0:52:01 | |
Congratulamini Mihi is the, sort of, culmination, really, | 0:52:09 | 0:52:12 | |
of every facet about Victoria. | 0:52:12 | 0:52:14 | |
His mysticism, his scholarly aspects, | 0:52:14 | 0:52:17 | |
his life as a composer, his life as a priest, | 0:52:17 | 0:52:19 | |
it all seems to me to come to one into this motet. | 0:52:19 | 0:52:22 | |
Starting from a very, sort of, humble, | 0:52:23 | 0:52:26 | |
minimalistic tone colours at the beginning, | 0:52:26 | 0:52:28 | |
then just sending us into great ebullience with the final hallelujah. | 0:52:28 | 0:52:32 | |
Just glorious. | 0:52:32 | 0:52:33 | |
Victoria lived the rest of his life in the convent | 0:56:31 | 0:56:34 | |
and would have spent several hours every day in this chapel. | 0:56:34 | 0:56:37 | |
He loved playing the organ, and when he died in 1611, aged 63, | 0:56:40 | 0:56:45 | |
he left his assistant this very instrument. | 0:56:45 | 0:56:48 | |
It must have cost a considerable amount, but he paid for it himself. | 0:56:48 | 0:56:52 | |
I was permitted to sit in the organ loft, but not to play it. | 0:56:55 | 0:56:59 | |
The great Requiem that Victoria wrote for his patron, the Empress, | 0:57:02 | 0:57:05 | |
rather touchingly, was used at his own funeral. | 0:57:05 | 0:57:09 | |
Although Spain's Golden Age was declining, | 0:57:09 | 0:57:13 | |
Victoria's music has lived on. | 0:57:13 | 0:57:15 | |
And, as he would have wished, it continues to be performed | 0:57:15 | 0:57:18 | |
in cathedrals and churches throughout the world. | 0:57:18 | 0:57:21 | |
My short visit to Spain has allowed me to build a picture | 0:57:23 | 0:57:26 | |
of the man Tomas Luis de Victoria, | 0:57:26 | 0:57:28 | |
and it's certainly helped to clarify for me his place | 0:57:28 | 0:57:32 | |
in the long eventful history of Catholicism in this country. | 0:57:32 | 0:57:36 | |
I'm awestruck by a man who can dedicate his whole life | 0:57:36 | 0:57:39 | |
and creative work to his faith, and do it with such a light heart. | 0:57:39 | 0:57:43 | |
He was obviously a man of inexhaustible energy | 0:57:43 | 0:57:47 | |
and this empowered him to chart his spiritual life | 0:57:47 | 0:57:50 | |
with great honesty and huge power. | 0:57:50 | 0:57:53 | |
And what a legacy of sacred music he left for us to enjoy. | 0:57:53 | 0:57:57 | |
Subtitles by Red Bee Media Ltd | 0:58:55 | 0:58:58 | |
E-mail us at [email protected] | 0:58:58 | 0:59:01 |