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Charpentier: David et Jonathas, H. 490
Les Pages du Centre de Musique Baroque de Versailles
Opera - Released March 1, 2024 | Aparté
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Marc-Antoine Charpentier's David et Jonathas, setting the action-packed biblical story of Saul, has not often been recorded. William Christie and Les Arts Florissants fired the first shot in the late '90s, and there have been a few other attempts, but the work crosses categories -- not really an oratorio, with a limited role for the chorus, but not an opera in the conventional sense -- and this may have hurt it at the box office. The Centre de Musique Baroque de Versailles specializes in music of this period, and Charpentier is certainly right up this outfit's alley. The recording was made at Versailles, but its strength is actually that it reproduces the circumstances of its origin, which occurred elsewhere, at a Jesuit school in Paris. The music was intended to alternate with scenes from a play; here, conductor Olivier Schneebeli opts for declaimed readings from poetry by the 17th century writer Antoine Godeau. The work was written for young singers, not only in the children's choir but also a child in the lead role of Jonathas, and Natacha Boucher has a great deal of flair here, certainly sounding like a future star. All the singers are either children or male adults. The music is continuous, and Charpentier's writing sometimes falls into melody or recitative but is most often somewhere in between, shifting naturally with the text. Some of it is quite vocally spectacular, however; sample "Quelle importune voix vient importune mon repos," Act I, scene 4, with its bass line descending to Russian-liturgical depths. Although the opera has five acts and a prologue, it goes by quickly; no doubt with the original use in mind, Charpentier's concept is compact. What is most attractive about the work is how opposite it is to the splendor and formality of Lully; the role of the chorus is limited, and the focus is squarely on the characters. Baroque opera lovers will find something new and intriguing here.© James Manheim /TiVo
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Pachelbel: Canon & Gigue / Musique de chambre
London Baroque, Charles Medlam
Classical - Released July 31, 2007 | harmonia mundi
Les grandes œuvres de la musique baroque
Kölner Kammerorchester
Classical - Released August 1, 2003 | Naxos Special Projects - France
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While the pieces on The Best of Baroque Music have been trotted out countless times before, the Cologne Chamber Orchestra, led by Helmut Müller-Brühl, turns in refreshing performances that make this disc highly enjoyable. Its even tone and steady playing put this collection above most of the various artists compilations of the major labels, which, in comparison, seem thrown together without much thought toward consistency. Notable, too, is the avoidance of cliché. Obligatory pieces, such as Pachelbel's Canon (regrettably, without the Gigue) and Handel's Largo from Serse, are played fairly authentically and at a reasonable tempo, not like in the slushy romanticized arrangements that are better known. Similarly, the Air from Bach's Orchestral Suite No. 3 is not sentimentalized beyond recognition. All the pieces benefit from the ensemble's lean sound, which allows counterpoint to be heard in detail. Generous servings of the orchestral music of Bach, Handel, and Telemann give a good idea of their extremely varied output, much better than one or two token samplings ever could. And even the morose Adagio by Remo Giazotto -- long passed off as a work by Albinoni -- gets revamped in fine Baroque style with a faster tempo and a staccato continuo that make it sound interesting, for once. © TiVo
While the pieces on The Best of Baroque Music have been trotted out countless times before, the Cologne Chamber Orchestra, led by Helmut Müller-Brühl, turns in refreshing performances that make this disc highly enjoyable. Its even tone and steady playing put this collection above most of the various artists compilations of the major labels, which, in comparison, seem thrown together without much thought toward consistency. Notable, too, is the avoidance of cliché. Obligatory pieces, such as Pachelbel's Canon (regrettably, without the Gigue) and Handel's Largo from Serse, are played fairly authentically and at a reasonable tempo, not like in the slushy romanticized arrangements that are better known. Similarly, the Air from Bach's Orchestral Suite No. 3 is not sentimentalized beyond recognition. All the pieces benefit from the ensemble's lean sound, which allows counterpoint to be heard in detail. Generous servings of the orchestral music of Bach, Handel, and Telemann give a good idea of their extremely varied output, much better than one or two token samplings ever could. And even the morose Adagio by Remo Giazotto -- long passed off as a work by Albinoni -- gets revamped in fine Baroque style with a faster tempo and a staccato continuo that make it sound interesting, for once. © TiVo
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Musique Baroque De Telemann - performed according to the traditions of the time by Wolfgang Bauer Consort
Various Artists
Classical - Released January 22, 2010 | K&K Verlagsanstalt
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Musique Baroque de Telemann
Wolfgang Bauer Consort
Chamber Music - Released January 22, 2010 | K&K Verlagsanstalt
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Lully: Isis, LWV 54, Miserere, LWV 25 & Other Works
Les Symphonistes du Centre de Musique Baroque de Versailles
Classical - Released July 5, 2019 | Phaia Music
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Lejeune: Motets pour le culte catholique et psaumes protestants (Alpha Collection)
Les Pages & Les Chantres du Centre de Musique Baroque de Versailles
Classical - Released January 1, 2002 | Alpha Classics
Booklet
Henry of Navarre, a Huguenot, was required to convert to Roman Catholicism before he could be crowned Henry IV, King of France, in 1594. Claude le Jeune, also a Huguenot, was not required to convert when Henry appointed him Royal Composer in 1595 and thus was able to remain what he had always been, a devout French Protestant. In this survey of his settings of texts from both sides of the religious abyss that divided France in the sixteenth century, le Jeune shows himself as a great composer for either side. Indeed, although his setting of the Roman Catholic Magnificat is in the grand style of the state religion and his setting of the proto-Protestant Savonarola's meditation Tristitia obsedit me is in the austere style of the reformed faith, le Jeune never sounds less than wholly sincere, entirely spiritual, and utterly French. Olivier Schneebeli leads Les Pages & les Chantres at the Centre de Musique Baroque de Versailles in performances ideally unifying the divergent faiths in a common music of gentle rhythms, luminous harmonies, and flowing mellifluousness, calming the religious passions of the time in the balm of spiritual blessedness. Once again, Alpha's production values -- from the clarity of the sound to the beauty of the anonymous double portrait on the cover -- are all first-rate.© TiVo
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Lejeune: Muze honorons, l'illustre & grand Henry
Les Pages & Les Chantres du Centre de Musique Baroque de Versailles
Classical - Released January 1, 2002 | Alpha Classics
Henry of Navarre, a Huguenot, was required to convert to Roman Catholicism before he could be crowned Henry IV, King of France, in 1594. Claude le Jeune, also a Huguenot, was not required to convert when Henry appointed him Royal Composer in 1595 and thus was able to remain what he had always been, a devout French Protestant. In this survey of his settings of texts from both sides of the religious abyss that divided France in the sixteenth century, le Jeune shows himself as a great composer for either side. Indeed, although his setting of the Roman Catholic Magnificat is in the grand style of the state religion and his setting of the proto-Protestant Savonarola's meditation Tristitia obsedit me is in the austere style of the reformed faith, le Jeune never sounds less than wholly sincere, entirely spiritual, and utterly French. Olivier Schneebeli leads Les Pages & les Chantres at the Centre de Musique Baroque de Versailles in performances ideally unifying the divergent faiths in a common music of gentle rhythms, luminous harmonies, and flowing mellifluousness, calming the religious passions of the time in the balm of spiritual blessedness. Once again, Alpha's production values -- from the clarity of the sound to the beauty of the anonymous double portrait on the cover -- are all first-rate.© TiVo
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Musique Baroque Á La Cour Royale
Wolfgang Bauer
Classical - Released November 22, 2005 | K&K Verlagsanstalt
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Musique Baroque a la Cour Royale
Wolfgang Bauer Consort
Chamber Music - Released January 1, 2005 | K&K Verlagsanstalt
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Musique baroque et neo-baroque pour harpe
Volker Sellmann
Classical - Released January 1, 2006 | Christophorus
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Etienne Valoix L'Art de la Musique et de la Danse Baroque Quatre Suittes (1689 à Hannover), Vol. 1
Europäisches Barockorchester "Le Chardon" Leit. Hajo Wienroth
Classical - Released August 12, 2022 | Lunaris CD Produktion
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Charpentier: Grand motets à double chour
Les Pages et les Chantres du Centre de Musique Baroque de Versailles, Musica Florea, Olivier Schneebeli
Classical - Released January 1, 2005 | K617
Booklet
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Etienne Valoix L'Art de la Musique et de la Danse Baroque Quatre Suittes (1689 à Hannover), Vol. 2
Europäisches Barockorchester "Le Chardon" Leit. Hajo Wienroth
Classical - Released August 8, 2022 | Lunaris CD Produktion
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Grands Motets sur le Cantique des Cantiques
Olivier Schneebeli
Classical - Released October 22, 2021 | Château de Versailles Spectacles
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REFLETS
Grand Corps Malade
French Music - Released October 20, 2023 | Anouche Records
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Satie & compagnie (Satie, Ravel, Debussy, Hahn...)
Anne Queffélec
Classical - Released January 14, 2013 | Mirare
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Ellipses
Anastasia Kobekina
Duets - Released June 10, 2022 | Mirare
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Anastasia Kobekina suggests the history of the cello through ellipses, jumps in time between pieces from the 18th century, among the very first written for this instrument alone (Boccherini, Fesch, Galliard), and others from our time (Thierry Escaich, Jules Matton) which draw their writing processes and their sound palettes from the ancient repertoire. Whether it is a question of nostalgia, sometimes ironic, of homage or of intellectual and artistic transmission between composers, the compositions for cello are never born ex-nihilo. By returning to the sources of the Baroque era, composers write the present and the future of the cello. Anastasia Kobekina blurs the boundaries by building indescribable bridges between their so diverse writings. © Mirare
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Baroque
Nicola Benedetti
Classical - Released July 16, 2021 | Decca Music Group Ltd.
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Decca Classics is thrilled to announce a new Baroque album from violinist Nicola Benedetti. This is the first album she has released on a period set-up including gut strings, and she is joined by a leading group of freelance baroque musicians, forming the Benedetti Baroque Orchestra - for the very first time. The album features a selection of concerti by Vivaldi plus Geminiani’s incredible arrangement of Corelli’s La Folia, one of the oldest western classical themes which has been arranged by many composers over time, particularly in the baroque era. Geminiani was one of the greatest violinists of the era and Corelli was one of his teachers whilst growing up in Italy. Later when he moved to London, Geminiani reworked a number of Corelli’s works for local audiences including this arrangement of La Folia. © Decca Classics
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