François Couperin: Lumière et Ombre Sunday 14 January 2018, Milton Court Concert Hall
2pm Concert 1: Lumière
3.30pm Panel Discussion Andrew McGregor, Berta Joncus and Christophe Rousset discuss the music of Couperin
Ignacio Barrios Martinez Ignacio 7pm Concert 2: Ombre
Céline Scheen soprano Eugénie Warnier soprano Les Talens Lyriques Gilone Gaubert-Jacques violin Kaori Uemura-Terakado viola da gamba Christophe Rousset harpsichord/organ/director
Part of Barbican Presents 2017–18
Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited.
If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre 2 Christophe Rousset Kaori Uemura-Terakado Eugénie Warnier Céline Scheen Trois Leçonsdeténèbres interval cinquième Ordre: Les Ombres errantes Quatrième Livre depiècesclavecin –Vingt- Ordre: Les Idéesheureuses Premier Livre depiècesclavecin –Deuxième Pièces deviole–Première Suite François Couperin 2:Ombre7pm Concert Free to ticket holders Couperin Christophe Rousset discussthemusicof Andrew McGregor, Berta Joncusand 3.30pm Panel Discussion Christophe Rousset Kaori Uemura-Terakado Gilone Gaubert-Jacques Eugénie Warnier Troisième Concertroyal Pièces declavecin –SeptièmeOrdre Trois Airssérieux Les Goûts-réunis –CinquièmeConcert François Couperin 1:Lumière2pm Concert Milton CourtConcertHall Sun 14Jan Lumière et Ombre François Couperin: 20minutes soprano soprano soprano harpsichord/organ/director harpsichord/director
violadagamba violadagamba violin
and through thecourseof theday we’ll His chambermusicisnolessoutstanding the harpsichord. and wrote prodigiously andcolourfullyfor he was renowned asakeyboard player precociously earlyandduringhislifetime remarkable giftsshowed themselves run for theirmoney. François Couperin’s commonplace, givingeven theBachs a when musicaldynastieswere relatively The Couperinfamily stood outinanera performers: Christophe Rousset. one of theleading lights amongBaroque François Couperininthecompany of event inwhichwe explore themusicof A warm welcome to today’s Milton Court Welcome
Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Evgeny Kissin,Maxim Vengerov andNicoMuhly. Iestyn Davies, Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Barbican Classical MusicPodcasts Huw Humphreys, Head of Music,Barbican day’s music-making. promises to beafitting culminationto the This evening’s candlelitperformance designed to beheard duringHolyWeek. the Lamentations of Jeremiah andwere Leçons deténèbres his sacred masterpiece, thesearing vein, courtesy of the opportunity to hearhimboth insecular of vocal music.Today we have the modern-day audiencesasacomposer Couperin isarguably lessfamiliar to Talens Lyriques. of theensemblehefounded in1991: Les facets asChristophe isjoinedby members have thechanceto explore thesedifferent . Thesesetverses from Airs sérieux , and in , andin
Trois
3 Welcome 4 as furtheropportunities to advance hiscareer, not which carriedwith itasubstantial salaryas well appointed oneof thefour important career step camein1693 whenhewas first publication, the aided theappearance in1690 of herhusband’s a woman whosefamily businessconnections In 1689 François marriedMarie-Anne Ansault, up thejobhimself,whichhedulydidaround 1685. Delalande –untilFrançois was oldenoughto take than thedistinguishedcomposerMichelRichard although they employed aninterim –noneother a year later, thechurch authoritieskept theirword, after hisfather’s death.Whenthatoccurred only he was given thepromise of theSt Gervais job life from an earlystage, for attheage of only10 only child,andwas clearlyboundfor amusician’s who took over his post.François was Charles’s St Gervais, andonhisdeathin1661 itwas Charles playing atcourtandbecomingorganist of keyboard-player andcomposerwhowas soon 1650s. Oneof them,Louis,was anoutstanding to make theirfortunes asmusiciansinthe French capital from theirhometown of Chaumes one of three brothers whohad arrived inthe 10 November 1668, thesonof CharlesCouperin, François Couperinwas bornParis on European musicingeneral. Baroque music,of French music,andperhapsof that itbelongedto oneof themajorfigures of made theCouperinnametrulyfamous isthefact this they were perhapsnot sounusual,butwhat century rightthrough to themiddleof the19th. In and composersfrom themiddleof the17th all thesefamilies, prominent askeyboard-players as now, theCouperinswere themost renowned of and livingthelife of aprofessional musician.Then, skills inplaying, composing,instrument-making fathers passedonto sonsanddaughters their Blanchets to theForquerays andHotteterres, anywhere elseinEurope. From theGaultiersand dominated by dynastiesto adegree unmatched Music in17th- andearly18th-century France was About thecomposer François Couperin Pièces d’orgue organistes duroi . A much more . Amuchmore , a post , apost (probably) in1717, the in print.Afurtherthree books –the the until 1713 thathisfirst bookof harpsichord pieces, and teaching activities for thefact thatitwas not He blamedthepressure of work from hisplaying le clavecin ordinaire delamusiquechambre duroi pour finally gainedthecourtharpsichordist’s positionof respect amonghiscontemporaries. In1717 he years were whenherose to fame andwon wide this time.Indeed,the18th century’sfirst 15 to 20 – muchof Couperin’ssacred musicdates from King’s domesticapartmentsandinhischapel and hiscompositionswere alsoheard both inthe music atVersailles, Fontainebleau andSceaux, harpsichordist, hecertainly performed inchamber Although hewas not theofficial court Chevalier in1702. in 1696, followed by official ennoblementto of thenobility. Hehimselfgainedacoat-of-arms least by teaching harpsichord to various members far from Paris, hewas acknowledged inhislifetime Although Couperin seemsnever to have travelled position atSt Gervais passedto hiscousinNicolas. Marguerite-Antoinette, whiletheorganist’s harpsichordist eventually fell to hisdaughter to family tradition, however, thepostof court know how muchof his musichasbeenlost.True but they failed inthetask andtoday we cannot unpublished manuscriptsto hisfamily to organise, he diedawealthy man in1733, heentrusted his in 1730 gave uphisroyal appointments.When Couperin suffered from illhealthinlater life, and three decades. (1728), had beencomposedover theprevious of 1722), the composer of chambermusic,however. Although or pieces to well over 200,organised into 27suites Quatrième works includedinthe none was publishedbefore the1720s, someof the (1668–1733) Les Nations ordres Pièces declavecin, Premier Livre . Couperinwas alsohighlyactive asa Nouveaux Concerts . in1730 –bringthetotal numberof (1726) and the Concerts royaux Troisième
Pièces devioles (1724), thesonatas in1724 andthe Second Livre ,
appeared appeared (published (published
principle evidently still applied inthemid-1710s published inhiscollection the influence of Arcangelo Corelli andlater together inthetriosonatas hecomposedunder seeking to bringtheFrench and Italian styles modernist, for asearlythe1690s hewas In thisrespect, theyoung Couperinwas a rhythms of dramatic declamation. on graceful dancemeasures andtheshapes happier to forge adistinctive styleof itsown based resistant to developments from across theAlps, rule-making meantthatthecountrywas initially an inclinationtowards reason andacademic France, however, inherent nationalismaidedby analogous to thespread of Italian influence. In 1600 onwards caninmany ways beconsidered style –indeed,thespread of theBaroque from music was seenastheyardstick for modernityand Throughout mostof theBaroque period, Italian Christophe Rousset Kaori Uemura-Terakado Gilone Gaubert-Jacques Musette danslegoûtdecarillon Gavotte Sarabande Allemande Prélude Les Goûts-réunis (1724) –CinquièmeConcert 1:LumièreConcert of composerornation.’ things whichdeserved themostesteem, regardless ‘For myself, Ihave always highly regarded those in France,’ hewrote inthepreface to have for alongtimeshared theRepublic of Music cross-fertilisation. ‘TheItalian andtheFrench styles Couperin saw onlytheopportunityfor mutual commentators envisaged astylisticbattleground, the Italian. Indeed,where other composersand dominating musicalstyleof themid-Baroque, music –to marrytheFrench mannerwiththeother enduring desire –mainlypursuedinhischamber was seeninamore nuancedlightthanks to his French musicalstyle,butinhisown countryhe For theseforeign composersheclearlystood for is believed to have corresponded withCouperin.) J S Bach. (Bach copiedoutsomeof hispieces,and a generation of Germancomposersthatincluded hugely influential not justonhiscompatriots buton music, whichwas known throughout Europe and as amajorfigure, above allfor hisharpsichord harpsichord/director violadagamba Les Nations violin Les Nations . The . The . Christophe Rousset Kaori Uemura-Terakado Eugénie Warnier Zéphire, modère enceslieux(1711) Doux liensdemoncoeur(1701) (1697) Qu’on nemediseplusquec’estlaseuleabsence Airs sérieux bells. soundscape of abagpipe minglingwithdistant of French-style painting-in-music–abucolic de carillon,however, isacharmingexample of theGavotte. Thefinal Musette danslegoût breadth of theSarabande andthebusy bass-line in thePrélude andAllemande,theHandelian contrapuntal imitation between melodyandbass Italian elementcanbeheard intheinstances of Italian characteristics. Inthefifth make-up ismore amixture of French and strongly French inorigin,themusic’sstylistic fact thatwhiletheforms anddancetitlesare (‘The stylesreunited’), drawing attention to the carried theadditional title the bore thetitle were eventually publishedin1722 they therefore Sunday inthelasttwo years of hislife. Whenfour more of themto beplayed atcourtnearlyevery the aging LouisXIVthathecommanded oneor at thekeyboard. Apparently they sopleased talented instrumentalists withCouperinhimself continuo, for performance atcourtby apoolof for asingleunspecified melodyinstrumentand when hecomposedanumberof suites mostly French vocal melody. – butalsoacrucial elementintheformation of published collectionsthroughout the17th century – finding itsway into printinsubstantial ongoing it not justanessentialpresence inFrench music to word-setting thatcarrieditforward andmade form, butitwas asensitive andpliantapproach basis inpopularsongleaves amarkinitsstrophic sensibilities inasimpleandaffecting manner. Its 16th centuryto express awiderange of intimate one ormore solovoices had originated inthelate of the consists of adozensongsinthedelicate tradition most of whatwe know of hisvocal chambermusic although acantata was recently rediscovered, of itonagrand scale.There are nooperas, and Couperin wrote littlesecular vocal musicandnone For texts, seepage9 Nouveaux concerts air decour Concerts royaux . Thisslightbutsubtleform for soprano harpsichord/director which followed in1724, violadagamba Les Goûts-réunis , but a second set, , butasecondset, Concert the the
5 Programme note 6 imagination andinterpretative skill,buthis clear, offering achallengeto theperformer’s man withalimp.Often theirmeaningisfar from ticking of aclock,thebuzzingof aninsectora fancy, from afriendorfamous personage to the likenesses’. Allmannerof subjectscouldtake his fingers, have onoccasionbeenfound fair enough pieces –‘portraits’ asheputit,‘which,undermy Couperin’s general preference was for character together into suites (or the commondanceprototypes andgather them While hedidwrite movements conforming to fellow composers. treasured by harpsichordists andadmired by of themostremarkable of allartistic resources, and gentleintimacy of thought,they constitute one expression, sensitivity inthehandlingof texture and ‘LeTic-toc choc’.Yet intheirrefinement of to quote any beyond ‘LesBaricades mistérieuses’ even many Baroque music-lovers may bepushed huge outputisnot generally well-known andthat harpsichord music,itwould befair to say thathis Although Couperinisknown above allfor hissolo Christophe Rousset Les Amusemens La Chazé La Basque Les Petits âges –LesDélices Les Petits âges –L’Adolescente Les Petits âges –L’Enfantine Les Petits âges –LaMusenaissante La Ménétou Ordre (1717) Second Livre dePiècesclavecin –Septième sleeping. depiction of alover watching hisadored one mentioned inthem),andpresents anenchanting after thehaircolourof theshepherdesses often en ceslieux’isa as akindof heightened state. ‘Zéphire, modère while ‘Douxliensdemoncoeur’embraces them lamenting theincurable agonies of secret love, que c’estlaseuleabsence’isamelancholypiece the publisherBallard. ‘Qu’onnemediseplus series appeared ineditionsof thelong-runningmonthly de cour remained closerto theoriginaltone of the the à boire out into anumberof sub-groups suchasthe By Couperin’stimethegenre had separated air sérieux Recueil d’airssérieuxet àboire (drinking song, sometimes bawdy) and (drinkingsong,sometimesbawdy) and . Thethree airsintonight’s concertall , air tendre brunette harpsichord ordres and (thought to be so named (thoughtto besonamed , as he called them), , ashecalledthem), brunette issued by issuedby , which , which air air air air us to therefined atmosphere andtextures of the there. Finally, ‘LesAmusemens’gratefully returns Ménétou, butperhapssheperformed orstayed serious terms; we know of noconnectionwith in western France, portrayed here insomewhat Chazé’ isthenameof achateau inMaine-et-Loire suggestion of some)inthatrural region. ‘La dance presumably withorigins(oratleasta After thiscomes‘LaBasque’,aslightlyhaughty one, finds herinyoung maturity. to alower one,andfrom limpidtextures to afuller switch from minorto major, from ahigherregister carefree youthful dancing;andin‘LesDélices’a play; in‘L’Adolescente we canperhapsseeher but offers amore structured androbust styleof endlessly with a tiny toy; ‘L’Enfantine’ is still childish, naissante’ gives theimpression of ababy playing her atdifferent stages of herearlylife: ‘LaMuse form asequencepresumably intended to show the more animated second.Thenext four pieces mellowly lyricalfirst half,andseeherdancingin in whichwe canperhapshearhersinginginthe after herandnaturally designated of 9. Sheisclearlyshown inthefirst piece,named performed before LouisXIVin1688 attheage dancer, singer, harpsichordist andcomposerwho Charlotte deSenneterre Ménétou, aprodigy asa takes inspiration from thearistocratic Françoise- theme. TheSeventh gatherings of pieces, whileothers have aunifying Some of Couperin’s27 the paintingsof Watteau. sensuous hazehasrightlydrawn comparisonwith portraits’ uniqueblendof fleeting immediacy and Couperin’s prime selectionfrom theseroyally and onehasthesense thatthesewere perhaps on thewholelongerthanthosein 1724 set, The suites inthe1722 setof Christophe Rousset Kaori Uemura-Terakado Gilone Gaubert-Jacques Chaconne Musette Gavotte Sarabande Courante Allemande Prélude royauxConcerts – Troisième (1722) Concert possession. suite’s openingmovements, now with added self- Ordre harpsichord/director ordres violadagamba , from theSecond violin Concerts royaux are loose are loose gracieusement are are Livre , , in theCourante, though here inharnesswith melodic line,apractice which iscontinued leaps to create anillusionof more thanone The elegantAllemandemakes useof wide triple-stops andsweeping ornamented runs. phrases contrasted withyearning double-and opening Prélude, expressing itselfinhalting forth from Couperinasombrely meditative The FirstSuite isinEminor, akey whichbrings some of hisfinest chambermusic. Couperin was ready to bestow ontheinstrument came to publishthe both beenspecifically for viols,andby thetimehe line, butthelastworks in in hischambermusicasareinforcer of thebass- France. Naturally ithad always had apresence such apeakof eloquenceinearly18th-century Marais andAntoine Forqueray had reached hands of masters suchasSte-Colombe, Marin voice of thisnoblestringinstrument,whichinthe related even more effectively by theconfidential intimately inhisharpsichord works couldbe realisation thatthesensibilitiesexpressed so and continuoperhapscamefrom agrowing containing two suites of piecesfor bassviol Couperin’s decisionin1728 to publishabook Christophe Rousset Kaori Uemura-Terakado Passacaille ouChaconne Gigue Gavotte Sarabande Courante Allemande Prélude Pièces deviole–Première suite (1728) 2:OmbreConcert sounding Chaconne endsthesuite. a drony, drowsy Musette, athoroughly French- after theSarabande intheGavotte. Finally, after them aPurcellian melancholy, whichcontinues affecting momentsof chromatic detailing thatlend that are lighter instyle,thoughnot without between themcomeanAllemandeand Courante use by Couperin,notably intheSarabande. In them aBachian fullnessof texture, tellingly putto or simplyby theharpsichord’s righthand),giving parts (whichcanbeplayed by another instrument of theThird approved pieces.ThePrélude andSarabande Concert both have additional inner Pièces deviole harpsichord Les Goûts-réunis violadagamba four years later had had Idées heureuses’ (‘Pleasingthoughts’)from the One pieceto employ this home intheharpsichord suites of Bach. among others, to Germany, where itfound a that passedfrom French composers,viaCouperin an impression of counterpoint. Itwas amethod overlap to create a fluid senseof movement and French lute-composers inwhich‘broken’ chords intricate figuration derived from 17th-century frequently transferred to hisown instrumentthe period both before andafter him,Couperin Like many French harpsichordists of theBaroque Christophe Rousset Les Idéesheureuses Deuxième Ordre (1713) Premier Livre depiècesclavecin – an atmosphere of unchallengedcontentment. central section,themajoriswhere itfinishes in suite, anddespite areturn to theminorin establishes themajorkey for thefirst timeinthe episodes orcouplets.Thisparticularexample pattern inthebassalternating withcontrasted a triple-timesetof variations onarepeating the forms were slight,butboth terms denote a chaconne. Thedifferences (ifany) between unsure whetherto classifyasapassacaille or with asubstantial piecethat Couperinseems a more relaxed Gigue,before thesuite ends brightens withatautly written Gavotte and poised, isoneof Couperin’s greatest. Themood harmonically rich,shapelyandsupremely more robust double-stopping. TheSarabande, the 62-year-old Couperinwas inpoor health By thetimehepublished the Christophe Rousset Les Ombres errantes Vingt-cinquième Ordre (1730) Quatrième Livre depiècesclavecin – on thegentlewaters towards Cytherea’. an enchantinglyWatteau-esque image of ‘floating French ClassicalTradition in hismajorstudy seems to demandnofurtherelucidation,although typically unspecific oneandindeedthemusicitself portrait of himby André Bouys. Thetitleisa for itto beshown underhishandinthefamous Couperin seemsto have beensufficiently proud second ordre of the François Couperinandthe Premier Livre harpsichord harpsichord style brisé Wilfrid Mellers conjures Wilfrid Mellersconjures Quatrième Livre , awork of which was ‘Les was ‘Les
7 Programme note 8 intended for Maundy Thursday, GoodFriday Bouzignac andDelalande. Thetexts were included beautifulexamples by Charpentier, a lineof settingsby hiscountrymenthatalready exclusively French one,butCouperinwas joining after defeat by theBabylonians was not an Jeremiah deploringthesorrystate of Jerusalem settings of words from theLamentations of The HolyWeek tradition of performing musical direct useof harmony reminiscent of Monteverdi. influence perhapscomingfrom anexpressive and decidedly French flavour, theonlyhintof Italian the three the mostremarkable of hischurch compositions, Carissimi, Stradella andAlessandro Scarlatti.Yet and continuoderived from works by thelikes of smaller-scale cultivated by LullyandDelalande, butrather the grand motet medium for church musicwas not thesumptuous was influenced by Italian music.Hisusual It was not justininstrumental works thatCouperin For texts, pleaseseepage10 Christophe Rousset Kaori Uemura-Terakado Eugénie Warnier Céline Scheen Troisième Leçonàdeuxvoix Deuxième Leçonàunevoix Première Leçonàunevoix Leçons deténèbres (1713,1717) interval appropriately sombre acceptance of fate. makes resourceful useof love-related) crimes.Themoodof thepiece,which limbo aspunishmentfor unspecified (possibly as signifyingthemournfulghostslanguishingin his contemporaries would surely have recognised Ombres errantes’ (‘Errant shades’), apiece which some extremely fine works. Amongthemis‘Les pieces, butthatdoesnot stop itfrom containing of agathering-upof allhisremaining unpublished last bookof harpsichord pieceshasaslightlook immortality to whichnearlyallmenaspire.’ This least thinksoto attempt to deserve thechimerical purpose whenlife isover. Butthenonemustat lamented, ifindeedlamentations serve any something whichmay causemy passingto be was that‘my family willdiscover inmy portfolios and thinkingabouthisartisticlegacy. Hishope 20minutes Leçons deténèbres for soloists,choirandorchestra as petit motet soprano soprano harpsichord/organ/director for oneto three voices style brisé violadagamba , have amuchmore , suggests an , suggestsan composed settingsfor theGoodFriday their publicationhestated thathehad already for MaundyThursday, butinthepreface to days. Couperin’ssettingsonlycover thethree lessons, three for each of thethree appointed The fulltext of theLamentations runsto nine 15 candleswere extinguished. that gradually overtook thechurch as,oneby one, music; theword ‘ténèbres’ refers to thedarkness considerable power to move, andnot justinthe they took place, however, they musthave had performances given elsewhere by nuns.Wherever observers whopresumably felt happierwiththe outside Paris –muchto thedisapproval of some at thefashionable abbey of Longchampjust from theOpéra were engaged, especially to comeandlisten to them.Sometimessingers the day before sothatmore peoplewere able the performances forward to theafternoon of and HolySaturday, butitwas normalto bring than themainsectionsandfeaturing aheightened also received specialtreatment, beingmore lyrical ‘Jerusalem convertere ad DominumDeumtuum’, a manuscript.Thefinal sectionof each section, functioningalmostlike illuminationsin settings of theHebrew letters whichheaded each prophetae’, aswell asfor someof themelismatic opening invocation ‘Incipitlamentatio Jeremiae easy assimilationof plainchantmelodyinto the récitatif the flexible mannerof declamatory operatic vocal linesover continuoaccompaniment, in predecessors, Couperinmakes useof expressive well. Ifhedid,they are now sadly lost.Like his and thatheintended to write thefinal three as Programme notes ©Lindsay Kemp artistic product of theBaroque era. a giftfor thespirituallyprofound to rival any other court, thisgreat liturgical masterpiece isproof of associated withtheurbanemilieuof theFrench sufferings of Jesus).IfCouperin’s musicisnormally we are of courseinvited to associate withthefinal empathises withtheanguishof Jeremiah (which of text andthe total seriousnesswithwhichhe the acute sensitivityof Couperin’streatment expressive pangsof theattendant harmonies, beauty andresourcefulness of thevocal lines,the seem austere. Butthatisto miss theheart-stopping To acasualearthe two effect of thedarkening church by settingthefirst Couperin’s settingalsoreflects theintensifying expressive contributionfrom thecontinuobass. leçons . Othercommonfeatures were the for onevoice, andthethird for two. Leçons deténèbres can at first canatfirst leçon leçons , , Nymphes, chantez :elles’éveille. Mais, Nayades, Faunes, Oyseaux, Veiller tandis qu’ellesommeille: Voyez lesDéessesdeseaux Se reposer souscesombrages. Attendant qu’elleouvre lesyeux, Et lesNymphesdecesbocages, Voyez lesFaunes deceslieux Que vos chantssefassent entendre. Que cenesoitqu’àsonréveil Oiseaux, dontlavoix estsitendre : N’interrompez pointsonsommeil, Coulez unmomentsansmurmure. Ruisseaux, respectez sonrepos ; Les bords desonlitverdure, Et vous, quibaignezdevos flots De l’inhumainequej’adore. Le sommeilafermé lesyeux L’ardeur donttucaresses Flore : Zéphire, modère enceslieux Zéphire, modère enceslieux Que l’Amouracaché sesplusdouxcharmes. C’est dansl’excès desesrigueurs, Ne ressentit jamaisquedefaibles douceurs; Un cœurexempt denostendres alarmes Redoublez montourment : De momenten Charmantes chaînes, Aimables peines, Doux liensdemoncoeur, Doux liensdemoncoeur Et cherchant aguérirjefuismaguérison. Absente jelavois, àtous momentsj’ypense, Ce remède cruelaccable maraison. J’aime Irisensecret, j’évite saprésence, poison. Qui peutguérirnoscœursdel’amoureux Qu’on nemediseplusquec’estlaseuleabsence Eugénie Warnier Qu’on nemediseplusquec’estlaseuleabsence sérieux Airs soprano
of my uncaringbeloved. sleep hasclosedtheeyes with whichyou caress Flora: Zephyr, temper here theardour that Love hashiddenhissweetest charms. it isinanexcess of tribulations never feels more than ahintof sweetness; a heartfree from ourtender alarms with every passingmoment: intensify my torment beguiling chains, beloved sorrows, Sweet bondswhobindmy heart, would healme. and thoughseekingto behealed,Iflee what thetime, I seeherdespite herabsence,Ithinkof herall but thiscruelremedy isharmingmy reason. I love Irisinsecret, Iavoid herpresence, can healaheartpoisonedby love. Cease telling methatabsencealone Translations ©Susannah Howe nymphs, singnow: sheisawake. but, naiads, fauns, birds and are keeping watch asshesleeps: See how thegoddessesof thewater as they wait for herto openhereyes. are resting intheleafyshade and thenymphs of thesegroves See how thefauns whodwell here when sheawakens oncemore. let your songsonlybeheard take painsnot to disturbhersleep: Birds, you whose voices are sosweet, flow for awhilewithoutmurmur. your waters, respect herrepose; the banks of hergreen bedwith And you streams whobathe
9 Texts 10 Lamentations 1:1–5 Deum tuum. Jerusalem, convertere ad Dominum faciem tribulantis. eius. Parvuli eiusductisuntincaptivitatem, ante super eam,propter multitudineminiquitatum eius locupletati sunt;quiaDominuslocutusest Heth. Facti sunthostes eiusincapite, inimici eius squalidae, etipsaoppressa amaritudine. destructae, sacerdotes eiusgementes, virgines veniant ad solemnitatem: omnesportae eius Daleth. Viae Sionlugent,eoquodnonsintqui apprehenderunt eaminter angustias. nec invenit requiem: omnespersecutores eius et multitudinemservitutis;habitavit inter gentes, Ghimel. Migravit Judapropter afflictionem eam etfacti sunteiinimici. omnibus charis eius:spreverunteius amici omnes non estquiconsoletureamex eius; maxillis in Beth. Plorans ploravit innocte, etlacrimae eius princeps provinciarum facta estsubtributo. populo: facta estquasividuadominagentium; Aleph. Quomodosedetsolacivitas plena Incipit lamentatio Jeremiae prophetae. Céline Scheen Première Leçonàunevoix Leçons de ténèbres soprano adversaries prosper; for theLord haspassed Heth. Herenemiesare intheascendant,her bitterness. are afflicted, andsheisoverwhelmed with ruined, herpriestssighandgroan, hervirgins none to attend herceremonies: allhergates are Daleth. Thestreets of Zionmournfor there are straits. no rest: allherpursuershave captured herinthe she issettledamongtheheathen,andhasfound her suffering andtheburden of herservitude; Ghimel. Judahhasgoneinto exile becauseof betrayed herandhave becomeherenemies. there’s noneto consoleher:allherfriendshave run down hercheeks; of allwholove her, Beth. Bynightsheweeps insorrow, and tears provinces, sheisnow subjectto others. nations hasbecomeasawidow; oncearulerof thronged withpeople:theone-timequeenof Aleph. How desolate liesthecitythatwas once Jeremiah. Here beginsthelamentation of theprophet God. Jerusalem, turnto theLord your the face of heroppressor. iniquities. Herchildren are ledcaptive before judgement onherfor themultitudeof her tota diemoerore confectam. convertit meretrorsum: posuitme desolatam, et erudivitme:expandit rete pedibusmeis, Mem. Deexcelso misitigneminossibus meis, in dieirae furoris sui. quoniam vindemiavit me,utlocutusestDominus attendite, etvidete siestdolorsicutmeus; Lamed. Ovos omnesquitransitis perviam, considera quoniamfacta sumvilis. ad refocillandam animam.Vide,Domine,et panem. Dederuntpretiosa quaeque pro cibo, Caph. Omnispopuluseiusgemens,etquaerens intrarent inecclesiam tuam. sanctuarium suum,dequibuspraeceperas ne desiderabilia eius;quiaviditgentes ingressas Jod. Manumsuammisithostisad omnia Céline Scheen, Eugénie Warnier Troisième Leçonàdeuxvoix Lamentations 1:6–9 Deum tuum. Jerusalem, convertere ad Dominum quoniam erectus estinimicus. consolatorem: vide,Domine,afflictionem meam, est finis sui:deposita estvehementer nonhabens Teth. Sordes eiusinpedibuseius,necrecordata eius. Ipsaautem gemensconversa estretrorsum. spreverunt illam:quoniamvideruntignominiam instabilis facta est.Omnesquiglorificabant eam Heth. Peccatum peccavit Jerusalem,propterea sabbata eius. auxiliator. Viderunteamhostes, etderiserunt caderet populuseiusinmanuhostili,etnonesset suorum, quae habuerat adiebusantiquis,cum suae, etpraevaricationis omniumdesiderabilium Zain. Recordata estJerusalemdierumafflictionis fortitudine ante faciem subsequentis. invenientes pascua;etabieruntabsque facti suntprincipeseiusvelut arietes non Vau. Etegressus estafilia Sionomnisdecoreius; Eugénie Warnier Deuxième Leçonàunevoix soprano sopranos assembly, cominginto hersanctuary. enemy, whomyou had forbidden to enter your was precious to her;for shehasseenthe Jod. Theenemy haslaiditshandsonallthat God. Jerusalem, turnto theLord your enemy hasbecomeself-important. no comforter: see,Lord, my affliction, for the her own end:herdisgrace iscomplete, shehas Teth. Herskirtsare dirty, shecannot remember Yet sheherselfsighsandturnsaway herface. now scornher;for they have seenherdisgrace. she hasfallen. Allthosewhousedto honourher Heth. Jerusalemhassinnedgrievously; therefore mock herSabbaths. did helpher. Herfoes gloated over heranddid people fell into thehandof theenemy, andnone things shehad inthedays of oldbefore her her affliction, andhermiseries,allthepleasant Zain. Jerusalemremembered inthedays of strength before thepursuer. find nopasture; andthey have fled without beauty; herprincesare becomelike rams that Vau. Thedaughter of Zionhaslostallher sorrow allday long. made medesolate andoverburdened with net undermy feet, andturnedmeback: hehas bones, andhaschastisedme:he made a Mem. From above hehassentfire into my he saidwould ontheday of hisfierce wrath. sorrow; for theLord hascruellypunishedme,as look andseeifthere isany sorrow like my Lamed. Allyou whopassthisway, consider; for Ihave becomevile. for food to revive their souls.Look,Lord, and They have bartered alltheirprecious belongings Caph. Allherpeoplesigh,andsearch for bread.
11 Texts 12 Lamentations 1:10–14 Deum tuum. Jerusalem, convertere ad Dominum in manudequanonpotero surgere. meo; infirmata estvirtusmea;deditmeDominus in manueiusconvolutae sunt,etimpositae collo Nun. Vigilavit iuguminiquitatum mearum; God. Jerusalem, turnto theLord your whom Icannot riseup. has delivered meinto thehandsof thosefrom into acollar;my strength isweakened; theLord they are folded together inhishandandmade Nun. Theyoke of my iniquitiesweighs medown; Ignacio Barrios Martinez Jommelli’s Martín ySoler’s forgotten operas suchasTraetta’s century European musicandhehasrediscovered He isparticularlyinspired by 17th- and18th- at theAix-en-Provence Festival. Monnaie, theWigmore Hall,CarnegieHalland Vienna’s Theater anderWien,Versailles, La Paris, LausanneOpera, Teatro Real inMadrid, Concertgebouw, Théâtre desChamps-Élysées, Opéra, Dutch NationalOpera, Amsterdam Lyriques allover theworld, including attheParis receiving invitations to perform withLesTalens Since thenhehasmade hismarkasaconductor, Seventh BrugesHarpsichord Competitionin1983. before winningtheprestigious FirstPrizeinthe Asperen attheRoyal Conservatory inTheHague, the ScholaCantorum inParis andwithBobvan He studiedharpsichord withHuguette Dreyfus at periods. of theBaroque, Classicalandpre-Romantic renowned asamusicianandconductor inmusic instrument ensembleLesTalens Lyriquesandis Christophe Rousset isthefounder of theperiod- Christophe Rousset About the performers the complete harpsichord works of d’Anglebert, period instruments. Hismany recordings include harpsichordist, performing onsomeof thefinest He continuesto pursueanactive career asa grotta diTrofonio Christophe Rousset Armida abbandonata La capricciosacorretta andJ CBach’s director/harpsichord Temistocle , Salieri’s Antigona
, La La . , Roland acclaimed seriesof Lullyrecordings – Salieri’s Mitridate film Lyriques, includingtheoriginalsoundtrack for the He hasalsorecorded widelywithLesTalens regarded. Well-Tempered Clavier English Suites, French Suites, Goldberg Variations, harpsichord concertos, interpretations of works by J SBach (Partitas, Forqueray, François CouperinandRameau. His and Chevalier del’Ordre nationalduMérite. Commandeur del’Ordre desArtsetLettres honours of Chevalier delaLégiond’honneur, Christophe Rousset has been awarded theFrench Rousset shares histhoughtsonmusic. interviews by CamilleDeRijck inwhichChristophe Carlo inNaples,LaScala,Milan,Opéra Royal appeared attheBarcelona Liceu,Teatro San He isalsoactive asaguestconductor andhas schools inParis. Talens Lyriques,healsoworks withsecondary Pears Orchestra. Together withmembersof Les Junge DeutschePhilharmonieandtheBritten– Baroque (withtheOrchestre Français desJeunes), Conservatoire, Ambronay Académie, OFJ at theAccademia ChigianainSiena,Paris Rousset’s musicallife andhegives masterclasses Teaching alsoforms avital strand of Christophe Armide L’impression quel’instrumentchante Couperin. Lastyear saw thepublicationof editions of andstudiesonRameau andFrançois the field of research, hehasproduced critical Orchestre duThéâtre Royal delaMonnaie.In de España,HongKong Philharmonicandthe of theAge of Enlightenment, Orquesta Nacional Garden, aswell asworking withtheOrchestra de Wallonie, andtheRoyal Opera House,Covent Farinelli , . Bellérophon Les Danaïdes , operas includingRameau’s , Pergolesi’s , Phaéton , aswell asthecritically ) are particularlyhighly Stabat mater Klavierbüchlein , Amadis –aseriesof , Mozart’s , Mozart’s Persée Zaïs and and and and and and ,
13 About the performers 14 Luxembourg, Nantes, Lille,Paris andGrenoble. production attheThéâtre de Caen thattoured to of Venus (Blow’s On stage andDVD shehastaken therole under PhilippePierlot. Monteverdi’s Talens LyriquesunderChristophe Rousset and García Alarcón, Lully’s La CappellaMediterranea underLeonardo Mare Nostrum,adiscof Barbara Strozzi with a Diapasond’Or),Bach’s improvisations withPaolo Pandolfo (whichwon Antiqua KölnunderReinhard Goebel,adiscof soundtrack for thefilm Highlights inherdiscography includethe (Monteverdi’s Opéra duRhin;andLaMusicaEuridice L’Amour andClarine(Rameau’s Monnaie, Caen, Lille,Toulouse andNew York; Festival; Papagena ( Eliogabalo Alceste Zerlina ( In theopera househerroles have included and LouisLangré. Jordi Savall, PhilippeHerreweghe, Ivor Bolton other eminentconductors, includingRené Jacobs, under Václav Luks. Shehasalso worked with under François-Xavier Roth andCollegium1704 Pygmalion underRaphaël Pichon,LesSiècles collaborating withsuchgroups asEnsemble Graupner, Monteverdi, Rameau andZelenka, In concert,shehasperformed works by Bach, Rózsa. Guildhall Schoolof Music&Drama withVera Céline Scheencompleted hertraining atthe Céline Scheen Céline Scheen ) atLaMonnaie;Atilia(Cavalli’s Don Giovanni ) at La Monnaie and the Innsbruck ) atLaMonnaieandtheInnsbruck Vespers Orfeo soprano Venus andAdonis The Magic Flute ) inCremona. withtheRicercar Consort ); Coryphée (Gluck’s ); Coryphée(Gluck’s Le Roi danse Bellérophon Orgelbüchlein Platée ) inanew with Les withLes with Musica withMusica ) at La ) atLa ) for with with Seminario MusicaleandGérard Lesne,L’Atelier Le Parlement deMusiqueandMartinGester, Il other leading ensemblesanddirectors, including in 2004andnow regularly works withhimand She cameto theattention of Christophe Rousset with Pierre Mervant. Crook andKenneth Weiss, aswell aslyricsinging where sheworked onearlymusicwithHoward subsequently attending theParis Conservatoire, switching to singing,beginningherstudiesin2000, Eugénie Warnier initiallystudied medicinebefore Eugénie Warnier Pluhar. Frescobaldi, andL’Arpeggiata underChristina with whomshehasreleased discsof J SBach and as LeBanquetCéleste under DamienGuillon, include appearances withregular partnerssuch Céline Scheen’scurrent andfuture engagements Philémon et Baucis sung roles inCharpentier’s She isindemandtheopera houseandhas Harmonique andVincentDumestre. du Marais andHugoReynes andLePoème Les Paladins andJérômeCorréas, LaSimphonie des MusiciensduLouvre andMirella Giardelli, with LePoème Harmonique,Pergolesi’s Concert highlights have includedatour of Mexico Dieu, Bremen, Sédières andRéMajeure festivals. the Aix-en-Provence, BeauneBaroque, La Chaise- and ontour inHolland.Shehasalsoappeared at opera housesinFrance, aswell asinLuxembourg Don Carlo Flute Psyché et Pollux et Hermonie Eugénie Warnier ; Humperdinck’s ; Mozart’s , Les Indesgalantes ; andRossini’s ; Rameau’s Così fan tutte , soprano Il primoomicidio Hansel andGretel Hippolyte et Aricie William Tell Les ArtsFlorissants and and Platée The Magic The Magic in leading inleading and ; Lully’s ; Lully’s ; Verdi’s Stabat Cadmus Cadmus , Castor Castor ,
Romantic repertoire. instrument performances of theClassicaland and 2015 andwhichspecialisedinperiod- Ruggieri, astringquartet active between 2007 She was afounder-member of theQuatuor Rousset’s LesTalens Lyriques since2005. violinist, shehasbeenleader of Christophe and LaPetite Symphonie.Arenowned Baroque Chambre Philharmonique,theAmarillisensemble Le Parlement deMusiqueStrasbourg, La Simphonie duMarais, LePoème Harmonique, prestigious Baroque orchestras, includingLa Since then,shehasworked regularly withmany distinction from theParis Conservatoire. early music,inwhichsubjectshegraduated with Fontenay-sous-Bois. Shedecidedto specialisein piano accompaniment attheConservatory of then attheParis Conservatoire, whilealsostudying Regional Conservatory of Boulogne-Billancourt, on theviolin,shecontinuedherstudiesat and violininBordeaux. Having chosento focus education atayoung age, studyingboth piano Gilone Gaubert-Jacques beganhermusical Gilone Gaubert-Jacques and LesCyclopes, amongothers. Ensemble Pygmalion,LaSimphonieduMarais Ensemble Ausonia, LesDemoisellesdeSt-Cyr, She hasparticipated inmany recordings with Lyriques. Musicum andHandel’s Bach’s Köln, du Louvre underMarc Minkowski andConcerto of Bach’s with thePygmalionEnsemble,European tours mater Gilone Gaubert-Jacques Castor et Pollux withLeCercle del’Harmonie,Bach Masses Magnificat St Matthew Passion with the Lausanne Collegium withtheLausanneCollegium with Ensemble Ausonia, with EnsembleAusonia, Tamerlano violin with Les Musiciens withLesMusiciens withLesTalens
instrument, Toshinari Ohashi.After graduating studying withJapan’sleading exponent of the 3. Shetook upthevioladagambaat12, and beganplaying theviolinatage of Kaori Uemura-Terakado was borninJapan Kaori Uemura-Terakado Mezzadri andJoëlKlepal,Paris 2016. She plays violinsby Jacques Boquay, Alessandro a variety of chamberformations. ranging from theBaroque to theRomantic era in du Jour, anensemblewhichperforms music In 2016, sheco-founded theensembleLesHeures collaboration withsoprano SophiePattey. a vocal accompanist, whichhasledto herduo to explore thepianorepertoire, andworks as the Conservatory of Chantilly. Shealsocontinues Gilone Gaubert-Jacques teaches earlymusicat of theFEVISandPROFEDIM syndicates. Weingarten. LesTalens Lyriquesis amember GRoW –Gregory andRegina Annenberg Circle andtheAnnenberg Foundation / of Paris. Italsoenjoys thatof thePatrons French Ministry of Culture andtheCity Les Talens Lyriqueshasthesupportof the receiving coaching from MichèleMassina. Royal Concertgebouw Orchestra. Recently she She regularly appearsasasoloistwiththe the Dutch Bach SocietyandRicercar Consort. Lyriques, LesArtsFlorissants,GliAngeliGenève, and recording with, amongothers, Les Talens gamba players inEurope, regularly working since becomeoneof themostin-demand Kuijken. ShethensettledinBelgiumandhas she moved to BrusselsandstudiedwithWieland from UenoGakuenMusicUniversity inTokyo, Kaori Uemura-Terakado violadagamba
15 About the performers 15–17 Jun Bach Weekend with
Sir John Eliot Gardiner Sim Canetty-Clarke Gardiner Sir John Eliot Image: Hear JS Bach’s Violin Sonatas, Cello Suites, Goldberg Variations and glorious Cantatas all in our Bach Weekend, led by Sir John Eliot Gardiner and his Monteverdi Choir; music to truly gladden the heart.
Bach Weekend advert les arts A5.indd 1 22/11/2017 15:45