Clérambault Cantatas & Chamber Works
View record and artist detailsRecord and Artist Details
Composer or Director: Louis-Nicolas Clérambault
Label: Naxos
Magazine Review Date: 10/1998
Media Format: CD or Download
Media Runtime: 62
Mastering:
DDD
Catalogue Number: 8 553744
Tracks:
| Composition | Artist Credit |
|---|---|
| Orphée |
Louis-Nicolas Clérambault, Composer
(Le) Concert Spirituel Soloists Louis-Nicolas Clérambault, Composer Sandrine Piau, Soprano |
| Léandre et Héro |
Louis-Nicolas Clérambault, Composer
(Le) Concert Spirituel Soloists Louis-Nicolas Clérambault, Composer Sandrine Piau, Soprano |
| Premier livre de pièces de clavecin, Movement: Suite No. 2, C minor |
Louis-Nicolas Clérambault, Composer
Blandine Rannou, Harpsichord Louis-Nicolas Clérambault, Composer |
| Sonata prima, "Anonima" |
Louis-Nicolas Clérambault, Composer
(Le) Concert Spirituel Soloists Louis-Nicolas Clérambault, Composer |
| Simphonie à cinq |
Louis-Nicolas Clérambault, Composer
(Le) Concert Spirituel Soloists Louis-Nicolas Clérambault, Composer |
Author: Nicholas Anderson
Clerambault’s chamber cantatas, Orphee and Leandre et Hero, are well represented on the Gramophone Database. So they should be, for these are captivating pieces which reveal the composer’s sensitivity in setting texts and endorse his reputation as, perhaps, the master of the cantate francaise. This contemporary of Couperin and Rameau published five anthologies of cantatas, between 1710 and 1726. The pieces amount to some 20 in all, in addition to which five others were issued separately. Orphee, contained in the First Book, is often regarded as Clerambault’s masterpiece, but Leandre et Hero, from the Second Book, at times hardly seems inferior.
Sandrine Piau is no stranger to this subtly inflected repertoire and sings with passion and a lively sense of style. Her voice is clear, lightly textured and attractive, and she pays close attention to textural detail; her beautifully shaded declamation of the line, “Remenons Eurydice ou restons chez les morts” (“Let us bring back Eurydice or stay among the dead”), which concludes the third recit of Orphee, is a vivid example of what I mean. But equally affecting is Piau’s controlled address to Pluto, “Monarque redoute de ces Royaumes sombres” (“Feared monarch of these sombre realms”) in the third air, where she is delicately accompanied by Jocelyn Daubigney’s flute. Leandre et Hero, inspired by the touching love-story of Hero and Leander, is similarly scored to Orphee, that is, for high voice with violin, flute and continuo. It begins with a melancholy C minor “Ritournelle”, which perfectly establishes the prevailing mood of the piece. Perhaps Clerambault, notwithstanding a splendidly vigorous air de tempete, never quite achieves the expressive variety of Orphee, but Leandre is graced throughout by music of strong character, admirably realized by Piau.
The remaining items are instrumental and consist of the C minor Harpsichord Suite from Clerambault’s Livre de pieces de clavecin, a Simphonie in G minor, whose initial idea brings to mind the opening of the passacaglia in the same key which begins Bach’s cantata,Jesu, der du meine Seele (No. 78), and a fine Trio Sonata in G major, enigmatically subtitled Anonima.
All in all, a satisfying programme, very well performed by Piau and Les Solistes du Concert Spirituel. Strongly commended.'
Sandrine Piau is no stranger to this subtly inflected repertoire and sings with passion and a lively sense of style. Her voice is clear, lightly textured and attractive, and she pays close attention to textural detail; her beautifully shaded declamation of the line, “Remenons Eurydice ou restons chez les morts” (“Let us bring back Eurydice or stay among the dead”), which concludes the third recit of Orphee, is a vivid example of what I mean. But equally affecting is Piau’s controlled address to Pluto, “Monarque redoute de ces Royaumes sombres” (“Feared monarch of these sombre realms”) in the third air, where she is delicately accompanied by Jocelyn Daubigney’s flute. Leandre et Hero, inspired by the touching love-story of Hero and Leander, is similarly scored to Orphee, that is, for high voice with violin, flute and continuo. It begins with a melancholy C minor “Ritournelle”, which perfectly establishes the prevailing mood of the piece. Perhaps Clerambault, notwithstanding a splendidly vigorous air de tempete, never quite achieves the expressive variety of Orphee, but Leandre is graced throughout by music of strong character, admirably realized by Piau.
The remaining items are instrumental and consist of the C minor Harpsichord Suite from Clerambault’s Livre de pieces de clavecin, a Simphonie in G minor, whose initial idea brings to mind the opening of the passacaglia in the same key which begins Bach’s cantata,
All in all, a satisfying programme, very well performed by Piau and Les Solistes du Concert Spirituel. Strongly commended.'
Clérambault Cantatas & Chamber Works
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