GLORIOSA
The programme GLORIOSA highlights the role of women in 17th-century music. Whether as composers or patrons, they played a major role in the musical production in France. Thus, Mlle de Guise was one of the key figures in Parisian musical life, particularly due to the ensemble she maintained. Marc-Antoine Charpentier served her between 1670 and 1688 and composed numerous works for this ensemble, largely made up of female musicians. Similarly, Charlotte d'Ailly received the dedication of Dumont's first collection, Cantica Sacra, before he became Master of Music to the Queen. Finally, some women managed to establish themselves as composers, like Élisabeth Jacquet de La Guerre, an iconic figure of her time. Five musicians, including one singer.
Marc-Antoine Charpentier, Prologue, Caecilia virgo et martyr H.415
Henri Dumont, Allemanda, Cantantibus Organis, Est Secretum Valeriane, Virgo Gloriosa, Pavana, Symphonia, Allemanda
Elisabeth Jacquet de la Guerre, Suzanne et les vieillards
Marc-Antoine Charpentier, Symphonie de la nuit, Magdalena Lugens H.343
CEASE, SORROWS!
The programme CEASE, SORROWS features works composed after the Elizabethan era, at the dawn of the reign of James I. From dance suites to the most melancholic airs, including songs full of wit and humour, this programme reflects the diversity and richness of English music at the beginning of the 17th century.
Matthew Locke, Pavan in c minor
Tobias Hume, What greater grief, The passion of music
Francis Pilkington, Now peep, bo peep, My choice is made
Giles Farnaby, Barafostus Dream
Thomas Weelkes, Come Sirrah Jack
William Byrd, Pavana Lachrimae
John Dowland, Sorrow stay
Thomas Weelkes, Cease, sorrows, now
William Lawes, Suite in a for two viols, While I this standing lake, Music the master of thy art is dead, Dearest all fair
THE CRIES OF LONDON
What did a day in London sound like in the 17th century? With the program THE CRIES OF LONDON, we invite the audience to immerse themselves in the musical universe of a day in London from the church to the streets. Through different effects of spatialization, the audience is partly spectator of the concert, partly embodying the role of the congregation in the church or of the passersby in the streets of London.
Orlando Gibbons The Cries of London
Matthew Locke Audi Domine Turn Thy Face
Orlando Gibbons Fantasia n°1
Thomas Wilkes Come, let’s begin
Orlando Gibbons The silver swan
Francis Pilkington Now Peep, bo peep
John Dowland Flow my tears Come sorrow
Thomas Wilkes Cease, Sorrows!
John Wilbye Draw on Sweet night
SALVE REGINA
"Nowadays, Antoine Boësset, the genius of Musique douce and so highly esteemed by Louis XIII that he appointed him Intendant de la Musique of his Chamber and that of the Queen, was also laid to rest here, to the great sorrow of the nuns, whom he had taught to sing and who watered his tomb with their tears." I is with these words that Henri Sauval presents Boesset in his chapter on the abbey of Montmartre from Histoire […] de Paris. Through the works of this composer, the SALVE REGINA programme recreates the musical repertoire of one of the most prominent churches of Louis XIII’s reign, once again bringing to life the voices of these nuns.
Antoine Boesset
Messe à 5 du troisième ton transposé d.164
Salve Regina d.58
Domine Salvum Fac Regem d.1
Anna Mater Matris d.59
Meurtre Innocent Cantique XXV
Fruit des innocents Cantique XXXV
Amoureuse résolution Cantique XV
Amour de la Magdeleine Cantique XIII
La Magdeleine au pied de la croix
SUB UMBRA NOCTIS
The programme SUB UMBRA NOCTIS invites the listener to discover the finest works of French music written for voice and viols. While Marc-Antoine Charpentier is now an essential figure, his motet In Festo Corporis Christi has never been performed. Less famous, Henry Dumont composed several motets for voice and treble viol, including the remarkable Sub Umbra Noctis. Finally, Pierre Bouteiller, still little known to the general public, left behind a few motets of great sensitivity, written for voice and three bass viols.
Henry Dumont, Symphonia, Cantate Domino, Media vita morte sumus, Sub Umbra Noctis
Pierre Bouteiller, Felix et dilecte conviva, tantum ergo, élévation in missa pro defunctis
Marc-Antoine Charpentier, Laudate pueri, O Pretiosum, In Festo Corporis Christi Canticum