Lully, Leclair, Montéclair, Scarlatti, Händel

Amour amor

Jean-Baptiste Lully (1632–1687)
Ballet royal des Amours déguisés, LWV 21 (1664)
Armide, LW 71 (1686) – extracts

Jean-Marie Leclair (1697–1764)
Deuxième Récréation de musique, op. 8 (1737) – extracts

Michel Pignolet de Montéclair (1667–1737)
La Morte di Lucretia (1728) – cantata

Alessandro Scarlatti (1660–1725)
L’Arianna (ca 1700) – cantata

Georg Friedrich Händel (1685–1759)
Sonata n° 4, op. 5 in G Major, HWV 399 (1733) – extracts
Notte placida e cheta, HWV 142 (1708) – cantata

Soprano : Ambroisine Bré
Les Talens Lyriques
Harpsichord and musical direction : Christophe Rousset 

Les Talens Lyriques here present a delicate anthology of intimate pieces, in which the instruments “converse” sometimes alone, sometimes with the voice.

This programme explores different musical forms of the Baroque period – operatic aria, cantata, sonata, suite – and moves between France and Italy. The declamatory style that frames the arias was developed by Lully when he created the tragédie lyrique. Different from opera, the cantata belongs to a chamber aesthetic aiming to create a new acoustic alchemy between voice and instruments. Handel and Leclair illustrate two different aspects of instrumental music: the latter’s light and charming Recreations de musique, typical examples of French suites, are more straightforward than most of the composer’s other chamber works and were intended for amateur musicians (“d’une exécution facile”), while Handel’s Sonata for two violins and continuo is full of vibrant instrumental virtuosity.