Julien Mignot the BarbicanCentre principal funderof is thefounder and Corporation The Cityof London

Part of Barbican Presents 2018–19 Palazzetto BruZane The score of thePlantade Requiem ispublishedby the Production BruZaneFrance Hervé Niquet Programme produced by HarrietSmith;printed SpirituelChoirandOrchestraLe Concert Louis XVI’ Cherubini dernière scèned’Hamlet Berlioz interval religieuse Berlioz Marie Antoinette’ Plantade Friday 25January2019 7.30pm, Hall Antoinette Marie XVI and for Louis Tristia: Requiems online. during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) by Trade WindsColourPrinters Ltd;advertising by 20minutes Tristia –Marche funèbre pourla Tristia –Lamortd’Ophélie; Méditation Requiem inDminor, ‘inmemoryof Requiem inCminor, ‘inmemory of conductor

2 Antoinette, whomhehad known, are origins of hisRequiem, inmemoryof Marie good deallesswell-known andtheexact The nameof Charles-HenriPlantade isa grandeur of scale. that combinesdeep-felt emotion witha difficult to understand why, for it’sawork regarded by Beethoven, noless,andit’snot Cherubini‘s Requiem inCminorwas highly guillotine in1793. Marie Antoinette, whowere executed via France inmemoryof King LouisXVIand Requiems composedinpost-Revolutionary and conductor Hervé Niquet present two which LeConcertSpirituelanditsfounder A warm welcome to tonight’s concertin Welcome Huw Humphreys, Head of Music,Barbican evening of music-making. It promises to beapowerfully majestic long fascinated Berlioz. reflections ondeath–asubjectthathad existing pieceswhichare linked by their that thecomposerfashioned from pre- Tristia Berlioz isalsorepresented by ararity. His and full-blown Romanticism. the inspiration of 18th-century French music fascinating documentthatdraws onboth music itselfneedsnoapologyandit’sa shrouded inmystery. Butthepotency of the isatriptych for chorusandorchestra the courtto herdungeon.Sheburstinto her firmness forsook herontheway from and heard her sentence withcomposure. But about four inthemorningon16 October queen’s final days. ‘Shewas condemned during theRevolution, recorded theformer Helen MariaWilliams,wholived inFrance to trial,andinaletter homethewriter and poet Ten monthslater MarieAntoinette was brought the multitude,andevery hatwas intheair.’ times repeated, becametheuniversal shoutof and inlessthan10 minutes thiscry, athousand were heard. Bydegrees thevoices multiplied at lengthsomecriesof “Vive laRépublique!” gestures. Atfirst anawful silenceprevailed; ceremony withthemostatrocious and indecent the scaffold; heaccompanied thismonstrous and showed itto thepeople ashewalked round seemed about18, immediately seizedthehead, his body…Theyoungest of theguards, who which withonestroke severed hishead from dragged himundertheaxe of theguillotine, time heard encouraging theexecutioners …they drums to beat.Many voices were atthesame his sword, andwithaferocious cry, ordered the on horseback, inthenationaluniform, waved to shedmay never bevisited onFrance.” …aman and Ipray to Godthatthebloodyou are going I pardon thosewhohave occasionedmy death; die innocentof allthecrimeslaidto my charge; pronounce distinctlythesememorable words: “I been heard atthePont Tournant, Iheard him me; and,inavoice soloudthatitmusthave 15 or20drumsthatwere placed opposite to of thewholescaffold; silence,by hislookalone, and Isaw himcross withafirm foot thebreadth Essex Edgeworth, ‘Hesuddenlyletgomy arm, 1793, hewas accompanied by IrishpriestHenry now thePlace delaConcorde on21 January Louis XVIof France was guillotined inwhatis children. WhenCitizenLouisCapet,formerly as theFrench Revolution beganto devour itsown There were English-speakingwitnessesinParis For texts, seepage7 royalty for murdered Masses Requiem she observed to herguards thatthoughshe tears; when, asifashamedof thisweakness, was firmly andthoroughly tamped down.’ by abedof quicklimeandoneof earth,which placed atitsfeet. Thewholewas thencovered quicklime atthebottom of thepit.Thehead was lying initsopencoffin was thrown onto abedof ‘In pursuanceof anexecutive order, thebody curate loyal to theRevolution whoburiedLouis. vespers andtheservicefor thedead’, wrote the become thesite of aRoyalist cult.‘We chanted since theauthoritiesfeared thattheirtombs might Madeleine ingraves thatwere deeperthanusual buried inthecemetery of theOldChurch of the The bodiesof LouisandMarieAntoinette were moment heldupto thepeopleby theexecutioner.’ scaffold withprecipitation, andherhead was ina became visiblyagitated. Sheascendedthe she turnedhereyes towards …thepalace, she the place of execution aboutnoon,andwhen to thepriestwhoattended her. Shereached hands tiedbehindher…shepaidlittleattention after theaccustomed mannerinacartwithher ‘On herway to execution, where shewas taken to thescaffold withoutsheddingatear. wept atthatmoment,they shouldseehergo Cherubini (1760–1842) had also managed to and whohad written for theirchapel.Luigi who had known theformer kingandqueen commanded for theoccasionwas by amusician The Requiem MassthatLouisXVIIIhad restored Bourbon cryptatSaint-Denisfor reburial. graves attheMadeleine, were brought to the garter whichhad beenfound intheexcavated with aclumpof greyish matter containing alady’s were presumed to bethoseof theking,together of Louis XVI’sexecution, ahandfulof bones that century. Soon21 January 1815, theanniversary resting place of thekings of France sincethe10th reburied intheBasilicaatSaint-Denis,last brother andsister-in-law shouldbeexhumed and monarch was determined thattheremains of his France in1814 asLouisXVIII.Thenew Bourbon of Provence beenrestored to thethrone of have remained for eternity had not theCount And there LouisandMarieAntoinette might

3 Programme note 4 turn of theFrench politicalwheel.Thefollowing rebury –thecomposer had survived another the execution of thekingthatthey now cameto conducted achoirinceremony celebrating It was only20years sinceCherubinihad clergy officiating amongaseaof candles. see theArchbishop of Paris andanarmy of seated onahighdaisfrom where they could the fleur delis,withLouisXVIIIandhisfamily with images of theroyal coatof armsand and pillarsof thebasilicachurch were draped work for amajestic publicoccasion.Thewalls Denis confirm thatCherubiniwas composinga Contemporary printsof theserviceatSaint- Beethoven’s funeral inVienna in1827). model (indeedthework was performed at Requiem, Cherubini’swould behisonly observed thatifhewere ever to write a greatest livingcomposerof histime’and Beethoven considered Cherubini‘the the secondpartof thisevening’s concert. Le ConcertSpirituelare goingto perform in composed around 1815 for mixed choir, that two versions. It’sthefirst of these,probably Louis XVI’isavailable infullscore andin Requiem inCminor‘àlamémoire de On theother hand,themusicfor Cherubini’s so we have noideawhatthismusicmightbelike.’ score withcombinedpartsfor alltheinstruments is inseparate partsandthere isnoconductor’s there are perhapsbetween 20and30.Themusic composed many French motets for theChapel: would alsohave written for theRoyal Chapel.‘He admirer of Cherubini’smusic–reminds us,he as tonight’s conductor Hervé Niquet–agreat Démophon Versailles. He was soon commissioned to compose took partinaconcertthatthequeenorganised at his friendtheviolinistGiovanni Battista Viotti and in 1785. Hewas presented to MarieAntoinette by Cherubini had first travelled to Paris from London though neithermanmuchcared for theother. waters whenNapoleonwas Emperor, too, the King.He’dkept hishead above troubled composing musicto celebrate theexecution of keep ontherightsideof theRevolution, even , hisfirst tragédie-en-musique ; and, ; and, presented incanonwithanalto–bass duet. flavour, withanexquisite soprano–tenor duet prayer’). TheGraduale hasakindof Mozartian on thephrase ‘exaudi orationem meam’(‘hearmy supplicants too andthere’s aheartfelt crescendo of thechorusisequallyrestrained. Butthey are intoning asolemnrisingtheme;andtheentry to creep outof thedarkwithlower strings the dead. SotheopeningIntroitus etKyrie seems rather thantheatrical–anextended prayer for This isawork thatisdeliberately ecclesiastical with onesometimesflowing into another. of theRequiem asseparate movements, not to composealltheindividualnumbers choir andtheorchestra. AndCherubinichooses so themusicalargument iscarriedby themixed other respects it’sunusual.There are nosoloists, Grande symphoniefunèbre et triomphale climax withBerlioz’sRequiem, ceremonial tradition thatreaches suchamighty scale, andwhileitclearlybelongsto theFrench Cherubini’s Requiem iscomposedonagrand and theEmpire, hediedinhisown bed. many others wholived through theRevolution become Director of theParis Conservatoire. Unlike of theChapelRoyal andeventually hewould year hewould beappointed Superintendent The Requiem ends withaheartfelt andhighly segues directly into the BenedictusandPieJesu. in other Requiems, isshortandsharp Cherubini’s Sanctus,sooften agreat setpiece begins withconsolationrather thanchastisement. returns inthefinal sectionof theHostias,which by the line‘quamolimAbrahae’. Andthefugue traditional robust fugue sentoff onitsjourney A positively jauntyOffertorium follows, withthe voice pleads, ‘callmewiththeblessed’. consigned to thesearingflames’). Asingle the accursed have beenconfounded, and maledictis, Flammisacribus addictis’ (‘When our complacency withthewords ‘Confutatis the settingof theConfutatis shakes usoutof little inthemiddlesectionwithRecordare, and astridenttam-tam. Ifthetension easesa and awaken thedead withbrass fanfares Then comesaDiesirae to rattle theliving Te Deum and and , in , in magnificent Iknow’, whileCherubiniandhis name andshouting‘Gluck’smusic isthemost squabble withBerliozrefusing to give his summoned. Whatfollowed was anunseemly Berlioz refused to budgeandthe Director was When aservant endeavoured to barhisentry on hisway to studyGluckscores inthelibrary. order, came inthrough theLadies’ entrance ends of thebuilding.Berlioz,unaware of the women were to useentrances attheopposite the Director had issuedanorder thatmenand Conservatoire. Andinhismemoirsherelates that student whenCherubiniwas Director of theParis and cheese.Berliozwas anawkward-minded Cherubini andtheyounger composerwere chalk it performed. Whatisnot speculationisthat known theRequiem andmighteven have heard It seemspossiblethatBerliozwould have influences andhestayed Cherubini!’ power of thechoir. Hesubsumedallthese how to write for thevoice andthecollective orchestra, thepower of theinstruments; and period, theway heusesthevolume of the explains Niquet.‘Itissovery modernfor this him to make hisown compositionalstyle,’ and subsumedalltheinfluences around in thisRequiem. ‘Like any geniushenoted of thesedistinctive periodsinFrench music dislike of theflute, it’sdifficult to detect traces early Romantic period.Otherthanadeep tools for composers,andcontinuedinto the and woodwinds were thepoliticallycorrect marches andchorusesaccompanied by brass period, worked through theRevolution when Niquet. Hebeganto composeintheClassical Cherubini’s styleisallhisown, says Hervé of theinherent seriousnessof theoccasion. of eternity’. AsolemnLuxaeterna reminds us the word sempiternam, like amusicaldepiction rest”, endingwithavery longmodulationon requiem sempiternam”, “grant themeternal ‘Cherubini repeats thefinal line,“donaeis Moore observes inanessay onthisRequiem we, are promised rest of akind.AsMichael as thechorusplead for mercy, before they, and for theorchestra grows every more anguished original Agnus Dei.Anedgy angularphrase staff chased theyoung manaround thelibrary. first saw HarrietSmithson,theactress who Ophelia in1827 thatthebuddingcomposer Hamlet In hisown mindBerliozassociated instrumentalist thatBerliozwould become. dying stringsmore thanhintsattheremarkable The plaintive hornsoloattheendsetagainst and amodestorchestra by ThomasMoore. second) isasettingof apoemfor asix-partchorus The Méditation (whichtonight isperformed poet, Berliozfelt thepainof exile keenly. had beenbanishedfrom Rome; like theLatin ‘Sad Things’,was borrowed from Ovid,who The title,whichcanlooselybetranslated as different material anddifferent atmospheres.‘ orchestras. You have three different texts with it’s three different choirsandthree different in onebooksoto speak.You mightsay that in London1848. ‘It’sthree musicalmoments compilation assembledwhenthecomposerwas reminds us,they are atrioof separate pieces,a nearly adecade later and,asHervé Niquet de Rome. Theother two numberswere written Medici, having atlastwon thecelebrated Prix the Conservatoire. Hewas livingattheVilla in 1831, justafter Berliozhad graduated from pieces thatcomprise The ‘Méditation religieuse’, thefirst of thethree with onlythewordless chorus leftto mourn. salute the dead hero andtherest issilence, rites of war/ [will]Speakloudly for him.’ Muskets ramparts where ‘Thesoldiers’musicandthe orders four captains to bearhisbody to the of Berlioz’sprojects. Hamletis dead. Fortinbras made itoff thedrawing board –like somany for a production of funèbre’, was originallycomposedin1844 It seemslikely thatthefinal piece, ‘Marche him duringhisseven monthsinLondon. for thislower register, whichmuchimpressed contralto. It’sarare example of Berliozwriting composed for thatmostEnglishof voices, the Covent Garden thatnever happenedanditwas piece was written for aShakespeare concertat by thecomposer’sfriendErnestLegouvé. The wife. ‘Lamortd’Ophélie’isasettingof apoem eventually become hisrather disappointing would haunthisdreams andhismusic, anditwas whenshewas playing Hamlet Tristia inParis thatnever , was composed Tristia with with

5 Programme note 6 world of French motets composedinthe and asinglesoprano, belongsto thesound- male voices withthetenors always divided Certainly, Plantade’s choral writingfor three to pre-Revolutionary 18th-century music.’ I thinkthatthisRequiem isasortof homage writing, for example, for both asifhewere stillin18th-century France, of France. Yet inmany ways hecomposesfor before theexecutions of theKingandQueen and adifferent choirthanthosehehad known Plantade was writingfor adifferent orchestra banished andnow there were female altos, So thehighmaletenor –the manner. Choirstoo were organised differently. the orchestra, for example, was usedinanew organised differently duringtheRevolution; world had changed.‘French musichad been the MarieAntoinette anniversary, themusical compose thisRequiem, andpossiblyrevise itfor Hervé Niquetreminds usthatwhenhecameto Revolution, having composedfor thecourt,but Plantade had known theQueenbefore the of theexecution of MarieAntoinette. commemoration in1823 of the30thanniversary before itsfirst recorded appearance, atthe performed (althoughnot published)sometime seems likely thatitwas composedandperhaps The originsof thisRequiem are unclearbutit Antoinette the other liturgical Requiem intonight’s programme: It’s Niquetwhohashelpedto rediscover the A ‘secular’Requiem, says Hervé Niquet. Is thisaRequiem for thePrinceof Denmark? musicologist who rescued Plantade’s Requiem Alexandre Dratwicki (Palazzetto BruZane),the the movement aparticularrichness.However, the soprano linedividedinto two parts,giving happily have beencomposedinthe1780s, with its toe into plainchant, whiletheGraduel could the fuguethatspinsKyrie onitsway dips be watching inthewings.Onother hand, in thethrillingDiesirae, where Berliozseemsto can sensetheRomantic sound-world to come to beatoutthelastof humandays. Indeed,you appearance of thetam-tam thatseemsinexorably chromaticism of theIntroit andthenthedramatic Yet there’s ahintof 1830s modernityinthe chosen by Cherubini,isequallytraditional. of thisRequiem too, whichcloselyfollows that manner of LullyandRameau. Thestructure Messe des morts à la mémoire de Marie Messe desmortsàlamémoire de Marie by Charles-HenriPlantade (1764–1839). haute-contre haute-contre tenors. tenors. – was –was etc . Plantade transforms theclosingLuxaeterna into liked. TheAgnus Deithatfollows isbrief and is surely thekindof orchestral effect thatBerlioz imitated by thestringslater inthemovement. This chromatic note played onthehorn,whichis a sighinggroan inthebrass section–an‘open’ occurs inthatPieJesu.There’s acurioussound, Perhaps themoststrikingeffect intheRequiem that MarieAntoinette would have known. the musicof the18th century.’ Andto themusic Romanticism. However, it’sreally afarewell to past. Andatthesametime,heisimpressed by period, butheknew hecouldn’tgoback to the had found fame duringthepre-Revolutionary Niquet. ‘Plantade liked to be“modern”;he viols. ‘Themusicisasortof mix,’says Hervé cellos soundinglike a17th-century consortof closes thissectionwithPlantade’s violasand is more musicalhistory inthePieJesu,which unmistakable plainchantmelody;andthere unaccompanied by thesopranos, there isan sweet. However, intheBenedictus,sung the Offertoire andhisSanctusisshort Plantade doesnot setthecomplete text of of Rossini, thenattheheightof hispopularity.’ and Cherubini,even thevigourof thestyle excitement of theRevolutionary works of Méhul of hisinvention: onesenseshere theoperatic in whichPlantade willdisplay thefullwealth of theMassof theDead, andisalsotheone [Dies irae] …isthemostsubstantial section movement isrightupto theminute. ‘TheProse from itsmusicalexile, argues thatthenext Programme note ©Christopher Cook legacy of theFrench 18th centurywas preserved.’ I would alsosay thatyou can’tkillmusic,sothe true thatlife in France changeddramatically, but order to ensure that they would remain alive; it’s musicians had to find another approach to artin But, becausetheworld had changedso much, enough of themusicof theRevolutionary period. intelligent thanthepoliticians.We don’tknow a bad thing–butIfind thattheartistswere more France theRevolution was both agoodthingand difficult days, asHervé Niquetreminds us.‘In life isshort’).Musicianskept theirheads during hear thismusic: But another Latinphrase comesto mindasyou public duringaRevolution. remember aKingandhisQueenexecuted in These Requiems by Plantade andCherubini a stately funeral march for thedead Queen. Ars longa,vita brevis Requiescat inpace (‘Art is long, (‘Artislong, . Juste Judex ultionis, Tantus labornonsitcassus. Redemisti crucempassus, Quaerens me,sedistilassus, Ne meperdas illadie. Quod sumcausatuae viae; Recordare, Jesupie, Salva me,fons pietatis. Qui salvandos salvas gratis, Rex tremendae majestatis, Cum vixjustussitsecurus? Quem patronum rogaturus, Quid summisertuncdicturus? Nihil inultumremanebit. Quid latet apparebit, Judex ergo cumsedebit, Unde mundusjudicetur. In quototum continetur, Liber scriptusproferetur, Judicanti responsura. Cum resurget creatura, Mors stupebitetNatura, Coget omnesante thronum. Per sepulcra regionum, Tuba mirumspargens sonum Cuncta stricte discussurus! Quando judex estventurus, Quantus tremor estfuturus, Teste David cumSibylla! Solvet saeclum infavilla, Dies irae, diesilla, Sequentia [Diesirae] ab auditionemalanontimebit. In memoriaaeterna eritjustus: et luxperpetualuceateis. Requiem aeternam donaeis,Domine, Graduale Kyrie eleison. Christe eleison. Kyrie eleison. Kyrie et luxperpetualuceateis. Requiem aeternam donaeis,Domine, Exaudi orationem meam;ad te omniscaro veniet. et tibireddetur votum inJerusalem. Te decethymnus Deus,inSion, et luxperpetualuceateis. Requiem aeternam donaeis,Domine, Introitus Requiem Ante diem rationis. Donum fac remissionis to answer to theJudge. when creation risesagain Death andnature shallstand amazed will summonallbefore thethrone. through thetombs of every region, The trumpet,diffusingawondrous sound to examine allthingswithrigour! when theJudgeshallcome What dread there willbe as David prophesied withtheSibyl. will dissolve theworld inashes The day of wrath, thatday Prose [Diesirae] he willnot beafraid of any evil tidings. remembrance: The righteous shallbehad ineverlasting and letperpetuallightshineuponthem. Eternal rest grant unto them,OLord, Gradual Lord, have mercy. Christ, have mercy. Lord, have mercy. Kyrie and letperpetuallightshineuponthem. Eternal rest grant unto them,OLord, Hear my prayer; allflesh shallcomebefore thee. and avow shallbepaidto theeinJerusalem. A hymn, OGod,becomestheeinZion and letperpetuallightshineuponthem. Eternal rest grant unto them,OLord, Introit before theday of reckoning. grant meremission Just Judgeof vengeance, let not suchhardship beinvain. thou didstredeem meby suffering theCross: Seeking me,thoudidstsitdown weary; lest thoudestroy meonthat day. that Iamthecauseof thy journey, Remember, merciful Jesus, save me,OFount of pity. who freely savest theredeemed, King of awful majesty, when scarcely therighteous shallbesafe? what advocate askto plead for me, What amI,wretch, thento say, nothing willremain unpunished. whatever ishiddenshallbemade manifest: When therefore theJudgetakes hisseat, for whichtheworld shallbejudged. that contains everything A written bookwillbebrought forth,

7 Texts 8 Pie Iesu,Domine, dona eisrequiem sempiternam. Pie Jesu Hosanna, Benedictus quivenit innomineDomini. Hosanna inexcelsis. pleni suntcoelietterra gloriatua. Dominus DeusSabaoth; Sanctus, Sanctus &Benedictus [ ]text insquare brackets isintheCherubinionly vitam. Fac eas,Domine, demorte aeterna transire ad [quarum hodiememoriamfacimus:] [tu suscipe]pro animabusillis; Hostias etpreces tibi,[laudis,]offerimus, quam olimAbrahae promisisti etseminiejus.] repraesentet easinlucemsanctam, [Sed signifer sanctusMichael ne cadant inobscurum. ne absorbeateastartarus, [Libera easdeore leonis,] de poenisinferni etdeprofundo lacu. libera animasomniumfidelium defunctorum Domine, JesuChriste, Rex gloriae, Offertorium Dona eisrequiem. Amen. Pie JesuDomine, Huic ergo parce, Deus. Judicandus homoreus. Qua resurget ex favilla Lacrimosa diesilla, Gere curam meifinis. Cor contritumquasicinis, Oro supplex etacclinis, Voca mecumbenedictis. Flammis acribus addictis, Confutatis maledictis, Statuens inparte dextra. Et abhaedis mesequestra, Inter oves locumpraesta, Ne perenni cremer igne. Sed tubonusfac benigne, Preces meae nonsuntdignae, Mihi quoquespemdedisti. Et latronem exaudisti, Qui Mariamabsolvisti, Supplicanti parce Deus. Culpa rubetvultusmeus, Ingemisco, tamquam reus, etc .

As oncethoupromised to Abraham and to his lead theminto theholylight, [But lettheholystandard-bearer Michael lest they beplungedinto darkness. lest hellengulfthem, [Deliver themfrom thejaws of thelion,] from thepainsof hellandthebottomless pit: deliver thesoulsof allthefaithful departed O Lord JesusChrist,Kingof glory, Offertory grant themrest. Amen. Merciful Lord Jesus, therefore spare thisone, OGod. guilty manto bejudged: when from theashesshallriseagain Full of weeping willbethatday take my fate into thy care. my heartascontrite asashes: I pray, kneelinginsupplication, call mewiththeblessed. and consignedto thesearingflames, When theaccursed have beenconfounded, setting meonthy righthand. and separate mefrom thegoats, Grant meaplace amongthesheep, lest Iburnineternal fire. yet thouwhoartkind,show mercy, My prayers are not worthy, to metoo hastthougiven hope. and didsthearthethief’sentreaty, Thou whodidstabsolve MaryMagdalene spare thesuppliant,OGod. my face blusheswithguilt: I groan asonewhoisguilty; Merciful Lord Jesus,grant themeternal rest. Pie Jesu Hosanna, Blessed ishethatcomethinthename of theLord. Hosanna inthehighest! Heaven and earthare fullof thy glory. Lord God of Hosts! Holy, holy, holy, Sanctus &Benedictus Lord, make thempassfrom deathto life. [whom we remember thisday:] [Accept them]onbehalfof thosesouls prayers, Lord, [inpraise,] we offer theesacrifices and seed.] etc .

Shakespeare (1564–1616) Ernest Legouvé (1807–1903), after William Sa mélodieusechanson. Laissant àpeinecommencée Entraîna lapauvre insensée, Bientôt dansl’abîmeprofond Par lesflots larobe alourdie Passa, rapide commeunson. Mais cette étrange mélodie Née aumilieudecetorrent. Chantant ainsiqu’unenaïade, Chantant quelquevieilleballade, Elle flottait toujours chantant, Et, commeunevoile gonflée, La tintencorsurlecourant, Quelques instants sarobe enflée Tombe, saguirlandeàlamain. Se brise,etlapauvre Ophélie Mais trop faible lerameau plie, Aux branches d’unsaulevoisin. Elle lessuspendaitauxbranches, Les riantstrésors dumatin, Puis, élevant sursesmainsblanches, Qu’on appelledesdoigtsdemort. Et cesfleurs d’unrose pâle Des irisauxcouleursd’opale, Des pervenches, desboutons d’or, Dans sadouceettendre folie, Cueillait, tout ensuivant lebord, Auprès d’untorrent Ophélie d’Ophélie La mort Tristia Hector Berlioz(1803–69) Et luxperpetualuceateis. Requiem aeternam donaeis,Domine, Quia piuses. Cum sanctistuisinaeternum, Lux aeterna luceateis,Domine, Dona eisrequiem sempiternam. Agnus Dei,quitollis peccata mundi, Dona eisrequiem, Agnus Dei,quitollis peccata mundi, Dona eisrequiem, Agnus Dei,quitollis peccata mundi, Agnus Dei&Communio falls, hergarlandinhand. and breaks, andpoorOphelia But thebough,too frail, bends the branches of anearby willow-tree. she hungthemonthebranches, the morning’slaughingtrophies, Then, liftinginherwhite hands they calldead men’sfingers. and thosepalepinkflowers opal-coloured irises, periwinkles, buttercups, in hergentle,tender madness, as shefollowed thebank,gathered, Beside abrook Ophelia, The Deathof Ophelia and letperpetuallightshineuponthem. Eternal rest grant unto them,OLord, for thouartmerciful. with thy saintsfor ever, Let perpetuallightshineuponthem. grant themeternal rest. world, Lamb of Godthattakest away thesinsof the grant themrest. world, Lamb of Godthat takest away thesinsof the grant themrest. world, Lamb of Godthat takest away thesinsof the &Communio AgnusDei permission from DG Translation ©David Cairns;reproduced withkind her melodioussong. leaving asyet hardly begun dragged thepoormad girl, soon into thedepths Her dress, made heavy withwater, eased, fleeting asasnatch of sound. But thestrange melody for whomthestream was home. singing like anaiad singing anancientballad, she floated, singingasshewent, and like aswelling sail bore heronthesurface, Awhile herdress, spread wide,

9 Texts 10 [with wordless chorus] d’Hamlet Marche funèbre pourladernière scène Louise Belloc(1796–1881), after ThomasMoore Il n’estriendecalmequeleCiel. Ne font quenousmontrer lesdangersdelaroute; Le flambeau dugénie,celuidelaraison Pauvres voyageurs d’unjourorageux, Il n’estriendebrillantquleCiel. S’épanouissent pourlatombe; Les fleurs del’amour, del’espérance, delabeauté L’éclat desailesdelagloire estfaux etpassager; Il n’estriendevrai quleCiel. Ce mondeentiern’estqu’uneombre fugitive; Méditation religieuse Thomas Moore (1779–1852) there’s nothing calmbutheaven. seem butto lightthetroubled way – And Fancy’s flash andReason’s ray Poor wanderers of astormy day … there’s nothing brightbutHeaven! are blossomsgathered for thetomb – And Love andHopeBeauty’sbloom And false thelightonGlory’splume… there’s nothing truebutHeaven! This world isallafleeting show … Religious Reflection Guy Vivien Romeo Castellucci andChristianSchiaretti. Dino), Joachim Schlömer, Christoph Marthaler, Gilles andCorinneBenizio(aliasShirley and including MariameClément,Georges Lavaudant, worked withawidevariety of stage directors, Concert Spirituelorasaguestconductor. Hehas conducts staged productions, eitherwithLe an equalenthusiasmfor opera andfrequently romantique française inVenice in2009.Hehas of thePalazzetto BruZane–Centre demusique musical pioneerhewas involved intheformation remained uniquethroughout thecenturies.Asa repertoire, andhebelieves thatFrench musichas dedication to 19th- andearly20th-century international orchestras, bringingthe same Hervé Niquetalsoconductsmainstream British composers. known andobscure works by French, Italian and interpretation of Baroque music,presenting both as oneof themostrenowned groups inthe years later, theensembleenjoys areputation reviving theFrench Le ConcertSpirituelin1987 withthegoalof and habit.Itwas for thisreason thathecreated source inorder to avoid thepitfalls of convention music-making: healways returns to theoriginal conductor, whichhasinfluenced hisapproach to composer, choral conductor andorchestral as aharpsichordist, organist, pianist,vocalist, Hervé Niquetpursuedathorough training Hervé Niquet About the performers Radio Choir and principalguest conductor of the Hervé Niquetis musicaldirector of the Vlaams Hervé Niquet conductor grand motet . More than 30 . More than30

renowned asoneof theleading period-instrument played atthecourtof Versailles. Itsoonbecame aim of resurrecting thegreat French repertoire was founded in1987 by Hervé Niquetwiththe The multi-award-winning LeConcertSpirituel SpirituelChoirandOrchestraLe Concert Lettres by theFrench government. National duMérite andCommandeurdesArtset He hasbeenappointed Chevalier del’Ordre masterclasses andlectures. projects, teaching inleading institutionsandgiving Hervé Niquetisalsocommitted to youth education with theirCD numerous awards inFrance andinternationally Niquet andVéronique Genshave received recently, Gounod’s Félicien David, Fromental Halévy and,most as well asoperatic rarities by Victorin Joncières, d’Ollone andPaul Dukas have beenreleased, Debussy, Saint-Saëns,Gustave Charpentier, Max winners of thePrixdeRome. Sofar works by with themonaproject to record cantatas by Brussels PhilharmonicOrchestra, collaborating de Venise Grétry’s opera recordings, whichinclude Marais’s worldwide, itisalsoacclaimed inother fields. Its French sacred music, for whichitisrecognised While LeConcertSpirituelspecialises in Paris andPalace of Versailles. Théâtre des Champs-Elysées, Philharmoniede Shanghai ConcertHall,theTheater anderWien, BOZAR inBrussels,Madrid’s Auditorio Nacional, Proms), Luxemburg Philharmonie,Tokyo Opera, Wigmore Hall,Royal AlbertHall(for theBBC concert halls,includingtheBarbicanCentre, It performs attheworld’s mostprestigious to Lully, viaCampra andBoismortier. French composersof thepast,from Charpentier is devoted to performing themusicof thegreat Centre deMusiqueBaroque inVersailles and ensembles anditcollaborates closelywiththe Andromaque , have won majorawards. Visions Le Tribut deZamora . and Campra’s Le Carnaval . Hervé . Hervé Sémélé , 11 About the performers 12 Violin 2 Julie Friez Florence Stroesser Nathalie Fontaine Matthieu Camilleri Stéphan Dudermel André, thenattheRoyal ChapelinVersailles; Requiem attheFestival BerliozinCôte Saint- Pauline Lacambra Julie Mondor Annabelle Luis Tormod Dalen Cello Géraldine Roux Jean-Luc Thonnerieux Jean-Pierre Garcia Benjamin Lescoat Viola Tiphaine Coquempot Myriam Cambreling Yannis Roger Bérengère Maillard leader Olivier Briand Violin 1 Spirituel Le Concert around Berlioz’s Highlights thisseasonincludeamajorconcert Schiaretti. Lavaudant, Joachim SchlömerandChristian Corinne Benizio,Karole Armitage, Georges and choreographers, includingGillesand The ensemblehasworked withleading directors Pro Nobis. Handel’s and Plantade thatwe heartonight, Lully’s Gloria andMagnificat, theRequiems of Cherubini chez laDuchesse releasing onDVD Boismortier’s exclusive recording contract withAlphaClassics, Since 2015 LeConcertSpirituelhashad an Messiah Messe solennelle , aswell asCDsof Vivaldi’s andBenevolo’s Horn Hélène Burle Nicolas André Bassoon Daniele Latini Nicola Boud Clarinet Tatjana Zimre Claire Sirjacobs Oboe Anne Perillat Olivier Benichou Flute Rémi Vermeulen Marie-Amélie Clément Brigitte Quentin Luc Devanne Double Bass Cyrille Grenot Pierre-Yves Madeuf Don Quichotte and Martini’s andMartini’s Missa Si Deus Missa SiDeus Persée , Brussels; andHandel’s Champs-Élysées, MetzArsenalandBOZAR in Véronique Gensinthetitle-role attheThéâtre des Francoeur’s 1778 revision of Lully’s at theCité delaMusique; there-creation of Vivaldi’s GloriaandMagnificat inGeneva and concertspirituel.com concertspirituel.com Fondation Bru. Patrons: MécénatMusicalSociété Générale and Concert Spirituelisalsofundedby itsPrincipal individual donorsof ‘LeCarré desMuses’.Le the donorsof itsEndowment Fund,andthe the Cityof Paris. Theensembleisgrateful to Ministry of Culture andCommunication Le ConcertSpirituelisfundedby theFrench de Versailles. Arthur Guy Duverget Laurent Madeuf Trombone Joël Lahens Jean-François Madeuf Trumpet Anaïs Hardouin-Finez Lucia Nigohossian Clémence Heurtebise Eugénie deMey Helen Cassano Marianne Byloo Alto Eugénie dePadirac Edwige Parat Alice Glaie Aude Fenoy Alice Kamenezky Gwenaëlle Clémino Agathe Boudet Marie-Pierre Wattiez Soprano Cyril Landriau Timpani Lucas Perruchon (staged by Shirley andDino)attheChâteau Messiah of goingto press was correct at thetime The listof musicians Lutz Felip Andrés Carrasco François Héraud Simon Bailly Benoît Descamps Igor Bouin François Joron Bass-baritone Nicolas Maire Randol Rodriguez Edmond Hurtrait Edouard Hazebrouck Pascal Richardin Pierre Perny Benoît Porcherot Tenor Stéphen Collardelle Lancelot Lamotte Marc Scaramozzino High Tenor andPurcell’s Armide with with King King