CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021

The Dina Koston and Roger Shapiro Fund in the Library of Congress ENSEMBLE CORRESPONDANCES Sébastien Daucé, conductor

May 7, 2021 ~ 8:00 pm The Library of Congress Virtual Events Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND supports commissions and performances of music at the Library of Congress.

Conversation with the Artist Join us online at https://loc.gov/concerts/ensemble-correspondances. html for a conversation with director Sébastien Daucé, available starting at 10am on Friday, May 7, 2021.

Facebook During-concert Chat Want more? Join other concert-goers and Music Division curators after the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to:

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Recorded at the Auditorium of the Louvre, this concert is being presented in cooperation with the Musée du Louvre, and is supported by the Cultural Services of the French Embassy in the United States. Les Plaisirs du Louvre, © Museé du Louvre, 2020.

How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Events May 7, 2021 — 8:00 pm The Dina Koston and Roger Shapiro Fund in the Library of Congress ENSEMBLE

CORRESPONDANCES

Caroline Bardot, Caroline Weynants & Elodie Fonnard, soprano Lucille Richardot, mezzo-soprano David Tricou, countertenor Antonin Rondepierre & Davy Cornillot, tenor Etienne Bazola, baritone Maxime Saïu, bass

Mathilde Vialle, Louise Bouedo, Myriam Rignol, Etienne Floutier & Mathias Ferré, viola da gamba Lucile Perret, recorders Thibaut Roussel, theorbo Diego Salamanca, lute

Sébastien Daucé, organ, harpsichord & conductor

1 Program Les Plaisirs du Louvre

François de Chancy (c. 1600-1656) Allemande en Sol

Antoine Boësset (1587-1643) Dialogue d’Orphée et sa troupe et des Hamadryades qu’ils attirent Ballet des Nymphes bocagères de la forêt sacrée, dansé par la reine (Louvre, 1627)

Noires Forêts, demeures sombres after Pierre Guédron (c. 1565-1620) Cesse mortel d’importuner (Juste mespris de saincte Agnez) After Pierre Guédron,Cessez mortels de soupirer (La Dépouille d’Égypte, 1629; Guédron, 2e livre d’Airs de cour à 4 & 5 parties, 1612/13)

François de Chancy Allemande en Ut after Pierre Guédron Quels tourments rigoureux (Le Purgatoire) After Pierre Guédron,Quel espoir de guérir (La Dépouille d’Égypte, 1629; Guédron, 2e livre d’Airs de cour à 4 & 5 parties, 1612/13)

Antoine Boësset Bien loin profanes de ces lieux (Concert des Nymphes des bois) Ballet des Nymphes bocagères de la forêt sacrée, dansé par la reine (Louvre, 1627); (Boësset, 6e livre d’Airs de cour à 4 & 5 parties, 1628)

Me veux-tu voir mourir (Boësset, 9ᵉ livre d’Airs de cour à 4 & 5 parties, 1642)

Jacques Champion de Chambonnières (1601-1672) / Daucé L’Entretien des Dieux (Chambonnières, Pièces de clavessin, 1670; arr. Sébastien Daucé)

2 Etienne Moulinié (1599-1676) Ô doux Sommeil que tes songes aimables (Moulinié, Airs à 4 avec la basse continue, 1668, BnF-Musique, Rés. Vma ms. 958)

Antoine Boësset Je perds le repos et les sens (Boësset, 9e livre d’Airs de cour à 4 & 5 parties, 1642)

Etienne Moulinié Rompez les charmes du sommeil (Air de la Ridicule) Ballet du Marriage de Pierre de Provence et de la belle Maguelonne, dansé par Gaston d’Orléans; (Moulinié, 5ᵉ livre d’Airs de cour à 4 & 5 parties, 1639)

Il sort de nos corps emplumés (Concert de différents oyseaux) Ballet du Monde renversé (1625); (Moulinié, 1er livre d’Airs de cour à 4 & 5 parties, 1625)

Louis Constantin (c. 1585-1657), attr. Les Suisses et Les Suissesses Ballet des Triomphes, dansé par le roi (Louvre, 18 et 20 février 1635); (Concert donné à Louis XIII, Recueil de plusieurs Vieux Airs [...], copie d’A. D. Philidor, 1690, BnF-Mus., Rés. F 494)

Louis XIII (1601-1643) Les Gascons Ballet de la Merlaison, composé et dansé par le roi (Chantilly et Roy- aumont, 15 et 17 mars 1635); (Concert donné à Louis XIII, Recueil de plusieurs Vieux Airs [...], etc.)

Antoine Boësset Ce roi vainqueur de nos malheurs (Pour le Roi) (Boësset, 8ᵉ livre d’Airs de cour à 4 & 5 parties, 1632)

Louis Constantin, attr. M. de Liancourt Ballet des Triomphes, dansé par le roi (Louvre, 18 et 20 février 1635); (Concert donné à Louis XIII, Recueil de plusieurs Vieux Airs [...]

Les Vallets de la Faiste Ballet de l’Improviste, dansé par le roi (Louvre, 12 février 1636); (Concert donné à Louis XIII, Recueil de plusieurs Vieux Airs [...]

3 Antoine Boësset Quelle merveilleuse aventure

Conseille-moi mon cœur (David disgrâcié) After Antoine Boësset, Qui vit jamais amant (Odes chrétiennes accommodées aux plus beaux airs à 4 & 5 parties de Guédron et Boesset, 1625; Boësset, 2e livre d’Airs de cour à 4 & 5 parties, 1620)

Louis Couperin (1626-1661) / Daucé La Piémontoise (Manuscrit Bauyn, ca 1660, BnF-Musique, Rés. Vm7 674-675 ; arr. Sébastien Daucé)

François de Chancy Rares fleurs vivante peinture (Chancy, 2ᵉ livre d’Airs de cour à 4 parties, 1644)

Antoine Boësset Je suis l’adorable Équité (Récit de la Félicité, la Justice, et les Amours) Ballet de la Félicité, sur le sujet de l’heureuse naissance de Monseigneur le Dauphin, dansé devant le roi (Saint-Germain-en-Laye, 17 février 1639, redansé au Louvre le 5 mars); (Boësset, 9ᵉ livre d’Airs de cour à 4 & 5 parties, 1642)

Etienne Moulinié Flores Apparuerunt •

This concert is presented in cooperation with the Musée du Louvre, and Laurent Muraro, Artistic Director, Musique du Louvre. The Library of Congress wishes to acknowledge the generous support of the Cultural Services of the French Embassy in the United States. We are grateful to Denis Quenelle, Cultural Attaché; Maia Gabily, Music and Family Program Officer, Arts Department; and Laura Baude, Program Officer, Culture, for their gracious assistance.

Les Plaisirs du Louvre, Production and direction, © Museé du Louvre, 2020.

4 About the Program Les Plaisirs du Louvre1

‘When the king commands’ Royal music and entertainments in the time of Louis XIII

During the reign of Louis XIII (1610-43), the entertainments and festivities of the French court owed much to the legacy of the last Valois sovereigns, who had raised art and magnificence to the status of political tools, but also to the influence of the culture of the salons and leisured society pursuits, which had emerged during the preceding reign of Henri IV (1589-1610). If the invention of the ballet de cour at the end of the sixteenth century sought to link entertainment and political necessity, the establishment under Henri III (1574-89) of a genuine court ceremonial, which found its emblematic setting in the Louvre, had made it possible to integrate music into the King’s day in a more organic and symbolic fashion. Under the early Bourbons, the influence of salon culture gave the court a more galant atmosphere, to which the codes and elegant manners of a new civility in high society added the last touch of refinement. While laying the foundations of the future splendours of the Grand Siècle, the reign of Louis XIII itself represents the golden age of this galant culture, whose musical emblem, the air de cour, pervaded the whole of society and was heard in all the salons, galleries and ruelles2 of the capital’s aristocratic residences, and especially the most symbolic of them: the Louvre.

The air de cour at the time of Louis XIII The air de cour was a by-product of the humanist debates of the late Renaissance, and served as an ornament to royal ballets and divertissements, whose splendour it enhanced with large-scale récits (vocal solos) and dramatic or encomiastic choruses. Most such airs were short settings of refined galant poetry, the growing taste for which subsequently spread to literary, aristocratic and bourgeois circles. With its subtle music capable of expressing all the nuances of the realm of love, the air de cour was one of the emblematic elements of a society where the honnête homme devoted himself to the art of pleasing his entourage (plaire) and expressing himself elegantly (bien dire) according to the codes of galant culture imposed by literary préciosité. The numerous collections published by Ballard, Imprimeur du Roi pour la musique (Printer of music to the King), were full of airs galants, paeans of praise, récits from the ballets danced at court and saynètes (short dramatic sketches) in dialogue, but also airs à boire (drinking songs) or pieces of Italian or Spanish origin or showing the influence of those neighbouring cultures with which the honnête homme was expected to

1 The notes have been kindly provided by Harmonia Mundi, and were written by Thomas Leconte, Centre de musique baroque de Versailles, and offered here in a transla- tion by Charles Johnston. 2 ‘Ruelle’ – literally, ‘alley’ – indicated the space left in a bedroom between one side of the bed and the wall, where its occupant could install seats and practise the art of conversation or chamber music with friends, in a more intimate form of the salon. (Trans- lator’s note) 5 be familiar. In the face of this formidable vogue, the air de cour became a target for the pious, who hastened to replace the amorous texts of fashionable airs with religious poetry more suitable for hymning the love of God.

Under Louis XIII, city and court influenced each other, bringing about changes in aspirations and practices. Just as Parisian society enjoyed singing the airs from the ballets danced by or before the King and Queen, the court in its turn yielded to the galant culture that flooded the Parisian salons. The polyphonic air, which remained the prerogative of the Musique de la Chambre du Roi, was infiltrated by new trends. The rise of basso continuo and the domestic practice of singing with lute hastened the development of French accompanied monody. Depending on its intended recipients, its inspiration and its texture, and thanks to the polymorphic character bestowed on it by the different versions of the same pieces offered by Ballard’s publications, the air de cour offered a wide range of interpretative possibilities, in combinations that could be adapted at will to suit the circumstances or the available vocal and instrumental resources.

The Musique de la Chambre du Roi At the same time as amateur music-making developed among the aristocracy, the Musique de la Chambre du Roi remained a professional elite, the heir to the polyphonic tradition of the Renaissance. It comprised a dozen adult male singers (chantres), two or three choirboys (enfants de la Musique) and a band of instrumentalists (playing recorders, lutes, viols, and keyboard instruments collectively referred to as épinettes, ‘spinets’), to which a few female voices might be unofficially added. The Musique de la Chambre du Roi was placed under the responsibility of a Surintendant, himself assisted by a Maître. Among other functions and prerogatives, the Surintendant had the charge of providing the vocal music for the many ballets in which the King, the Queen and the whole court were the dancers. Airs, récits and choruses performed by the Musique de la Chambre, reinforced for the occasion by the members of the Chapelle and the Écurie du Roi, alternated with danced entrées accompanied by the Vingt-quatre Violons3 (themselves led by their ‘roi’ François Richomme, then, from 1624 to 1656, by Louis Constantin), or purely instrumental interludes played by lutes and viols. The Queen also had her own Musique, the organisation of which was more or less modelled on that of the Chambre du Roi. It was reserved primarily for the Queen Mother, and then passed to the reigning Queen. Several musicians belonged to both bodies, serving the sovereigns on a six-monthly alternating basis.

Among the outstanding personalities gravitating in court musical circles, first mention must go to Pierre Guédron (c.1565-1620), Maître (1608) then Surintendant (1613) of the Musique de la Chambre du Roi, the first great architect of the air de cour, which he helped to make fashionable. His extensive œuvre (nearly 200 airs) is evoked here through sacred parodies of two of his most famous airs, Cessez mortels de soupirer and Quel espoir de guérir,4 published in 1612/13. Although he

3 Of these three ensembles, the first (vocal and instrumental) performed liturgi- cal music in the Chapel Royal; the second (literally, the ‘Stable’) was a body of wind and brass players deployed for outdoor events; while the third was an elite band of twenty-four instruments of the violin family. (Translator’s note) 4 Quel espoir de guérir can be found on the Harmonia Mundi recording by 6 was never actually a member of the Musique du Roi, Étienne Moulinié (1599- 1676), a native of Languedoc who followed his brother Antoine to Paris after the latter became a chantre in the Musique de la Chambre, quickly made a name for himself in the capital’s elite circles with his airs de cour. Appointed Intendant de la Musique to the King’s brother, Gaston d’Orléans, in 1627, he left a large output of airs, published between 1624 and 1639, for voice and lute or for four and five voices. With a final book ofAirs à 4 ‘avec la basse continue’ published in 1668, he must be considered as one of the last representatives of the polyphonic tradition of the genre. Three representative examples of this rich corpus may be heard here: two airs originally from ballets (Il sort de nos corps emplumés and Rompez les charmes du sommeil) and published in 1625 and 1639 respectively, and an air galant (Ô doux sommeil) from the 1668 collection. As for François de Chancy (c.1600-56), who was in the service of Cardinal Richelieu before becoming Maître des Enfants (Master of the Choirboys) in the Musique de la Chambre du Roi between 1630 and 1635, his contemporaries placed him alongside Guédron, Moulinié and Antoine Boesset (1587-1643), to whom this programme chiefly pays homage.

A native of Blois, Antoine Boësset was still a child when he entered the court of Henri IV, where he was able to rub shoulders with the leading musicians of the kingdom, among them Eustache Du Caurroy and Claude Le Jeune. But it was most likely from Guédron that he learnt the secrets of an art that was to take him to the highest musical offices at court. His career took a decisive step forward in 1613 when Guédron, the new Surintendant de la Musique de la Chambre, offered him his daughter’s hand and endowed him with his own previous position as Maître de la Musique de la Chambre du Roi. From then on, the musical and social career of the so-called ‘Apollon de la France’ progressed steadily. Four years later, in 1617, his appointment as Maître de la Musique de la Chambre de la Reine confirmed him as the guarantor of his father-in-law’s artistic legacy. In due time, he succeeded in his turn to the highest musical position in the realm: when he became Surintendant de la Musique de la Chambre in 1623, it was his task to organise the official entertainments – such as the ballets danced by or in front of the sovereigns – and private concerts for Louis XIII and Anne of Austria, and to provide the vocal music required for their pleasure. At the head of the court’s musical elite, he moved very close to the seat of power through the intimate relationships he was able to establish with the sovereigns and the links he maintained with his most influential contemporaries, in political and financial circles as well as artistic and scholarly milieux.

A renowned musician, a sought-after singing master, but also a courtier, Boësset amassed a substantial fortune and held a number of honorary offices and functions at court that gained him the support of its most prestigious figures. His airs de cour and airs de ballet – nearly 250 published between 1606 and 1643 – represent the peak not only of their composer’s art but also of the golden age of the polyphonic air, and more generally illustrate the evolution of the genre towards a lighter form for solo voice and continuo. These delicately chiselled miniatures reveal great understanding of the poetic text and a keen feeling for word-setting, melody and counterpoint, underlined by a refined use of vocal scoring. Ensemble Correspondances, but is not included in the works selected for this video presen- tation. (Editor’s note) 7 Alongside entrées from royal ballets from the years 1635-36, themselves compiled in a large-scale ‘Concert’ offered to Louis XIII for the feast of St Louis (25 August), the airs on this recording are punctuated by pieces written for harpsichord by the King’s musicians (here arranged for viols). Jacques Champion de Chambonnières (c.1601-72), a member of the Musique de la Chambre du Roi and his father’s successor as épinette du Roi (1611), enjoyed a solid reputation at court and in Parisian circles from the 1630s on. He is regarded as the founder of the French harpsichord school, and it was he who introduced to court the three Couperin brothers, the eldest of whom, Louis (uncle of François ‘le Grand’), was to become violiste ordinaire (viol player in ordinary) of the Chambre du Roi at the beginning of Louis XIV’s reign.

All the King’s musicians had to be ready to serve in all circumstances, to respond to the daily demands of court ceremonial and the imperatives of protocol, and to play for the sovereign’s official and private entertainments. Hence, logically enough, most of them lived close to the Louvre, in the Parisian parishes of Saint- Germain-l’Auxerrois or Saint-Eustache.

The pleasures of the Louvre Although less vast, convenient and comfortable at this period than other palaces such as Fontainebleau or Saint-Germain-en-Laye, the Louvre had become, since the reign of Henri III, the chief residence of the King, who spent part of every year there, chiefly the winter months. It was a key hub of the monarchy and of royal symbolism, the epicentre of power, where the important events in the life of the court naturally took place: a veritable ceremonial was developed within its walls, which was to reach its apogee under Louis XIV. In this theatre of power, music was an object of entertainment as well as an instrument of magnificence, and was performed in a setting at once public and intimate.

For major events of a political dimension, the court moved to the hall of the Hôtel du Petit-Bourbon, situated between the Louvre and the church of Saint- Germain-l’Auxerrois. However, the palace itself had two halls for entertainments, built under Henri II in the south-west wing (by Pierre Lescot) of what was to become the Cour Carrée. On the ground floor was the ‘Grande Salle’ (now the Salle des Caryatides), measuring about 44 x 16m, with a ceiling height of 8m. This played host to the grand dynastic ballets, such as the Ballet de la Félicité, danced in 1639 to celebrate the long-awaited birth of the future Louis XIV – and the last royal ballet for which Boesset provided the récits (Je suis l’adorable Équité). Above all, it was there that, every year during Carnival, the court attended the Ballet du Roi, an allegorical spectacle in which the sovereign himself performed, ‘representing’ the image of majesty in his dancing. This ceremonial hall was extended to the south by a raised platform known as the tribunal, decorated with columns and featuring an imposing triumphal arch composed of two richly worked porticoes joined by a barrel vault. It was in this space, a symbol of regal power, that the royal family was placed, as was the ‘haut-dais’ under which the King would sit when he was not dancing. On the opposite side, under a richly sculpted gallery with standing space for a few musicians, a ‘théâtre’ was set up, the point of departure for the dancers, who performed before the gaze of the court, placed in terraced seating around the sides of the hall. On the first floor of the palace, a slightly smaller and less official ‘Salle haute’ was also used for 8 divertissements, balls, ballets and banquets of lesser political importance. It was usually here that Anne of Austria and the ladies of her household danced the Ballet de la Reine a few days after theBallet du Roi.

The royal apartments were also used for divertissements and for the moments in the sovereigns’ day that were accompanied by music. At the Louvre, Louis XIII occupied the apartment built in the reign of Henri II (and modified under Henri III) on the first floor of the south wing along the Seine. Its most remarkable room was the ‘Chambre de Parade,’ where the ceremonies of the King’s levee and couchee took place, as well as receptions and public meetings. Henri Sauval (1623-76), an invaluable historiographer of Paris, describes at length the beauty of the panelling, ceilings and decorations, while also providing rare information on the acoustic qualities of the room: “The Chambre de Parade is a truly royal room. Connoisseurs and musicians find it so ideal that they not only call it the finest chamber in the world, but also assert that, of its type, it is the height of all the perfections of which the imagination can form an idea… Musicians also make observations about it that neither painters nor sculptors make… They declare that in all Paris there is no place more suitable for soft music, and attribute the reason for this to the wood of its ceilings, its panelling and the embrasures of each casement. For they are convinced that stone vaults are less flattering to concerts than those made of wood; experience having taught them that stone treats the voice with a much greater degree of reflection and echo than wood; that it is too dry, has too much brilliance and creates excessively harsh echoes; and that, on the contrary, wood has all the softness that music can desire…”5

Sauval probably obtained these observations from musicians of the Musique de la Chambre du Roi, who could enjoy these ideal conditions at their leisure; and Louis XIII himself, an artist-king who composed from time to time, writing several airs de cour and the Ballet de la Merlaison (Ballet of the blackbird hunt, 1635), from which an entrée (Les Gascons) is heard here, could not but appreciate them. It was mainly there that the sovereign heard the ‘concert’ of his musicians, especially at his petit coucher,6 a custom recalled at the end of the seventeenth century in L’État de la France: ‘In the past, in Paris, there was the Musique du Petit Coucher on certain days of the week. This ensemble comprised a few voices, and sometimes also a few instruments.’

The antechamber was the venue for the King’s midday and evening meals (dîner and souper), which, when they were held in public, were also accompanied by music. The Cabinet du Roi, the study reserved for the monarch’s private conversations and his repose, might also echo with music on occasion.

Another key centre of sociability was the Queen’s apartment, located on the ground floor beneath the King’s apartment. This had been laid out by Pierre Lescot for Catherine de’ Medici, and was scarcely smaller than the King’s, consisting of a reception hall, an antechamber, a bedroom and wardrobe, a

5 Sauval, Histoire et recherches des antiquités de la ville de Paris; Paris: Charles Moette, Jacques Chardon, 1724, vol. II, pp. 35-36. 6 The ‘small couchee,’ at which the King prepared for bed before his inner circle of courtiers. (Translator’s note) 9 large study and two small ones, and an oratory. The Queen Mother Marie de’ Medici occupied it until her exile in 1631, whereas on the first floor Anne of Austria confined herself to the few rooms of the apartment reserved for the reigning Queen, adjoining that of the King. It was in these different spaces that the Musique de la Reine could be heard. Since the reign of Henry III, musical entertainments had normally been held there three evenings a week, on Mondays, Tuesdays and Wednesdays.

So let us allow ourselves to be guided by the echoes of these ‘pleasures’, inhabited by sometimes strange and whimsical divinities, allegorical characters or characters from the realm of galanterie, which delighted Louis XIII, Marie de’ Medici, Anne of Austria and their court, in what was, before Versailles, the emblematic residence of the Kings of France.

~ THOMAS LECONTE, Centre de musique baroque de Versailles Translation: Charles Johnston

•

Texts & Translations

Antoine Boësset Dialogue d’Orphée et sa troupe, Dialogue of Orpheus and his troupe et des Hamadryades qu’ils attirent and the Hamadriades they attract along

(« Orphée et sa troupe charmante (“Orpheus and his charming troupe Avec que leur voix ravissante With their ravishing voice Qui monte jusques dans les Cieux That goes up to the sky Attirent les Nymphes des arbres Attract the tree Nymphs Et les font mouvoir en ces lieux, And make them dance Comme ils firent jadis les marbres. ») As they used to do with the marbles.”)

ORPHÉE & SA TROUPE. ORPHEUS & HIS TROUPE. Suivez nous belles Nymphes des bois, Follow us beautiful Nymphs of the forest, Qui vous cachez sous cette escorse. Who are you hiding under this tree bark?

LES HAMADRIADES HAMADRIADES Qui nous attire avecques tant de force? What attracts us with so much strength?

ORPHÉE ORPHEUS Ce sont les accords charmants This is the charming harmony de nos douces voix. of our sweet voices.

LES HAMADRIADES HAMADRIADES Où nous conduisez-vous? Where are you leading us?

ORPHÉE. ORPHEUS Vers le plus grand des Roys. To the greatest of all Kings.

ORPHÉE & LES HAMADRIADES ORPHEUS & THE HAMADRIADES Allons donc tous ensemble, accordons nos voix Let's go together, let's grant our voices

10 En l’honneur du miracle des Roys. In honor of the miracle of the Kings.

ORPHÉE ORPHEUS Quittez-vous à regret Do you leave with regret les beaux lieux the beautiful places Où vous retenoyent vos racines? Where your roots hold you back?

LES HAMADRIADES HAMADRIADES Ô que d’attraits! que de beautez divines! Oh, only attractions! Only divine beauty!

ORPHÉE ORPHEUS Un bien plus charmant objet Something much more charming va ravir vos yeux ; will be a delight to your eyes;

LES HAMADRIADES HAMADRIADES Et que verrons-nous plus ? And what more will we see?

ORPHÉE ORPHEUS Un Roy chery des Cieux. A King beloved in Heaven.

ORPHÉE & LES HAMADRIADES ORPHEUS & THE HAMADRIADES Allons donc tous ensemble, accordons nos voix Let's go together, let's grant our voices En l’honneur du miracle des Roys. In honor of the miracle of all Kings.

***

Noires Forêts, demeures sombres Black forests, dark dwellings

Noires forests, demeures sombres, Black forests, dark dwellings, Où le Soleil ne luit que rarement, Where the sun rarely shines, Que je me plais parmy vos ombres: How I like to be in your shadows: Et qu’elles flattent bien And how well they flatter les plaintes d’un amant. the laments of a lover. Depuis le jour que ma cruelle, Since the day that my cruel love, M’eut fait sçavoir l’arrest de mon trespas, Announced to me my death, Toute clarté me fut mortelle: All clarity was deadly to me: Et le flambeau du jour n’eut And the torch of the day pour moy plus d’appas. didn’t charm me anymore.

***

Pierre Guédron Cesse mortel d’importuner Cease, mortal, to importune

Cesse Mortel d’importuner Cease, mortal, from importuning Mon chaste coeur de tes complaintes, My chaste heart with your laments; Je ne le peux abandonner I cannot abandon it À l’artifice de tes plaintes; To the stratagem of your complaints; Un Dieu tant seulement, One God alone Doit estre aimé parfaictement. Must be loved perfectly.

Fuis promptement loing de mes yeux Flee from my eyes at once, Gibier de la mort éternelle, Prey of eternal death; Je voy dans la flamme des Cieux I see by the flame of Heaven Que la tienne est trop criminelle. That your flame is all too wicked. Un Dieu, etc. One God alone...

Voudrais-tu bien te comparer Would you compare yourself Au doux amant qui m’a choisie? To the sweet Lover who has chosen me?

11 Luy penses-tu faire endurer Do you think you can make Him endure Les tourments de la jalousie? The torments of jealousy? Un Dieu, etc. One God alone...

Son père est plus beau qu’un Soleil, His Father is more beautiful than a sun, Sa mère enchérit sur la Lune, His Mother is fairer than the moon, Et le fils n’a point de pareil And the Son has no peer Dans le bonheur de sa fortune. In the happiness His fortune brings. Un Dieu, etc. One God alone...

*** Quels tourments rigoureux What severe torments

Quels tourments rigoureux What severe torments Souffrons-nous dans ces feux Do we suffer in these fires Pour un plaisir volage? For the sake of a fleeting pleasure? Nos maux sont douloureux: Our woes are painful: Mais, l’espoir nous soulage. But hope relieves us.

Dans les lieux obscurcis In dark places Nos esprits sont transis Our minds are numb with fear Pensant à leur dommage, Thinking of the wrongs they suffer. Nous plaignons nos soucis: We lament our cares: Mais l’espoir nous soulage. But hope relieves us.

Le plus grand des malheurs The greatest misfortune, Qui nous résout en pleurs, Which makes us dissolve in tears, C’est que son beau visage Is when her beautiful face Se cache à nos douleurs: Hides itself from our sorrows: Mais l’espoir nous soulage. But hope relieves us.

***

Antoine Boësset Bien loin profanes de ces lieux Begone, profane mortals, from this place (François Le Métel de Boisrobert) (François Le Métel de Boisrobert)

“Les Nymphes qui gardent ces bois "The nymphs who guard these woods Avec le charme de leurs vois With the charm of their voices Impriment une douce crainte Impart a gentle awe À ceux, qui voudroient curieux, To those curious mortals who seek Prophaner cette Forest sainte, To desecrate this holy forest, Séjour destiné pour les Dieux.” An abode destined for the gods alone."

Bien-loin prophanes de ces lieux, Begone, profane mortals, from this place! Ce séjour n’est que pour les dieux, This abode is for the Gods alone. Fuyez de peur de sentir Flee, lest you feel L’effét prompt d’un repentir. Swift regret for your action!

Les Nymphes qui gardent ces bois The nymphs who guard these woods N’espargnent pas les plus grands Roys: Do not spare even the most illustrious kings: Tout fléchit sous leurs beautez, All bend beneath their beauties, Tout ressent leurs cruautez. All feel their cruelty.

Des traits qui partent de leurs mains, With the darts that fly from their hands, Elles font périr les humains: They slay human beings: Et de ceux de leurs beaux yeux And with the darts from their beautiful eyes Elles font mourir les Dieux. They make the Gods themselves perish.

12 ***

Me veux-tu voir mourir Do you wish to see me die (Germain Habert de Cérisy) (Germain Habert de Cérisy)

Me veux-tu voir mourir, Do you wish to see me die, trop aymable inhumaine? pitiless beloved? Viens donner à tes yeux Come and offer your eyes ce funeste plaisir. that mournful pleasure. L’excez de mon amour et celuy de ta hayne The excess of my love and of your hatred S’en vont en un moment contenter ton désir. Will in but a moment satisfy your desire. Mais au moins souviens-toy cruelle, But at least remember, cruel one, Si je meurs malheureux, If I die unhappily, que j’ay vescu fidelle. that I have lived faithfully.

Tes extrêmes rigueurs The extreme torments qui secondent tes charmes that accompany your charms Ont blessé tous mes sens, Have wounded all my senses, et me privent du jour: and rob me of the daylight: Je sens couler mon sang I feel my blood flowing aussi bien que mes larmes: along with my tears: Et mesprisant la mort, And, scorning death, je veux mourir d’amour. I wish to die of love. Mais au moins, etc. But at least remember...

***

Etienne Moulinié Ô doux Sommeil O sweet Sleep! (Pierre Perrin) (Pierre Perrin)

Ô doux Sommeil ! que tes songes aymables, O sweet Sleep! What pleasure M’ont donné de plaisir! Your loving dreams gave me! Ah ! si la mort a des charmes semblables, Ah, if death has such charms, Je consens de mourir. I will gladly die.

J’ay crû, Philis, I believed, Phyllis, dans vos bras adorables I was in your adorable arms, Me pasmer, et languir; Swooning and languishing; Ah ! si la mort a des songes semblables, Ah, if Death has such dreams, Je consens de mourir. I will gladly die.

***

Antoine Boësset Je perds le repos et les sens I lose my repose and my senses (Timoléon d’Espinay, marquis de Saint-Luc) (Timoléon d’Espinay, marquis de Saint-Luc)

Je perds le repos et les sens I lose my repose and my senses D’ennuy de ne voir point Silvie, With grief at not seeing Sylvia, Et bien-tost la fin de ma vie And soon the end of my life Dira la douleur que je sens. Will reveal the sorrow I feel.

J’ay beau par l’espoir du retour Although I try, in hoping for her return. Charmer la douleur qui me tuë, To charm away the sorrow that slays me, Mon âme est si fort abbatuë, My soul is so dejected Qu’il faut que je quitte le jour. That I must quit the light of day.

13 ***

Etienne Moulinié Rompez les charmes du sommeil Break the spell of sleep (François L’Hermite du Solier, (François L’Hermite du Solier, dit Tristan L’Hermite) known as Tristan L’Hermite)

Rompez les charmes du sommeil, Break the spell of sleep, Ô beautez qui brillez comme fait le Soleil, O beauties who shine like the Sun Quand le jour est encore à naistre! When the day is yet to come! Il faut qu’a ce doux bruit At this sweet sound Vous paroissiez à la fenestre You must appear at the window Pour aveugler la nuict. In order to blind Night.

Que vos appas sont ravissants! How lovely are your charms! Ils charment les humains They bewitch humans, qui sont privez de sens, depriving them of their senses; Leur pouvoir n’eust jamais d’exemple: Their power has never had an equal: Vous attaignez au coeur, You penetrate the heart, Et tout mortel qui vous contemple And any mortal who gazes upon you S’en va mourant de peur. Flees, dying of fear.

***

Il sort de nos corps emplumés From our feathered bodies (Salomon de Priézac?) (Salomon de Priézac?)

Il sort de nos corps emplumez From our feathered bodies Des voix plus divines qu’humaines, Come voices more divine than human, Qui tiennent les soucis charmez, Which hold cares in thrall Et font dormir les peines. And put sorrows to sleep.

Nous vous appellons à tesmoins, We call you to witness Que si nos voix font des merveilles, That if our voices work wonders, Nos luths ne pénètrent pas moins Our lutes penetrate the heart Les coeurs, que les oreilles. No less than the ears.

Gardez de vous abuser tous, But beware of being duped, all of you: Ce seroyent choses bien estranges, It would be a very strange thing Si les Corbeaux, et les Hybous If crows and owls Chantoyent comme des Anges. Could sing like angels.

Nous sommes des Dieux déguisez We are Gods in disguise, Qu’en ce lieu ces beautez attirent, Attracted here by these beauties, Et c’est pour nos coeurs embrasez And it is for our burning hearts Que nos bouches soupirent. That our mouths sigh.

***

Antoine Boësset Ce roi vainqueur de nos malheurs This King, the conqueror of our misfortunes

Pour le Roy. For the King. Ce Roy vainqueur de nos malheurs, This King, the conqueror of our misfortunes, Le plus révéré de la Terre, The most revered on Earth, Des-jà des mortelles douleurs Has already suffered mortal pain Esprouvoit la cruelle guerre: In cruel war: Mais son destin heureux But at last his fortunate destiny

14 enfin à tout soumis, has overcome all, Triomphant de la mort, et de ses ennemis. Triumphing over death and his enemies. Il est eschappé du tombeau: He has escaped the tomb: La Parque eut esté bien ravie Atropos would have been delighted De pouvoir d’un coup de ciseau To cut the thread of so fine a life Trancher une si belle vie. With her scissors. Mais son destin, etc. But at last...

***

Quelle merveilleuse aventure What a marvellous adventure

Quelle merveilleuse avanture? What a marvellous adventure is this! Les songes hostes de la nuit The Dreams, the guests of Night, Fuyoyent la lumiere & le bruit, Have fled from light and noise. Et contre l'ordre de nature, And, contrary to the order of Nature, Au lieu du Pallais du sommeil, Instead of the Palace of Sleep, Ils trouvent celuy du Soleil. Find that of the Sun.

Portés sur l'aisle du silence Borne on the wing of Silence, Ils venoyent troubler les espris, They came to trouble minds A qui de jour Mars ou Cypris That by day are subject Font ressentir leur violence, To the violence of Mars or Cypris, Et vouloyent mesmes, ô grand Roy, And they even intended, O great King, Dans ton Louvre semer l'effroy. To sow terror in your Louvre.

Mais par tes vertus heroïques, By your heroic virtues Tous soubçons sont ensevelis, All suspicion is buried Et l'Empire des Fleurs de Lys And the empire of the fleur-de-lis Est exempt de terreurs paniques: Is exempt from panicky terrors: Permets donc à leur vain desir Allow then their vain desire De te donner quelque plaisir. To give you some pleasures.

***

Conseille-moi mon cœur Counsel me, my heart

Conseille-moy mon coeur, Counsel me, my heart, Avant que la rigueur Before the severity Du grand Dieu de vengeance Of the great God of vengeance, Donne en dernier effort At my last end, ma funeste sentence. pronounces my doleful sentence. Ne puis-je en aucun lieu Can I, in any place, Trouver une retraitte, Find a refuge Qui ne soit point sujette That is not subject À l’empire de Dieu. To God’s might?

Si je prétends aller If I aspire to rise Dans le vuide de l’air; Into the empty air, L’air aussi tost appreste The air immediately makes ready Mille foudres vengeurs A thousand vengeful thunderbolts pour lancer sur ma teste. to hurl upon my head. Hélas que ferons-nous? Alas, what can we do? Quand ce grand Dieu se fasche, When this great God is angry, Tout cet univers tasche The whole universe endeavours De servir son courroux. To serve His wrath.

15 Si je fuys vers la mer; If I flee towards the sea, Ses flots, pour m’abysmer, Its waves, to overwhelm me, Coup sur coup se crevassent, Split open one after the another, Et d’un horrible bruit, And a horrible growling noise en grondant me menacent. threatens me. Insensible clément, O Merciful One, yet unbending to me, Qui vous a fait cognoistre Who has told thee Que mon péché doit estre That my sin must be Puny si rudement? Punished so harshly?

Si je fuys aux enfers; If I flee to Hell, On y forge des fers There they forge irons Pour captiver mon âme To imprison my soul Dans le brouillant torrent In the confused torrent d’une éternelle flame. of an eternal flame. Fuy donc où tu voudras; Flee where you will, then, David, il n’y a place, David, there is no place Que ce grand Dieu n’embrasse That this great God does not hold Dans l’enclos de ses bras. In His arms’ embrace.

Souvenez-vous, Seigneur, Remember, Lord, De vostre petit coeur, Thy little heart, De cet homme d’eslite: That chosen man: Pensez à vostre amour, et non à son mérite. Think of thy love, not of his merit. C’est David, ô grand Dieu, It is David, O great God, Qui dans vos bras se jette Who throws himself into thine arms, N’ayant point de retraitte Having no safer refuge Plus seure en aucun lieu. In any place.

***

François de Chancy Rares fleurs vivante peinture Rare flowers, O living painting

Rares fleurs, vivante peinture, Rare flowers, O living painting, Aymables filles du Printemps, Gracious daughters of Spring, Qui pour embellir la Nature Who, to embellish Nature, Voulez renaistre tous les ans: Wish to be reborn every year: Voyez sur le teint d’Arténice Behold on Artenice’s complexion Les plus vives couleurs peintes sans artifice. The brightest colours painted without artifice.

Avant que vous soyez escloses, Before you open, Des-jà l’Amour a fait dessein Already Love has decided De cueillir ses lys et ses roses To gather his lilies and roses Sur la blancheur de son beau sein. From the whiteness of her beautiful breast. Voyez sur le teint, etc. Behold on Artenice’s complexion...

Flore vous forme avec des larmes, Flora forms you with tears, Et le Soleil vous fait mourir: And the Sun makes you die: Mais Arténice a tant de charmes But Artenice has so many charms Qu’ils ne sçauroient jamais périr: That they could never perish: Le lys, la rose, et le narcisse The lily, the rose and the narcissus Vivent sur son beau teint Live on her beautiful complexion sans aucun artifice. without any artifice.

***

16 Antoine Boësset Je suis l’adorable Équité I am adorable Equity (Jean Desmarets de Saint-Sorlin) (Jean Desmarets de Saint-Sorlin)

La Justice commence. Justice begins. Je suis l’adorable Équité, I am adorable Equity, Qui conduits la Félicité. Who brings with me Felicity.

La Félicité. Felicity. Après tant de malheurs, en fin je viens paroistre After so many woes, at last I appear Avec ce noble Enfant. With this noble Child.

Les Amours. Cupids. Et nous l’avons fait naistre And, through us, he has been sired D’un Grand Roy triomphant. By a great and triumphant King.

Tous ensemble. All together. Soit la tristesse bannie, Let sadness be banished, L’heur surpasse les désirs, Let happiness exceed our desires. Ô l’agréable Harmonie Oh, the delightful harmony Des vertus et des plaisirs. Of virtues and pleasures!

La Justice. Justice. Reyne, que le Ciel justement O Queen, how justly Heaven T’a donné ce contentement. Has granted you this joy!

La Félicité. Felicity. Il a considéré la bonté de ton âme, It has considered the goodness of your soul, Rendant tes voeux contens. Making your wishes come true,

Les Amours. Cupids. Et la pudique flamne And the chaste flame De deux coeurs si constans. Of two hearts so constant.

Tous ensemble. All together. Soit la tristesse, etc. Let sadness be banished...

***

Etienne Moulinié Flores Apparuerunt Flowers appear

Flores apparuerunt in terra nostra. The flowers appear on the earth. Vox turturis audita est. The voice of the turtle is heard. Tempus cantilationis advenit. Time of sacred songs has arrived. Tu rosa Saron And you, the rose of Sharon et lilium convallium. and the lily of the valley, Corcule mi his fulce me, Comfort me with these Quia amore langueo. Because I languish with love.

•

17 About the Artists

Founded in Lyon in 2009, Ensemble Correspondances brings together under the direction of the harpsichordist and organist Sébastien Daucé a group of singers and instrumentalists, all of whom are specialists in the music of the Grand Siècle. In a few short years of existence, Correspondances has become a benchmark ensemble in the seventeenth-century French repertory. Placing itself under the auspices of Baudelaire’s notion of correspondences between the arts, it performs music whose sonorities can still directly touch today’s listeners while presenting staged productions of rarer and more original forms such as the oratorio and the ballet de cour.

The ensemble’s twin commitments to breathing new life into already well-known composers and restoring the image of figures less familiar today but celebrated and frequently performed in their own time have already yielded fifteen critically acclaimed recordings, which have earned such distinctions as the Choc Classica of the year, ffff de Télérama, the Diapason d’Or of the year, the ECHO Preis for the World Premiere Recording of the Year 2016, Editor’s Choice in Gramophone, German Record Critics’ Award, Operatic Recording of the Year 2016 in Limelight magazine and the Prix de l’Académie Charles Cros.

The exceptional reconstruction of the score of Le Ballet Royal de la Nuit, the result of three years of research, allowed modern audiences to discover a major musical event of the seventeenth century, the unprecedented moment that inaugurated the reign of the Sun King. After the public and critical success of the CD-book released on harmonia mundi (Le Concert Royal de la Nuit, 2015), the ensemble returned to this extraordinary spectacle in 2017 with the théâtre de Caen, in a contemporary production by Francesca Lattuada combining elements of the circus and the dance, also given at the Opéra Royal de Versailles and at the Opéra de Dijon.

Correspondances is in residence at the théâtre de Caen. It is associate ensemble at the Opéra and Chapelle of the Château de Versailles, at the Louvre Museum and at the Théâtre de l’Aquarium at the Cartoucherie de Vincennes.

Ensemble Correspondances is supported by the Ministère de la Culture - DRAC Normandie, the Région Normandie, the Ville and the théâtre de Caen. La Caisse des Dépôts and Mécénat Musical Société Générale are principal patrons of Correspondances. The ensemble receives assistance from the Fondation Correspondances, under the aegis of the Fondation Bullukian, a group of music lovers who give active support to research into and publication and performance of the music of the seventeenth century. It also receives regular support from the Institut Français, the Bureau Export, the Adami, the Spedidam and the SPPF for its concerts and recordings.

18 Concerts from the Library of Congress

The Coolidge Auditorium, constructed in 1925 through a generous gift from Elizabeth Sprague Coolidge, has been the venue for countless world-class performers and performances. Gertrude Clarke Whittall presented to the Library a gift of five Stradivari instruments which were first heard here during a concert on January 10, 1936. These parallel but separate donations serve as the pillars that now support a full season of concerts made possible by gift trusts and foundations that followed those established by Mrs. Coolidge and Mrs. Whittall. • Concert Staff

CHIEF, MUSIC DIVISION Susan H. Vita

ASSISTANT CHIEF Jan Lauridsen

SENIOR PRODUCERS Michele L. Glymph FOR CONCERTS AND Anne McLean SPECIAL PROJECTS

SENIOR MUSIC SPECIALIST David H. Plylar

MUSIC SPECIALISTS Kazem Abdullah Claudia Morales

ADMINISTRATIVE OFFICER Donna P. Williams

SENIOR RECORDING ENGINEER Michael E. Turpin

ASSISTANT ENGINEER Sandie (Jay) Kinloch

PRODUCTION MANAGER Solomon E. HaileSelassie

CURATOR OF Carol Lynn Ward-Bamford MUSICAL INSTRUMENTS

PROGRAM DESIGN David H. Plylar

PROGRAM PRODUCTION Michael Munshaw

19 Support Concerts from the Library of Congress

Support for Concerts from the Library of Congress comes from private gift and trust funds and from individual donations which make it possible to offer free concerts as a gift to the community. For information about making a tax-deductible contribution please call (202-707-5503), e-mail ([email protected]), or write to Jan Lauridsen, Assistant Chief, Music Division, Library of Congress, Washington, DC 20540-4710. Contributions of $250 or more will be acknowledged in the programs. All gifts will be acknowledged online. Donors can also make an e-gift online to Friends of Music at www. loc.gov/philanthropy. We acknowledge the following contributors to the 2020-2021 season. Without their support these free concerts would not be possible. • GIFT AND TRUST FUNDS DONOR CONTRIBUTIONS

Julian E. and Freda Hauptman Berla Fund Producer ($10,000 and above) Elizabeth Sprague Coolidge Foundation The Aaron Copland Fund for Music, Inc. William and Adeline Croft Memorial Fund DutchCultureUSA Da Capo Fund Frederic J. and Lucia Hill Ira and Leonore Gershwin Fund The Netherland-America Foundation Isenbergh Clarinet Fund Allan J. Reiter Irving and Verna Fine Fund Revada Foundation of the Logan Family Mae and Irving Jurow Fund Adele M. Thomas Charitable Foundation, Carolyn Royall Just Fund Inc. Kindler Foundation Trust Fund Mallory and Diana Walker Dina Koston and Robert Shapiro Fund for New Music Underwriter ($2,500 and above) Boris and Sonya Kroyt Memorial Fund Geraldine Ostrove Wanda Landowska/Denise Restout Joyce E. Palmer Memorial Fund William R. and Judy B. Sloan Katie and Walter Louchheim Fund George Sonneborn and Rosina C. Iping Robert Mann Fund The George and Ruth Tretter Charitable Gift The Sally Hart and Bennett Tarlton Fund, Carl Tretter, Trustee McCallum Fund McKim Fund Benefactor ($1000 and above) Norman P. Scala Memorial Fund Anonymous Karl B. Schmid Memorial Fund William D. Alexander Judith Lieber Tokel & George Sonneborn Bill Bandas and Leslie G. Ford Fund Leonard and Gabriela Bebchick Anne Adlum Hull and William Remsen Peter and Ann Belenky Strickland Fund Richard W. Burris and Shirley Downs Rose and Monroe Vincent Fund Ronald M. Costell and Marsha E. Swiss Gertrude Clarke Whittall Foundation In memory of Dr. Giulio Cantoni and Various Donors Fund Mrs. Paula Saffiotti Cathey Eisner Falvo and Jessica Aimee BEQUESTS Falvo in honor of Carole Falvo Milton J. Grossman, Elmer Cerin In memory of Dana Krueger Grossman Barbara Gantt Wilda M. Heiss Sorab K. Modi Judith Henderson

20 Benefactor (continued) Patron (continued) Virginia Lee, In memory of Dr. and Mrs. Chai Lorna C. Totman, Chang Choi In memory of Daniel Gallik Egon and Irene Marx James C. and Carol R. Tsang Winton E. Matthews, Jr. Harvey Van Buren Dr. Judith C. and Dr. Eldor O. Pederson Amy Weinstein and Phil Esocoff, Richard Price and Yung Chang In memory of Freda Hauptman Berla Arthur F. Purcell Sidney Wolfe and Suzanne Goldberg Harriet Rogers Gail Yano and Edward A. Celarier Mace J. Rosenstein and Louise de la Fuente Christopher Sipes Sponsor ($250 and above) Anonymous (2) Patron ($500 and above) Edward A. Celarier Barry Abel Carol Ann Dyer Naomi M. Adaniya Elizabeth Eby and Bengal Richter Daniel J. Alpert and Ann H. Franke Damien Gaul Devora and Samuel Arbel Michal E. Gross Sandra J. Blake, James S. and Zona F. Hostetler In memory of Ronald Diehl In memory of Randy Hostetler Marc H. and Vivian S. Brodsky Kim and Elizabeth Kowalewski Doris N. Celarier Helen and David Mao Margaret Choa George P. Mueller William A. Cohen Robert H. Reynolds Herbert L. and Joan M. Cooper Juliet Sablosky, Diane E. Dixson In memory of Irving L. Sablosky Elizabeth Eby and Bengal Richter Alan and Ann Vollman Willem van Eeghen and Mercedes de Shari Werb Arteaga Patricia A. Winston Lawrence Feinberg Becky Jo Fredriksson and Rosa D. Wiener Fred S. Fry, Jr. and Elaine Suriano Geraldine H. and Melvin C. Garbow Howard Gofreed, In memory of Ruth Tretter

The Richard & Nancy Gould Family Fund Marc and Kay Levinson George and Kristen Lund Mary Lynne Martin Rick Maurer and Kathy Barton Donogh McDonald Jan and Frank Moses Undine A. and Carl E. Nash Judith Neibrief John P. O'Donnell Jan Pomerantz and Everett Wilcox Richard Price and Yung Chang Amy and Paul Rispin Bruce and Lori Laitman Rosenblum Mike and Mical Schneider In memory of Victor H. Cohn David Seidman and Ruth Greenstein Rebecca and Sidney Shaw, In memory of Dr. Leonard G. Shaw Beverly J. and Phillip B. Sklover Anna Slomovic Maria Soto, In memory of Sara Arminana Dana and Linda Sundberg

21