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Classical - Released February 5, 2021 | CPO

Booklet
Michel-Richard Delalande is regarded as one of the great composers of the French Baroque, and so it is not surprising that our prizewinning Boston Early Music Ensemble has now turned to him. Along with his many sacred works, Delalande also wrote for the various court occasions that required secular music. Les Fontaines de Versailles, the work occupying a central position on this release, above all contributed to Delalande’s increasing popularity. It was performed on 5 April 1683, some weeks before Delalande was appointed to the coveted post of “Sous-maître de Chapelle.” After the court had settled in Versailles with King Louis XIV in 1682, its musical microcosm also experienced a renewal. Les Fontaines de Versailles numbered among Delalande’s efforts to produce an oeuvre perfectly tailored for Versailles, both in its form as well as in its poetic content, thereby demonstrating his skill as a composer of »French music« and displaying it in a proper light for the king. It is with refined sophistication that Les Fontaines de Versailles evokes the special relationship between the king and his gardens. Delalande beyond doubt occupied the first place among Louis XIV’s favorites: in 1689 the king named the thirty-one-year-old his “Surintendant de la Musique de la Chambre,” a post that before only Jean-Baptiste Lully and then one of his sons had held. © CPO
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Sacred Vocal Music - Released March 9, 2015 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Choc de Classica - Exceptional Sound Recording
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Classical - Released October 19, 2018 | Glossa

Hi-Res Booklet Distinctions 4F de Télérama - Gramophone Editor's Choice
One of the great composing figures from the French Baroque, Michel-Richard de Lalande is starting to receive his just dues through modern recordings, and Glossa is happy to unveil a new release featuring Olivier Schneebeli directing Les Pages et Les Chantres du Centre de Musique Baroque de Versailles in three of Lalande’s sumptuous “grands motets”. Very much a favoured composer during the reign of Louis XIV, Lalande progressively assumed – from the 1680s onwards – more and more of the principal court offices, and was called upon to provide sacred music for the Chapelle Royale within the Château de Versailles. Although the new (and ‘definitive’) chapel was not consecrated until 1710, the trio of “grands motets” (extended multi-movement choral and solo settings, typically of Psalms, with instrumental accompaniment) recorded here will have been conceived of according to the chapel’s architectural and acoustical characteristics. Thomas Leconte, from the CMBV, provides an illuminating historical backdrop in his booklet essay. Much detailed performing information from Lalande’s time is known today – including number of instrumental forces used and about the composer’s later revisions of his scores – and Venite, exultemus Domino, De profundis and Dominus regnavit all receive expressive and meticulously-prepared performances within the Chapelle Royale itself. To the quality of preparation of the CMBV “maîtrise” can be added the presence of a quartet of vocal soloists deeply experienced in the style of music from this time: Chantal Santon-Jeffery, Reinoud Van Mechelen, François Joron and Lisandro Abadie. Likewise, the contribution of Jana Semerádová’s Collegium Marianum provides exemplary instrumental support to Schneebeli’s direction in this new CMBV production. © Glossa
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Classical - Released April 13, 2018 | Alpha

Hi-Res Booklet
In 1682, Versailles became the main residence of Louis XIV and it needed new assistant chapel masters; in the end, the King imposed his choice, and that was Lalande, the King's favourite, a young man of 26 who would become Versailles's great composer of religious music. Bringing a new vision of the orchestra after the inflexible Lully, he dared to create completely new musical architectures, with new orchestral combinations that his predecessors never attempted, foregrounding some rarer solo instruments. In this sense, he represents the missing link between Lully and Rameau, the last scion of the French baroque orchestral tradition. For this record, a little stone in the monument to Lalande's 77 great motets, Vincent Dumestre and his Poème harmonique have chosen to showcase his first sallies in writing for the Chapelle Royale with Ecce nunc from 1683 and above all the grandiose Deitatis majestatem from 1681, and the record runs up to the final corrections – Lalande incessantly edited his work – of the Te Deum. This work provides the most striking sonic image of majesty: the Te Deum, composed in 1684, was re-written many times up until the 1720s, the date of the final signed edition. This version, which shows the later development of Lalande's writing, is also made remarkable because in it the composer has noted the precise duration of each verse! This gives us a precise idea of the metronomical tempos that he used – and what a precious tool for today's musicians. This album, recorded in public at the Chapelle Royale in Versailles, follows this demanding and unflagging rhythm to within a few dozen seconds. © SM/Qobuz
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Classical - Released January 1, 1964 | Warner Classics

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Classical - Released March 18, 1991 | harmonia mundi

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Classical - Released January 23, 2015 | Challenge Classics

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Classical - Released September 12, 2011 | Past Classics

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Classical - Released December 1, 2007 | BIS

Hi-Res Booklet
The Leçons de Ténèbres, or "lessons of darkness," represent a special use during Holy Week of the biblical Lamentations of Jeremiah -- they are sung (or read) in services that conclude with the extinguishing of a candle. When the series of nine services is complete, the last candle is put out and the congregants are left in darkness. François Couperin composed a set of nine lessons, but only the three performed here survive. Each verse begins with the intonation of a letter of the Hebrew alphabet. The lessons are for one or two solo voices with continuo and are in a conservative, rather minimal style that bears a spiritual affinity to the later works of Schütz -- quite a contrast from the sensual world of Couperin's keyboard music. Various good recordings exist, but few have the sheer vocal perfection of this version by veteran sopranos Emma Kirkby and Agnès Mellon. The highlight of the disc is the third lesson (track 3), where they sing together -- the contrast between their voices, Kirkby's less crystalline than it used to be but no less light and agile, Mellon's meatier and sharper -- is a sublime thing. An hour of this music is a lot unless you're in an appropriately contemplative mood, and the vocal purity can wear on you after a while; the interpretations here are not particularly dramatic or "lamenting." Contrast is provided, however, by the inclusion of Tenebrae lessons by Michel-Richard de Lalande -- they are cut from the same cloth as Couperin's but are more tuneful, and you realize just how much Couperin has done to maintain a pitch of intensity. The disc is beautifully recorded, and those who are sent into orbit by Emma Kirkby's voice will be amply rewarded here; she hasn't lost a step. © TiVo
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Classical - Released January 1, 1960 | BnF Collection

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Classical - Released July 17, 2020 | Arion

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Classical - Released January 1, 1957 | BnF Collection

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Classical - Released January 1, 1962 | BnF Collection

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Alternative & Indie - Released May 12, 2021 | Orchestre d’Astarac

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Classical - Released January 1, 1961 | BnF Collection

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Symphonic Music - Released January 1, 1959 | BnF Collection

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Classical - Released January 1, 1961 | BnF Collection

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Classical - Released January 1, 1956 | BnF Collection

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Classical - Released January 1, 1955 | BnF Collection

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Classical - Released January 1, 1956 | BnF Collection

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