On this new recording, Coro Victoria offers a portrait of Alonso Lobo (1555-1617)
through a cross-section of his sacred output (his works in Spanish are all lost).
The group also illustrates the variety of interpretative practices of the period.
The concluding O quam suavis est Domine is sung by a single soprano while the
vihuela accompaniment supplies the remaining five parts. Church choirs sang
this music in the liturgy, but minstrels also played it during processions,
and there was free traffic between sacred and secular contexts.
Coro Victoria was founded by its director, Ana Fernández-Vega, to recover
and preserve a native, historically informed tradition of singing Spanish polyphony
from its Renaissance-era high noon, exemplified not only by Victoria himself
but also his contemporaries such as the Seville-born and bred Alonso Lobo (indeed,
Victoria considered Lobo his equal). He is now best known for a haunting, six-voice
setting of the Requiem, and his magnificent motet for the obsequies of King
Philip II, Versa est in luctum shares the Requiem’s tone of mourning and
remembrance, established by a dense mesh of overlapping counterpoint.
Coro Victoria also presents other sides to a composer whose style is far more
various than is commonly assumed. As well as the beautifully handled techniques
of canon and counterpoint in Marian motets such as Ave Maria and Ave Regina
coelorum, distinguishing features of Lobo’s style are his jagged melodic
lines, a far cry from Palestrina’s smooth curves, and his more animated
conclusions, both vividly demonstrated by Vivo ego, dicit Dominus.
There is also a complete, portmanteau setting of the Mass, drawn from his Missa
O Rex gloriae, Missa Petre ego pro te rogavi and Missa Simile est regnum caelorum,
with the Credo filled in by the separate Credo Romano, which is underpinned
by a figured bass and continued to be popular long after his death. These polished
performances should renew wider interest in Lobo’s music.
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