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Charpentier: Motets Pour Une Princesse

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£11.97 & FREE Delivery in the UK on orders dispatched by Amazon over £20. Details Only 4 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

Product details

Track Listings

Disc: 1

  1. Pour Un Reposoir, H. 523
  2. Ave Verum Corpus, H. 329
  3. Grand Prélude à 5 Parties, à 2 Choeurs
  4. Domine Dominus Noster, H. 163
  5. Trio
  6. Cornet Ou Tierce
  7. Gaudia Beatæ Virginis Mariæ, H. 330
  8. Dialogue De Récits, Et De Trios
  9. Quam Dilecta, H. 186
  10. Duo
  11. De Profundis, H. 232
  12. Tierce En Taille
  13. Usquequo Domine, H. 196
  14. Dialogue En Fugue

Product Description

Product Description

The Motets pour une Princesse is the Ensemble Marguerite Louise’s first release for L’Encelade, a label specialising in baroque music set up by Stéphane Breyer in 2010. In the late 1660s, Charpentier came back from a long journey to Italy and settled in Paris. He took up residence at the home of Marie de Lorraine, Princess de Joinville, Duchess de Joyeuse and Duchess de Guise, who had a large townhouse in the Rue de Chaume. Mademoiselle de Guise was a great music lover and offered Charpentier a wonderful environment, allowing him to work on his art under ideal conditions. This meant he was able to surround himself with musicians and singers of the very highest quality; indeed the musical standard at the Hotel de Guise rivalled that of the Court. In the words of Le Mercure Galant, “The music of many great sovereigns does not come close”. The result was that Charpentier composed his most expressive works during the time he spent living here, switching between theatrical spirituality, rhetorical genius and emotional discourse. Of the six motets by Charpentier presented here - most of which are recorded for the first time and have been chosen for their diversity of climate and writing style - four are musical settings of psalms, one uses a prayer to the Blessed Sacrament and the other an ode to the Virgin Mary. All of these works are written for three solo voice and two instrumental dessus in addition to the basso continuo, except for psalm 12 (H 196), which has four voic-es and a bass flute, rather an unusual instrument in this repertoire. We have two books of organ music by Jacques Boyvin (the first published in 1689, the second in 1700), each containing eight suites, one in each ecclesiastical tone. The chosen extracts allow us to enjoy a variety of mixtures all characteristic of French baroque organ music. Their flavour further enhances a musical language which is both concise and expressive, with an enormous con-centration of melodic and harmonic idioms which bring it even closer to Charpentier’s own style, with delicious hints of modality adding extra colour to the discourse.

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