Marc Mauillon, Myriam Rignol, Thibaut Roussel & Marouan Mankar-Bennis - Lambert: Leçons de Ténèbres (2018) [Hi-Res]
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BAND/ARTIST: Marc Mauillon, Myriam Rignol, Thibaut Roussel, Marouan Mankar-Bennis
- Title: Lambert: Leçons de Ténèbres
- Year Of Release: 2018
- Label: harmonia mundi
- Genre: Classical
- Quality: flac lossless / flac 24bits - 88.2kHz +Booklet
- Total Time: 01:44:31
- Total Size: 505 / 1826 mb
- WebSite: Album Preview
Tracklist
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CD1
01. Première Leçon du premier jour: Incipit Lamentatio Jeremiæ-Aleph. Quomodo sedet sola
02. Première Leçon du premier jour: Beth. Plorans ploravit in nocte
03. Première Leçon du premier jour: Gimel. Migravit Judas
04. Première Leçon du premier jour: Daleth. Viæ Sion lugent eo
05. Première Leçon du premier jour: He. Facti sunt hostes
06. Première Leçon du premier jour: Jerusalem, Jerusalem, convertere ad Dominum
07. Seconde Leçon du premier jour: Vau. Et egressus est
08. Seconde Leçon du premier jour: Zain. Recordata est Jerusalem
09. Seconde Leçon du premier jour: Heth. Peccatum peccavit Jerusalem
10. Seconde Leçon du premier jour: Teth. Sordes ejus in pedibus
11. Seconde Leçon du premier jour: Jerusalem, Jerusalem, convertere ad Dominum
12. Troisième Leçon du premier jour: Jod. Manum suam misit hostis
13. Troisième Leçon du premier jour: Caph. Omnis populus ejus
14. Troisième Leçon du premier jour: Lamed. O vos omnes
15. Troisième Leçon du premier jour: Mem. De excelso misit ignem
16. Troisième Leçon du premier jour: Nun. Vigilavit jugum iniquitatum mearum
17. Troisième Leçon du premier jour: Jerusalem, Jerusalem, convertere ad Dominum
18. Prélude non mesuré pour viole seule
19. Première Leçon du second jour: De Lamentatione Jeremiæ-Heth. Cogitavit Dominus
20. Première Leçon du second jour: Teth. Defixæ sunt in terra
21. Première Leçon du second jour: Jod. Sederunt in terra
22. Première Leçon du second jour: Caph. Defecerunt præ lacrimis
23. Première Leçon du second jour: Jerusalem, Jerusalem, convertere
24. Seconde Leçon du second jour: Lamed. Matribus suis dixerunt
25. Seconde Leçon du second jour: Mem. Cui comparabo te
26. Seconde Leçon du second jour: Nun. Prophetæ tui viderunt
27. Seconde Leçon du second jour: Samec. Plauserunt super te manibus
28. Seconde Leçon du second jour: Jerusalem, Jerusalem, convertere
29. Troisième Leçon du second jour: Aleph. Ego vir videns
30. Troisième Leçon du second jour: Beth. Vetustam fecit
31. Troisième Leçon du second jour: Gimel. Circumedificavit adversum
32. Troisième Leçon du second jour: Jerusalem, Jerusalem, convertere
CD2
01. Allemande
02. Première Leçon du troisième jour: De Lamentatione Jeremiæ-Heth. Misericordiæ Domini
03. Première Leçon du troisième jour: Teth. Bonus est Dominus sperantibus
04. Première Leçon du troisième jour: Jod. Sedebit solitarius
05. Première Leçon du troisième jour: Jerusalem, Jerusalem, convertere ad Dominum
06. Seconde Leçon du troisième jour: Aleph. Quomodo obscuratum est aurum
07. Seconde Leçon du troisième jour: Beth. Filii Sion inclyti
08. Seconde Leçon du troisième jour: Gimel. Sed et lamiæ nudaverunt mammam
09. Seconde Leçon du troisième jour: Daleth. Adhesit lingua lactentis
10. Seconde Leçon du troisième jour: He. Qui vescebantur voluptuose
11. Seconde Leçon du troisième jour: Vau. Et major effecta est
12. Seconde Leçon du troisième jour: Jerusalem, Jerusalem, convertere ad Dominum
13. Courante
14. Troisième Leçon du troisième jour: Incipit Oratio Jeremiæ
15. Troisième Leçon du troisième jour: Pupilli facti sumus
16. Troisième Leçon du troisième jour: Servi dominati sunt
17. Troisième Leçon du troisième jour: Mulieres in Sion
18. Troisième Leçon du troisième jour: Jerusalem, Jerusalem, convertere ad Dominum
19. Tombeau de Mézangeau
None of us knew what to expect when we took the plunge into the first cycle of the Leçons de Ténèbres by Lambert. The secular work of this great master of the French XVII Century – one of the great singers and pedagogues of his time – was known to us, each one of us having performed many times his wonderful court airs. We thereupon thought that we were on known territory and able to adapt ourselves to suit his religious music, even though it seemed odd to us that these Leçons were not better known or often performed and even less recorded – this first cycle being the very first recording. But from the first working session, we understood why. It took a good three hours just to read the first Leçon – for about ten minutes worth of music! Indeed, the vocal line, abundantly ornamented with Gregorian ‘plainchant ’, is not rhythmically rigorously organised in relation to the basso continuo line. We therefore had to put in place both parts, melodic and harmonic, with a very careful and well thought out approach. Nonetheless, once we got over these initial hurdles, the music revealed itself to us in all its beauty and its singular depth, the sobriety and the expressivity of the plain-chant comes through almost as a kind of watermark behind the genius and endlessly renewed inventiveness of the ornamentation. We took on the huge task of adapting this score, which had always remained a puzzle for musicologists who in actual fact were very interested in hearing our interpretation in the light of the latest research. Several stages were necessary in order to find the best solution for performing this work whilst remaining as faithful as possible to the original source. Faced with ornamentation both prolific and virtuosic, equally precise as it is mysterious, conserving moments of unexpected liberty in the middle of a very restrained form, one of the major challenges was to find a specific vocality and an adapted continuo, taking us back to the very heart of our artistic research. It is rare, that as a musician we are to such a point interrogated by a score and each one of us by bringing his stone to the edifice, truly lived this adventure as a gift. According to witnesses at the time, we know that these Leçons by Michel Lambert were performed by three singers during the Tenebrae services but we chose the option in this recording of providing a version for male voice, to take into account the fact that our composer himself must have sung these pieces – the score, even if we know that it is not autographed, leads us to believe that it is more of an ‘aide-mémoire’ rather than a ready to be performed version – and that he sang his own court airs, even though they were written for soprano. He also played the accompaniment, probably on the theorbo – in the company of the gambist and theorbist Nicolas Hotman, of whom we have chosen a few instrumental pieces made use of as preludes, postludes, meditations and phrases in between these Leçons, which at the time were placed in the middle of liturgical services, three days before Easter... If the experience suggested here differs from that which was originally anticipated for these pieces, it’s nevertheless worth being listened to notably for the meditative state into which it plunges us.
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CD1
01. Première Leçon du premier jour: Incipit Lamentatio Jeremiæ-Aleph. Quomodo sedet sola
02. Première Leçon du premier jour: Beth. Plorans ploravit in nocte
03. Première Leçon du premier jour: Gimel. Migravit Judas
04. Première Leçon du premier jour: Daleth. Viæ Sion lugent eo
05. Première Leçon du premier jour: He. Facti sunt hostes
06. Première Leçon du premier jour: Jerusalem, Jerusalem, convertere ad Dominum
07. Seconde Leçon du premier jour: Vau. Et egressus est
08. Seconde Leçon du premier jour: Zain. Recordata est Jerusalem
09. Seconde Leçon du premier jour: Heth. Peccatum peccavit Jerusalem
10. Seconde Leçon du premier jour: Teth. Sordes ejus in pedibus
11. Seconde Leçon du premier jour: Jerusalem, Jerusalem, convertere ad Dominum
12. Troisième Leçon du premier jour: Jod. Manum suam misit hostis
13. Troisième Leçon du premier jour: Caph. Omnis populus ejus
14. Troisième Leçon du premier jour: Lamed. O vos omnes
15. Troisième Leçon du premier jour: Mem. De excelso misit ignem
16. Troisième Leçon du premier jour: Nun. Vigilavit jugum iniquitatum mearum
17. Troisième Leçon du premier jour: Jerusalem, Jerusalem, convertere ad Dominum
18. Prélude non mesuré pour viole seule
19. Première Leçon du second jour: De Lamentatione Jeremiæ-Heth. Cogitavit Dominus
20. Première Leçon du second jour: Teth. Defixæ sunt in terra
21. Première Leçon du second jour: Jod. Sederunt in terra
22. Première Leçon du second jour: Caph. Defecerunt præ lacrimis
23. Première Leçon du second jour: Jerusalem, Jerusalem, convertere
24. Seconde Leçon du second jour: Lamed. Matribus suis dixerunt
25. Seconde Leçon du second jour: Mem. Cui comparabo te
26. Seconde Leçon du second jour: Nun. Prophetæ tui viderunt
27. Seconde Leçon du second jour: Samec. Plauserunt super te manibus
28. Seconde Leçon du second jour: Jerusalem, Jerusalem, convertere
29. Troisième Leçon du second jour: Aleph. Ego vir videns
30. Troisième Leçon du second jour: Beth. Vetustam fecit
31. Troisième Leçon du second jour: Gimel. Circumedificavit adversum
32. Troisième Leçon du second jour: Jerusalem, Jerusalem, convertere
CD2
01. Allemande
02. Première Leçon du troisième jour: De Lamentatione Jeremiæ-Heth. Misericordiæ Domini
03. Première Leçon du troisième jour: Teth. Bonus est Dominus sperantibus
04. Première Leçon du troisième jour: Jod. Sedebit solitarius
05. Première Leçon du troisième jour: Jerusalem, Jerusalem, convertere ad Dominum
06. Seconde Leçon du troisième jour: Aleph. Quomodo obscuratum est aurum
07. Seconde Leçon du troisième jour: Beth. Filii Sion inclyti
08. Seconde Leçon du troisième jour: Gimel. Sed et lamiæ nudaverunt mammam
09. Seconde Leçon du troisième jour: Daleth. Adhesit lingua lactentis
10. Seconde Leçon du troisième jour: He. Qui vescebantur voluptuose
11. Seconde Leçon du troisième jour: Vau. Et major effecta est
12. Seconde Leçon du troisième jour: Jerusalem, Jerusalem, convertere ad Dominum
13. Courante
14. Troisième Leçon du troisième jour: Incipit Oratio Jeremiæ
15. Troisième Leçon du troisième jour: Pupilli facti sumus
16. Troisième Leçon du troisième jour: Servi dominati sunt
17. Troisième Leçon du troisième jour: Mulieres in Sion
18. Troisième Leçon du troisième jour: Jerusalem, Jerusalem, convertere ad Dominum
19. Tombeau de Mézangeau
None of us knew what to expect when we took the plunge into the first cycle of the Leçons de Ténèbres by Lambert. The secular work of this great master of the French XVII Century – one of the great singers and pedagogues of his time – was known to us, each one of us having performed many times his wonderful court airs. We thereupon thought that we were on known territory and able to adapt ourselves to suit his religious music, even though it seemed odd to us that these Leçons were not better known or often performed and even less recorded – this first cycle being the very first recording. But from the first working session, we understood why. It took a good three hours just to read the first Leçon – for about ten minutes worth of music! Indeed, the vocal line, abundantly ornamented with Gregorian ‘plainchant ’, is not rhythmically rigorously organised in relation to the basso continuo line. We therefore had to put in place both parts, melodic and harmonic, with a very careful and well thought out approach. Nonetheless, once we got over these initial hurdles, the music revealed itself to us in all its beauty and its singular depth, the sobriety and the expressivity of the plain-chant comes through almost as a kind of watermark behind the genius and endlessly renewed inventiveness of the ornamentation. We took on the huge task of adapting this score, which had always remained a puzzle for musicologists who in actual fact were very interested in hearing our interpretation in the light of the latest research. Several stages were necessary in order to find the best solution for performing this work whilst remaining as faithful as possible to the original source. Faced with ornamentation both prolific and virtuosic, equally precise as it is mysterious, conserving moments of unexpected liberty in the middle of a very restrained form, one of the major challenges was to find a specific vocality and an adapted continuo, taking us back to the very heart of our artistic research. It is rare, that as a musician we are to such a point interrogated by a score and each one of us by bringing his stone to the edifice, truly lived this adventure as a gift. According to witnesses at the time, we know that these Leçons by Michel Lambert were performed by three singers during the Tenebrae services but we chose the option in this recording of providing a version for male voice, to take into account the fact that our composer himself must have sung these pieces – the score, even if we know that it is not autographed, leads us to believe that it is more of an ‘aide-mémoire’ rather than a ready to be performed version – and that he sang his own court airs, even though they were written for soprano. He also played the accompaniment, probably on the theorbo – in the company of the gambist and theorbist Nicolas Hotman, of whom we have chosen a few instrumental pieces made use of as preludes, postludes, meditations and phrases in between these Leçons, which at the time were placed in the middle of liturgical services, three days before Easter... If the experience suggested here differs from that which was originally anticipated for these pieces, it’s nevertheless worth being listened to notably for the meditative state into which it plunges us.
Year 2018 | Classical | FLAC / APE | HD & Vinyl
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