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Motetten

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4,8 von 5 Sternen 10 Kundenrezensionen auf Amazon.com

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  • Motetten
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  • Grands Motets Francais (Collector's Edition)
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Kundenrezensionen

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Amazon.com: 4.8 von 5 Sternen 10 Rezensionen
11 von 11 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen I can't imagine... 29. August 2008
Von Gio - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
...why everybody hasn't become a rabid fan of French Baroque music, especially in the last decade with performers of the quality of Bill Christie's Les Arts Florissants! It's lively, it's direct to the senses, it's rich in variety, and even when it's deeply spiritual it's never lugubrious or ponderous. If YOU are one of the unconverted, this CD of the Grands Motets of Jean-Joseph de Mondonville (1711-1772) might be the performance that will open your ears. In addition to the usual charms of French Baroque, Mondonville's music is at times brilliantly colorful, fall-down funny, gracefully balletic, sensual, and staunchly noble, all in good turn.

Mondonville was always a crowd pleaser by choice, far more popular in his time than more "elite" composers like Rameau, but these Grands Motets are not fluff by any means. They are as deeply rooted in the theory and tradition of the music of the French royal chapel as any of the scores of Grand Motets stretching back to the youth of Louis XIV and continuing to the French Revolution. Essentially, to be a "Grand Motet", the sacred Latin text had to be set in grand style, with chorus, orchestra, and soloists, almost always in six or more contrasting sections avoiding the repetition of da capo forms. The text was supreme and had to be set intelligibly as well as expressively. The great model was always Lully, even 100 years later. The orchestra of Les Arts Florissantes has been augmented for this recording, with 13 violins, 6 violas, 6 cellos, 2 double basses, flutes, oboes, bassoons, organ, and harpsichord - grand forces indeed for music to be performed in a chapel! The six vocal soloists, led by soprano Sophie Daneman, are all Christie stalwarts and singers of superb technique. By the middle of the 18th C, the Grand Motet had in fact emerged from the chapel to compete with the opera for large public audiences in Paris, on the program of the "Concert Spirituel", where Mondonville became music director in 1755.

Mondonwille was apparently fond of musical word-painting, and ready to stretch his orchestrations to accomplish special effects: flood sounds, earthquakes, descents and ascents of angels. The first motet on this disk, Domis regnavit, throws formality to the winds in its boisterous portrayal of waves crashing at the Lord's command. And just imagine what Mondonville makes of this text from the motet In Exitu Israel: "The mountains skipped like rams / and the little hills like lambs."

Everything that needs to be said about the quality of this performance is expressed in the name William Christie. In Bill We Trust!

Les Arts Florissantes, by the way, is partially but critically supported by funds from the French Ministry of Culture, the Regional Council of Basse-Normandie, and the city of Caen. Governmental support of the arts is age-old and proper, the best use the state can make of public money in long-term investment. Bill Christie is an American, but he has spent his career enriching the lives of Europeans because of the dire failure of American governments to support music and the other arts significantly.
2 von 3 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Supremely dramatic choral works 7. Juni 2007
Von James Rockhill - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
These works were a very pleasant surprise, and every bit as exhilarating as everyone else here has described. If you enjoy the more familiar German, British, and Italian choral masterpieces of the Baroque era, but have not yet experienced the tendresse of Charpentier or the heaven-storming drama of Mondonville, you are in for a treat. These composers, (as well as Dumont, Desmarest, and others) offer much more melodic, harmonic, and contrapuntal interest in their choral music than is usually the case with Lully and De Lalande.

Stop here first: I cannot imagine a better performance or recording of this music.

Then go on to the gentle world of Charpentier's Christmas music, with the following caveats about the Messe du Minuit:

* the performance by Guest on Chandos is neither good nor idiomatic

* Willcocks on EMI performs accurately, but is so far from the proper style and inflection that the music is barely recognizable

* Christie is an expert in Charpentier's music and has produced near-definitve performances of the "In nativitatem" and "Pastorale" settings, but turns in a surprisingly edgy and tentative performance of this lovely work.

My favorite recording of the Messe du Minuit was by Joel Cohen on Desmar, which is sweeter and clearer in sound, as well as better sung, than his later recording for Nonesuch, which is nonetheless still quite good. Colleaux recording on Arion is also quite good. The best buy for Charpentier's Christmas music at present is the series of discs produced by Kevin Mallon for Naxos.

No such reservations or hesitations apply to the present wonderful disc of Mondonville's Grands Motets.
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Christie at his best. 29. August 2003
Von Sir Cecil - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Christie once said in an interview that he was no great admirer of Mondonville's operas. However, he was full of praise for these Grand Motets and his enthusiasm for this fine music is reflected in a superlative performance. There's plenty of drama and exquisite beauty to be heard on this CD and, if you know and like Christie's wonderful recording of Rameau's motets, you'll surely be happy to discover this CD. The vocal performances are particularly strong and the instrumental work reflects Christie's invariably fine taste perfectly.
Not to be missed.
5.0 von 5 Sternen Wonderful choral music. 19. Dezember 2013
Von musicman2011 - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
This is a superb record, great music of the French baroque played in authentic idiomatic style and with great spirit. If you like the JS Bach cantatas you will probably love these motets. If anything, they probably have a little more elan than the great Bach!
3 von 3 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Great choral music in the early 18th Century wasn't limited to the Holy Trinity, Bach-Haendel-Vivaldi. 24. Dezember 2012
Von Discophage - Veröffentlicht auf Amazon.com
Format: Audio CD
Until recently, my knowledge and appreciation of late 17th-early 18th Century choral music was more or less limited to the works of the Holy Trinity, Bach-Haendel-Vivaldi, and I thought no other composer of the era approached it, with a question mark on Purcell which I promised myself to explore more seriously when I found the time. But something had always bothered me with the French side of it or what I had heard of it, music written for or during the reign of Louis the 14th, through various samples by Lully, Charpentier, Campra or Jean Gilles, what sounded to me like a majestic stiffness maybe suited to the ideological image the Sun-King wanted to hear conveyed but... sounding very stiff to me, lacking the jubilation of Haendel or Bach, the sunny colors of Vivaldi, the Italianate melismata of their solo vocal writing. And there is also always that cliché of French 17th-18th century vocal writing, the phrases systematically appogiaturing on the lower semi-one, something that is probably related to the accenting of the French language on the last syllable, but which rapidly taxes my patience and has kept me away from the operas of Lully to Rameau, as much as I enjoy the orchestral suites excerpted from them.

Then I listened to the 20-CD survey of Music at the Palace of Versailles under the four King Louis 13-16, 200 Years of Music at Versailles, and discovered, among other things, the motets of Mondonville, excerpted from this commercial recording, made by William Christie and Arts Florissants for Erato in 1996. Wow.

In truth, Mondonville (1711-1772) is a composer of the Age of Louis 15. He composed seventeen grand motets between 1734 and 1758, of which nine are extant. But, as the remarkably informative liner notes by James R. Anthony point out, the very genre of the "grand motet" was brought to perfection by the Sun-King's composer and Lully successor at the Chapelle Royale, Michel-Richard Delalande, at the turn of the 17th-to-18th Century and remained bound to that tradition throughout the century.

What makes the three motets of Mondonville featured here such great works is that they combine the Louis 14 grandeur and elements of a more Italianate style, solo arias or duets that are more operatic, sometimes engaging in felicitous dialogues with solo instruments, as in track 3, two sopranos and oboe - and, sung in Latin, with none of the irksome French appoggiaturas. It is music of incredible power, profoundly moving pathos, wonderful musical invention. As for the latter, the tempest music of track 4 (depicting the floods), the panting sea music of track 8 (somewhat reminiscent of Purcell's Slumber Scene in King Arthur but incomparably more powerful) stand out, but truly everything in the music arouses enthusiasm, even more than in the Rameau motets also recorded by Christie, Rameau - Les Grands Motets / Daneman, Rime, Agnew, Rivenq, Cavallier, Les Arts Florissants, Christie.

Wow. Not to be missed, this must be one of the towering achievements of 18th century choral music. TT 71:41, great liner notes, makes you long to hear the complete motets of Mondonville. Unfortunately there is no complete survey, and the CD by Christophe Coin, Mondonville - Grands Motets / Coin, is now offered at ludicrous prices. Higginbottom on Hyperion isn't so cheap, Mondonville - De Profondis ~ Venite exultemus / Fisher, Ch. Daniels, Varcoe, London Baroque, Higginbottom, and offers only one of the remaining six Grands Motets, "Venite exultemus", since the other one, "De Profundis", is also played by Christie, and with more dramatic impact. "Venite" isn't as powerful and inventive as Christie's three motets either. And I'm also ready to hear all those other Grands Motets referred to in the liner notes, from Delalande to the virtually unknown and unrecorded Henry Madin (1698-1748), the colleague composer of Mondonville at the Chapelle Royale, and who still at the beginning of the French Revolution (beware, there is a typo in the English liner notes, it isn't 1762 but 1792), almost 45 years after his death, was THE most frequently played composer of grands motets at the Chapelle Royale, way ahead of Delalande and Campra. It was for his funeral service that Mondonville composed his "De Profundis", the third motet on this CD.
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