He was born in Ávila, likely studying with Escobedo at Segovia early in his life. He is known to have gone to Rome around 1564, where he joined the monastery founded by St. Ignatius Loyola as part of the fight against Lutheranism. He may have studied with Palestrina around this time, though the evidence is circumstantial; certainly he was influenced by the Italian's style. In 1575 he was ordained as a priest, after a period of service at the monastery as maestro di cappella. He did not stay in Italy, however; in 1586 he returned to Spain, this time in the service of Empress Maria, who was entering the convent of Descalzas Reales in Madrid. Victoria remained at the convent until the end of his life, performing several roles—priest, composer, director of the choir, and organist.
Victoria is the most significant composer of the Counter-Reformation in Spain, and one of the most well-regarded composers of sacred music in the late Renaissance, a genre he devoted himself to exclusively. His works have undergone a revival in the 20th century, with numerous recent recordings. Many commentators hear in his music a mystical intensity and direct emotional appeal, qualities considered by some to be lacking in the arguably more rhythmically and harmonically placid music of Palestrina.
Stylistically his music shuns the elaborate counterpoint of many of his contemporaries, preferring simple line and homophonic textures, yet seeking rhythmic variety and sometimes including intense and surprising contrasts. His melodic writing and use of dissonance is more free than that of Palestrina; occasionally he uses intervals which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths (for example, a melodic diminished fourth occurs in a passage representing grief in his motet Sancta Maria, succurre). Victoria sometimes uses dramatic word-painting, of a kind usually found only in madrigals. Some of his sacred music uses instruments (a practice which is not uncommon in Spanish sacred music of the 16th century), and he also wrote polychoral works for more than one spatially separated group of singers, in the style of the composers of the Venetian school who were working at St. Mark's in Venice.
Published in 1605 under the title Officium Defunctorum, sex vocibus, in obitu et obsequiis sacrae imperatricis, one of his finest, most beautiful, and most refined works is the great Requiem Mass he wrote in 1603 for the funeral of Empress Maria, who had been his employer since 1586, and who was the sister of Philip II and wife of Maximilian II, Holy Roman Emperor. It is also notable the serene emotion of every one of the 37 pieces that form his Officium Hebdomadae Sanctae of 1585, a collection of motets and lamentations linked to the Holy Week Catholic celebrations.
[Wikipedia]
O Magnum Mysterium
Tomás Luis de Victoria Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
et admirabile sacramentum,
ut animalia viderent Dominum natum,
jacentem in praesepio!
Beata Virgo, cujus viscera
meruerunt portare
Dominum Christum.
Alleluia.
The Latin text of Tomás Luis de Victoria's "O Magnum Mysterium" is a meditation on the mystery and wonder of the nativity of Jesus Christ. The opening phrase, "O magnum mysterium," evokes a sense of awe and reverence for the divine mystery of the incarnation. The second line, "et admirabile sacramentum," emphasizes the sacramental nature of the mystery, highlighting the connection between the divine and the physical.
The third line, "ut animalia viderent Dominum natum," describes the scene of the nativity, with animals looking upon the newborn Lord lying in a manger. This moment is both humble and transcendent, as the human and divine meet and are witnessed by creation.
The final part of the text turns to the Virgin Mary, praising her for having been chosen to bear the Christ child. The phrase "Beata Virgo, cujus viscera" acknowledges her blessedness and the honor that she has received. The text concludes with a fitting "Alleluia," emphasizing the joy and celebration of the season.
Line by Line Meaning
O magnum mysterium
Oh great mystery
et admirabile sacramentum
and wondrous sacrament
ut animalia viderent Dominum natum
that animals should see the newborn Lord
jacentem in praesepio!
lying in a manger!
Beata Virgo, cujus viscera
Blessed Virgin, whose womb
meruerunt portare
was worthy to bear
Dominum Christum.
Christ the Lord.
Alleluia.
Alleluia.
Contributed by Nora B. Suggest a correction in the comments below.
@jacksquat2878
O magnum mysterium,
et admirabile sacramentum,
ut animalia viderent Dominum natum,
jacentem in praesepio!
Beata Virgo, cujus viscera
meruerunt portare
Dominum Christum.
Alleluia.
O great mystery,
and wonderful sacrament,
that animals should see the new-born Lord,
lying in a manger!
Blessed is the Virgin whose womb
was worthy to bear
Christ the Lord.
Alleluia!
@libbynoska7379
This Music is Perfect.
First learned it in 1959 . Still remember all parts perfectly. WOOHOO
@MrPerfesser
Learned it and sang it first in high school - back in 1963. Last performed it as a senior in 1966. Saw the sheet music and recalled the bass line almost perfectly after fifty years! The classical music we learned back then - and practiced and practiced and practiced till perfect - was a gift to all of us that enriched our lives.
@miltonappleby5642
I sang bass as well in vocal ensemble in high school. We sang this for Christmas in 1995. One of my favorite pieces ever.
@matildegarcia9466
MrPerfesser En el colegio también aprendimos canto gregoriano: la misa, salve (la de los dominicos que cantábamos a dos voces) y otros. Yo también lo recuerdo todo y además esta música te enseña a apreciar y a valorar la enorme riqueza de nuestra cultura Europea.
@TikiStanford
MrPerfesser I learned this in high school too, 87 or 88. I have sung it often since. Well, just my part and mostly in the shower, or to cheer me up and comfort me when I need it. It never fails.
@VictorHernandez-wo1vn
Obra maestra. Eterna. Gracias. Excelentes voces y ejecución
@jasonn8825
I learned this in 2016... they still teach it
@hopemitchell276
Sang this my freshman year of high school and my class begged to sing it again every year until our teacher finally let us sing again our senior year. I still remember that soprano part word for word. Easily one of my favorite songs I've ever sung.
@therealzilch
One of the great masterpieces of the Renaissance. I can still sing the tenor part by heart after forty years of not singing it. And that's not because I'm so good, but because Victoria is.
@jakeharvey3582
That bass line in the last 4 measures is so gorgeously complimented by the feeling of anguish in the tenor line. Brilliant piece. Wow. I’m not crying, I’m... chopping onions?