Victoria opens his motet with the three high voices followed by the three lower, and then he varies his vocal scoring with a wide variety of combinations mainly of three, four or six voices, often producing momentary double-choir effects. The frequent crossing of the tenor parts and especially of the two treble lines gives a bright shimmering quality to the music (Palestrina’s motet Assumpta est Maria has just the same vocal combination). Vidi speciosam appeared not only in the 1572 book but in 1576 (part 1 only), in 1583, 1585, 1589 (twice) and 1603. It was also copied into Cappella Sistina Codex 29.
from notes by Bruno Turner © 1984
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|Westminster Cathedral Lay Clerks, Matthew Martin (conductor)|
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