Of These, Hope

Charpentier’s Motet pour les trépasses and the Te Deum

Throughout his career, Marc-Antoine Charpentier (1643-1704) continually lost out to the powerful Jean-Baptiste Lully, who as court composer to the Sun King held a monopoly over French musical life. After his death, Charpentier’s work was quickly forgotten. This all changed when, in 1953, musicologist Carl de Nys rediscovered the Te Deum and the European Broadcast Union chose the prelude as its theme tune. Ever since then, Charpentier’s music has been heard more and more in concert halls, and the composer is finally stepping out from Lully’s shadow as one of French Baroque’s greatest. 

While Lully, an Italian, excelled in the French style, the Frenchman Charpentier was rather influenced by the Italian tradition. When he was eighteen, Charpentier went to Rome and spent three years studying with the then celebrated composer Giacomo Carissimi. Carissimi’s unusually expressive melodies and capricious harmonies made a lasting impression on the Frenchman’s own work. On his return to Paris in 1670, Charpentier resided at an apartment of Duchess Marie de Guise. As ‘artist in residence’, he wrote a number of Italian-inspired compositions, including dramatic works and motets, for Mademoiselle de Guise. Not infrequently, his compositions contained a leading role for the haute-contre (a high tenor voice), which he as singer-composer took for himself. 

It is possible that the Motet pour les trépassés (‘motet for the deceased’) was also commissioned by the Duchess. With the passing of the Duke of Guise in 1671 and the Duchess of Orléans in 1672, the family entered a period of deep mourning and there was a need for funeral music. The Motet pour les trépassés is subtitled 'Plaintes des âmes du purgatoire' (lament of the souls in purgatory) and is a collage of citations from the Book of Job. In the Hebrew Bible, Job is described as a rich man who is severely tested by God. Everything is taken from him: his children, his fortune and his health. The main part of the Book consists of a dialogue between Job and his friends, who see Job’s misfortune as proof of his iniquity. However, the motet’s text is a monologue focussing on the distraught Job, who asks himself why God is punishing him so severely. Charpentier sets Job’s plaintive words to music with gently whimpering voices alternating with cries of desperation.

Charpentier remained in the service of Mademoiselle de Guise until shortly before her death in 1688. In the meantime, he was increasingly making a name for himself in Paris: he joined Molière’s theatre company (the ‘Troupe du Roy’) and frequently composed sacred music for the Dauphin, the French crown prince. His reputation grew, in spite of the great Lully, who held the court’s musical life firmly in his grasp and tolerated no rivals. Charpentier therefore sought his fortune elsewhere and acquired fame as a composer of sacred music. One highlight of his career was the prestigious position of maître de musique at Saint-Louis, the most important Jesuit church in Paris.

It was at this time (between 1682 and 1692) that Charpentier wrote his Te Deum in D, a large-scale religious composition or ‘grand motet’ for soloists, choir and orchestra. The Te Deum consists of eleven parts and opens with the familiar prelude, ‘Marche en rondeau’, that today heralds the Eurovision Song Contest. In the following sections, the various soloists and choir gradually combine to reach the magnificent completion. We do not know precisely for what occasion Charpentier wrote this heroic music. Perhaps it was to celebrate French victory at the bloody Battle of Steenkerke in 1692 or to commemorate the Treaties of Nijmegen in 1678. The combative key of D major and the incorporation of military trumpets and timpani must in any case have aroused feelings of pugnacity and glory in the listener.   
 

André Campra’s Requiem

“I have tried as far as possible to combine the elegance [délicatesse] of French music with the liveliness [vivacité] of Italian music”, wrote André Campra (1660-1744) in the preface to his first book of cantatas. Like Charpentier, Campra was a man of two worlds: the Italian and the French, but also the theatrical and the religious worlds. He went from choirboy at the cathedral in Aix-en-Provence to maître de musique at Notre Dame in Paris, and thus built a career as a composer of sacred music. At the same time, he harboured a great love for theatre. Fearful of the church, Campra wrote operas and cantatas in secret, publishing them anonymously or under his brother’s name. It was soon an open secret that Notre Dame’s music director was leading a double life and had written no less than 27 operas. He was on bad terms with the church authorities, until in 1718 Louis XV handed him the significant award of 500 livres as encouragement for his diverse and high-quality compositions. With the court’s support, Campra now had clear authorisation to follow both of his dreams, and in the last decades of his life managed to coordinate working at both the Royal Chapel and the Opera.       
With the Messe des Morts, Campra composed, probably around 1722, his only requiem. The work is written for soloists, choir and orchestra, with alternations between arias or airs, récits (quasi-spoken, declamatory passages) and ensembles. In this way, Campra’s requiem has both the imposing scope and the contrasting structure of a grand motet. The seven sections (Introïtus, Kyrie, Graduale, Offertorium, Sanctus, Agnus Dei and Post-Communio) each begin with an instrumental prelude and end with a chorus. The Offertorium, with its three great, unified choral pieces, forms the heart of the requiem. The musical symbiosis that Campra achieves in this work is unique. The arias with their syllabic vocals (one note for each syllable) and the short, symmetrical phrases are typically French, while the capricious harmonies and expressive ritornellos (musical interludes) exude the Italian style. Religion and drama also appear to be combined. Campra shrouds the requiem in a contemplative, almost mystical sphere, while the contrast-rich orchestral colours, vocal embellishments and pulsating rhythms deliver the dramatic fireworks of an opera.

Reinoud Van Mechelen

The Belgian tenor Reinoud Van Mechelen has very rapidly built himself an international career. In 2017 he won the prestigious Caecilia prize for Young Musician of the Year. Today he regularly shares the stage with renowned baroque ensembles such as the Collegium Vocale Gent, Le Concert Spirituel and Hespèrion XXI. As an opera singer he has interpreted, among others, the title role in Rameau’s Pygmalion, Tamino (The Magic Flute), Nadir (The Pearl Fishers) and Ferrando (Così fan tutte). In 2016 he set up the a nocte temporis ensemble.

 

Ilse Eerens

The Belgian soprano Ilse Eerens completed her studies at the New Opera Academy in Amsterdam and The Hague. She has since appeared regularly on the international stage, including at the Theater an der Wien and the Philharmonie de Paris. Her broad opera repertoire ranges from Pamina (The Magic Flute) to La Vièrge (Jeanne d’Arc au bûcher) and the title role in Janáček’s Cunning Little Vixen. Recent highlights include The Seasons with the Orchestra of the Eighteenth Century and Mozart’s Requiem with the Gulbenkianorkest directed by Lorenzo Viotti.

 

Guy Cutting

British tenor Guy Cutting gained a first-class degree in Music at New College, Oxford. In 2013 he received the American Bach Soloists' Jeffrey Thomas Award and is currently a Rising Star of the Enlightenment. His engagements have included appearances with The Orchestra of the Age of Enlightenment, The Academy of Ancient Music and Collegium Vocale Gent. He is a member of Damask Vocal Quartet and has recorded Scarlatti and Handel on the Avie label, Charpentier, Couperin, Blow and Mozart for Novum and Gabriel Jackson’s Passion for Delphian.

 

Lisandro Abadie

Argentine bass-baritone Lisandro Abadie graduated at the Schola Cantorum Basiliensis and the Musikhochschule Luzern. In 2006, he was awarded the Edwin Fischer Gedenkpreis. He has collaborated with ensembles like Les Arts Florissants, the Orchestra of the Age of Enlightenment and Les Talens Lyriques. In the field of opera, his wide repertoire extends from Monteverdi to contemporary music and particularly includes Handel and Viktor Ullmann. Among his numerous recordings are Handel’s Siroe, Lully’s Phaëton and the complete Monteverdi Madrigals and Vespro.

 

Choeur de Chambre de Namur

Ever since its establishment in 1987, the Choeur de Chambre de Namur has been defending the musical inheritance of its own region (Lassus, Arcadelt, Rogier, Du Mont,…), without ever losing sight of the broader choral repertoire. The choir is a regular guest at the most prestigious European festivals and has made numerous recordings. Recent highlights were Les Indes Galantes at the Paris Opera and the Goethes-Fragmente creation by Belgian composer Michel Fourgon. Artistic direction has been in the hands of Leonardo García Alarcón since 2010

Marc-Antoine Charpentier, Te Deum, H. 146

I. Prelude

 

II. Te Deum laudamus 

Te Deum laudamus: 

te Dominum confitemur.

 

[EN]

(bass solo)

We praise you, O God, 

we acclaim you as the Lord.

 

III. Te aeternum Patrem 

Te aeternum patrem, omnis terra veneratur.

Tibi omnes Angeli: 

tibi caeli et universae potestates.

Tibi cherubim et seraphim, 

incessabili voce proclamant:

"Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth."

 

[EN]

(choir and soloists)

All creation worships you, the Father everlasting. 

To you all angels, 

all the powers of heaven, 

the cherubim and seraphim, 

sing in endless praise: 

“Holy, holy, holy Lord, God of power and might.”

 

IV. Pleni sunt caeli et terra 

“Pleni sunt caeli et terra maiestatis gloriae tuae."

Te gloriosus Apostolorum chorus,

Te Prophetarum laudabilis numerus,

Te Martyrum candidatus laudat exercitus.

 

[EN]

(choir)

“Heaven and earth are full of your glory.” 

The glorious company of apostles praise you. 

The noble fellowship of prophets praise you.

The white-robed army of martyrs praise you.

 

V. Te per orbem terrarum

Te per orbem terrarum 

sancta confitetur Ecclesia:

Patrem immensae maiestatis;

Venerandum tuum verum et unicum Filium;

Sanctum quoque Paraclitum Spiritum.

 

Tu rex gloriae, Christe:

Tu Patris sempiternus es Filius.

Tu, ad liberandum suscepturus hominem, 

non horruisti Virginis uterum.

 

[EN]

(haute-contre, taille, bass)

Throughout the world 

the holy Church acclaims you: 

Father, of majesty unbounded, 

your true and only Son, worthy of all praise, 

the Holy Spirit, advocate and guide. 

 

You, Christ, are the King of glory, 

the eternal Son of the Father.

When you took our flesh to set us free 

you humbly chose the Virgin's womb.

 

VI. Tu devicto mortis aculeo 

Tu, devicto mortis aculeo,

aperuisti credentibus regna caelorum.

Tu ad dexteram Dei sedes, in gloria Patris.

Iudex crederis esse venturus.

 

[EN]

(choir and bass)

You overcame the sting of death 

and opened the kingdom of heaven to all believers. 

You are seated at God's right hand in glory. 

We believe that you will come and be our judge.

 

VII. Te ergo quaesumus

Te ergo quaesumus, tuis famulis subveni: 

quos pretioso sanguine redemisti.

 

[EN]

(soprano)

Come then, Lord, and help your people, 

bought with the price of your own blood.

 

VIII. Aeterna fac cum sanctis tuis

Aeterna fac cum sanctis tuis in gloria numerari.

Salvum fac populum tuum, Domine, et benedic hereditati tuae.

Et rege eos, et extolle illos usque in aeternum.

Per singulos dies benedicimus te: 

et laudamus nomen tuum in saeculum, 

et in saeculum saeculi.

 

[EN]

(choir)

Bring us with your saints to glory everlasting. 

Save your people, Lord, and bless your inheritance. 

Govern and uphold them now and always. 

Day by day we bless you. 

We praise your name for ever.

 

IX. Dignare, Domine

Dignare, Domine, die isto sine peccato nos custodire.

Miserere nostri, Domine, miserere nostri.

 

[EN]

(bass, soprano)

Keep us today, Lord, from all sin. 

Have mercy on us, Lord, have mercy.

 

X. Fiat misericordia tua

Fiat misericordia tua, Domine, super nos: 

quemadmodum speravimus in te.

 

[EN]

(sopranos, bass)

Lord, show us your love and mercy, 

for we have put our trust in you.

 

XI. In te, Domine, speravi

In te, Domine, speravi: 

non confundar in aeternum.

 

[EN]

(choir, haute-contre, taille and bass)

In you, Lord, is our hope: 

let us never be put to shame.

 

Marc-Antoine Charpentier, Motet pour les trépassés à 8, H. 311, "Plainte des âmes du Purgatoire”

Prélude 

Miseremini mei, saltem vos amici mei, 

quia manus Domini tetigit me. 

Hei, mihi Domine, 

usquequo non parcis mihi, 

nec dimittis me ut glutiam salivam meam? 

Hei mihi Domine, 

cur faciem tuam abscondis, 

et arbitraris me inimicum tuum? 

Hei mihi Domine, 

quare posuisti me contrarium tibi 

et factus sum mihimet ipsi gravis? 

Miseremini mei, saltem vos amici mei, 

quia manus Domini tetigit me.

 

Ritournelle 

Ah! poenis crucior nimis asperis, 

ah! flammis uror nimis acribus, 

quando dabis mihi solatium? 

Quando dabis mihi refrigerium? 

Ah! Domine, mutatus es mihi in crudelem. 

 

Prélude 

Miseremini mei, saltem vos amici mei, 

quia manus Domini tetigit me.

 

[EN] Plaintes des âmes du purgatoire

Prelude

Have pity upon me, at least you, my friends, 

for the hand of God hath touched me. 

Alas, Lord, 

how long wilt thou not depart from me, 

nor let me alone till I swallow down my spittle? 

Alas, Lord, 

wherefore hidest Thou Thy face, 

and holdest me for Thine enemy ? 

Alas, Lord, 

why hast Thou set me as a mark against Thee, 

so that I am a burden to myself? 

Have pity upon me, at least you, my friends, 

for the hand of God hath touched me.

 

Ritournelle 

Ah, I am too much wracked with pain, 

ah, I am burned with flames too searing. 

When willst Thou give me comfort? 

When willst Thou give me cooling balm? 

Ah, Lord, Thou art become cruel to me.

 

Prelude

Have pity upon me, at least you, my friends, 

for the hand of God hath touched me.

 

 

André Campra, Messe de Requiem

I. Introïtus
Requiem æternam dona eis, Domine:

et lux perpetua luceat eis.

Te decet hymnus, Deus, in Sion,

et tibi reddetur votum in Ierusalem:

exaudi orationem meam,

ad te omnis caro veniet.

Requiem æternam dona eis, Domine:

et lux perpetua luceat eis.

 

[EN]

Eternal rest give unto them, O Lord:

and let perpetual light shine upon them.

A hymn, O God, becometh Thee in Zion,

and a vow shall be paid to Thee in Jerusalem:

hear my prayer,

all flesh shall come to Thee.

Eternal rest give unto them, O Lord:

and let perpetual light shine upon them.

 

II. Kyrie
Kyrie, eleison.

Christe, eleison.

Kyrie, eleison.

 

[EN]

Lord, have mercy.

Christ, have mercy.

Lord, have mercy.

 

III. Graduale

Requiem æternam dona eis, Domine:

et lux perpetua luceat eis.

In memoria æterna erit iustus:

ab auditione mala non timebit.

 

[EN]

Eternal rest give unto them, O Lord:

and let perpetual light shine upon them.

The just shall be in everlasting remembrance:

he shall not fear the evil hearing.

 

IV. Offertorium

Domine Iesu Christe, Rex gloriæ,

libera animas omnium fidelium defunctorum

de pœnis inferni et de profundo lacu:

libera eas de ore leonis,

ne absorbeat eas tartarus,

ne cadant in obscurum:

sed signifer sanctus Michael

repræsentet eas in lucem sanctam:

Quam olim Abrahæ promisisti, et semini eius.

Hostias et preces tibi, Domine,

laudis offerimus:

tu suscipe pro animabus illis,

quarum hodie memoriam facimus:

fac eas, Domine, de morte transire ad vitam.

Quam olim Abrahæ promisisti, et semini eius.

 

[EN]

Lord Jesus Christ, King of glory,

deliver the souls of all the faithful departed

from the pains of hell and from the bottomless pit:

deliver them from the lion's mouth,

that hell swallow them not up,

that they fall not into darkness:

but let the standard-bearer holy Michael

lead them into that holy light:

Which Thou didst promise of old to Abraham and to his seed.

 

We offer to Thee, O Lord,

sacrifices and prayers:

do Thou receive them in behalf of those souls

of whom we make memorial this day:

grant them, O Lord, to pass from death to that life,

Which Thou didst promise of old to Abraham and to his seed.

 

V. Sanctus

Sanctus, Sanctus, Sanctus

Dominus Deus Sabaoth.

Pleni sunt cæli et terra gloria tua.

Hosanna in excelsis.

Benedictus qui venit in nomine Domini.

Hosanna in excelsis.

 

[EN]

Holy, holy, holy,

Lord God of Hosts.

Heaven and earth are full of Thy glory.

Hosanna in the highest.

 

Blessed is He Who cometh in the Name of the Lord.

Hosanna in the highest.

 

VI. Agnus Dei

Agnus Dei, qui tollis peccata mundi: dona eis requiem.

Agnus Dei, qui tollis peccata mundi: dona eis requiem.

Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.

 

[EN]

Lamb of God, Who takest away the sins of the world: grant them rest.

Lamb of God, Who takest away the sins of the world: grant them rest.

Lamb of God, Who takest away the sins of the world: grant them eternal rest.

 

VII. Post-Communio

Lux aeterna luceat eis, Domine,

cum sanctis tuis in aeternum,

quia pius es.

 

Requiem aeternam dona eis, Domine,

et lux perpetua luceat eis.

 

[EN]

Let perpetual light shine upon them, O Lord,

with your saints for ever, 

for you are merciful.

 

Grant them eternal rest, O Lord,

and let perpetual light shine upon them.

With your saints for ever, 

for you are merciful.

ORCHESTRA

a nocte temporis

DESSUS DE VIOLON

Joanna Husczca (concertmaster)

Izana Soria

Ortwin Lowyck

Marrie Mooij, 

Isabelle Verachtert

 

HAUTE-CONTRE DE VIOLON

Manuela Bucher

Michiyo Kondo

 

TAILLE DE VIOLON

Maia Silberstein

 

BASSE DE VIOLON

Thomas Luks

Mathilde Wolfs

Edouard Catalan

 

FLUTES

Anna Besson

Sien Huybrechts

 

OBOES

Nele Vertommen

Frauke Elsen (*)

 

BASSOON

Josep Casadellà (*)

 

SERPENT

Patrick Wibart

 

BASS VIOL

Myriam Rignol

 

THEORBO

Gabriel Rignol

 

ORGAN

Marc Meisel

 

TRUMPETS

Julian Zimmermann

Olivier Mourault (*)

 

BASS TRUMPET

Simen Van Mechelen (*)

 

TIMPANI

David Dewaste (*)

 

(*): only during Te Deum by Charpentier

 

 

CHOIR

CHŒUR DE CHAMBRE DE NAMUR

DESSUS

Camille Hubert

Aurélie Moreels

Amélie Renglet

 

BAS-DESSUS

Wei-Lian Huang

Barbara Menier

Zoé Pireaux

 

HAUTE-CONTRE

Dominique Bonnetain

Branislav Racik

Jonathan Spicher

Gert-Jan Verbueken

 

TAILLES

Nicolas Bauchau

Peter De Laurentiis

Vincent Mahiat

Marc Manodritta

 

BARITONE

Kamil Ben Hsain Lachiri

Samuel Namotte

Jean-Marie Marchal

 

BASS

Pieter Coene

Etienne Debaisieux

Philippe Favett