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Product details :
Composer : Marc-Antoine Charpentier, Jacques Boyvin
Artists : Ensemble Marguerite Louis, direction et orgue Gaétan Jarry
Program : Pour un Reposoir H523, Ave Verum Corpus H329,Domine Dominus Noster H163, Domine Dominus Noster H163, Gaude Virgo Mater Christi H330, De Profundis H232, Quam Dilecta H186, Usquequo Domine H196 Extraits du Premier Livre d'orgue : Plein jeu du 4e ton, Dialogue de Récits et de trios, Tierce en taille, Dialogue et fugue
| MA CHARPENTIER | De profundis (excerpt) | |
| J BOYVIN | Grand Prélude à 5 parties, à 2 choeurs |
Press round-up :
"Ein perfektes Debüt eines vielversprechenden Ensembles." Prospero - Forum für Alte Musik
"This beautifully performed, recorded and presented L’Encelade release makes a splendid addition to the ever-growing discography of Marc-Antoine Charpentier." Michael Cookson Musicweb
".. the disc (…) features an ensemble which communicates a genuine empathy with Charpentier’s music." Shirley Thompson The Consort
Overview :
In the late 1660s, Charpentier came back from a long journey to Italy and settled in Paris. He took up residence at the home of Marie de Lorraine, Princess de Joinville, Duchess de Joyeuse and Duchess de Guise, who had a large townhouse in the Rue de Chaume. Mademoiselle de Guise was a great music lover and offered Charpentier a wonderful environment, allowing him to work on his art under ideal conditions. This meant he was able to surround himself with musicians and singers of the very highest quality; indeed the musical standard at the Hôtel de Guise rivalled that of the Court. In the words of Le Mercure Galant, “The music of many great sovereigns does not come close”. The result was that Charpentier composed his most expressive works during the time he spent living here, switching between theatrical spirituality, rhetorical genius and emotional discourse.
Of the six motets by Charpentier presented here - most of which are recorded for the first time and have been chosen for their diversity of climate and writing style - four are musical settings of psalms, one uses a prayer to the Blessed Sacrament and the other an ode to the Virgin Mary. All of these works are written for three solo voice and two instrumental dessus in addition to the basso continuo, except for psalm 12 (H 196), which has four voices and a bass flute, rather an unusual instrument in this repertoire. We have two books of organ music by Jacques Boyvin (the first published in 1689, the second in 1700), each containing eight suites, one in each ecclesiastical tone. The chosen extracts allow us to enjoy a variety of mixtures all characteristic of French baroque organ music. Their flavour further enhances a musical language which is both concise and expressive, with an enormous concentration of melodic and harmonic idioms which bring it even closer to Charpentier’s own style, with delicious hints of modality adding extra colour to the discourse.
