Teresian charism – in music?

October 16th, 2018

Celebrating the feast day of one of my favourite saints, St Teresa of Ávila, makes me marvel how, even when reading some shorter biographies of her, her dynamism, both interior and exterior shine through.

Not long ago, I discovered that she apparently, counted among her many friends none other than Tomas Luis da Victoria (1548-1611) the famous Spanish Renaissance composer. They indeed both hail from Ávila: St Teresa born in 1515 and Victoria in 1548.

This brings me to reflect on these two extraordinary people – one, a mystic, spiritual dynamo, reformist and doctor of the Church; the other an amazingly gifted composer and devout priest.

And just as St Teresa with her writings transports us to a vibrant, eternal world, so in Victoria’s music we somehow experience that same animated mysticism echoed in an aural sense.

Which brings me to reflect on this music and Victoria’s inimitable polyphonic style. Indeed, let’s consider the question – what is polyphony?

A general dictionary definition describes this music as a collection of melodies occurring at the same time. It’s also interesting to note that, in addition to chant, polyphony is the only other musical style specifically mentioned in Vatican II documents (Sacrosanctum Concilium Art 116; Musicam Sacram Art 4b)

So let’s a closer look.

Consider the opening of Victoria’s ‘Missa Quarti Toni’ – the opening ‘motif’ of the Kyrie is just a melody yet it feels almost like an invitation which already augurs the dynamism of the entire composition – almost like a call inviting others to take part in this spiritually vigorous conversation. It’s like this music is so imbued with animated spirituality that it’s just irresistible to both singer and listener.

And let’s take his well-known Tenebrae responsories – who cannot help but be moved by his setting of ‘Tenebrae factae sunt’? When this is sung well, it’s really like we are ALL (singers and listeners) there at the foot of the Cross listening to Jesus as he, in immense pain, utters his very last words…this music draws us so powerfully into this experience.

So perhaps we have in Victoria’s music a little connection to St Teresa’s spiritual legacy which, with her own charism, she was somehow able to impart to those around her…this music which is imbued with a sense of raw, fervent spirituality points us to an experience of Christ which, although serene and deeply devoted…is at the same time alive and dynamic.