 |
 |
alternatively
CD:
MDT
AmazonUK
AmazonUS
BIS Downloads available from eclassical.com
|
Michel Pignolet de MONTÉCLAIR
(1667-1737)
Cantates à voix seule
Le Retour de la Paix [15:03]
Pan et Syrinx [17:36]
Le Triomphe de la Constance [11:45]
La Mort de Didon [12:11]
La Morte di Lucretia [12:20]
Emma Kirkby (soprano)
London Baroque (Ingrid Seifert, Richard Gwilt (violin), Charles Medlam, William Hunt (viola da gamba), Steven Devine (harpsichord))
rec. February 2010, Länna Church, Sweden. DDD
BIS CD-1865 [70:11]
|
|
The chamber cantata was one of the most popular genres of the
baroque era, particularly in Italy and France. The form was
more or less fixed by Alessandro Scarlatti; cantatas usually
consisted of two pairs of recitative and (dacapo) aria. The
scoring was mostly for one voice and basso continuo; only now
and then were melody instruments added, preferably violin(s),
but sometimes also a recorder or a transverse flute. It was
only after 1700 that French composers started to write cantatas
and only then when they felt free enough to demonstrate their
liking of the Italian style.
They didn't follow the Italian model slavishly. Most cantatas
were written for one or two voices avec simphonie. The
word simphonie referred to a group of instruments of
any kind, such as the violin, the flute, the recorder or the
oboe, plus basso continuo. In the cantatas by Montéclair we
find parts for one and two violins and an obbligato part for
the viola da gamba. The instruments also play a more prominent
role in French cantatas than in their Italian counterparts.
Some cantatas begin with a short instrumental introduction,
and in Montéclair's Pan et Syrinx they play a short symphonie
in the middle. In French cantatas instruments also participate
in the illustration of the storyline and the depicting of the
text. Several cantatas by Montéclair contain accompanied recitatives,
something you seldom find in Italian cantatas. Some texts mention
instruments like trumpet, horn or bagpipes. As this kind of
cantata was performed in the intimate surroundings of the salons
of the aristocracy and higher bourgeoisie there was no place
for such instruments. Therefore it was the duty of violins or
flutes to imitate them. On this disc the violins imitate trumpets
and bagpipes in Le Retour de la Paix and the horn in
Pan et Syrinx is imitated by the solo violin. In Le
Triomphe de la Constance two viole da gamba attempt to replicate
the sound of bagpipes.
Instruments are also used to express the emotion in recitatives
and arias. The most striking example is the recitative 'Di mortale
sudor' from La morte di Lucretia, in which they play
a introduction to the most intense passage, when Lucretia says
farewell to the world and dies. This episode contains some strong
dissonances, and on Lucretia's last notes all the instruments
keep silent. It is the most dramatic moment of this whole disc,
and shows that not all French cantatas are devoid of emotional
depth.
These cantatas are all outstanding compositions in which Montéclair
shows his skills in setting a text to music. The subjects are
usually taken from mythology, something the listeners of his
days were fully acquainted with. It is quite possible that these
stories had some political and social connotations as well,
something which will mostly escape modern audiences. Even without
that kind of knowledge these cantatas can and should be thoroughly
enjoyed, in particular when they receive such fine performances
as by Emma Kirkby and London Baroque. Only sometimes I found
Ms Kirkby's voice a bit too sharp-edged, like in the aria 'Fille
du ciel' from Le retour de la Paix. But that same characteristic
is highly suitable in the 'Air des Trompettes' at the end of
this cantata which is brilliantly sung. On the whole I have
nothing but admiration for her expressive performances. Her
delivery is perfect as always, and her application of ornaments
is stylish and technically impeccable. London Baroque is in
fine form too, with colourful performances of the instrumental
parts. Ingrid Seifert deserves special mention for her playing
of the mute violin in Pan et Syrinx.
Nobody who likes French baroque music should miss this disc.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
|
|