Michel-Richard de Lalande, , Les Pages & Les Chantres du Centre de Musique Baroq - Grands Motets

Published Saturday 12th January 2019
Michel-Richard de Lalande, , Les Pages & Les Chantres du Centre de Musique Baroq - Grands Motets
Michel-Richard de Lalande, , Les Pages & Les Chantres du Centre de Musique Baroq - Grands Motets

STYLE: Choral
RATING 8 8 8 8 8 8 8 8
OUR PRODUCT CODE: 174402-
LABEL: Glossa GCD924301
FORMAT: CD Album
ITEMS: 1

Reviewed by Steven Whitehead

Here's a thought: at the time of writing, this is my final review of 2018 and in it I am considering the works of a composer who lived from 1657 to 1726. I do not believe it is false modesty that makes me wonder if anyone will be reading what I write in the 23rd century. Michel-Richard de Lalande, to give him his full name, was one of the leading lights of French baroque music and from the 1680s was one of Louis XIV's principal composers for the Chapelle Royale within the Palace of Versailles. The royal archives provide much information on what musical forces were available to the composer and his subsequent revisions are available for scholars to study. Thomas Leconte of the Centre de Musique Baroque de Versailles provides an illuminating essay in the CD booklet that provides the context of the when and why these motets were composed. These 'grands motets' are extended multi-movement choral settings that include parts for soloists with appropriate musical accompaniment, written to suit the venue's architectural and acoustic characteristics. The three on this disc are Psalm 94, "Venite, Exultemus Domino" ("Come, Let Us Praise The Lord"), Psalm 129, "De Profundis" ("Out Of The Depths") and Psalm 96, "Dominus Regnavit" ("The Lord Has Reigned"). The choir is Les Pages & Les Chantres du Centre de Musique Baroque de Versailles supplemented by four experienced soloists in Chantal Santon-Jeffery, Reinoud Van Mechelen, Francoise Joron and Lisandro Abadie with instrumental accompaniment coming from Jana Semeradova's Collegium Marianum and all under the direction of Olivier Schneebeli. It is all very well done and nicely presented although unless you are devoted to French baroque music it is probably all too much. I particularly enjoyed "Dominus Regnavit" but confess that my baroque composers of choice tend to be German.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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