MARC ANTOINE CHARPENTIER - Meditaciones para la Cuaresma‏ (grabacion)

MARC ANTOINE CHARPENTIER

Marc-Antoine Charpentier (1643 - 24 de febrero de 1704) fue un compositor del Barroco francés.

Fue un compositor prolífico y versátil, produciendo música de la más alta calidad en distintos géneros. La maestría de su composición en la música religiosa vocal fue reconocida por sus contemporáneos.

Curiosamente, llegó al gran público del siglo XX a través del "Te Deum", cuyo preludio, un rondó, ha servido de cabecera o sintonía para los programas televisivos distribuidos a través de la red de Eurovisión.

Eddie Konczal
The works of Marc-Antoine Charpentier (1643 - 1704) represent a revival of the grand tradition of French sacred music. The land that produced such giants of church music such as Leonin, Perotin, Machaut, and Dufay began to wane in importance during the mid-Renaissance. During the 16th and 17th centuries, France's prominence in sacred music was eclipsed by Italy (Palestrina, Monteverdi, and Carissimi), England (Byrd and Tallis), Spain (Morales and Victoria) and, finally, Germany (Schein, Scheidt and Schutz), where the tradition would culminate in the late Baroque period with the works of J. S. Bach.

Charpentier'

s sacred works were not influenced by his French predecessors, but by Giacomo Carissimi, an Italian composer of the early Baroque period who pioneered the oratorio form. Oratorios are essentially religious dramas set to music, performed without staging or costumes in churches or other religious settings - the most famous example being Handel's "Messiah," another culmination of the Baroque era.

Carissimi's influence is strongly felt in Charpentier, especially these "Meditations pour la Careme (Meditations for Lent)," a dramatic and rich work commemorating the passion of Christ. The Meditations do not actually constitute oratorio, but rather a series of "petit motets," musical settings of Latin texts to be performed with a small ensemble. The term "motet" signifies an older polyphonic form dating back to the late Middle Ages, and indeed Charpentier is clearly working within a well-established tradition. However, Charpentier incorporates distinctly Baroque elements, such as continuo, recitative, and arioso, thereby taking advantage of newer musical grammar to reach new levels of expressiveness in sacred music.

This recording, presented by Ensemble Pierre Robert, is nothing short of sublime. The singers (Marcel Beekman, Robert Getchell, and Robert Muuse) brilliantly convey the emotions present in Charpentier's setting of the Passion. The instrumentalists (violist Florence Bolton, theorbo player Benjamin Perrot, bassoonist Alexandre Salles, and organist Frederic Desenclos) play with stately and understated grandeur.

MEDITATIONS POUR LE CAREME

1. Desolatione, desolata est terra, H. 380
2. Sicut pullus hirundinis, H. 381
3. Tristis est anima mea, H. 382
4. Ecce Judas, unus de duodecim, H.
5. Cum cenasset Jesus, H. 384
6. Quaerebat Pilatus dimittere Jesum, H. 385
7. Tenebræ factæ sunt, H. 386
8. Stabat mater, H. 387
9. Sola vivebat in antris, H. 388
10. Tentavit Deus Abraham, H. 389
11. Pange lingua ( Nicolas de Grigny)
12. O Dolce, o ineffabile convivium H 270
13. Fugue à 5 (Nicolas de Grigny)
14. Verbum caro, panem verum H 267
15. Recit du Chant de l Hymne
16. O Amor, o bonitas H 253
17. Elevation pour la voix humaine
18. Prose pour le jour de Paques H 13

Ensemble Pierre Robert
Marcel Beekman - haute-contre
Robert Getchell - taille
Robbert Muuse - basse taille
Florence Bolton - viola de gamba
Benjamin Perrot - teorbo
Alesandre Salles - fagot

Frederic Desenclos – órgano - dirección

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