3/26/2023 0 Comments Nino panzarellaWhatever one’s religious allegiances andĪffiliations, this recital inspired ‘devotion’ through the These are pieces of heavenly exquisiteness, designed to inspire piety (Jerusalem, return thee to the Lord, thy God) both united the various lessons, Refrain, “Jerusalem, Jerusalem, convertere ad Dominium Deum tuum”, Sensitive to nuance and creating a real sense of intimacy. The accompaniment was flexible and alert, In the third lesson, the intertwined soaring voices evokedĪspiring gothic cathedral arches. Superb she produced a shimmering beauty which invigorated the sacred text withĮxotic nuance. Inflection, as it would have been performed at the time. Thomas’s pronunciation of the Latin text was idiomatically French in For Kirkby aficionados, vocal purity and beauty is taken for granted,īut she also exhibited a real sense of the architectural splendour of these Soaring melodic arches and effortlessly gilded ornaments evoked cathedral Heart-rending melodic shapes and inflecting the text with human sentiment. Thomas, alert and energised, using the voice to thrill and excite KirkbyĮffortlessly shaped individual phrases into affecting larger units, creating The two soloists brought their own strengths to the delivery of the text. Smith describes “a musical equivalent to an ornamented manuscript with Preceded by a huge musical ‘capital letter’ much like the way theįirst letter of a Hebrew psalm is set to a long melisma – as Langham In Couperin’s setting weĪre aware of delicate and deliberate crafting: each of the responsaries is In the Tenebrae service, psalms are sung, interspersed with the Influenced his sacred vocal music, particularly his motets, versets and leçonsĭe ténèbres, and the result of this stylistic diffusion is enchantingly Interest in the Italian style, as represented by Carissimi and Charpentier, Manahan Thomas in Couperin’s captivating Leçons de Ténèbres, extremelyīeautiful and genuinely spiritual music for ecclesiastical use. The instrumentalists were joined by sopranos Dame Emma Kirkby and Elin Of spontaneity, as if the reading was unfolding in real time. Interpretations were clearly honed to perfection, there was a surprising sense Rapid passage work in ‘La Gigue’ from Laįrançoise was sharply articulated. String and woodwind articulation in the more energeticĭances was bracingly crisp and fresh repetitions were constantly Was impressive, although such details were never allowed to disrupt the Of L’Espagnole, the meticulous attention to ornament and detail In the slower, more intricate movements, as in the ‘Sarabande’ Responding naturally to the considerable rhetoric of the small dance forms,Įxploiting contrast and delighting in the piquant expressive dissonances. The ensemble relished Couperin’s luscious timbres and colours, Miller’s theorbo and the delectable harpsichord playing of TerenceĬharistan. Were expressively supported by Emilia Benjamin’s viola da gamba, David Traverse flautist Andrew Crawford, and violinists Bojan Cici and Tuomo Suni Les Nations is the title under which Couperin published aĬollection of four large-scale sonatas Florilegum presented two – theĮarliest of the ordres composed for chamber consort – Laįrançoise and L’Espagnole. Whose works I shall love as long as I shall live, just as I do the works of Under the title of Les Nations were “written in the style ofĬorelli” the composer had been “charmed by the sonatas of Corelli, Smith’s eloquent, informative programme notes state, the works grouped Which the French and Italian styles might be united. In his publications of the early 1720s he offered a wide variety of ways in To group his pièces into ordres rather than suites, and relied much less onĭance movements than his contemporaries, preferring the freer and more He amassed a notable quantity of superlative harpsichord pieces, which beganĪppearing in elegantly engraved editions in 1713, following other noteworthyĬollections by Rameau and Dandrieu but, ever the individualist, Couperin chose In 1700 Couperin acquired the youngerĭ’Anglebert’s position as harpsichordist at Versailles. “worthy of being given to the public” and helped to establish himĪs a Court organist in 1693. Man’s innovative 1690 collection of Pièces d’orgue as Officially inherited his father’s previous position. Organist position passed to Lalande, but François, an early musical genius, wasĪlready deputising for Lalande at the age of ten, and on his 18th birthday he Music, compositions which unite the best of contemporary French and ItalianĬouperin was born in 1688 in Paris, the son of Charles Couperin, the Tender performance by Florilegum of secular instrumental and sacred vocal These qualities were affectingly demonstrated during this wonderfully François Couperin by Florilegium, Wigmore Hall
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