Charpentier/Grigny/Lully Sacred Choral and Organ works
View record and artist detailsRecord and Artist Details
Composer or Director: Jean-Baptiste Lully, Nicolas de Grigny, Marc-Antoine Charpentier
Label: Erato
Magazine Review Date: 10/1993
Media Format: CD or Download
Media Runtime: 131
Mastering:
DDD
Catalogue Number: 4509-91722-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Organ Works Book 1 (Premier livre d'orgue) |
Nicolas de Grigny, Composer
André Isoir, Organ Nicolas de Grigny, Composer Sagittarius Vocal Ensemble |
| O salutaris hostia |
Marc-Antoine Charpentier, Composer
Delphine Collot, Soprano Emmanuelle Gall, Soprano Françoise Masset, Soprano Marc-Antoine Charpentier, Composer Sophie Vatillon, Bass viol |
| Domine salvum |
Jean-Baptiste Lully, Composer
Delphine Collot, Soprano Emmanuelle Gall, Soprano Françoise Masset, Soprano Jean-Baptiste Lully, Composer Sophie Vatillon, Bass viol |
Author:
Nicolas de Grigny was a contemporary of Francois Couperin and, in the sphere of organ music, the equal of his much better known compatriot. Grigny's Premier Livre d'Orgue—he didn't in fact produce another—was published in 1699 and contains an organ Mass and paraphrases on five Gregorian hymns. The concept of the 'organ mass' goes back to early Renaissance times and consists of versets for organ solo in place of sections of the Ordinary and Proper of the Mass, but alternating with sections of sung plainchant. The late seventeenth century was the richest period in the history of French organ masses and Grigny's is one of the very finest of them.
Andre Isoir plays an organ by Jean Boizard in the church of St Michel-en-Thierache. Though restored in the early 1980s the instrument, dating from 1714, a few years after Grigny's death, has retained its original pipes, wind-chests, wind conductors and therefore much of its original character. That is of particular importance in music whose relationship with particular instrumental colours is as close as that demonstrated by the French baroque organ school. In Grigny'sLivre d'Orgue it is the five-strand textures of six of the fugues which most consistently underline the splendour of this instrument, but individual colours are hardly less striking from among which I would single out the beautiful recorder-like quality of the flutes, heard to advantage in the Sanctus of the Mass. I should also mention at this point the inclusion of two very short motets by Charpentier and Lully which are sung at the close of the Sanctus and of the Agnus Dei, respectively. This follows a common practice of the period.
Isoir is an organist whose playing I have often admired in past recordings, notable among which are the two Couperin Masses issued by Calliope (both 6/90). He is more rhythmic than some of his fellow organists and he has a feeling both for the inherent nobility of the music and the conventions which bring it to life. Sometimes, as for instance in rhythmically dotted passages recalling French overture manner I found myself longing for the more sharply defined responses of Ton Koopman, but opinions are divided on this point, I know, at least in the organ world. I enjoyed the contributions by the Sagittarius Vocal Ensemble. There is a rough edge to the singing which I like and a feeling of spontaneity, too. Both the motets are attractively sung.
In summary, a fine recording, well documented but rather carelessly spelt in translation. Recommended.NA
Andre Isoir plays an organ by Jean Boizard in the church of St Michel-en-Thierache. Though restored in the early 1980s the instrument, dating from 1714, a few years after Grigny's death, has retained its original pipes, wind-chests, wind conductors and therefore much of its original character. That is of particular importance in music whose relationship with particular instrumental colours is as close as that demonstrated by the French baroque organ school. In Grigny's
Isoir is an organist whose playing I have often admired in past recordings, notable among which are the two Couperin Masses issued by Calliope (both 6/90). He is more rhythmic than some of his fellow organists and he has a feeling both for the inherent nobility of the music and the conventions which bring it to life. Sometimes, as for instance in rhythmically dotted passages recalling French overture manner I found myself longing for the more sharply defined responses of Ton Koopman, but opinions are divided on this point, I know, at least in the organ world. I enjoyed the contributions by the Sagittarius Vocal Ensemble. There is a rough edge to the singing which I like and a feeling of spontaneity, too. Both the motets are attractively sung.
In summary, a fine recording, well documented but rather carelessly spelt in translation. Recommended.
Charpentier/Grigny/Lully Sacred Choral and Organ works
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