Although better known as the leading composer of late
Baroque grands motets, writing over
seventy such compositions, Michel-Richard
de Lalande’s (1657-1726) posts at the Musique de la Chambre du Roi led him
to compose smaller scale compositions such as his Leçons de Ténèbres. Written for use during Holy Week they conformed
to the guidelines of sobriety and restraint expected by the Church.
A new release from
Harmonia Mundi www.harmoniamundi.com/#/home
brings his III Leçons de Ténèbres et le Miserere a voix seule (Ténèbre lessons
and Miserere for single voice), published in 1730 after the composer’s death,
performed by Ensemble Correspondances www.ensemblecorrespondances.com
and
directed by Sébastien Daucé www.ensemblecorrespondances.com/blog/artist/sebastien-dauce
with
soprano Sophie Karthäuser www.orfeo-artist-management.de/sophie-karthaeuser-sopran.html?&L=1
 |
| HMC 902206 |
Ensemble Correspondances is a suitably small ensemble
consisting of harpsichord, two bass viols, theorbo, lute and organ. The choir,
used selectively in certain parts of the work, consists of six sopranos and
three mezzo-sopranos.
The published score of Lalande’s Leçons de Ténèbres does not
give a complete cycle of Leçons, only the third for each of the holy days, Holy
Wednesday, Maundy Thursday and Good Friday.
This recording opens with the antiphon, O Mors (O death) where the choir take the part that would have been
sung by nuns, bringing some lovely sonorities.
Lalande’s Miserere follows with the instrumentalists of Ensemble
Correspondances bringing fine rich textures to the opening of Miserere mei Deus - before the pure
soprano voice of Sophie Karthäuser joins. The choir alone enters to sing Et secundum multitudinem miserationem tuarum.
Karthäuser brings a fine forward moving Amplius
lava me with lovely accompaniment from the instrumentalists before the choir
returns for the lovely chant, Tibi soli
peccavi.
This soprano shows her beautifully controlled and refined
voice in Ecce enim in iniquitatibus. When the choir enters with instrumentalists
and soprano for Ecce enim veritatem
dilexisti they receive a beautifully sensitive, subtle accompaniment from
the organ played here by the director, Sébastien Daucé. Asperges me hyssopo brings some very fine instrumental sounds that
complement the soprano extremely well. She has a superbly flexible voice,
flowing effortlessly forward with some very lovely long held phrases, before
the choir joins bringing mellifluous singing to Averte faciem tuam.
As the soprano pleads Cor
mundumcrea in me, Deus (Create in me a clear heart) she brings much feeling with her lovely voice, so suitable to this
repertoire. There are more fine sounds from the choir in Ne projicias me (Cast me not away) and the soprano displays fine
control and flexibility as she sails through all the little decorations Redde mihi lætitiam before the choir
responds in Docebo iniquos vias tuas
bringing some lovely textures and layering of voices.
The varying rhythms and tempi of Libera me de sanguinibus are expertly handled by this soprano and
instrumentalists with fine decorations before Quoniam si voluisses sacrificium where the choir bring many lovely subtleties
of tone. Sophie Karthäuser brings a
fine sensibility to Sacrificium Deo
Spiritus Contribulatus before the choir sings Benigne Fac Domine. Tunc
acceptabis has fine rhythmic bounce as this soprano brings more fine
flexibility as the Miserere concludes.
The responsorium Tristis
est anima mea (My soul is sorrowful) that follows is simply and gently sung
by the choir with fine restraint sounding
just right in the fine acoustic of La Courroie, Entraigues-sur-la-Sorgue,
France.
With the III Leçons de
Ténèbres each verse of the text, excepting the Third lesson for Good Friday, is introduced by a letter of the
Hebrew alphabet, elaborately ornamented to contrast with the text that
follows.
With Troisième Leçon
du Mercredy saint (Third lesson for Holy Wednesday) soprano Sophie Karthäuser
opens Jod. Manum suam misit hostis with
a gentle instrumental accompaniment, the Hebrew letter Jod decorated, but in a very gentle manner, before picking up tempo
with more finely decorated passages.
There is a lovely pathos to Caph. Omnis populus ejus before Vide
Domine that has a vibrant opening before pathos is again allowed to creep
in. The brief Lamed brings some particularly fine, pure voiced singing from Karthäuser
before the finely controlled O vos omnes
where there are nicely sprung passages, superbly woven instrumental sounds with
this soprano bringing much feeling.
The soprano really soars in the beautiful opening to. Mem. De excelso before a beautifully
decorated Nun leads into Vigilavit with this soprano providing
extremely fine decorations.
Infirmata Est has
a lovely flow with the instrumentalists blending their textures perfectly with
the soprano’s lovely voice and leading to the final Jerusalem that is full of passion.
The choir bring more lovely simple and direct singing with
fine textures to the responsorium Ecce
vidimus eum (Behold we shall see him) a lovely contrast to the more
elaborate settings that precede.
Troisième Leçon du
Jeudy saint (Third lesson for Maundy Thursday) opens with a beautifully
decorated, flowing Aleph from the
soprano and organ before the instrumentalists lead on with soprano Sophie
Karthäuser in Ego vir videns rising
in some dramatic passages, full of passion. Aleph. Me
minavit is full of pathos, wonderfully decorated before the
instrumentalists lead off with spirit, Karthäuser weaving some fine passages.
There is a wonderfully
decorated, fluent ‘Aleph’ before a
nicely paced Aleph. Tantum in me vertit such
with such fine feeling. The soprano
shows such brilliant vocal control in Beth.
Vetustam fecit with some very fine instrumental contributions.
After a lovely opening Beth,
Aedificavit in gyro meo brings some lovely phrasing and control in superb
singing from Sophie Karthäuser. After the opening Beth, In tenebrosis adopts a slow plodding tempo out of which the
soprano brings a fine atmosphere with exquisitely controlled, subtle singing. Ghimel. Circum ædificavit soon finds a
lively upbeat manner with some very fine vibrant instrumental playing.
There is much feeling given to Sed, Et Cum Clamavero (Ghimel) by this soprano, full of passion,
brilliantly sung. After the brief opening Ghimel,
Conclusit vias meas moves ahead with some fine instrumental moments and
this soprano in fine voice before the concluding Jerusalem that brings a passionate appeal from the soprano.
Vinea mea electa (O
my noble vine) sees the return of the
choir bringing a gentle, finely voiced, beautifully nuanced responsorium.
Troisième Leçon du
Vendredy saint (Third lesson for Good Friday) opens with Sophie Karthäuser providing a lovely
mellifluous tone with fine decorations in Incipit
oratio before bringing fine vocal textures and colours to Recordare showing her attractive well
controlled vibrato. Pupilli facti sumus
has a lovely rhythmic pulse, a gentle mellow instrumental contribution from Ensemble.
There is a finely decorated Cervicibus nostris before a flowing Lassis non dabatur with Karthäuser
drawing superb long breathed melodic lines with fine instrumental accompaniment
and a gentle rhythmic pulse. This soprano has a superb vocal control. She rises
through Recordare to Ægypto
dedimus manum, a passionate
section finding much feeling as well as providing some lovely little
decorations. In Animabus Nostris is
beautifully controlled with Karthäuser’s flexible voice following every little
line to perfection, with terrific accompaniment.
There is more, fine instrumental playing in Pellis nostra and the slower Mulieres brings finely drawn lines, lovely
textures and this soprano’s lovely tone before the concluding Jerusalem that subtly grows in power as
the soprano appeals ‘Jerusalem, Jerusalem , return to the Lord thy God’.
The choir bring a suitably subdued ending to Leçons de
Ténèbres with the responsorium Plange
quasi virgo (Mourn as a virgin).
Lalande’s Leçons de Ténèbres and Miserere provide some fine
opportunities for these fine artists who deliver performances that are
spectacularly good. Soprano, Sophie Karthäuser is particularly fine, bringing
some absolutely terrific moments in these lovely settings.
The recording from La Courroie, Entraigues-sur-la-Sorgue,
France is first rate and there are excellent booklet notes as well as full
texts and translations.
This is a first rate disc that comes just in time for Easter
but will provide much pleasure all year round.
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