Charpentier - Lecons de Tenebres; Litanies de la vierge; Magnificat; Ouverture pour le sacre d’un eveque 2018

Charpentier: Leçons de Ténèbres

Жанр: Clasical sacred
Страна-производитель диска: Made in England
Год издания диска: 2018
Издатель (лейбл): Hyperion Records
Номер по каталогу: CDA68171
Дата записи: 2018
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 01:13:15
Источник: релизер
-источник/ник/другое: Roy Movrich, подарок; Caterina Sforza - доп. сканы (cue не трогал)
: да, авторские сканы tif + web pdf буклет

Треклист

Litanies De La Vierge, H83 (16:45)

1 Kyrie Eleison 5:15

2 Speculum Iustitiae 2:47

3 Salus Infirmorum 5:01

4 Agnus Dei 3:41

5 Magnificat À 3, H73 9:26

6 Ouverture Pour Le Sacre D'Un Évêque, H536 14:26
Leçons de Ténèbres
Première Leçon De Ténèbres Du Mercredi Saint, H120 (10:44)
Baritone Vocals - Stéphane Degout

7 Prelude 0:54

8 Incipit Lamentatio Jeremiae Prophetae 0:57

9 Quomodo Sedet Sola Civitas Plena Populo 1:07

10 Plorans Ploravit In Nocte 2:00

11 Migravit Juda Propter Afflictionem 1:26

12 Viae Sion Lugent 1:53

13 Facti Sunt Hostes Eius In Capite 1:06

14 Jerusalem, Jerusalem, Convertere Ad Dominum Deum Tuum 1:17
Seconde Leçon De Ténèbres Du Mercredi Saint, H138 (13:07)
Tenor Vocals - Samuel Boden

15 Vau. Et Egressus Est A Filia - 2:54

16 Zain. Recordata Est Jerusalem Dierum Afflictionis Suae 3:09

17 Peccatum Peccavit Jerusalem - 2:43

18 Teth. Sordes Eius In Pedibus Eius 2:46

19 Jerusalem, Jerusalem, Convertere Ad Dominum Deum Tuum 1:33
Troisième Leçon De Ténèbres Du Mercredi Saint, H123 (19:00)
Baritone Vocals - Stéphane Degout

20 Prelude 1:26

21 Jod 0:21

22 Manum Suam Misit Hostis 2:32

23 Omnis Populus Eius Gemens 1:59

24 Lamed 1:01

25 O Vos Omnes Qui Transitis Per Viam 2:08

26 Mem 1:03

27 De Excelso Misit Ignem In Ossibus Meis 2:26

28 Nun 1:13

29 Vigilavit Iugum Iniquitatum Mearum 1:57

30 Jerusalem, Jerusalem, Convertere Ad Dominum Deum Tuum 2:49

Исполнители

Marc-Antoine Charpentier (1643-1704)
Litanies de la vierge à 6 voix et 2 dessus de violes, H83
Magnificat à 3, H73
Ouverture pour le sacre d’un évêque, H536
Première leçon de ténèbres du Mercredi saint, H120
Second leçon de ténèbres du Mercredi saint, H138
Troisième leçon de ténèbres du Mercredi saint, H123
Stéphane Degout (baritone)
Samuel Boden (tenor)
[u]Arcangelo[/u]
Choir:
Zoë Brookshaw, Anna Dennis - soprano
Anna Harvey - mezzo-soprano
Samuel Boden, Thomas Walker - tenor
Aashley Riches - bass
Jonathan Cohen (conductor)
Recording Location: St. Jude-on-the-Hill, Hampstead Garden Suburb, London
Audio CD (June 1, 2018)

Reviews

Editorial Reviews
Arcangelo continues their stellar reputation as one of today's leading early music ensembles. With contributions from tenor Samuel Boden and baritone Stéphane Degout, this exquisite program of sacred music by Charpentier is a major addition to the discography of the French Baroque.

Review
AllMusic Review by James Manheim [-]
Marc-Antoine Charpentier studied in Italy with Giacomo Carissimi, and he was one of the first composers to introduce aspects of Italian styles to France. His big motets lend themselves naturally to operatic singing, and even in liturgical works like the ones collected on this release, the Italian influences are still there. Sample the Magnificat à 3, with its ground bass-like construction and its unusual texture, including three male voices (bass, tenor, and haute-contre). The opening Litanies de la vierge are for a six-voice group, but the bulk of the program consists of the titular Leçons de ténèbres, solo works (two for bass and one for haute-contre) with a small ensemble to which is given a good quantity of expressive writing and contrapuntal clashes. Nevertheless, the ensemble Arcangelo and director Jonathan Cohen keep the feeling sparse. The two named soloists, tenor Samuel Boden and baritone Stéphane Degout (the other soloists are drawn from the larger Arcangelo group), contribute strongly to the overall effect, with only light vibrato and an impressive atmosphere of precise control. This is rather austere music in Cohen's hands, and he diverges from the overall trend toward the high-powered, intense Italianate interpretation of music of the middle Baroque. Its joys are subtle ones, and for the general listener the music may be a bit homogeneous. The bottom line: this is a strong realization of one way to perform Charpentier. About Hyperion's sound, sharp and edgy in London's St-Jude-on-the-Hill, there is no question.