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Cypres | BARROCA | CORAL | RELIGIOSA (1 CD)

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16,95 €

André Campra; Jean-François Dandrieu
Pequeños motetes


REF.: CYP 1665
EAN 13: 5412217016654
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el viernes 18/10/2019


FECHA DE PUBLICACIÓN
30/11/2012

INTÉRPRETES

Jean-François Lombard, tenor agudo
Jean-François Novelli, bajo cantante
Marc Labonette, bajo

Les Folies Françoises
Patrick Cohën-Akenine, director



CONTENIDO

André Campra (1660-1744) / Jean-François Dandrieu (1682-1738)*:

Petits Motets

01. 1er Livre de pièces d'orgue : Magnificat*
02-06. Jesu amantissime!
07. 1er Livre de pièces d'orgue : Magnificat*
08-10. Beati omnes
11. 1er Livre de pièces d'orgue : Magnificat*
12-15. Immensus es, Domine
16-19. Sonate en trio n°1*
20-24. Quam dilecta
25. 1er Livre de pièces d'orgue : Magnificat*
26-31. Salvum me fac Deus

1 CD - DDD - 64'38''


RESEÑA (La Quinta de Mahler)

In the France of Louis XIV, from the 1640s onward, the petit motet (small motet), like the larger-scale motet à grand chœur or grand motet, was one of the two forms of religious music most current in the context of liturgical practice. While the grand motet drew its texts principally from the psalms, the petit motet, intended for the more intimate moments of the liturgy, favours texts of a more spiritual and reflective nature. In the early 18th century the petit motet, like instrumental music or the cantata, constituted a testing ground for the Italian style, then growing in favour in musical circles. The petit motet thus took on more ample proportions; indeed, some examples became comparable in scale to the motet à grand chœur. André Campra (1660-1744) is indisputably one of the key figures in the evolution of the genre, so consummately traced in the works on this recording. The motet s performed here by the Folies françoises are to be found in the albums dating from 1695, 1699 and 1706 and richly demonstrate Campra’s contribution to this genre of religious music over the 25 years before he took up his prestigious royal appointment in 1723. In his hands, the genre gradually blurred the barriers between the sacred and secular, notably by bringing greater theatricality to the musical discourse. In the early 18th century, the closeness of the sacred petit motet to its secular equivalent, the cantata, gradually became more apparent as it acquired more worldly trappings, notably a greater inclination to vocal virtuosity and an assertion of its value as a musical work in its own right. For all that, Campra’s petits motets are imbued with a deep spirituality, eloquently and movingly expressed in this recording, which bears witness to the great sensitivity of one of France’s most fascinating composers.

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