Ave Maris Stella
Les Talens Lyriques
Marie Lys & Judith van Wanroij sopranos
Gilone Gaubert & Benjamin Chénier violins
Emmanuel Jacques cello
Christophe Rousset organ, harpsichord et conductor
Program
Marc-Antoine Charpentier (1643-1704)
Ave Maris Stella, hymne H.60 (ca 1670)
Jesu corona Virginum, hymne H.53 (ca 1670)
Regina coeli laetare, antienne H.16 (ca 1670)
In odorem unguentorum, antienne H.51 (ca 1690)
Regina coeli laetare, antienne H.32 (ca 1680)
Gaudete fideles, motet pour saint Bernard H.306 (ca 1670)
Veni sponsa Christi, antienne H.17 (ca 1670)
Ave Regina, H.22 (ca 1670)
Sicut spina rosam genuit, motet pour la nativité de la vierge H.309 (ca 1670)
O doctor optime, motet pour saint Augustin H. 307 (ca 1670)
Sola vivebat in antris, motet pour Marie-Madeleine H. 373 (sd)
Claudio Monteverdi (1643-1704)
Salve Regina “Audi caelum“, SV 283, extrait de la Selva morale e spirituale (1640-41)
“Pulchra es amica mea“, extrait des Vespro della Beate Vergine, SV 206 (1610)
Dario Castello (1602-1631)
Sonata seconda, extraite du Primo Libro di sonate concertate in stil moderno (1621)
Claudio Monteverdi (1643-1704)
Iste confessor, SV 279, extrait de la Selva morale e spirituale (1640-41)
Pianto della Madonna sopra il Lamento d’Arianna, SV 288, extrait de la Selva Morale e spirituale (1640-41)
Dario Castello (1602-1631)
Sonata quarta, extraite du Secondo Libro di sonate concertate in stil moderno (1629)
Claudio Monteverdi (1643-1704)
Sancta Maria succurre miseris, SV 328 (1618)
Venite sitientes ad aquas domini, SV 335 (1624)
Et resurrexit, SV 260, extrait de la Salva Morale e spirituale (1640-41)
“Monteverdi is the alpha of Baroque in my opinion, as regards both opera and sacred music. He is a major composer, a true source of rejuvenation. He had an amazingly enduring influence throughout the seventeenth century. As for Marc-Antoine Charpentier, he was probably the most prolific composer of sacred music in France, remembered nowadays more for that repertoire than for his operas. The works of both composers, and particularly their two-voice motets, are fascinating, incredibly sensuous, and almost visual, as well as aural, in their expression. The polyphony, reduced to the essential, immediately reveals the richness of the counterpoint.”
– Christophe Rousset