Psaumes du XVIème
- Psaumes du XVIème
- Centre de musique ancienne Genève / Ensemble Clément
Janequin / Ensemble Les Eléments
Cascavelle 1001
Contents:
- Goudimel: Psaume 87 "Dieu pour fonder tresseur habitacle"
(1565, Paris; 5 voices, 4 viols, recorder, lute, organ)
- Loys Bourgeois: Psaume 29 "Las en ta fureur aigue"
(1547, Lyon; 4 violes)
- Paschal de l'Estocart: Psaume 7 "Mon dieu j'ay en toy
esperance" (1553, Genève; 5 voices, 4 viols)
- Adrian Leroy: Psaume 50 "Le Deiu, le Fort, l'Eternel
parlera" (1552, Paris; voice, lute)
- Leroy: Psaume 104 "Sus, sus mon âme, il te fant dire
bien" (1552, Paris; lute)
- Bourgeois: Psaume 23 "Mon Dieu me paist sous sa puissance
haute" (1547, Lyon; voice, 2 viols, recorder, organ)
- Pierre Certon: Psaume 130 "Du fond de ma pensée"
(1554, Paris; 4 viols, lute)
- Bourgeois: Psaume 37 "Ne sois fasché si durant
ceste vie" (1547, Lyon; 4 voices)
- Estocart: Psaume 33 "Resveillez-vous chacun fidèle"
(1583, Genève; 5 voices, 4 viols, recorder, lute, organ)
- Sweelinck: Psaume 1 "Qui au conseil des malins n'a
esté" (1614, Amsterdam; 4 voices, 4 viols, 2 recorders,
organ)
- Jacob van Eyck: Psaume 133 "O combien est plaisant et
souhaitable" (1646, Amsterdam; recorder)
- Nicolas Vallet: Praeludium (1620, Amsterdam; lute)
- Vallet: Psaume 137 "Estans assis aux rives aquatiques"
(1619, Amsterdam; voice, lute)
- Sweelinck: Psaume 140 "O Dieu, donne moi delivrance"
(1604, Amsterdam; organ)
- Sweelinck: Psaume 118 "Rendez à Dieu louange et
gloire" (1604, Amsterdam; 5 voices, 3 viols, 2 recorders,
lute, organ)
Playing time: 51'
Recording date: January 1986
This is a major program from the Geneva Psalter. On the whole,
this is simple, functional music, meant for performance in private
homes. The performance emphasizes instrumental arrangements, but
is very accomplished overall.
In many ways, this French repertory is more closely aligned with
the English and North German music of c.1600, with a similar approach
to "points" of imitation and contrapuntal function. Of
course, this direction was discarded in France for an emphasis on
the Italian monody. It is, I suppose, coincidence that this sort
of harmonic divide should align with religion. After all, it is
counter to what "tradition" should have implied.
Nonetheless, this brief French repertory is interesting partly for
this reason.
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Todd M. McComb