Coro de Gregoriano de Vitoria-Gasteiz (cond.. Antton Lete)
Daniel Oyarzábal, organ
Aitor Sáez de Cortázar, conductor
From its construction in 1930, the Diocesan Seminar of Vitoria took care in a special way of the musical education of the aspirants to the priesthood. Undoubtedly a good reason for it was the implementation of all the regulations that the Spanish Church adopted immediately after the publication by the Pope Pío XI, on November 22, 1903, festivity of Saint Cecilia, of the Motu Proprio "Tra le sollecitudini" about the liturgical music. The process of musical renovation leaded by Vicente Goikoetxea and Nemesio Otaño, among others, took form of a configuration of the preparatory studies for the priesthood where the musical education acquired a significant importance.
Two years before, from November 19 to November 22, 1928, when this building had not been inaugurated, the IV National Congress of Sacred Music was held in Vitoria. It seems that the conclusions and recommendations of said Congress were those that determined the way followed in later years.
After being a military hospital in the years of the civil war, the seminar recovered its functions and then there appeared a fundamental character of this small history; he was a man from the province of Guipuzcoa, Jose Maria Zapirain, who was appointed Prefect of Music and director of the Scholla Cantorum. Under his impulse the Academy of Piano was created in 1939, the Academy of Harmony in 1940 and the Academy San Gregorio Magno in 1946, what supposed the decisive impulse thanks to his work with the proper seminarians and, in an external sense, by means of the publication of the Musical Religious Repertoire that immediately was constituted in a must-use guide for all the choirs of the State.
The study and the daily practice of music, destined for the liturgical service both of the proper seminar and of the Cathedral of Vitoria, constituted for many years an important part in the timetable of the aspirants to the priesthood. The Gregorian singing, as official music of the Church, was equally one of the habitual occupations not only of the most qualified singers, but of the whole community of seminarians.
Undoubtedly owing to it, the musical education of the seminarians, realized across the Academies, of the same Scholla Cantorum and of the different courses at which many seminariam attended in Salamanca or Montserrat, meant a contribution, inestimable and still little studied, for the history of the Basque music and, specially, for that of the choral movement in the country. It is probable that in the birth of this movement we can find processes of national affirmation or of other types similar to the cases of the labour choruses; but undoubtedly, no movement had been possible without relying on the work of many priests and ex-seminarians that, for years, put their education and their work first at the service of each one of the parishes of the territory and then of all the centres where they could lend a hand to the choral activity. For this reason, this anniversary could not overlook, not only the music of the seminar but, in a very special way, the choral music, the music that their Scholla sang for years, the music that for it was composed by some of the most notable authors of the XX century.
Jesus Guridi Bidaola (1886-1961)
2. Salve Regina
Bizente Goikoetxea Errazti (1854-1916)
3. Misere mei, Deus
4. Christus factus est
5. Jerusalem, convertere
Nemesio Otaño Egino (1880-1956)
7. Christus factus est
Julio Valdés Goikoetxea (1877-1958)
8. Vinea mea electa
9. Regina coeli
Alberto Mitxelena (1904-2000)
10. Mane nobiscum, Domine
11. Tantum ergo
Luis Aramburu Martínez de San Vicente (1905-1999)
12. Salve a la Virgen Blanca
Emiliano Ibargutxi Barrondo (1920-1996)
13. Nire Herria
Sabin Salaberri Urzelai (1934)
14. Gure Aita
There are not reviews