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Jean-Philippe RAMEAU (I 683-I764

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Jean-Philippe RAMEAU (I 683-I764 4509-96967-2 Durée : 70'28 Jean-Philippe RAMEAU (i 683-i764 Les Grands Motets DB In convertendo Q - [B Quam dilecca Qj EQ Deus noster refugium Sophie DANEMAN, Noémi RIME, Dessus Paul AGNEW, Haute-contre Nicolas RIVENQ, Taille cl barym Nicolas CAVALLIER, Risse M n ts WOLIÎ km(qm mt/TIt E Enregistrement Radio France Les Arts Florissants sont subventionnés par le Ministère de la Culture, la Ville de Caen, le Conseil Régional de Basse Normandie, et parrainés par PECHINEY'P) » En»DUqucs SA l'«1 MADE IN GERM AN V Bv © Music MANUFACTURING EUROPE Unaïuhori-cd «ipyïn;; luring, publie pertormautt' anil hmadcaMiu^ ,,i ihi> ruLinJlnp piohihu,! L ep^fTts^^j^M^áÁn ts WILLIAM CHRISTIE Rameau Les Grands Motets IN CONVERTENDO QUAM DILECTA DEUS NOSTER REFUGIUM Daneman - Rime - Agne\ Rivenq - Cavalli or ERATO Realisation numerique/Digital recording/Digitalaufnahme Producer: Martin Sauer Sound engineer : Didier Gervais Assistant: Philippe Malidin Enregistrement/Recording RADIO FRANCE : 8-12/06/94 Maison de Radio-France Editing : Martin Sauer Recto : William Christie, photo Luc Choquer/Metis, Maquette Federico Restrepo Verso : William Christie, photo Michel Szabo Ce programme des Grands Motets a été donné au château de Versailles, dans le cadre des Journées Rameau organisées par le Centre de Musique Baroque de Versailles en Juin 1994. © Erato Disques S. A. 1994 : JEAN-PHILIPPE RAMEAU (1683-1764) LES GRANDS MOTETS j- Lz~ In convertendo 23' 11 Lr UU Quam dilecta 20'2() jTl- [24] Deus noster refugium 26'38 Sophie DANEMAN, Noémi RIME, dessus Paul AGNEW, haute-contre Nicolas RIVENQ, taille et baryton Nicolas CAVALLIER, basse LES ARTS FLORISSANTS Direction/Conductor/Dirigent : William CHRISTIE Jean-Philippe RAMEAU (1683-1764) LES GRANDS MOTETS IN CONVERTENDO (c. 1718) m 1. Gravement "In convertendo" (Paul Agrtew) FU 2. Gai "Tune rcpletum est gaudio os nostrum" (Chœur) FF1 3. Lent - très gai "Magnificava Dominus" (Noemi Rime, Nicolas Rivent/) l~4~i 4. Lent "Converte Domine captivitatem nostram" (Nicolas Rivenq) 5 5. Chœur gracieux : Un peu gai "Laudate nomen Dei cum cantico" (Sophie Daneman, chœur) ~6~. 6. Trio : Animé "Qui seminant in lacrimis" (Sophie Daneman, Paul Agnew, Nicolas Rivenq) I 7 I 7. Chœur : Sans lenteur "Euntes ibant et flebant" ( Chœur) QUAM DILECTA (c. 1716) [If] 1. Tendrement "Quam dilecta" (Sophie Daneman) l£J 2. Tendrement "Cor meum et caro mea" (Chœur) fïïï] 3. Gratieusement "Et enim passer" (Paul Aiinew) 111J 4. Trio : Gravement "Altaria tua" (Sophie Daneman, Noémi Rime, Nicolas Cavallier) Ql] 5. Prélude : Légèrement et marqué "Beati, qui habitant" (Nicolas Rivenq, chœur) 13 6. Gravement : "Domine, Deus virtutum" (Nicolas Rivenq) 14 7. "Domine virtutum beatus homo" (Chœur) DEUS NOSTER REFUGILM (c. 1720) lis] 1. "Deus noster refugium" (Paul Agnew) 116" 2. Trio "Propterea non timebimus" (Sophie Daneman, Noémi Rime. Nicolas Rivenq} [W' 3. Prélude du choeur : Vivement "Sonuerunt et turbatae sunt" (Sophie Daneman, Nicolas Rivenq (1), Nicolas Cavallier (2), chœur) pTsI 4. Gayment "Fluminis impetus" (Noémi Rime, violon solo Simon Heyerick) Li?] 5. Doux "Deus in medio ejus" (Nicolas Cavallier) 120] 6. Quatuor "Conturbatae sunt gentes" (Simon Berridge, Paul Agnew, Nicolas Rivenq, Nicolas Cavallier) [2T] 7. Prélude du choeur : Gay "Dominus virtutum nobiscum" (Sophie Daneman, Nicolas Rivenq, chœur) [~22| 8. Légèrement "Venite et videte" (Paul Agnew, violon solo Simon Heyerick) [23] 9. Légèrement "Arcum conteret et confringet arma" (Nicolas Rivenq, Nicolas Cavallier) [24 10. Prélude du choeur : Gay "Dominum virtutum nobiscum" (Chœur) Sophie Daneman, photo Michel Szabo Noemi Rime, D.R. Paul Agnew, D.R. Nicolas Rivenq, Nicolas Cavallier, D.R. CHŒUR/CHOIR/CHOR Anja Bôlkow, Cécile Constantin, Emmanuelle Gai, Violaine Lucas, Anne Mopin, Brigitte Pelote. Valérie Picard, Anne Pichard, Sylviane Pitour (dessus) Simon Berridge [Soliste Deus noster refugium : N" 6 plage/track 20] Jean-Yves Ravoux, Didier Rebuffet, Bruno Renhold (hautes-contre) Patrick Foucher, François Piolino, Jean-Marie Puissant, Deryck Huw Webb C ténors) Jonathan Arnold, Francois Bazola, Jean-Francois Gay, David Le Monnier, Arnaud Mar/orali, Dominique Metzle, Christophe Olive (basses) ORCHESTRE/ORCHESTRA/ORCHESTER SIMON HEYERICK, violon solo, Peter van Boxelaere, Bernadette Charbonnier, Roberto Crisafulli, Sophie Gevers-Demoures, Mihoko Kimura, Valérie Mascia, Martha Moore, Michèle Sauvé, Susanne Scholz, Isabel Serrano, Ruth Weber, George Wulms, violonsIviolinslViolinen Galina Zinchenko, Marcial Mordras, Michel Renard, Jean-Luc Thonnéricux, Anne Weber, Udbhava Wilson Meyer, tailles et quintes Ulrike Brütt, Paul Carlioz, Brigitte Crépin, Damicn Launay, Hendrike Ter Brügge, basses de violon Richard Myron, contrebasse/double basslKontrabaß Serge Sa'itta, Charles Zeb\cy,flûtes traversièresltransverse flutes/Querflöten Christian Moreaux, Hugo Rcyne, hautboisloboeslOhoen Philippe Miqueu, Nicolas Pouyanne, bassonslbassoonslFagotten CONTINUO : Jory Vinikour, clavecin et orguelharpsichord and organ/Cembalo und Orgel Clavecin : L. Martin, USA (copie française) Orgue : Klop (1992) par LAtelier du Clavecin L. Soumagnac Alix Verzier, basse de violon Simon Heyerick, photo Michel Szabo — The French Grand Motet Sa Majesté" [printed by express command of his Majesty] appears on the title pages of A conservative style based on that of the the 6 grands motets by Lully, the 20 by Du high Renaissance dominated the French Mont, and the 24 by Pierre Robert printed motet in the early seventeenth century. in part books by Ballard from 1684 to French composers introduced elements 1686. The publication of these 50 works from the stile concertato only gradually elevated the grand motet to a preeminent and were slow to adopt the basse continue position in the music of the king's mass. in religious music. Jean Veillot, Thomas Typically, the grand motet is a musical set- Gobert, and Nicolas Formé were important ting of a psalm text, in which the verses are in the evolution of the double chorus arranged as a series of episodes - one often concertato motet. Veillot was one of the eliding with the next. The vocal writing first to compose independent symphonies calls for solo voice, ensemble, and chorus. and to introduce instruments to double the The four or five-part chorus is divided chorus. In 1646 Gobert noted that the into a grand chœur and a petit chœur (most "Grand chœur qui est à cinq, est toujours often two sopranos and one haute-contre). rempli de quantité de voix.. Aux petits The five-part orchestra provides indepen- chœurs les voix y sont seules de chaque dent symphonies and ritournelles; it marks partie". important structural divisions, generally Henry Du Mont, a Walloon who arrived in doubles the chorus, and contributes solo France in 1638, emerges more and more as obbligato parts for some of the vocal récits. the major figure in the development of the All of the grands motets have weighty Versailles grand motet. Recent research by homophonic choruses with speech rhythms Lionel Sawkins establishes that over 30 of of hypnotic power. All use melodic formu- Du Mont's grands motets were in the las and scoring practices found in contem- repertory of the Chapelle Royale by 1666. porary stage music such as, for example, Some must have been composed before the bass "doubled continuo" air - that is, Lully's Miserere of 1664. Such composi- bass voice and continuo share the same tions may be viewed as a natural evolution music while melodic interest centres upon of the earlier examples by Gobert, Formé, the two obbligato violins. The grand motet and Veillot. from this period until the Revolution is, in "Imprimez par exprès commandement de truth, a secularized "concert spirituel" without liturgical function. Composers a greater degree of independence, freeing it beyond the orbit of the Chapelle Royale from merely doubling the vocal line. also contributed to the genre. Such were The Delalande grand motet served as inspir- Henry Desmarest who composed motets ation and obstacle to change for later eigh- for the chapel of the Duc de Lorraine and teenth-century composers. Jean Gilles who directed the maîtrises of From Campra and Bernier to Mondonville Aix-en-Provence and Saint-Etienne de and Giroust, the sous-maîtres of the Cha- Toulouse. pelle Royale were reluctant to alter the The two composers who best represent the basic format of the Versailles motet. Still, grand motet in quantity and quality at the Campra and Rameau made of the orchestra turn of the century are Marc-Antoine Char- a dramatic agent resembling the large cho- pentier, who had no royal chapel appoint- ral-orchestral complexes of their tragédies- ment, and Michel-Richard Delalande, who en-musique. Boismortier and Blanchard at one time filled the post of all four sous- further expanded the role of the orchestra, mattres simultaneously. Charpentier's har- especially with regard to wind and brass monic language is richer than that of his instruments. Da capo "arias" and elaborate predecessors, and his motets are more symphonies assured these works and those contrapuntally oriented than those, for of Mondonville a place in the repertory of example, by Lully. Delalande's motets the Concert Spirituel. The important com- represent the high point of the Versailles posers of grands motets in the early and grand motet. In many of his later motets middle years of the eighteenth century (or subsequent versions of earlier motets), continued to dominate the music heard at he created graceful, even galant, airs by the Chapelle Royale up to the Revolution. expanding
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