Michel Chapuis

The earliest full organs in Europe were built before the development of a specific repertoire for the instrument. Taken from historic recordings made between 1963 and 1973, this set is now being reissued for third time - proof that the interpretations of Francis Chapelet, Michel Chapuis, René Saorgin and Helmut Winter are still as fresh as ever. Here they breathe new life into instruments of major historical interest from all over Europe, dating from the late 15th century to the 18th. A thrilling musical voyage across periods and repertoires…
Francis Chapelet plays the organs of Palma de Mallorca (Sant Agusti: organ of the monastery by Caimari-Bosch, late 17th century; Sant Geroni: organ by Matheu Bosch, 1746), Trujillo (organ of St Martin’s church, early 18th century) and Covarrubias (organ of the collegiate church by Diego de Orio Tejada, 17th-18th centuries). René Saorgin plays the organs of Malaucène (organ by Charles Boisselin, 1712), Brescia (San Giuseppe: organ by Graziadio Antegnati, 1581) and Bastia (Sainte-Marie: organ by Serassi, 1844). Michel Chapuis plays the organs of Marmoutier (André Silbermann, 1710) and Saint-Maximin (Jean-Esprit Isnard, 1772). Helmut Winter plays the organs of Trebel (Johann Georg Stein senior, 1777) and Altenbruch (Coci-Klapmeyer, 1498-1730).

Vers le milieu du XVIIe siècle, Louis XIV encore enfant, Mazarin fait son possible pour imposer l'art italien aux Français – dont il avait pris la nationalité en 1639 –, invitant compositeurs, chanteurs et même machinistes à traverser les Alpes. Mais la majorité de la Cour, le Clergé en premier lieu, voit d'un mauvais œil ces représentations coûteuses où passions et plaisirs amoureux sont applaudis. Il faut attendre Lully pour les réconcilier avec l'opéra, notamment en favorisant une ornementation plus sobre, mettant en valeur la compréhension du texte. À la fin du siècle, exprimant les sentiments de manière moins dispendieuse, apparaît la cantate, nouvelle forme de musique vocale profane à l'usage des salons et des salles de concerts..

After her studies at music school, Moscow (1972–1980, diploma in Piano, Summa cum laude), Marina Tchebourkina graduated in 1984 from Academic Music College under the Moscow State Tchaikovsky Conservatory (4-year cycle), where she recieved her diploma Summa cum laude in Music Theory, with specializations in Piano and in Organ…

After her studies at music school, Moscow (1972–1980, diploma in Piano, Summa cum laude), Marina Tchebourkina graduated in 1984 from Academic Music College under the Moscow State Tchaikovsky Conservatory (4-year cycle), where she recieved her diploma Summa cum laude in Music Theory, with specializations in Piano and in Organ…

Almost all the music performed on these separately available discs is, or has been, available in competing versions. But Le Concert Spirituel under Hervé Niquet’s experienced direction achieves an expressive intensity which overshadows its rivals. Charpentier wrote over 30 Tenebrae for the last three days of Holy Week and their texts, drawn from the Lamentations of Jeremiah, inspired the composer to extraordinary heights of anguished declamation. Much of the music is a skilful blend of French court air with Italian monodic lamentazioni, which he had encountered during his three years in Rome as Carissimi’s pupil. The five Lenten (Carême) Meditations on the path to Christ’s Crucifixion belong to a group of ten such pieces which are hardly less striking than the Tenebrae for their expressive ardour. If the performances are not always refined, they lack nothing in respect of fervent and idiomatic declamation.