Victoria (attr.) - Jesu, dulcis memoria - The Cambridge Singer
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- Опубликовано: 8 май 2012
- attributed to Victoria
Fue atribuida a Victoria por Joseph Napoleon Ney en el siglo XIX. Aunque algunos expertos, por ejemplo Samuel Rubio, opinan que se trata de una obra auténtica. la mayoría lo encuentra difícil de aceptar. Por ejemplo, el experto suizo Hans von May, en su obra Die Kompositionstechnik T.L. de Victoria de 1948 aporta una buena cantidad de pruebas:
Compás 19. Ninguna otra obra de Victoria contiene un re sostenido (en el tono original).
Compás 8 del tenor, y 10 del altus. Aparece un floreo con la nota superior disonante.
Compás 5. Acorde de séptima de dominante invertido sin preparación.
Compases 8 y 9 del cantus. Salto de cuarta descendente para salir de una disonancia.
Compases 20 y 22 del tenor. Saltos descendentes de cuarta disminuida, (Victoria sólo usa estos intervalos melódicos si son ascendentes).
El texto es la primera estrofa de un himno, cuando Victoria siempre pone música a los versos pares de sus himnos
.
*------*------*
Jesu, dulcis memoria,
dans vera cordis gaudia:
sed super mel et omnia
ejus dulcis praesentia
*-----*-----*
Jesus, the very thought of Thee
With sweetness fills the breast!
Yet sweeter far Thy face to see
And in Thy Presence rest. 
Видеоклипы
Singing this this year at school! My first time in an advanced choir group called Cantus.
How did it go??
Thank you for posting this sublime music, so calming and soothing
This piece is extremely beautiful.
That bright "Ah" at the end just makes that cord pop! Beautiful!
What a piece of beauty, thanks for uploading
This was the song that made me appreciate Gregorian chants. Although, I still find the genre quite intimidating, I love how it applies the first rules of modern western composition. A great example that allows anyone to understand how music composition works.
Jesu, dulcis memoria,
dans vera cordis gaudia:
sed super mel et omnia
ejus dulcis praesentia.
Nil canitur suavius,
nil auditur jucundius,
nil cogitatur dulcius,
quam Jesus Dei Filius.
Jesu, spes paenitentibus,
quam pius es petentibus!
quam bonus te quaerentibus!
sed quid invenientibus?
Nec lingua valet dicere,
nec littera exprimere:
expertus potest credere,
quid sit Jesum diligere.
Sis, Jesu, nostrum gaudium,
qui es futurus praemium:
sit nostra in te gloria,
per cuncta semper saecula.
Amen
Thanks so much for posting this...Thank You!!....
참으로 아름답고 고결한 음악입니다.
Wonderful as always from Victoria. Thank-you.
It's clear that it is a 19th century imitation. Nice piece, however. 😉
You don't know what i been throu for see this video!
Singing this in regionals choir... Awesome!!!!
Très belle version transposée.
Thank God for Margotlorena2.
I love finding little elements of modern choral music in Renaissance. And bits of Romantic, Classical, and Baroque styles. It's like all of choral music across all different time periods was alive and breathing since the beginning, Anyone catch that perfect Whitacre moment at 0:34? :)
+naarahformusic Um, you mean that Victoria moment that Whitacre stole centuries later?
+ksquish16 Hahaha exactly!!
You mean a 7-6 suspension? Lol
This is almost certainly a 19th century composition so it's not surprising to see that mix of styles.
Oração do SANTO ANJO DA GUARDA ENSINADA PELO SENHOR CARLOS TADEU
ANJO DA GUARDA ONIPOTENTE ANDAI COMIGO PARA ADIANTE ESPANTAI O DEMÔNIO E A SERPENTE
NÃO TEM NADA QUE ME ATENTE
JESUS ENCARNADO FILHO DA VIRGEM MARIA
GUARDAI ME POR ESSA MANHA E POR TODO O DIA
GRACAS A DEUS VOU ME DEITAR
QUERO 7 ANJO PRA ME ACOMPANHAR
3 NOS PÉS E 4 NA CABECEIRA
E NOSSA SENHORA NA MINHA FRENTE DIZENDO DORME FILHO QUE NADA
TE METERA MEDO NEM PAVOR
TUA ALMA NO CÉU JÁ ESTÁ
ASSIM COMO O SINO REPICANDO
E OS ANJOS TE ADORANDO
QUEM ESSA ORAÇÃO REZAR
TERÁ UM TANTO DE PERDÃO
COMO FLORES NO CAMPO E AREIA NO MAR. Amém.
QUEM OUVIR E NÃO APRENDER
QUEM SOUBER E NÃO ENSINAR NO DIA DO JUÍZO SABERA O BEM QUE PERDEU Não faça o vírus circula reze o Rosário completo os 15 mistérios proteja quem você ama reze reze reze Que o senhor Deus todo poderoso derrame sobre ti muita Paz, Amor e Proteção, que sua luz corra por todo teu corpo como benção de agua viva. Em nome do Pai , do filho e do Espirito Santo, Amém DESDE O DIA 7 DE FEVEREIRO DE 1991, NOSSA SENHORA, NOSSO SENHOR JESUS CRISTO E MUITOS SANTOS E ANJOS APARECEM CONSTANTEMENTE AO JOVEM MARCOS TADEU NA CIDADE DE JACAREI, SÃO PAULO, BRASIL, E COMUNICAM MUITAS MENSAGENS AO MUNDO. SÃO AS MAIS INTENSAS APARIÇÕES DA HISTÓRIA DA HUMANIDADE E NOSSA SENHORA DISSE QUE VEIO CHAMAR O MUNDO À CONVERSÃO PELA ÚLTIMA VEZ
0:51 best part🔥
Très profond
Omg ❤️❤️❤️❤️husí kůže.
Thank God for margolorena2
no sé si será o no de victoria, pero las razones citadas, básicamente implican q victoria no podía experimentar... no creo. puede ser que haya hecho música más a su pinta, y que se la haya guardado, por ejemplo, y sólo queda ésta... no sé... voy a buscar las razones de los que dicen que sí es de victoria, a ver qué tan buenas son. qué más nos queda!?
Chamber musician of King Felipe II of Spain.
Just be careful at 0:17, the "mo" from "memoria" (bass part) comes earlier in the part than in the record (F instead of E)
je pense que c est parce que vous entendez le mi des alti au deuxième temps. Les basses font en effet 2 blanches mé-é-mo-o" mais cette mesure peut se lire aussi "me-me-mo-o" où le deuxième "mé" est le mi des alti. J'espère ne pas avoir répondu à côté...
I like you ❤
When it's actually in Db Major :) thanks for uploading
Edit: yes sorry it is Bb minor but has the key signature of Db major
Yessss perfect pitch gang. Majoring in vocal music ed. I have perfect pitch too
*B flat minor
@@yoelreuven relative minor
@@Jakeroo767 of course, but that's the key nonetheless
Key is not the same thing as pitch. A different pitch does not mean it is in the key of Db Major.
En cuanto comienza, solo escuchando, se atribuye inmediatamente a Tomás Luis de Victoria
No renaissance composer would ever used a D-sharp. 😉
el de Hilarión Eslava
PICARDY 3RD!!!
Parece de verdad contestable que es una obra de Victoria. ¿ Pero quién seria el probable compositor verdadero ?
A romantic composer.
They sang it with semitone higher key..
Pitch is not the same thing as key
Bar 5 slaps.
Beautiful piece, but definitely not Victoria.
“This is also one of the more popular pieces with choirs. It was attributed to Victoria by Joseph Napoleon Ney in the 19th century. Although some experts, for example Samuel Rubio, think that it is an authentic work, most find this difficult to accept. The Swiss musicologist Hans von May, for example, presents a good amount of evidence in his book Die Kompositionstechnik T.L. de Victorias of 1948 :
Bar 19. No other work of Victoria contains a D sharp (in the original tonality).
Bar 8 of the tenor and bar 10 of the altus. An ornament appears with a dissonance in the upper note.
Bar 5. Dominant seventh chord inverted without preparation.
Bars 8 and 9 of the cantus. Step of a descending fourth to resolve a dissonance.
Bars 20 and 22 of the tenor. Descending steps of diminished fourths (Victoria only uses these melodic intervals if they are ascendent).
The text is the first verse of a hymn, but Victoria always set the even verses of his hymns.”
I see your point. However, I must disagree. Yes, indeed artists may have their own style, but that doesn't mean they can't create something outside of their common patterns. I respect the research of those musicologists but when it comes to art (let's keep in mind that music is art) logic doesn't always apply (what a person will or not create based on analysis of his previous works). You may have a listen to Mozart's gigue K. 574. Let the Austrian surprise you.
Anyway, is not that I'm saying this was written by T. L d Victoria. I'm just pointing out that the only thing that can be said about this music, based on the words you quote, is that the author is likely not to be him.
@@adaccii8205 It's not that this doesn't fit Victoria's personal style, it's clearly not even Renassiance style. If you listen to the authentic motets of Victoria, Tallis, Jacob Handl, des Prez, and others, and then come back and listen to this it's very different.
The pitch is interesting 😂
hola chamba
Pas la bonne version mais incroyable!
Is this the original melody or a ripoff? God forgive me if i called the original a ripoff
The original is much longer and in Gregorian Chant. This is only a motet of the first verse. The text is beautiful.
Q vergüenza 😓 me da RUclips con sus anuncios de películas baratas mexicanas.
Luminoso
way too slow. it's supposed to be in cut time.
+darren motise yes...
I also thought it too slow. Go to settings and up the speed to 1.25. I think that works. Beautiful piece of music isn't it?
Wow had no idea you could do that, thanks for tip @@timwingham8952
It's so tiresome to read such authoritative, dismissive comments which are founded solely on personal preference and not much else.
And in this case, I disagree: I wouldn't want the tempo to be much different from this one, and think the choir does a good job of sustaining the long lines. Even if slower than other performances, 'way too slow' is a crude overstatement.
But as any half-decent performer knows, there isn't one suitable tempo, especially in churches where the buildings' acoustics makes such a difference - fast speeds often result in a muddled wash of sound.
Jesus, or Yeshua: Shma Israel Adonay Eloheynu Adonay Echad. Markus 12:27
All New testament is.. Jews And Israel. Good week. Love this Aria
This doesn't sound anything like Victoria. You can hear minor 7ths all over the place, characteristic of much more recent music
Put it on speed 1.5, thats how fast we sang it. I think it sounds much better if its a little bit faster...
I lived with this performance perfectly well... I conduct this piece a lot...