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Suzie Leblanc O R I P a H S D E E : U O T Q O O H R P HaGnd elloria Suzie LeBlanc o r i p a h S d E e : u o t q o o h r P Hand el Bach Vivaldi a B ACD2 2215 ATMA Gloria Handel Nous reconnaissons l’aide financière du gouvernement du Canada par l’entremise du Programme d’aide au développement de l’enregistrement sonore. Suzie LeBlanc We acknowledge the financial support of the Government of Canada through soprano the Sound Recording Development Program for this project. Académie Baroque de Montréal Enregistrement et réalisation / Recorded and produced by: Johanne Goyette Eglise St-Augustin, St-Augustin de Mirabel (Québec) 19-21 août 2001 / August 19-21, 2001 Montage numérique / Digital mastering: Studio l’Esplanade Alexander Weimann Adjoints à la production / Production assistants: Valérie Leclair, Jacques-André Houle Graphisme / Graphic design: Diane Lagacé Couverture / Cover art: Le diptyque de Wilton 1395-99 / The Wilton Diptych 1395-99 2 George Frideric Handel (1685-1759) (attribué à… / attributed to… ) George Frideric Handel o Gloria in excelsis Deo (15:43) Sonate en trio op. 5 n 2 en ré majeur • Trio Sonata Op. 5 No. 2 in D major (8:01) 1 Gloria in excelsis Deo (2:27) 9 Adagio – Allegro (2:34) 2 Et in terra (2:45) 10 Musette : Andante – Allegro – Musette : Andante (3:46) 3 Laudamus te (2:06) 11 Marche (1:15) 4 Domine Deus (1:09) 12 Gavotte : Allegro (0:26) Hélène Plouffe, Christopher Verrette – violons / violins ; 5 Qui tollis peccata (4:00) Mathieu Lussier – basson / bassoon ; Alexander Weimann – orgue / organ 6 Quoniam tu solus – Cum Sancto Spiritu (3:16) Suzie LeBlanc – soprano; ABM (Alexander Weimann – clavecin / harpsichord; Antonio Vivaldi Eric Milnes – orgue / organ ) (1678-1741) Concerto pour hautbois, basson, cordes et continuo en sol majeur, RV 545 (9:38) Johann Sebastian Bach (1685-1750) Concerto for oboe, bassoon, strings and continuo in G major, RV 545 13 Andante molto (3:57) Sonata (Cantata BWV182) 14 Largo (2:22) 7 Grave – Adagio (1:56) Sophie Larivière – flûte à bec / recorder ; Hélène Plouffe – violon / violin ; 15 Allegro molto (3:19) Margaret Little, Chloe Meyers – altos / violas ; Christina Mahler – violoncelle / cello ; Washington McClain – hautbois / oboe ; Mathieu Lussier – basson / bassoon; Alexander Weimann – orgue / organ ABM (Alexander Weimann – clavecin / harpsichord ) Ich esse mit Freuden mein weniges Brot Domine Deus 16 (Aria : du / from Gloria, RV 120) (4:24) 8 (Aria : Cantata BWV 84) (4:57) Suzie LeBlanc – soprano; Hélène Plouffe – violon / violin ; Suzie LeBlanc – soprano; Washington McClain – hautbois / oboe ; Washington McClain – hautbois / oboe ; Christina Mahler – violoncelle / cello ; Alexander Weimann – orgue / organ Alexander Weimann – orgue / organ George Frideric Handel Concerto pour orgue op. 4 n o 2 en si bémol majeur : 3 e mouvement Organ Concerto Op. 4 No. 2 in B flat major: 3rd movement 17 Spiritoso (4:07) Alexander Weimann – orgue / organ; ABM Rejoice greatly, O daughter of Zion 18 (Aria : de / from Messiah) (4:27) Suzie LeBlanc – soprano; ABM (Alexander Weimann – clavecin / harpsichord; Eric Milnes – orgue / organ ) 4 5 e disque vous propose une de haut niveau, pleine de virtuosité Parmi ceux qui soutiennent que véritable guirlande d’œuvres vocale alternant avec des moments Handel en est probablement l’auteur, C festives, toutes à la gloire de plus intérieurs, dans la plus pure certains situent l’œuvre peu avant Dieu et de ses bienfaits — célestes veine du génie de Halle. Mais d’où que le compositeur quitte Hambourg comme terrestres — issues de la plume vient qu’elle n’était pas connue pour l’Italie, entre 1704 et 1706, des trois plus grands compositeurs jusqu’à ce jour ? d’autres la placent juste après son du baroque. Parmi celles-ci se trouve Le manuscrit de ce Gloria , sous arrivée à Rome en 1707. En effet, le un joyau qui jusqu’à récemment était forme de partition et de parties indi - style est non sans rappeler les petites demeuré depuis longtemps occulté à viduelles, n’est pas autographe mais cantates italiennes, les Dixit Dominus l’ouïe des fervents mélomanes : le de provenance anglaise, et daterait et autres Resurrezione de ces Gloria attribué à Handel, pour sopra - des années 1730. L’auteur de la années-là. no et ensemble instrumental. musique n’est même pas identifié sur Quoiqu’il en soit, et l’avenir rap - Cette œuvre a été redécouverte le manuscrit, qui se retrouve dans un proché nous en apprendra sans doute Gloria! au printemps 2000 dans les voûtes album relié parmi des copies d’airs plus à ce sujet, l’œuvre fait tout au du Royal Academy of Music de d’opéra, volume ayant appartenu au moins penser à du Handel. Le style Londres par le professeur Hans chanteur et ami de Handel, William fleuri de la partie vocale, la parenté de Joachim Marx, un éminent handélien Savage. Celui-ci le laissa à son élève tournures mélodiques et même de de Hambourg. L’annonce de la décou - Robert Stevens, un collectionneur de thèmes avec d’autres pièces de Handel verte un an plus tard, en mars 2001, manuscrits, qui à son tour le légua (chose connue chez lui) — en parti- a soulevé dans le monde musical une au Royal Acadamy. Notez en outre culier ici dans le Gloria (1 er mouve - vague d’enthousiasme, voire de que cette noble institution compte ment), le Et in terra et le Quoniam —, débordements — le Times de Londres autour de 150 000 manuscrits. Ceci l’écriture agile des cordes dans les allant jusqu’à qualifier l’œuvre, pour - expliquant cela, il n’est donc pas sur - allegros, le poids émotif des mouve - tant en sept mouvements pour prenant que cette œuvre ait pu passer ments lents : tous ces éléments soprano, deux parties de violon et sous le nez de plusieurs avant qu’on concourent à appuyer la thèse de continuo, de «nouveau Messie ». Pour ose lui attribuer un auteur avec un l’origine handélienne. L’audition pour - toute la surenchère, et le fait surtout tant soit peu de certitude… ce qui rait vous en convaincre. qu’il s’agit là d’une production de n’est toujours pas absolument le cas, jeunesse d’un artiste en devenir, puisque certaines doctes personnes JACQUES -A NDRÉ HOULE l’œuvre n’en demeure pas moins une émettent encore des réserves. 6 7 his recording proposes a ver - parts and continuo. For all the exag - experts still have some reservations. itable garland of festive geration, though, and especially Among those who believe that Tworks by the three greatest since it is the work of a youthful up- Handel is indeed probably the author, Baroque composers, all to the and-coming artist, it is a worthy some place the work shortly before glory of God and his blessings— piece, replete with vocal fireworks the composer left Hamburg for Italy, both celestial and terrestrial. alternating with more intimate between 1704 and 1706, while others Among these works is featured a moments, in the Saxon genius’ truest conjecture it was written soon after gem which until recently had long vein. But why was this work he arrived in Rome, in 1707. Indeed, been concealed to the apprecia - unknown until recently? its style is not without recalling that tion of fervent music lovers: the The manuscript of the Gloria, in of the brief Italian cantatas, the Dixit newly rediscovered Gloria attrib - score and in parts, is not autograph, Dominus, and the Resurrezione dat - uted to Handel, for solo soprano and but of English origin, apparently dat - ing from the latter period. instrumental ensemble. ing from the 1730s. The music’s Whatever the case, and the near Gloria! The work came to light in the author is not even identified on the future should shed some more defini - spring of 2000 among the holdings manuscript, which is bounded tive light on the question, the work at of London’s Royal Academy of Music, together with opera arias in a vol - the very least sounds a lot like thanks to the luck and scholarship ume having belonged to Handel’s Handel. The flourishes of the vocal of the eminent Handel expert, friend, the singer William Savage. He part, the close motivic and even the - Professor Hans Joachim Marx of passed the collection on to Robert matic resemblances with other Hamburg. When the discovery was Stevens, a collector of manuscripts, Handel pieces (a known trait of his)— made public a year later, in March who in turned bequeathed it to the particularly in the Gloria (1st move - 2001, it created quite an uproar in Royal Academy. Note that this noble ment), the Et in terra and the the music world, not to mention sev - institution possesses about 150,000 Quoniam —the nimble string writing eral inflated remarks, such as The manuscripts. All this may explain in the allegros, the emotionally laden Times of London hastily proclaiming why the work remained nearly unno - slow movements: all this lends weight it “the new Messiah. ” Yet, the work ticed until one would dare attribute to the thesis of Handel authorship. In is of relatively modest proportions, it to Handel with some degree of cer - this case, maybe hearing is believing. written in seven movements and tainty… which is still not absolutely scored for solo soprano, two violin the case since several erudite JACQUES -A NDRÉ HOULE 8 9 Suzie LeBlanc soprano e spécialisant dans un répertoire qui s’étend du premier baroque à pecializing in repertoire from the early Baroque to the Classical period, l’époque classique, Suzie LeBlanc partage son temps entre le concert, Suzie LeBlanc divides her time between concert performances, opera S l’opéra et les festivals partout au monde. Elle a participé à plusieurs pro - S and festival appearances worldwide.
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