2023-05-09 02:15:26
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François Couperin (1668-1733): Mass for the use of parishes; Proper mass for convents (1690). Olivier Latry at the organ of the Royal Chapel of Versailles. Vocals on the alternate book: Vocal ensemble, direction: Jean-Yves Haymoz. 2 CD Palace of Versailles Shows. Recorded in January and April 2022. Libretto in French, English and German. Duration: 66:07 + 54:51
Palace of Versailles Shows
In the magnificent and generous nave of the Royal Chapel of Versailles, the two Masses for organ by François Couperin enhanced by a luminous plainsong ring out in glory under the inspired fingers of Olivier Latry.
THE Masses for organ by François Couperin are widely represented on disc. Many organists interested in the French classical organ have proposed their version, often translating very fine successes by the choice of instruments and the various alternating plainchant proposals. Indeed, since the 1950s and the birth of a booming vinyl discography, over the years we have seen around thirty versions flourish, highlighting this or that historical organ. André Marchal was one of the first, at the organ of the military Prytanée of La Flèche (Sarthe). This period was that of the rediscovery of French classical repertoires and above all of a way of playing which already wanted to be historically informed, with in particular Michel Chapuis in the lead who then revealed these works at the end of the 1960s on the magnificent historical instrument of Saint Maximin. Other musicians followed this path, including some unaccustomed to this repertoire. Pierre Cochereau, initiated into unequal notes (a particular way of punctuating eighth notes) recorded this organ book at Notre-Dame de Paris following these teachings. Subsequently, these pieces, which have become familiar to music lovers, have tempted many organists to this day, offering an abundant discographic choice.
Around the age of twenty, François Couperin composed two Masses for organ which will remain his only compositions dedicated to this instrument. The first, called “for the ordinary use of parishes for solemn feasts”, is for a large organ, 16 feet, such as might be found in cathedrals or large churches such as Saint-Gervais in Paris where he held, including a large range pedalboard. The writing calls for very specific characteristics on the type of instrument, the author indicating the mixtures of stops to be used. The second Mass, called “proper for the convents of Religious men and women” is written for a smaller organ (8 feet) that was usually found in abbeys, with a shorter pedalboard, which Couperin takes into account in his writing.
At Versailles, the proportions of the organ are intermediate and suitable for these works as a whole. Olivier Latry offers here a very beautiful version, by a very measured and truthful use of the organ, both radiant and intimate. The tempi are perfectly adapted to the generous acoustics of the chapel and the shimmering ornamentation that embellishes the discourse reinforces the emotion of this music, especially in the meditative pieces such as the Tierces or the Cromornes in size. The organ is used according to one or other of the Messes on the scale of a cathedral or convent instrument.
Each cathedral, each diocese, used a plainchant which might vary in its presentation. Melodies, ornamentation, homophony or polyphony were all parameters that fluctuated according to places and traditions. In the 17th century, the composer Henry Du Mont wrote several Royal masses in musical plainchant. These works are ideal for the practice of “Alternatim”, that is to say an alternating dialogue between the verses of the organ and the Ordinary of the Mass, following here the technique of singing on the book which adds one or several voices, some of which are improvised. Thus, the entire text of the liturgy is exposed either to the organ or to the choir. It’s here Mass of the 6th tone by Dumont which has been chosen here to fit harmoniously with the musical interventions of Couperin for his Mass for Convents and the Messe 4 “God Almighty begets” chosen by Couperin himself for that “for the use of parishes”.
Faithful to this practice of singing on the book, Jean-Yves Haymoz directs the vocal group by emphasizing the variety of interventions: plainsong sometimes on bass, tenor, one or more voices, making this version a discovery in all the possibilities that a simple line of Latin melody can offer. The six mixed voices of the small vocal group thus form a balanced whole which plays in equal parts with the organ. The musical unfolding of the Mass is thus complete, including the essential motet placed at the end of the ceremony, just before the conclusion of the whole: the famous Lord save the King (Lord, save the Roy).
This recording now becomes one of the references of the work in this emblematic place where François Couperin was himself titular organist. His music radiates, carried by musicians specializing in this French Baroque art. Another very fine set in the collection around the historic organ of the Palace of Versailles, enriched by a truthful sound recording and very neat iconography.
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François Couperin (1668-1733): Mass for the use of parishes; Proper mass for convents (1690). Olivier Latry at the organ of the Royal Chapel of Versailles. Vocals on the alternate book: Vocal ensemble, direction: Jean-Yves Haymoz. 2 CD Palace of Versailles Shows. Recorded in January and April 2022. Libretto in French, English and German. Duration: 66:07 + 54:51
Palace of Versailles Shows
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