François Couperin inherited his father’s post at St Gervais
on his eighteenth birthday, the post having been taken during the interim
period by Michel-Richard de Lelande (1657-1726). By this time Couperin had
already written his two organ masses praised by Leland as ‘fort belles, et
dignes d’estre données au public’ – ‘very beautiful, and worthy to be given to
the public’.
In 1689, Couperin married Marie Anne Ansault who brought
with her a modest dowry. Couperin became Court organist in 1693 and, in 1694,
became Teacher and Master of Harpsichord at Versailles. During the last fifteen
years of the reign of Louis XIV (1638-1715), Couperin established himself as
one of the leading French composers of the day. Couperin died in Paris in 1733.
His works include four book of works for harpsichord (1713),
(1717), (1722) and (1730), two mass settings (Messe pour les paroisses for the
parishes and Messe pour les couvents for the monasteries) (1690), pieces
for several instruments including six Trio Sonatas (c.1690), Les nations
(1726), Apothéoses (trio suites) (1724), Les concerts royaux (1714), Nouveaux
concerts or les goûts réunis (1724),
Pièces de violes (1728), Leçons de ténèbres (1714), Antiphons,
psalm settings & canticles, Offertories, Motets and a number of songs.
Couperin had a great interest in Italian music and, in
particular, the trio sonata. He later said that his intention had been to
effect a union of French and Italian style. This is particularly evident in Les
nations (1726) and in his suites for bass viols (1728).
A new release from
Vivat Music http://vivatmusic.com features the Kings Consort in music by
Francois Couperin, Marin Marais and Saint-Colombe. Robert King (organ) is
joined by Susanne Heinrich (bass viol), Lynda Sayce (theorbo) and soloists
Carolyn Sampson (soprano) and Marianne Beate Kielland (mezzo-soprano). Let me say at the outset this is a terrific
disc that provides rewards at every turn.
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| VIVAT 102 |
The first works on this new disc are François Couperin’s Trois Leçons de Ténèbres (1714). Première Leçon opens with a beautifully clear
voiced Carolyn Sampson (soprano), who provides some lovely singing in decorative
passages. She really brings out the pathos of this piece with some terrific
singing, so controlled with lovely dynamics. In places Sampson rises to some
wonderfully powerful singing with Robert King and his fine players providing
lovely support. In the last section of this piece there is some lovely playing
from Robert King, Susanne Heinrich and Lynda Sayce before Carolyn Sampson
enters with a long held ‘Jerusalem’. What fine singing this is, with excellent
instrumentalists that complement each other so well.
In Deuxieme Leçon,
Marianne Beate Kielland (mezzo-soprano) is equally attractive in her opening,
with a rich, full voice that makes a perfect blend with the bass viol as well
as organ and theorbo. She has wonderful vocal agility with sensitive and
controlled singing; and great power when required. In the penultimate section
there is a wonderfully affecting opening for voice, organ and viol and in the
final section some lovely blending of organ and viol, exquisitely beautiful.
Troisieme Leçon
brings the voices of Carolyn Sampson and Marianne Beate Kielland together and
what a lovely combination they make, blending beautifully with the instrumentalists
as well as each other. These two first rate soloists weave around each other,
then alternate, before coming together again with some exquisite singing. Just
listen how their long held notes combine together. In the fourth section of
this work, the blending of the two voices with the instruments is really quite
moving. Later there is almost a conversational feel to the singing and, as both
singers come together in ‘Jerusalem’, there is a wonderful texture with such
lovely singing. This is perfection.
Marin Marais
(1656-1728) was born in Paris and studied composition with Jean-Baptiste
Lully (1632-1687) and for a short while with Monsieur de Sainte-Colombe
(c.1640-1700). In 1676 he became a
musician at the Court of Versailles and, in 1679, was appointed ‘ordinaire de la
chambre du roy pour la viole’.
Marais’ works include pieces for one, two and three viols,
pieces for various instruments, operas and sacred works.
Marais’ Tombeau pour
Sieur de Sainte Colombe, included in his Book 2 of Pièces de Viole of 1701, is a homage to his teacher who is believed to have died shortly before. There
are superb sounds from Susanne Heinrich’s bass viol as the work commences, with
theorbo blending exquisitely as the organ provides bass support. This is
wonderful viol playing in this unusual work that draws some unusual sounds.
Marais’ Chaconne in A
major comes from his Fifth Book of Pièces de Viole published in 1725. This
fine ensemble gives a wonderfully expressive performance with again Susanne
Heinrich proving to be a brilliant advocate in superb playing.
Couperin’s Motet pour
le jour de Pâques was written for the Chapelle Royale after he became Court
organist in 1693. Soprano Carolyn Sampson and mezzo-soprano Marianne Beate
Kielland come together in the lively opening of this motet for Easter Day. The
instrumentalists provide terrific support, each instrument sounding through. Marianne
Beate Kielland gives some lovely rich expressive sounds and both she and Carolyn
Sampson are wonderful in the faster moving sections, again showing their
ability to blend superbly.
Not a lot is known about
Monsieur de Sainte-Colombe le fils (the son) (c.1660-1710). He is thought
to be the son of Monsieur de Sainte-Colombe (c.1640-1700), the celebrated
master of the viola da gamba, or at least closely related to him. It is known
that he lived in Edinburgh and that six suites for solo bass viol by a Monsieur
de Sainte-Colombe le fils are held in the Durham Cathedral library.
Just one work by Monsieur
de Sainte-Colombe le fils is included on this disc, his Prelude for viol which provides Susanne Heinrich the perfect
vehicle for a performance of stunning technical accomplishment as well as
sensitivity to every phrase.
The final work on this disc is Couperin’s Magnificat anima mea from the same Versailles
manuscript as the Easter motet. As the work opens, soprano Carolyn Sampson is
soon joined by mezzo-soprano Marianne Beate Kielland, weaving lovely vocal
sounds. It may be my imagination but there seems to be a French sound to
Carolyn Sampson’s Latin pronunciation that is very appealing. There is some
terrific singing and instrumental playing in this uplifting work where both
soloists bring a great end to this wonderful disc.
Anyone with the slightest interest in baroque music should
acquire these beautiful performances. In fact, such are the beauties of these performances,
I would recommend this disc to anyone. The recording is first rate and the
booklet notes by Robert King are excellent. There are full texts and
translations.
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