French Baroque Music

[The new erato]

First listen, but immediately becomes apparent is that Guillaume Bouzignac (1690?-1743?) was a one of a kind, who stood outside the mainstream musical tradition.

Q

This disc astounded reviewers when it was released, I still remember the Gramophone review. Parts of it could nearly be from Rachmaninov's vespers. Shows what happens when a talented composer is isolated in a regional marginal town (Grenoble IIRC) with little access to the hip trends of the court.

[Que]

This disc astounded reviewers when it was released, I still remember the Gramophone review. Parts of it could nearly be from Rachmaninov's vespers. Shows what happens when a talented composer is isolated in a regional marginal town (Grenoble IIRC) with little access to the hip trends of the court.

[asin]B000FDFO12[/asin]

As erato noted, Guillaume Bouzignac is a special case.

It took a few listening to decide what to make of this recording. His approach is very much his own: a mixture of a retro late 16th century style, hightend by a dramatic emphasis on the text - an influence of the Italian madraglism - and other techniques like the dialogue form, pitting two singers or a singer and a chorus against each other and sudden shifts in musical textures and tempo. The main issue, for me is musical fragmentation. Many raving reviewers call it a mosaique approach. I think it does not always work, sometimes it sounds forced and disconnected, sometimes the special effect Bouzignax seeked works. It's different and refreshing, sounding very modern at times. But his music can also sound erratic and incohesive, with musical ideas unsufficiently crafted and shortlived. A recording with many highs and some lows. A beautiful performance by Christie and Schneebeli who refrain from making this music sound more polished than it is and give way to the dramatic effects Bouzignac wanted. Boy sopranos are used, always a nice touch.

A fragment of Bruno Giordano's comments:

The works described as "dialogue motets" in the program notes could just as easily be considered "call and response." The "lack of homogeneity" and the "text fragmentation" discussed in those program notes sound to me extremely prophetic of the directions taken by 20th C composers of choral music. In effect, I'm hearing Bouzignac as a composer so far outside his own era in style that by serendipity he speaks eloquently to our modern sensibilities.

Whether you buy my notions or not, this is an exciting and unique CD. William Christie, the most insightful of French Baroque advocates, has combined his own Les Arts Florissantes ensemble with the viola da gamba ensemble Orlando Gibbons and the choir Les Pages de la Chapelle for this recording, in which the choir is predominant but the soloists essential at expressive moments. The gamba pieces sound quite squarely in the tradition of gamba quintets dating back to the English gentry composers of the 17th C, but the choral music is wildly different from baroque genres - highly dramatic, pictorial, not at all symmetrical or repetitive. If you have any lurking prejudices to the effect that all baroque music sounds the same, Bouzignac will jostle your taste.

Full review HERE.

The Gramophone review:

If, by any chance, you should think that with another disc of French seventeenth-century church music from Les Arts Florissants you know what to expect, think again. Bouzignac is quite definitely, quite splendidly, different. Try Units ex vobis on your friends and see if they can tell what century it comes from, let alone what country (its lugubrious dialogue between Christ and his disciples actually sounds more like something from the Russian Orthodox Church). This is music that abandons itself to its text in as absolute and direct a way as you are ever likely to encounter in the baroque period, and the results are sometimes gripping, sometimes haunting, and sometimes both. I, for one, will find it hard to forget the extraordinary sound of a solo tenor calling out as Pilate, "Ecco homo"—"Behold the man! Shall I crucify your king?"—and the starkly chordal answer of the chorus: "Crucify him!". The means of expression are boldly simple, their effect (especially when Pilate makes his final pianissimo enquiry, "What evil has he done?") devastating. But that is not all. Bouzignac knew his counterpoint; he could write in joyous, celebratory vein, rather like a lightfooted Gabrieli (Jubilate Deo); and there is also music of aching beauty—In pace in idipsum should be enough to melt anyone into their chair.

If the music comes as a surprise, the performances, too, are different from what you might have expected. Predictable, of course, is the way Christie marries an acute sense of drama to a sensitivity to words and to the music's lyrical qualities that few of today's baroque conductors can match. What is unusual for him, though, is that (for the first time, I think) he uses boy sopranos; their singing is hardly in the polished Arts Florissants mould, but it does square nicely with this music's straightforward mode of communication. I could write a lot more on the merits of this disc, but actually a much better idea would be for you to go out and buy it for yourself.

Q

[Mandryka]

Just listen to this wonderful Couperin from Madeleine de Valmalète.

http://www.youtube.com/v/BLBP-294JP0



and here

http://www.youtube.com/v/frMwVnh40eg



and elsewhere. From a Tahra CD which I guess I'll have to buy now:



French articulation is great in Baroque music. There's also this Marcel Meyer, maybe a bit less inspired, but I haven't given it the attention it deserves, maybe.



http://www.youtube.com/v/1nIFs1R-6CY

[Mandryka]

. . .  and my idea of his style convinces me, that he never would have made so many changes of registration other than using a few echo effects.

I wonder if stylish ( ) Couperin gives the performer more leeway about things like registration than other baroque composers. In L'art de Toucher he writes 'C'est que nous écrivons différemment de ce que nous exécutons  and il y en a aussi une infinie entre la tablature et la façon de bien-jouer "what we write isn't the same as what we play" and  "there is an infinite distance between scores and good playing"


It's quite striking how differently Landowska sounds from Verlet, and how each of those sound so different from Egida Giodani Sartori.

Of course you may say that there is an infinate distance between scores and good playing in Bach. Infinite is vague.

[Drasko]

Any opinions on Elizabeth Farr? She has Balbastre, D'Anglebert and de La Guerre discs at MDT Naxos clearance sale. I'm mostly interested in Balbastre.

[Que]

Any opinions on Elizabeth Farr? She has Balbastre, D'Anglebert and de La Guerre discs at MDT Naxos clearance sale. I'm mostly interested in Balbastre.

Not familiar with Farr, though sofar when sampling she never sounded quite mandatory to me.

On the Balbastre I could recommend Meyerson's mixed harpsichord/fortepiano set - still a steal at jpc!

On my wish list are also the two single discs on harpsichord by Jean Patrice Brosse (Pierre Vérany) - they sounded interesting to me.

Q

[SonicMan46]

Any opinions on Elizabeth Farr? She has Balbastre, D'Anglebert and de La Guerre discs at MDT Naxos clearance sale. I'm mostly interested in Balbastre.

Well, I own the Balbastre & D'Anglebert 2-discs sets w/ Farr - no complaints and purchases based on some great reviews - I thought I also had the de La Guerre, but only a single disc by another performer; might have to add to my 'wish list' - Farr seems to do well in this French genre, although I must say that her 3-CD Byrd offering is just superb.

She does not seem to do as well or receive the universal praise w/ her Bach - will be interested in others' opinions!  Dave

[Coopmv]

Well, I own the Balbastre & D'Anglebert 2-discs sets w/ Farr - no complaints and purchases based on some great reviews - I thought I also had the de La Guerre, but only a single disc by another performer; might have to add to my 'wish list' - Farr seems to do well in this French genre, although I must say that her 3-CD Byrd offering is just superb.

She does not seem to do as well or receive the universal praise w/ her Bach - will be interested in others' opinions!  Dave

Dave,   Does Elizabeth Farr only record for Naxos?

[SonicMan46]

Dave,   Does Elizabeth Farr only record for Naxos?

Hi Stuart - well, if you search on her in Amazon, the Naxos label seems to be about it for recent recordings - maybe she has some older releases on other labels?  Not sure, plus don't know if she has (or chooses) an exclusive contract w/ that company at the moment.

Her bio HERE from the University of Coloradoi], where she is professor of Early Music (organ/harpsichord) - Dave

[Coopmv]

Hi Stuart - well, if you search on her in Amazon, the Naxos label seems to be about it for recent recordings - maybe she has some older releases on other labels?  Not sure, plus don't know if she has (or chooses) an exclusive contract w/ that company at the moment.

Her bio HERE from the University of Colorad, where she is professor of Early Music (organ/harpsichord) - Dave

I also have a few of her CD's on keyboard works by French composers ...

[Que]

 

A new 2CD set of harpsichord music by Louis Couperin, uncle of François. Christophe Rousset plays a Louis Denis, Paris, 1658. The composition of the suites has puzzled me before. In the booklet it is explained how this comes about: at the time for a performance various separate movements could be interchangeably put together to form a suite, even music by different composers! There are three sources of Louis Couperin's harpsichord music. The Bauyn manuscript is the most authoritative, because it is the oldest and most inclusive. Rousset followed the alternative arrangements of the suites in the later Parville manuscript, naturally replacing the mvts by other composers.

How does it sound. Well, it's a huge success, really. Though Rousset shows his usual strong rhythmic pulse and controle, this is not played in a "flashy" way, but in a more grand, stately manner, adhering to the more "formal" nature of the early French Baroque. The sound of the instrument is focused and firm, "woody" yet bright. Rousset's approach is strong and probing and very expressive - yet he never overdoes it and it sounds all perfectly natural. I compared with Noëlle Spieth's recordings - I own two discs with reissues on Accord/Universal France of her complete survey on former Addès, a subsidiary of then still independent Accord. Spieth's interpretations are more gentile, more flowing with a brighter mood to it. Her instrument's sound is more plush, less focused. So is the recording, which is more recessed. All in all Spieth's Louis Couperin sounds more generic. Rousset gives the music it's own individual face - and it is an portrayal the concurs with my impression of Louis Couperin that I got from Davitt Moroney's recording of the organ works. I still need to find Morney's recording of the complete harpsichord music...

Strongly recommended - a truly superb set. My only regret is that Rousset instead of six suites didn't record eight suites, like there are on the two Spieth discs I have, or ther complete works...

BTW listening to Rousset's recording I (again) realized that Louis was a real genius - the uncrowned king of early French Baroque, as far as I am concerned.

Q

[TheGSMoeller]

. [asin]B005R48VVE[/asin]


Rameau on accordion, it's delicious. 

[Karl Henning]

A new 2CD set of harpsichord music by Louis Couperin, uncle of François. Christophe Rousset plays a Louis Denis, Paris, 1658. The composition of the suites has puzzled me before. In the booklet it is explained how this comes about: at the time for a performance various separate movements could be interchangeably put together to form a suite, even music by different composers! There are three sources of Louis Couperin's harpsichord music. The Bauyn manuscript is the most authoritative, because it is the oldest and most inclusive. Rousset followed the alternative arrangements of the suites in the later Parville manuscript, naturally replacing the mvts by other composers.

How does it sound. Well, it's a huge success, really. Though Rousset shows his usual strong rhythmic pulse and controle, this is not played in a "flashy" way, but in a more grand, stately manner, adhering to the more "formal" nature of the early French Baroque. The sound of the instrument is focused and firm, "woody" yet bright. Rousset's approach is strong and probing and very expressive - yet he never overdoes it and it sounds all perfectly natural. I compared with Noëlle Spieth's recordings - I own two discs with reissues on Accord/Universal France of her complete survey on former Addès, a subsidiary of then still independent Accord. Spieth's interpretations are more gentile, more flowing with a brighter mood to it. Her instrument's sound is more plush, less focused. So is the recording, which is more recessed. All in all Spieth's Louis Couperin sounds more generic. Rousset gives the music it's own individual face - and it is an portrayal the concurs with my impression of Louis Couperin that I got from Davitt Moroney's recording of the organ works. I still need to find Morney's recording of the complete harpsichord music...

Strongly recommended - a truly superb set. My only regret is that Rousset instead of six suites didn't record eight suites, like there are on the two Spieth discs I have, or ther complete works...

BTW listening to Rousset's recording I (again) realized that Louis was a real genius - the uncrowned king of early French Baroque, as far as I am concerned.

Q

My buddy Paul played (IIRC) a Passecaille by Louis, which is splendid.  At some point I need to fetch this in . . . .

[Karl Henning]

My buddy Paul played (IIRC) a Passecaille by Louis, which is splendid.  At some point I need to fetch this in . . . .

Two Passacailles, in fact.

[Drasko]

The recording that made me an instant Louis Couperin fan was Leonhardt's DHM recital, still one of my favorite harpsichord discs. It's been reissued recently:

[asin]B0030BYU5W[/asin]

That said, above mentioned Rousset set is on very top of my purchase list.

[Que]

And then there is this new kid on the block. I noticed it on premont's exceptionally long purchases list...  For some reason I never warmed up to Richard Egarr - I'm very curious how he does here.

[asin]B00506PH9S[/asin]

Q

[milk]

A new 2CD set of harpsichord music by Louis Couperin, uncle of François. Christophe Rousset plays a Louis Denis, Paris, 1658. The composition of the suites has puzzled me before. In the booklet it is explained how this comes about: at the time for a performance various separate movements could be interchangeably put together to form a suite, even music by different composers! There are three sources of Louis Couperin's harpsichord music. The Bauyn manuscript is the most authoritative, because it is the oldest and most inclusive. Rousset followed the alternative arrangements of the suites in the later Parville manuscript, naturally replacing the mvts by other composers.

How does it sound. Well, it's a huge success, really. Though Rousset shows his usual strong rhythmic pulse and controle, this is not played in a "flashy" way, but in a more grand, stately manner, adhering to the more "formal" nature of the early French Baroque. The sound of the instrument is focused and firm, "woody" yet bright. Rousset's approach is strong and probing and very expressive - yet he never overdoes it and it sounds all perfectly natural. I compared with Noëlle Spieth's recordings - I own two discs with reissues on Accord/Universal France of her complete survey on former Addès, a subsidiary of then still independent Accord. Spieth's interpretations are more gentile, more flowing with a brighter mood to it. Her instrument's sound is more plush, less focused. So is the recording, which is more recessed. All in all Spieth's Louis Couperin sounds more generic. Rousset gives the music it's own individual face - and it is an portrayal the concurs with my impression of Louis Couperin that I got from Davitt Moroney's recording of the organ works. I still need to find Morney's recording of the complete harpsichord music...

Strongly recommended - a truly superb set. My only regret is that Rousset instead of six suites didn't record eight suites, like there are on the two Spieth discs I have, or ther complete works...

BTW listening to Rousset's recording I (again) realized that Louis was a real genius - the uncrowned king of early French Baroque, as far as I am concerned.

Q

I'm just a huge fan of the Skip Sempe recording:

[Que]

I'm just a huge fan of the Skip Sempe recording:

I have that recording too, and it is a fantastic one. Anyone seeking a single disc does not have to look further. Sempé's playing is in fact how I expected Rousset's to be. And indeed their respective approaches are very similar. Yet Sempé is more rich and indulgent, with a corespondent soundstage provided by the harpsichord he uses, a copy after a French model by Bruce Kennedy. More leisurely, more embellished - a kind of Louis Couperin de luxe. Rousset is, relatively speaking, more sober and pronounced, has a stronger rhythmic pulse and focuses a bit more on the longer lines. The music comes across as with a stronger emotional effect - at least to me. Whether this is Rousset maturing as an artist or his response to L. Couperin's musical world of the early Baroque, I don't know.

Meanwhile I went through the samples of the Richard Egarr set. With four disc, clicking "play all" at Amazon provides some idea about the recording. It does not sound entirely steeped in the French harpsichord traditon, in the way he uses hesitations, the way he deals with the dance rhythms. Stylistically it sounds to my ears neither here nor there. As someone's view from outside the tradition. Quite laboreous and fussy. Impressive instrument(s) BTW, similar soundstage to Rousset. Of course, these are just impressions based on the samples - I will await premont's verdict with eagerness!

Q

[milk]

I have that recording too, and it is a fantastic one. Anyone seeking a single disc does not have to look further. Sempé's playing is in fact how I expected Rousset's to be. And indeed their respective approaches are very similar. Yet Sempé is more rich and indulgent, with a corespondent soundstage provided by the harpsichord he uses, a copy after a French model by Bruce Kennedy. More leisurely, more embellished - a kind of Louis Couperin de luxe. Rousset is, relatively speaking, more sober and pronounced, has a stronger rhythmic pulse and focuses a bit more on the longer lines. The music comes across as with a stronger emotional effect - at least to me. Whether this is Rousset maturing as an artist or his response to L. Couperin's musical world of the early Baroque, I don't know.

Meanwhile I went through the samples of the Richard Egarr set. With four disc, clicking "play all" at Amazon provides some idea about the recording. It does not sound entirely steeped in the French harpsichord traditon, in the way he uses hesitations, the way he deals with the dance rhythms. Stylistically it sounds to my ears neither here nor there. As someone's view from outside the tradition. Quite laboreous and fussy. Impressive instrument(s) BTW, similar soundstage to Rousset. Of course, these are just impressions based on the samples - I will await premont's verdict with eagerness!

Q

I've never been able to get into Egarr's recordings - though I'm not as musically astute as you are so I can't say exactly why. I'm so attached to the Sempe recording that I haven't been able to open my ears to Rousset. Maybe it's something I can remedy in the new year. I wonder why Sempe hasn't released more solo harpsichord recordings - and never a recording of any of Bach's complete sets. I guess he's focused on his chamber groups. Anyway, I have to say that I'm really enthralled with L. Couperin. F is the more accomplished composer I suppose, but I don't feel the same connection with him as I do to Louis. Anyway, there's been no mention of Van Asperen yet. I bought this recording to complement the Sempe. I have enjoyed it a lot.

[milk]

I'm a real layman when it comes to music. Is it correct to say that French music is atmospheric, from Gaultier and Gallot and L. Couperin right through to Debussy? Is this a French trait? Or am I overstating it?