Corrette

Michel Corrette was a French organist and composer with a long and prolific career. The two works here were composed 47 years apart, and the earlier Nouveau Livre de Noëls is not even an especially early work of this little-known composer. Despite the time difference, they don't differ sharply in style. The Messe pour le temps de Noël, composed in 1788, shows few traces of Classical-period opera or even of the late Baroque Italian vocal style, even though Corrette wrote a pedagogical work instructing his readers in the fine points of Italian music. The French style was simply extraordinarily persistent.

The performances are both elegant and stylish by soloist and ensemble. A lovely transparency of sound has been attained, aided considerably by this unusually beautiful organ. (…) The entire release bears the stamp, ‘exquisite’.

Michel Corrette belongs to that not so rare species of 18th century composers whose diligence was at times their undoing. He was so prolific that he was dismissed by some in posterity as a superficial prolific writer, a fate he shared with Vivaldi, for example. In his time, Corrette was simply a keyboard whiz: in Paris, he held various organist posts, among others in the service of the Jesuits, composed sacred and secular vocal and instrumental music, and directed a music school. Thus we owe him a number of excellent school works for various instruments. His musical passion, however, was for the queen of instruments: With his works, he was able to elicit a playful lightness from the organ, which is otherwise associated with powerful sounds, like hardly anyone else. In their new recording, Hannfried Lucke and the orchestra le phénix present the concertante character with virtuoso brilliance.

This extensive series has now reached volume 7 and will test the mettle of even the most fanatical lovers of music in the Czech lands. There is barely a name to cling to in the blizzard of diacriticals, and the like. Obscurity need not breed indifference - indeed it should be a spur to enthusiasm, in my book - and the programme has been thoughtfully compiled around the idea of Christmas and the winter season, so that a proper focus is given to what might otherwise be somewhat disparate.

A Noel is a French Christmas carol, and the ones here are sung by Les Pages du CMBV (Centre Musique Baroque de Versailles), a children's choir. Their voices do not soar, but they are not the stars of the show. Instead, the album is part of a series called L'age d'or de l'orgue français, and the main attraction is organist Gaétan Jarry, and even more so, the 1710 organ at the Versailles chapel. It's a marvelous instrument, clear in all registers, lively, and bracing. The composer-organists here are largely unknown today, at least outside France, but hearing these works, the listener may understand why crowd control police had to show up for performance by the likes of Claude Balbastre (1724-1799). Jarry performs the Noels with the choir singing verses in alternation with the organ.

L'influence de Francois Couperin sur ses contemporains et ses successeurs de l'école francaise de clavecin voire même à travers l'europe, tel est le programme éminement didactique de Davitt Moroney dans son pur style des années 1990, celui des émissions qu'il animait sur France Musiques.

It was in Amsterdam in 1740 that a lawyer named Hubert Le Blanc published an astounding work that defended the use of the bass viol at a time when the violin and the cello were becoming more and more important in Parisian musical life. This recording provides a musical equivalent of his essay, depicting the initial success of the bass viol and of Monsieur de Sainte-Colombe (celebrated in the film Tous les matins du monde), its moments of glory and, above all else, the repertoire of the viol, violin and cello during the first half of the 18th century.