Delalande

Organisé en 12 chapitres comme 12 leçons particulières, cet ouvrage fait le récit de la transformation politique et sociale dans l'Europe du XIXe siècle, entre la fin des guerres napoléoniennes et « l’ère des masses » qui se dessine à l’aube du XXe siècle. …

Called the Latin Lully"(whose worthy successor he was for 43 years under Louis XIV and Louis XV), Delalande took the "grand motet" practised at Versailles to the peak of its glory and its popularity. The Te Deum of 1684 is the epitome of his achievement in the genre, and it was organised, composed, and performed with the care reserved for true masterpieces. The listener will be equally astonished by the manner in which Delalande sets the words of Psalms 110 (111) and 137, whose emotional impact goes far beyond the conventions of the genre.

Petits Motets were generally sung in the Royal Chapel during the Mass between a Grand Motet and the Domine salvum fac Regem. The most extended piece here is a Miserere for solo voice by the King's surintendant de la musique, Lalande. In fact the nine solo verses are sung in alternation with plainchant which would have been intoned by nuns. William Christie, who directs this intimate sequence, divides the solo spoils of this expressive piece between three of his sopranos, Veronique Gens, Sandrine Piau and Arlette Steyer. It would be hard to assemble three more persuasive sopranos than these to execute the music. Their almost faultless intonation, fresh-sounding voices and careful expression are both musically delightful and contextually apposite. Comparisons between the three are, perhaps invidious but Steyer sounds the least assured, technically and stylistically, among them.

La Simphonie du Marais under their director Hugo Reyne are terrific. They bring this music alive with such stylish performances that bring fine textures, variety, colour and often some exotic moments, Hugo Reyne knowing just how to lift these suites to reveal every fine moment … These performances remain the benchmark.