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Hervé Niquet - Charpentier, M.-A.: Missa Assumpta Est Maria

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Charpentier, M.-A.: Missa Assumpta Est Maria

Marc-Antoine Charpentier - Anonymous

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Langue disponible : anglais

Missa Assumpta est Maria, the last of Charpentier's many mass settings, written about 1700, is considered his greatest work in the genre, and this splendid recording by Hervé Niquet supports that assessment. The mass offers further evidence that Charpentier, whose music was virtually unknown except to scholars until the late twentieth century, deserves a spot in the pantheon of the most exceptional Baroque composers. His music was controversial during his lifetime, and he wrote of his discouragement that he had as many vociferous detractors as supporters. What is most striking to modern listeners is probably the transparent emotion expressed in his music, which gives it an extraordinarily modern sensibility. He is best known for his noble and often achingly poignant religious works, but his secular love songs dazzle with their simplicity and unmannered charm, and other works reveal a wicked wit. This mass is notable for the warmth of Charpentier's choral and vocal writing, which often has an intensity and harmonic richness that practically give it a Romantic character, particularly in movements like Et incarnatus, from the Credo. Niquet's performance, with five soloists and the choir and orchestra of Le Concert Spirituel, beautifully captures the range of the music's luminous expressiveness while attending to the exquisite details of mid-Baroque French ornamentation and performance practice. The sound of the choir is large and warm, but always pure, with a lovely blend, and it plays intriguingly against the sometimes astringent timbres of the period instruments. The soloists sing with clean and focused tone. Niquet interpolates several other Charpentier works to liturgically fill out the mass, including an instrumental Offertory, an Elevation, a prayer for the King, a motet for dismissal, and a remarkable four-minute motet for unaccompanied bass voice following the Gloria, a setting taken mostly from an extended passage from the Epistle to the Hebrews. Glossa's sound is clear and ideally resonant.
© TiVo

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Charpentier, M.-A.: Missa Assumpta Est Maria

Hervé Niquet

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Missa Assumpta est Maria, H. 11 (Mass Text)

1
Kyrie: Sinfonie devant le premier
00:01:56

Herve Niquet, Conductor - Herve Niquet, Conductor

2
Kyrie: Premier
00:01:56

Herve Niquet, Conductor - Herve Niquet, Conductor

3
Kyrie: Sinfonie devant le Christe
00:01:33

Herve Niquet, Conductor - Herve Niquet, Conductor

4
Kyrie: Christe
00:01:22

Herve Niquet, Conductor - Herve Niquet, Conductor

5
Kyrie: Sinfonie devant le deuxieme
00:01:56

Herve Niquet, Conductor - Herve Niquet, Conductor

6
Kyrie: Deuxieme
00:02:21

Herve Niquet, Conductor - Herve Niquet, Conductor

7
Gloria: Gloria in excelsis Deo
00:00:13

Herve Niquet, Conductor - Herve Niquet, Conductor

8
Gloria: Et in terra pax hominibus
00:02:28

Herve Niquet, Conductor - Herve Niquet, Conductor

9
Gloria: Domine Deus, Rex caelestis
00:01:16

Herve Niquet, Conductor - Herve Niquet, Conductor

10
Gloria: Qui tollis pecatta mundi
00:02:00

Herve Niquet, Conductor - Herve Niquet, Conductor

11
Gloria: Quoniam tu solus sanctus
00:02:15

Herve Niquet, Conductor - Herve Niquet, Conductor

Pour plusieurs martyrs (Marc-Antoine Charpentier)

12
motet a voix seule sans accompagnement, H. 361, "Sancti Dei per fidem"
00:04:09

Herve Niquet, Conductor - Herve Niquet, Conductor

Missa Assumpta est Maria, H. 11 (Mass Text)

13
Credo: Credo in unum Deum
00:00:09

Herve Niquet, Conductor - Herve Niquet, Conductor

14
Credo: Patrem omnipotentem
00:01:46

Herve Niquet, Conductor - Herve Niquet, Conductor

15
Credo: Et in unum Dominum
00:01:47

Herve Niquet, Conductor - Herve Niquet, Conductor

16
Credo: Et incarnatus
00:01:26

Herve Niquet, Conductor - Herve Niquet, Conductor

17
Credo: Crucifixus etiam pro nobis
00:00:57

Herve Niquet, Conductor - Herve Niquet, Conductor

18
Credo: Et resurrexit
00:01:50

Herve Niquet, Conductor - Herve Niquet, Conductor

19
Credo: Et in spiritum
00:01:18

Herve Niquet, Conductor - Herve Niquet, Conductor

20
Credo: Confiteor unum baptisma
00:01:30

Herve Niquet, Conductor - Herve Niquet, Conductor

Credo (Mass Text)

21
Et vitam venturi saeculi
00:01:33

Herve Niquet, Conductor - Herve Niquet, Conductor

Pour un reposoir, H. 208 (Marc-Antoine Charpentier)

22
Ouverture
00:01:41

Herve Niquet, Conductor - Herve Niquet, Conductor

23
Tantum ergo
00:03:17

Herve Niquet, Conductor - Herve Niquet, Conductor

24
Allemande grave
00:03:25

Herve Niquet, Conductor - Herve Niquet, Conductor

Missa Assumpta est Maria, H. 11 (Mass Text)

25
Sanctus: Sinfonie du Sanctus
00:00:41

Herve Niquet, Conductor - Herve Niquet, Conductor

26
Sanctus
00:01:17

Herve Niquet, Conductor - Herve Niquet, Conductor

27
O salutaris hostia, H. 262
00:02:29

Herve Niquet, Conductor - Herve Niquet, Conductor

28
Benedictus pour l'Orgue
00:03:00

Herve Niquet, Conductor - Herve Niquet, Conductor

29
Agnus Dei: Sinfonie devant l'Agnus
00:01:18

Herve Niquet, Conductor - Herve Niquet, Conductor

30
Agnus Dei: Agnus Dei
00:01:28

Herve Niquet, Conductor - Herve Niquet, Conductor

31
Agnus Dei: Sinfonie derriere l'Agnus
00:01:12

Herve Niquet, Conductor - Herve Niquet, Conductor

32
Dominum salvum, H. 303
00:01:41

Herve Niquet, Conductor - Herve Niquet, Conductor

33
Domine salvum fac regem, H. 291
00:03:01

Herve Niquet, Conductor - Herve Niquet, Conductor

Descriptif de l'album

Missa Assumpta est Maria, the last of Charpentier's many mass settings, written about 1700, is considered his greatest work in the genre, and this splendid recording by Hervé Niquet supports that assessment. The mass offers further evidence that Charpentier, whose music was virtually unknown except to scholars until the late twentieth century, deserves a spot in the pantheon of the most exceptional Baroque composers. His music was controversial during his lifetime, and he wrote of his discouragement that he had as many vociferous detractors as supporters. What is most striking to modern listeners is probably the transparent emotion expressed in his music, which gives it an extraordinarily modern sensibility. He is best known for his noble and often achingly poignant religious works, but his secular love songs dazzle with their simplicity and unmannered charm, and other works reveal a wicked wit. This mass is notable for the warmth of Charpentier's choral and vocal writing, which often has an intensity and harmonic richness that practically give it a Romantic character, particularly in movements like Et incarnatus, from the Credo. Niquet's performance, with five soloists and the choir and orchestra of Le Concert Spirituel, beautifully captures the range of the music's luminous expressiveness while attending to the exquisite details of mid-Baroque French ornamentation and performance practice. The sound of the choir is large and warm, but always pure, with a lovely blend, and it plays intriguingly against the sometimes astringent timbres of the period instruments. The soloists sing with clean and focused tone. Niquet interpolates several other Charpentier works to liturgically fill out the mass, including an instrumental Offertory, an Elevation, a prayer for the King, a motet for dismissal, and a remarkable four-minute motet for unaccompanied bass voice following the Gloria, a setting taken mostly from an extended passage from the Epistle to the Hebrews. Glossa's sound is clear and ideally resonant.
© TiVo

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