French Baroque Music

[Elgarian]

This year is 30th anniversary of Les Arts Florissants and their discography is large enough that hoping French baroque fan could have expected some serious goodness (nicely boxed, at reduced prices naturally) ...
Not to look stupid next to competition Warner/Erato comes up with 6 CD box set, of bloody excerpts Who on earth is going to buy that?

Oh, how disappointing. I agree, Drasko - what is the point of this? Who's going to be interested in buying large quantities of bits like this?

[Coopmv]

This year is 30th anniversary of Les Arts Florissants and their discography is large enough that hoping French baroque fan could have expected some serious goodness (nicely boxed, at reduced prices naturally).
And here is with what Virgin has treated us ...


http://www.mdt.co.uk/MDTSite/product//6871920.htm

... single disc of excerpts

Not to look stupid next to competition Warner/Erato comes up with 6 CD box set, of bloody excerpts Who on earth is going to buy that?


http://www.mdt.co.uk/MDTSite/product//2564686863.htm

Harmonia Mundi is at least reissuing some classic recordings as Lully's Atys or some Monteverdi and Gesualdo, few more wouldn't hurt though.

I only bought excerpts when I first got into classical music and did not know any better - remember those favorite tunes?  I only buy the whole works and in fact do not even like CD's that feature works of more than one composer ...

[Que]

And to make matters even more difficult for Que, I am now playing the fourth disc of this set, and what can I say, I am salivating..... Don't even look further if you desire works from Marais, this is the set to have to hold to cherish, no doubt about it.

Yes, you're making it very hard to resist, Harry!

It was fl.traverso who had put me on the trail of these performances. Jean-Louis Charbonnier and his Ensemble Marin Marais have just completed a series of all of Marais' viol music - a huge project amounting to 21 discs!  - with a new issue on the French label Ligia. I believe he continued the series there after Pierre Verany became temporarily defunct, after which it was revived by being taken over by Arion.

Q

[Harry]

Yes, you're making it very hard to resist, Harry!

It was fl.traverso who had put me on the trail of these performances. Jean-Louis Charbonnier and his Ensemble Marin Marais have just completed a series of all of Marais' viol music - a huge project amounting to 21 discs!  - with a new issue on the French label Ligia. I believe he continued the series there after Pierre Verany became temporarily defunct, after which it was revived by being taken over by Arion.

Q

Well I have to save my pennies, for I certainly am going to order all the missing cd's of his music.
Thank you for the link Que. I cannot resist!

[Que]

Well I have to save my pennies, for I certainly am going to order all the missing cd's of his music.
Thank you for the link Que. I cannot resist!

My hope is that Pierre Verany will reissue some more as a box set. Or that both companies will cooperate in issuing a complete set - now, that would be someting!



Bought this set of Sainte-Colombe Sr. (le Père) a while ago. (See my comments on Savall's set of music by Sainte-Colombe Jr. (le Fils) HERE). Another recommendation of fl.traverso. This is a marvelous disc. This has not the late-Baroque sophistication and the infusion of non-French stylistics of his son's music or the introvert poetry of Marais. But it has something else: an appealing, upbeat freshness and simple elegance with some clear reminiscent-Rennaissance flavours. Sainte-Colombe proofs himself an heir to the French lute tradition, which made a transition into viol music. Very nice accompaniment by Thomas Boysen on theorbo and baroque guitar. Paolo Pandolfo is one of my favourite gamba players: sober and focused, but quite expressive without overstating - something which Savall is occasionally prone to, though I'd recommend his Sainte-Colombe Jr. set unreservedly: Savall's finest achievement as a gambist from what I've heard so far.

Q

[cmbvjc]

The Editions du Centre de Musique Baroque de Versailles have just published another musical work of Nicolas Bernier, one of the most important composers of the French Court at the end of the 17th and the beginning of the 18th century, along with Lalande and Campra. This new publication is part of a project for the reconstitution and the publication of the 18th grands motets of the composer already preserved.

Written in the beginning of the 18th century, the music of Benedic anima mea Domino, from psalm 103, is incompletely preserved: we only know the parts for the dessus (violins and woodwinds), the basses, the choir and the vocal soloists. The Centre de Musique Baroque de Versailles began the large task of restoring the lost inner parts of the orchestra, beginning with a study of the style of the composer, the knowledge of practices current in the period and analysis of the scores. Then, the majestic French grand motet finds again its characteristic colour of the five part orchestra. This beautiful motet, composed on the model established by Lalande, linking short musical passages of symphonies, solo, duets and choirs to be as near as possible to the feeling of the text.

See extracts and details at: http://editions.cmbv.fr/achat/produit_details.php?id=873&langue=en

[Que]

This was a recent amazing bargain at jpc, the special offer was unfortunately shortlived...

Since this is my first recording of this music, little did I know why the cover only says "Forqueray", no surname. These are adaptations by Jean-Baptiste Forqueray of viol music by his father, Antoine Forqueray. Here is the story, quoted from "La folia" (reviews the set by Blandine Rannou).

There's a fascinating story behind these Forqueray Pièces. The father, "the world's greatest viol player," so feared his son's abilities that he had him imprisoned and briefly exiled! Two years after le Père's death, le Fils published a handful of his father's pieces scored for viol and continuo and a parallel collection arranged for clavecin alone. Forqueray Jr. slipped in a few of his own and though we know which ones, stylistically the generations are indistinguishable. Typical of the day, many honor colleagues: La Rameau, La Forqueray, La Couperin, La Leclair, La Laborde, La du Breüil, La Marella, etc., whereas other titles remain obscure. Betraying their viol origins, these pièces de clavecin hug the harpsichord's tenor region, the high tones of the Second suite's Italianate La Leclair a sparkling exception.

This is interesting music, sounding nicely dark - probably due to use of the lower register - and unconventional, wayward. As far as I can judge from this one recording, the music suits Le Gaillard's steady, robust, appropriately "digging" approach. This is also a first for me as far as Le Gaillard is concerned: a good, solid harpsichordist, who seems to play it "as it is". Reminds me a bit of the style of Noelle Spieth, though more (also figuratively  ) masculine.

Le Gallaird plays no less than three harpsichords: a Goujon-Swanen, a Ruckers-Taskin and a Ruckers-Dubois. Although the recording from 1982 lacks the sonic "bloom" of harpsichord recordings from the late '90s onwards, it's very nice: rich but not too spacious.

I'm curious what Blandine Rannou (Zig Zag) and Christophe Rousset (Decca) make of this music! Any comments? (Some comments seem to suggest that Rousset went over the top a bit on that issue - see HERE)

Q

[Drasko]

I'm curious what Blandine Rannou (Zig Zag) and Christophe Rousset (Decca) make of this music! Any comments? (Some comments seem to suggest that Rousset went over the top a bit on that issue - see HERE)

Haven't heard Rannou disc so I don't know how she sounds in studio on Ruckers-Hemsch but I have heard her play Forqueray live (on new local made instrument) and she was wonderful, rich, beautifully shaped on the languid side. Try clips on Zig-Zag site.

Not familiar with Rousset, but am fond of Leonhardt's disc on Sony Vivarte, which is somewhat of a surprise because generally I'm not so keen on Leonhardt in french repertoire post Couperin. I guess relative lack of theatricality in Forqueray transcriptions, usually inherent to a some degree in french mid 18th century harpsichord music, works into Leonhardt's strengths. Here is one piece for sample (Suite in D, La Régent):
http://www.mediafire.com/?lngjng4qztl

[Que]

Bump!



A nice disc of music by Jean Gilles. Gilles was based in Aix-en-Provence and not a court composer. His style reflects that IMO, less polished and technically elaborate, more straightforward. It's original (in instrumentation for instance) and refreshing. A Drasko recommendation.  The perfomance by Les Festes d'Orphée - from what I gather from the booklet an ad hoc ensemble - is less polished as well and I'm sorry to say that the solos in the petits motets are taxing the soprano - a choir member - somewhat beyond her capabilities.

Q

[Drasko]

A nice disc of music by Jean Gilles ....

Yes, nice. If I recall my impressions were similar to yours.

These days I've been listening to Niquet's disc of Campra grand motets, fine stuff, and which mostly confirms my previous view of Campra. Highly skilled and polished composer, superbly virtuosic writing, no rough edges. Probably with most acute feel for color among preramiste composers, and most adventurous use of it - interplay between haute-contre and bassoons in Vinete et videte of Deus Noster Refugium is nothing short of genius. But exactly there lies slight problem I have with Campra, his timbrally oriented style isn't that strong on melody and even after more than half dozen plays during last few days I can't really hum anything ( for instance with that Gilles disc above I was singing along Qui percussit ... Et occidit reges fortes before motet (Laudate nomen domini) was even over). Same lack of memorability with Campra I experienced with Christie disc of motets and to a lesser degree with opera-ballet L'Europe Galante, which almost paradoxically contains one of my absolute favorite french baroque arias Paisibles lieux, but which was actually written by Campra's student Andre Destouches. But then again Campra's motets are extremely fine music, not everything has to be hummable. Performance on Niquet disc is first rate - Gens, Fouchecourt, Lamy, Harvey all excellent, sound is fine but I wouldn't mind stronger presence in choral passages.

[Lilas Pastia]

Long-time experience with french music publications has led me to expect exactly what Drasko is getting at: Campra is a 'learned' composer, whereas Gilles is an 'instinctive' one. Of course, Campra also has sensitivity (affect), but that doesn't readily translate into a readily recognizable idiom. Conversely, Gilles is no slouch in terms of savoir-faire and sophistication, but his music is immediate in musical appeal and emotionally heartfelt. Kind of a 40/60 vs 60/40 situation. The difference is objectively apparent, but subjectively conducive of personal preferences.

[Antoine Marchand]

François Couperin – 4 Livres de pièces de clavecin. Complete Harpsichord Music
Michael Borgstede (harpsichord)
Brilliant Classics

This 11-CD set has been a delightful surprise. I was waiting "competent" performances of these works, but IMO Borgstede is among the best interpreters of Couperin.

I know some people will prefer a more intimate, melancholic or disenchanted Couperin -like Baumont, for instance-, but these performances are absolutely first-rate, being a perfect demonstration of Borgstede's ideas as a performer: "He always strives for an interpretation full of contrast and drama which does justice to the rhetoric and affect of baroque music".

Listened to the first three discs (all played on his own big, red, heavy and very beautiful harpsichord built by Titus Crijnen in 1998, after an instrument from 1638), I'm pleased not just for the variety of every piece, but also for certain sensuality, even some drowsy frivolity evocative of worldly pleasures, so closely related in my mind to the French Baroque. 

From the tiny, but interesting booklet by Borgstede himself:

[The titles (of the different pieces)]
"... Couperin is a sharp observer of his time, and a sometimes critical, but more often fondly amused, portraitist of the foibles of his contemporaries... he was not always the grumpy hypochondriac of the late orders, venting his misanthropy through introverted and melancholy music. In fact, refreshing sense of humor is to be found throughout his earlier work; without it falling into the merely trivial. The following examples offer a peek into this fascinating world of hidden meanings
...
"In La Bourbonnoise (1ére Ordre) the Duchese de Bourbon is portrayed with her customary joie de vivre. She could drink any man under the table, and wrote amusing and naughty verses.
...
"The amazing La Ménetou (7iéme Ordre) conceals a further surprise. It is a portrait of Charlotte de Ménethoud, who featured in many satirical poems, such as the one which ends: at fourteen she is more of a whore than her mother was".



Here a review on MUSICWEB by Johan van Veen.

Here SOME SAMPLES.

[The new erato]

This set is a beauty, and one of the best of Brilliant's own efforts. I particularly love the instrument and the beautiful, mellow sound.

[Antoine Marchand]

This set is a beauty, and one of the best of Brilliant's own efforts. I particularly love the instrument and the beautiful, mellow sound.

My own feelings until now... those two harpsichords are really beautiful.

[SonicMan46]

François Couperin – 4 Livres de pièces de clavecin. Complete Harpsichord Music
Michael Borgstede (harpsichord)
Brilliant Classics

Antoine - I bought that set a year or so ago and can only agree w/ the comments offered - excellent!

In addition, I was able to find a copy of the 'little' book pictured below (can't remember where at the moment) - but contains a nice introduction to Couperin, and brief essays on each of the pieces - meanings, jokes, portrayals of people, etc. - I did not go through EVERY one while listening to the CDs but many were quite instructive and comical - Dave 

[Coopmv]

This set is a beauty, and one of the best of Brilliant's own efforts. I particularly love the instrument and the beautiful, mellow sound.

I bought this 11-CD Couperin set a few years ago.  It is excellent value for the price ...

[Antoine Marchand]

In addition, I was able to find a copy of the 'little' book pictured below (can't remember where at the moment) - but contains a nice introduction to Couperin, and brief essays on each of the pieces - meanings, jokes, portrayals of people, etc. - I did not go through EVERY one while listening to the CDs but many were quite instructive and comical - Dave 

Excellent info, Dave. That book is quoted by Borgstede in his liner notes and it seems an excellent complement to the music. I will see if I am able to find a copy. 

[Drasko]

Excellent info, Dave. That book is quoted by Borgstede in his liner notes and it seems an excellent complement to the music. I will see if I am able to find a copy. 

I was looking for that book when Dave first mentioned it but it was unavailable from all online sources I tried. Finally I managed to buy a copy directly from publisher (10 pounds was the price I think). I'm not sure even if that publishing company exists anymore but I'll try to dig out the email address for you if you want.

[SonicMan46]

I was looking for that book when Dave first mentioned it but it was unavailable from all online sources I tried. Finally I managed to buy a copy directly from publisher (10 pounds was the price I think). I'm not sure even if that publishing company exists anymore but I'll try to dig out the email address for you if you want.

Hello Milos - yes, I did mention the book last year when I acquired both it & the CD box set - from the inside of the book, this LINK may be of help for those interested?  Dave 

[Drasko]

Hello Milos - yes, I did mention the book last year when I acquired both it & the CD box set - from the inside of the book, this LINK may be of help for those interested?  Dave 

Yes, he can use that site (www.kings-music.co.uk) to contact them. I sent email to contact address given by that site, then got reply days later from some completely different guy (to whom they probably forwarded my inquiry) saying they have only few copies left and that price is £10 + postage, then I passed his email address to a friend in England who made the actual purchase for me (because £10 is under some minimal limit for bank transfers from out of Serbia, or something like that). Whew, that seems complicated.

Anyway, Antoine you can use contact address given there and if you don't get response from them I'll give you email address of the actual guy who replied to me.