Nicholas Scott Tenor

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Nicholas Scott Tenor British Tenor Nicholas Scott completed his undergraduate and postgraduate studies at the Royal Academy of Music, London. Nicholas was a member of the 7th Edition of Les Arts Florissants’ young artist programme Le Jardin des Voix, and with them has performed in venues such as Sydney Opera House, Tchaikovsky Concert Hall, Lincoln Centre New York, Melbourne Recital Hall, Hong Kong City Hall, Lucerne Concert Hall and La Philharmonie 2, Paris, Suntory Hall Tokyo, Lotte Concert Hall Seoul, and the Macau Concert Hall. Recent engagements included a return to Zurich Opera to perform the role of Parque in Rameau’s Hippolyte et Aricie under Emmanuelle Haim, a tour of Monteverdi’s L’Orfeo and performances with Cappella Mediterranea thoughout Europe and South America notably including Teatro Colon, Buenos Aires, Pagliardi’s Caligula (Caligula), a concert and recording of Breve e la Vita Nostra with Vincent Dumestre and Le Poeme Harmonique, Damon, Acis and Galatea with Damien Guillon and Le Banquet Celeste, Telemann’s Brockes Passion with Rapahel Pichon and Ensemble Pygmalion, Handel’s Messiah with Laurence Cummings and the Bournemouth Symphony Orchestra, Bach’s B Minor Mass with Sir Roger Norrington, Charpentier’s La Decent d’Orphée aux enfers with Sébastien Daucé and Monteverdi’s Selve Morale with William Christie and Paul Agnew with Les Arts Florissants. Other Highlights include a programme of Charpentier, Filius, Filius Prodigus and Tiburtius Caecilia virgo et martyr under William Christie, Evangelist St Matthew Passion with Masato Suzuki and Bach Collegium Japan and again with Laurence Cummings in The London Handel Festival, Lully’s Cadmus et Hermione with Opera de Royal de Versailles, King Arthur at the Zurich Opera under Laurence Cummings, a concert of motets by Bouteiller and Brossard entitled Maîtres du Motet Français with Les Arts Florissants and Paul Agnew, Purcell’s King Arthur with Brisbane Baroque, a programme of Bach Cantatas with Queensland Symphony Orchestra and Charpentier’s Médée under William Christie at Zurich Opera. Nicholas recently completed performances and recording of Monteverdi’s L’Orfeo at the Royal Opera, Versailles with Cappella Mediterranea. In a busy schedule, Nicholas perform in a tour of Sydney and Melbourne in 2020 in a programme including Charpentier’s Te Deum as well as returning to Purcell’s King Arthur in a European tour 2021. He will also be performing the Evangelist in the St Matthew Passion for the Dunedin consort under Kristian Bezuidenhout in 2020. In June 2020, Nicholas will perform Handel’s L'allegro, il Penseroso ed il Moderato with Ensemble Le Stagioni. Nicholas’ discography includes the roles of St Pierre in Marc-Antoine Charpentier’s Le reniement de St. Pierre and the role of Isaac in Le sacrifice d’Abraham for La Nuova Music and Harmonia Mundi USA, and to be released, a recording as the Haute Contre soloist, of motets by Bouteiller and Brossard with Les Arts Florissants and Paul Agnew. Spring 2020 www.clbmanagement.co.uk [email protected] Suite 117, China Works, Black Prince Road, London, SE1 7SJ Phone: +44 (0) 20 3176 9295 .

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Charpentier (00)(En).Doc
Fichier word: Charpentier (00)(En).doc “I AM HE WHO, BORN IN ANOTHER TIME, was known during the century; here I am, dead, naked and nobody, in the tomb, dust, cinders and food for the worms. I lived enough but too little in relation to eternity (...). I was a musician, considered good among the good and ignorant among the ignorant. And as the number of those who despised me was much larger than the number of those who praised me, music was of little honour to me but a great burden, and, as when I was born, I brought nothing into this world, in dying, I took nothing with me...". Thus does Charpentier introduce himself in his astonishing piece in Latin entitled Epitaphium Carpentarii, in which he himself appears on the stage: he imagines that he returns to earth after his death, in the guise of a shade, and looks over his life with a curious mixture of humility and bitterness. One might say that three centuries later, Charpentier has taken a kind of revenge. Today, he is the most recorded French composer of the baroque period on disc. Since the 1950s, of his monumental output, which includes more than 550 works, more than half has been, recorded. This circulation, quite exceptional, bas allowed a reconsideration of Charpentier’s place within the western musical landscape. However, the man still retains his mystery and, in spite of some important studies (notably those by Patricia M. Ranum), it is difficult to know exactly who he was, how he lived, what was the nature of his relationships with his contemporaries, musicians and others.
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Te Deum H 146 Prologue
Te Deum H 146 prologue Marc-Antoine Charpentier Baroque France 1692-1693 Cycle 1, Cycle 2, Cycle 3 01'35" Genre : Instrumental Thème : La marche, Les hymnes L’œuvre (ou l’extrait) : Charpentier a composé ce Te Deum entre 1692 et 1693, pour célébrer la victoire des troupes françaises de Louis XIV à Steinkerque. Le Te Deum est une œuvre religieuse à l’origine, Te Deum étant l’abréviation de Te Deum Laudamus qui signifie « Dieu, nous te louons ». Il est utilisé ici pour glorifier Dieu à travers le roi. L’œuvre est en ré majeur, ton qualifié par Charpentier lui-même de « joyeux et guerrier » dans un traité de musique dans lequel il établit ses règles de composition. Auteur / Compositeur / Interprete : Marc-Antoine Charpentier (1643-1704), né et mort à Paris. Arrivé par hasard à la musique suite à un séjour de trois ans en Italie, il entre au service de Mlle de Guise en 1670. À ce moment, Molière, fâché avec Lully, demande à Charpentier d’écrire les intermèdes musicaux de ses comédies-ballets, dont Le Malade imaginaire. Après le décès de Molière, il continue d’écrire pour le théâtre à la Comédie-Française, auprès des frères Corneille et au grand dam de Lully, tout en fournissant de la musique sacrée pour les offices du couvent de Port-Royal. Tenu en estime par Louis XIV, il reçoit plusieurs commandes royales (dont ce Te Deum). Au décès de Mlle de Guise, Marc-Antoine Charpentier entre au service des jésuites, ordre religieux alors très puissant. Suite à la mort de Lully, il peut enfin se lancer dans l’opéra, après avoir tant écrit pour le théâtre.
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Marc-Antoine Charpentier Messe & Te Deum À Huit Voix
GCDSA 921611 Marc-Antoine Charpentier New release information May 2006 Messe & Te Deum à huit voix NOTES (ENG) NOTES (FRA) Mr Charpentier benefited greatly Mr Charpentier, qui a demeuré trois ans à Rome, by his three years in Rome, en a tiré de grands avantages. as demonstrated by his entire oeuvre. Tous ses ouvrages en sont une preuve. (Mercure galant, February 1681) (Mercure galant, février 1681) Towards 1670 Marc-Antoine Charpentier returned from Vers 1670, Marc-Antoine Charpentier revint de Rome Rome following a sojourn of more or less five years, au terme d’un séjour de plus ou moins cinq années, his ears and mind brimming with ultramontane music les oreilles et les pensées pleines de musique et de and culture. No sooner did he come back to Paris, culture ultramontaine. Dès son retour à Paris, où il where he was born in 1643 and where his skills arrived était né en 1643 et où ses qualités l’avaient déjà ahead of him, than Charpentier found considerable devancé, Charpentier trouva d’appréciables appuis support amongst advocates of the Italian aesthetic parmi les partisans de l’esthétique italienne, qui who were themselves in contact with the leading centres entretenaient eux-mêmes des relations avec les of learning in Rome. principaux foyers romains d’érudition. For a decade or so after his arrival in Paris, Charpentier Dès son arrivée à Paris et durant une dizaine d’années, Marc-Antoine Charpentier was a regular contributor to the Saint-Louis Jesuits, Charpentier collabora régulièrement aux cérémonies Messe & Te Deum à huit voix who commissioned him to produce great two-choir des Jésuites de Saint-Louis, qui lui commandèrent de compositions including the Mass for 8 voices and 8 grandes fresques à double chœur.
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Sacred, Secular, and Political: Dance Rhythms in French Grands Motets
Sacred, Secular, and Political: Dance Rhythms in French grands motets under Louis XIV Lindsey O’Brien University of Florida Gainesville, Florida April 20, 2012 O’Brien 1 Any form of art reflects the values of the society in which it is created. Because contemporary society tends to focus on the ‘self’ and personal identity, to a great extent the arts of today are a vehicle of self-expression. However, this was not always the case. Before it served as a means of self-expression, art played a much different role: rather than serving the artist alone, the art served the interests of an institution, such as the church or a particular monarch. As a result, prior to the Romantic era, the majority of professional and highly esteemed artists made a living by working either within the Catholic Church or at a noble court,1 institutions that served as training grounds and helped define both local and national artistic aesthetics. Whereas religious art reinforcing God’s omnipresence and supremacy was the primary focus of the church, royal courts produced politically charged art reminding all courtiers of the monarch’s ubiquity and infallibility throughout his kingdom. Rather than serving God and the church institution, artists now directly served a single person: a king who possessed a higher social standing than all of his subjects, including the artists. All art forms filled the social and political function of extolling the monarch. Two that did this particularly well (and often in conjunction with one another) in seventeenth century France under the reign of Louis XIV are music and dance.
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Te Deum Laudamus
TTEE DDEEUUMM a 8 voix avec flûtes et violons POUR LA COMMÉMORATION DES VICTOIRES GLORIEUSES SUR LA RÉPUBLIQUE D 'H OLLANDE DU ROI DIVIN LOUIS XIV Composé par M.A. Charpentier 1672 a Paris version entièrement révisée dans les années 1680 par le compositeur même Edité 2015 a Amsterdam pour la première aux pays des anciens ennemis a Amsterdam, le 15 novembre 2015 par des célèbres solistes et instrumentalistes et le Lelikoor dirigé par J.J. van Elburg imprimé a Amsterdam par Louis Copie Preface .............................................................................................. i Notes on the text ............................................................................. iii Préface............................................................................................ iv Notes sur le texte ............................................................................ vi 1. Te Deum Laudamus..........................................................1 2. Tibi Cherubim.................................................................19 3. Te Gloriosus....................................................................33 4. Venerandum....................................................................50 5. Tu Rex Gloriae................................................................56 6. Dignare Domine..............................................................97 1st internet edition, May 2016 Preface to the Te Deum H.145 The most well-known Te Deum written by Marc-Antoine Charpentier (1643 - 1704) is his Te Deum H.146, which
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A President in the King's Palace, De Gaulle in Trianon 8 Versailles and the American War of Independence 10 Parties and Entertainment in the Court of Versailles 11
Major Events in 2016 Press contacts Hélène Dalifard Aurélie Gevrey Elsa Martin Violaine Solari + 33(0)1 30 83 75 21 presse@ch ateauversailles.fr Cover page: Wheel of the carriage from the coronation of Charles X. 1825 © Château de Versailles, C. Fouin Lighting up of the Belvedere and rock pavilions. Claude-Louis Chatelet. 1781 © RMN-GP (Château de Versailles), D. Arnaudet Dufour Pavilion © Château de Versailles, C. Milet Th e Queen's House © Château de Versailles, C. Milet Gilbert Mottier, Marquis de La Fayette. Joseph-Désiré Court. 1834 © RMN-GP(Château de Versailles), Rights reserved 3 Contents Exhibitions 5 Olafur Eliasson versailles 6 a President in the king's palace, De Gaulle in Trianon 8 Versailles and the American War of Independence 10 Parties and entertainment in the court of Versailles 11 Exterior exhibitions 13 Angers: the taste for finery. Portraits from the Palace of Versailles 14 tokyo : Marie antoinette 15 Canberra : VErSAILLES : TrEASUrES OF THE PALACE 16 Events 19 A new reception area for the public: the Dufour Pavilion 20 Opening of the Coaches Gallery 22 Modifications to visit routes 24 major Works 27 On the estate 28 In the palace 32 château de Versailles spectacles 35 Versailles inspires 41 A numbered, limited edition Guerlain perfume 42 Arthus-Bertrand creates a collection of medallions 43 Practical information 45 Part I Exhibitions 6 Part I — Exhibitions Olafur Eliasson Versailles 7 June - 30 october Every time a season of contemporary art at Versailles comes around, we once again experience the myst erious, exhilarating meeting of artist and site. Olafur Eliasson’s mind is in perpetual motion, but he is sp aring with his words and gest ures.
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TE DEUM Jean-Baptiste Lully ~ Marc-Antoine Charpentier
5 La Chapelle Royale du Château de Versailles TE DEUM Jean-Baptiste Lully ~ Marc-Antoine Charpentier Le Poème Harmonique Capella Cracoviensis Vincent Dumestre Collection Versailles Alpha 952 TE DEUM ****************************** Marc-Antoine CHARPENTIER - H.146 1 Prélude 1’20 2 Te Deum laudamus 1’01 3 Te aeternum Patrem 4’08 4 Te per orbem terrarum 4’15 5 Tu devicto mortis aculeo 1’12 6 Te ergo quaesumus, famulis tuis subveni 2’13 7 Aeterna fac cum sanctis tuis 2’15 8 Dignare Domine / Fiat misericordia 3’59 9 In te, Domine speravi 2’12 Retrouvez les textes chantés en cliquant ICI You can find the lyrics if you click HERE ~ 2 ~ Jean-Baptiste LULLY - LWV.55 10 Te Deum laudamus 2’57 11 Tibi omnes angeli 1’15 12 Pleni sunt caeli et terra 3’18 13 Patrem immensae majestatis 3’52 14 Tu rex gloriae, Christe 2’59 15 Tu ad dexteram Dei sedes 1’15 16 Te ergo quaesumus, famulis tuis subveni 3’30 17 Salvum fac populum tuum, Domine 4’45 18 Dignare Domine die isto 6’47 19 In te Domine speravi 2’04 ~ 3 ~ LE POÈME HARMONIQUE Vincent Dumestre, direction SOLISTES Amel Brahim-djelloul, dessus Aurore Bucher, dessus Reinoud Van Mechelen, haute contre Jeffrey Thompson, taille Benoît Arnould, basse CHŒUR Capella Cracoviensis Jan Tomasz Adamus, direction Michalina Bienkiewicz, Ilona Fijał-Zając, Jolanta Kowalska, Magdalena Łukawska, Sylwia Olszyńska, Antonina Ruda, Katarzyna Wajrak, dessus Anna Bober, Łukasz Dulewicz, Dorota Dwojak-Tlałka, Katarzyna Freiwald, Helena Poczykowska*, Magda Niedbała, haute contre Maciej Gocman*, Szczepan Kosior, Karol Kusz, Krzysztof
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~%.~9J BA~1LR Cablea Cadmusic Les Arts Florissants at Bampage -2
PRESS BROOKLYNACADEMY OF MUSIC PRESENTS LES ARTS FWRISSANTS IN AN EVENING OF SACREDWORKS BY MARC-ANTOINECHARPENTIER ONE PERFORMANCEONLY --- NOVEMBER20, 1991 WILLIAM CHRISTIE AND LES ARTS FWRISSANTS RETURN FOR THEIR FIRST BAMENGAGEMENT SINCE THEIR APPEARANCEIN THE CRITICALLY ACCLAIMEDOPERA , ATYS The Brookyn Academy of Music will present France's premier baroque vocal and instrumental ensemble, Les Arts Florissants, under the direction of William Christie, in an evening of sacred works by Marc-Antoine Charpentier for one performance only, November 20 , 1991 in the BAMOpera House . The evening's program will consist of two Charpentier masterworks, Assumpta est Maria and Te Deum, complimented by Charpentier's Psalums David "Laetatus sum" and Jacques Philidor's Marche de timbales (timpani solo). Marc-Antoine Charpentier (1643-1704) is considered the most romantic of the French baroque composers. William Christie, along with Les Arts Florissants, are credited with revitalizing public interest in and critical appreciation of the works of Charpentier. It is believed that Charpentier composed the Mass, Assumpta est Maria, for a special occasion . Given the title of the work, it was perhaps composed for the feast of the Assumption . Not only does he set the five normal Ordinary items-- Kyrie, Gloria, Credo , Sanctus, and Agnus Dei-- but he adds a setting of Psalm 19, verse 10, (Domine saluvm fac regem) a prayer for the health of the king, which was the usual musical conclusion of Masses in the Chapelle Royale. Te Deum was the first modern "hit" among the compositions of Charpentier, and the beginning of its orchestral prelude is universally known as the motif of Eurovision .
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Les Arts Florissants William Christie, Music Director and Harpsichord Sophie Daneman, Stage Direction
Thursday, November 9, 201 7, 8pm Zellerbach Hall Les Arts Florissants William Christie, music director and harpsichord Sophie Daneman, stage direction PROGRAM Actéon by Marc -Antoine Charpentier (1643 –1704) Actéon Reinoud Van Mechelen Diane Elodie Fonnard* Junon Lea Desandre* Hyale Maud Gnidzaz Arthébuze Rachel Redmond* Daphné Virginie Thomas Chasseur Renato Dolcini* INTERMISSION Dido and Aeneas by Henry Purcell (1659 –1695) Dido Lea Desandre* Belinda Rachel Redmond* Second Woman Elodie Fonnard* Aeneas Renato Dolcini* Sorceress Carlo Vistoli* First Witch Maud Gnidzaz Second Witch Virginie Thomas Spirit/Sailor Reinoud Van Mechelen * former laureate of Le Jardin des Voix, Les Arts Florissants’ academy for young singers Cal Performances dedicates this performance to the memory of Ross E. Armstrong, beloved trustee and longtime subscriber and donor, who passed away on August 29, 2017. Ross, in turn, had dedicated this performance in memory of his spouse and partner of 32 years, Jonas (Jay) K. Stern, who pre-deceased Ross in 2015. Major support provided by The Bernard Osher Foundation. Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. 15 PROGRAM NOTES Actéon certain things in it incite us to other deductions: Within the last few years, Marc -Antoine Char - for instance, the Plainte in the fourth scene pentier has become the most recorded French mentions “no flutes.” Might one not also ima - composer of the Grand siecle. Paradoxically, he gine two supplementary flutes in the Princess’ has remained a rather elusive figure and this ensemble? “forgotten French composer,” whom Claude Nonetheless, one must continue to assume a Crussard rediscovered in 1945, scarcely emerges small ensemble.
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Fountains Night Show
SOUTH THE NIGHT FOUNTAINS SHOW ORANGERY PARTERRE IN FIGURES Built by Jules Hardouin-Mansart between 1684 and 1686, it 05pm 05pm : 11 to 50pm : from 10 from consists of a large central vaulted gallery 150 metres long, Final Fireworks Final prolonged by two side galleries located under the Hundred 14 Steps staircase. During the summer months, the Parterre shows 40pm 40pm : 10 to 35pm : in 2018 8 from of the Orangerie, forming four stretches of lawn around a Water displays displays Water circular pond, receives up to 1,055 trees in tubs, that spend the winter inside the building. 45pm 45pm : 10 to 30pm : 600 A closed circuit water 8 from Closed the 23rd June for the Grand Masked Ball of Château de Versailles, and the 30th water consumption of displays musical and light open, exceptionally Groves June, 7th and 16th July for the pyrotechnic show Marie-Antoinette. features 3 September 15 to June 4500 m 16 from Saturdays th th MIRROR FOUNTAIN 55 per hour pools & Louis XIV ordered this basin in 1702. In the spirit of the fountains fountains Fountain! Apollo's the over F Groupe of Le Nôtre, but with modern technical means, the Fountains dazzling fireworks display by by display fireworks dazzling a A grand finale with finale grand A Night Show is presented. music. of sound the to playing gardens of Château de Versailles with the fountains fountains the with Versailles de Château of gardens • A team of Jean-Baptiste Lully Versailles, l'île enchantée: Reprise de la marche A 35 km illuminated magnificently the in stroll enchanting An pour la cérémonie des Turcs (extracts) 13 piping system unchanged Te Deum Charpentier & Lully: Te Deum laudamus (extracts) fountain th since the 17 century Marc-Antoine Charpentier • Te Deum Charpentier & Lully: engineers Prélude – Te aeternum Patrem – In Te, Domine speravi (extracts) KING’S GARDEN 15 77 Visitors strolling through this garden will be guided by groves open hectares of strange pyramids of light inspired by oil-papers of the period.
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Marc-Antoine Charpentier
MARC-ANTOINE CHARPENTIER MESSE LITANIES TE DEUM FONDATION SOCIÉTÉ GÉNÉRALE POUR LA MUSIQUE LA SOCIÉTÉ GÉNÉRALE ET "LES ARTS FLORISSANTS" RENCONTRE DE LA MUSIQUE BAROQUE ET DU TALENT Lancée en 1987, la Fondation Société Générale pour la Musique contribue au développement de la pratique et de la connaissance musicales, assure sa diffusion dans tous les milieux et favorise l'éclosion de jeunes talents comme la sauvegarde du patrimoine musical. Son soutien aux Arts Florissants s'inscrit dans cette perspective. Ensemble vocal et instrumental de premier plan fondé par William CHRISTIE en 1979, "Les A rts Florissants*joue un rôle capital dans la redécouverte d'œuvres de compositeurs baroques français et européens, et dans la formation de jeunes chanteurs et instrumentistes de talent. FONDATION SOCIÉTÉ GÉNÉRALE POUR LA MUSIQUE MARC-ANTOINE CHARPENTIER (1643-1704) Assumpta est Maria Missa sex vocibus cum simphonia pour solistes, chœur, flûtes, cordes et basse continue, H 11 Entracte Litanies de la Vierge à 6 voix et deux dessus de violes, H 83 Te Deum pour solistes, chœur, vents, trompettes, timbales, cordes et basse continue, H 146 VERSAILLES le 1er octobre 1988 à 21 h 30 Église Notre-Dame (Paroisse Royale) le 2 octobre 1988 à 20 h 30 Église Notre-Dame (Paroisse Royale) Retransmis en direct sur France Musique A l'invitation du Centre de Musique Baroque de Versailles à l'occasion des journées M.A. Charpentier 1988 CENTRE DE MUSIQU E BAROQU E VERSAILLES Avec la participation de la Fondation Société Générale pour la Musique du Ministère de la Culture
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Les Arts Florissants, William Christie
MARDI 17 NOvembre – 20H Les grands motets pour la Chapelle du roi Jean-Baptiste Lully Te Deum Henry Desmarest Usquequo Domine entracte Jean-Philippe Rameau Deus noster refugium André Campra Exaudiat te Dominus | Mardi 17 novembre | Mardi Les Arts Florissants William Christie, direction Amel Brahim-Djelloul, dessus Emmanuelle de Negri, dessus Toby Spence, taille et haute-contre Cyril Auvity, taille et haute-contre Marc Mauillon, basse-taille Alain Buet, basse William Christie William | Ce concert est diffusé en direct sur les sites Internet www.citedelamusique.fr, www.sallepleyel.fr et www.arteliveweb.com. Il y restera disponible gratuitement pendant deux mois. Ce concert s’inscrit dans le cadre d’un festival coproduit par la Salle Pleyel, la Cité de la musique et le Barbican Centre de Londres à l’occasion du 30e anniversaire des Arts Florissants. rts Florissants Fin du concert vers 22h15. A Les Les La forme religieuse indissociable des règnes de Louis XIV et de Louis XV est celle du grand motet dit « versaillais » que l’on pouvait entendre dans les principaux offices (messe, vêpres, saluts du saint sacrement…) de la Chapelle royale, ainsi que dans les grandes églises parisiennes et métropolitaines. La création du grand motet est due, à la fois, à Lully (son Miserere de 1663 devient une sorte de modèle) et aux deux maîtres de la Chapelle royale alors en fonction, Henry Du Mont et Pierre Robert. Les motets français sont le plus souvent composés sur les textes des Psaumes de David qui connaissent alors une exceptionnelle faveur transparaissant à travers l’édition de nombreuses traductions et paraphrases.
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