Hyperion Records

Missa Vidi speciosam
composer
SSATTB (SSAATTB in Agnus); 1592, Missae ... liber secundus; Victoria sets only one Agnus Dei (ending 'dona nobis pacem')
author of text
Ordinary of the Mass

Recordings
'Victoria: Missa Vidi speciosam & other sacred music' (CDH55358)
Victoria: Missa Vidi speciosam & other sacred music
Buy by post £5.50 CDH55358  Helios (Hyperion's budget label)  
Details
Movement 1: Kyrie
Movement 2: Gloria
Movement 3: Credo
Movement 4: Sanctus
Movement 5: Agnus Dei

Missa Vidi speciosam
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In 1592 Victoria published his Missae … liber secundus and in it is a Mass based on Vidi speciosam. Like its model this Mass is for six-part choir (SSATTB); it is particularly concise, at times declamatory and homophonic—especially in the Gloria and Credo. Victoria begins his Kyrie with the first phrase of the music of the motet with hardly any variation except that he reverses the appearance of the vocal groups, TTB being followed by the SSA group. The Christe for SSAT only is a reworking of the motet’s music at ‘circumdabant eam’. The second Kyrie is based on the motet section ‘Et sicut dies verni’.

The Gloria is a mixture of free homophonic writing mixed with derivations from the first half of the motet until at ‘Qui tollis peccata mundi’ Victoria uses the motet’s second half opening ‘Quae est ista’. Near the Gloria’s end triple time is introduced for ‘Quoniam tu solus Sanctus. Tu solus Dominus’, balancing the similar triple time at ‘Domine Deus, Agnus Dei’ just before the ending of the first half. The Gloria ends with ‘in gloria Dei Patris. Amen’ to music based on the phrase ‘et lilia convallium’ in the motet.

The Credo is concisely written, traditionally so because of its wordiness. Like the Gloria it mixes short syllabic phrases with quotations and rewriting of motifs and sections of the motet model. At ‘Crucifixus’ there is a long passage for the high voices (SSAT) only. The rare repetition ‘Et iterum, et iterum’ is set to the motet’s music for ‘et lilia, et lilia’. Like the end of the Gloria, the Credo’s ‘Amen’ makes use of the flowing phrases of ‘convallium’.

The Sanctus begins with the Vidi speciosam opening music (SSA followed by TTB) and, as so often with Victoria, he breaks into triple time for ‘gloria tua. Hosanna in excelsis’. The Benedictus (SATT) has its own ‘Hosanna in excelsis’ for six voices to a rewriting of ‘Et sicut dies verni’.

Finally, there is just one setting of the Agnus Dei (ending with ‘dona nobis pacem’ by Victoria, for seven-part choir (SSAATTB). The second alto follows the first soprano in a canon ad diapente, at the fifth below. The Agnus Dei makes only minimal use of the motet model. Despite the independence of the voices in this richly polyphonic ending, the treatment is very syllabic; one could hardly call the few flourishes melismata.

from notes by Bruno Turner © 1984

Track-specific metadata
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Details for CDA66129 track 10
Agnus Dei
Artists
ISRC
GB-AJY-88-12910
Duration
2'58
Recording date
23 March 1984
Recording venue
Westminster Cathedral, London, United Kingdom
Recording producer
Mark Brown
Recording engineer
Antony Howell
Hyperion usage
  1. Victoria: Missa Vidi speciosam & other sacred music (CDA66129)
    Disc 1 Track 10
    Release date: May 1988
    Deletion date: June 2008
    Superseded by CDH55358
  2. Victoria: Missa Vidi speciosam & other sacred music (CDH55358)
    Disc 1 Track 10
    Release date: September 2011
    Helios (Hyperion's budget label)
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