1. Cantates, Pyrame Et Tisbe: Prld. Pirame, Pour Tisbe, Des La Plus Tendre Enfance. Sym - Jean-Paul Fouchecourt
2. Cantates, Pyrame Et Tisbe: Tisbe, Pour Resister A L' Ardeur De Ses Voeux - Jean-Paul Fouchecourt
3. Cantates, Pyrame Et Tisbe: Sym. Air: Vole, Vole, Dit-Elle Avec Amour - Jean-Paul Fouchecourt
4. Cantates, Pyrame Et Tisbe: Elle Cherchoit L' Amant Qui La Tient Asservie. Plainte - Jean-Paul Fouchecourt
5. Cantates, Pyrame Et Tisbe: Prld: Venez Monstres Affreux - Jean-Paul Fouchecourt
6. Cantates, Pyrame Et Tisbe: Air: Amour, Qui Voudra Desormais - Jean-Paul Fouchecourt
7. Cantates, La Muse De L' Opr Ou Les Caracteres Lyriques: Mortels, Pour Contenter Vos Desirs Curieux
8. Cantates, La Muse De L' Opr Ou Les Caracteres Lyriques: Tempeste: Mais Quel Bruit Interrompt Ces...
9. Cantates, La Muse De L' Opr Ou Les Caracteres Lyriques: Non, Les Dieux Attendris
10. Cantates, La Muse De L' Opr Ou Les Caracteres Lyriques: Sommeil: Vos Concs Heureux Oyseaux
11. Cantates, La Muse De L' Opr Ou Les Caracteres Lyriques: Prld Infernal. Ne Craignons Rien
12. Cantates, La Muse De L' Opr Ou Les Caracteres Lyriques: Air: Ce N' Est Qu' Une Belle Chimere
13. Cantates, La Mort D' Hercule: Au Pied Du Mont Eta - Nicolas Rivenq
14. Cantates, La Mort D' Hercule: Voy Perir Ce Vainqueur - Nicolas Rivenq
15. Cantates, La Mort D' Hercule: Au Seul Nom De L' Amour - Nicolas Rivenq
16. Cantates, La Mort D' Hercule: Il Dit, Et Se Livrant Au Transport Qui L' Anime - Nicolas Rivenq
17. Cantates, Orphee: Le Fameux Chantre De La Thrace
18. Cantates, Orphee: Mais Que Sert A Mon Desespoir
19. Cantates, Orphee: Allez Orphee
20. Cantates, Orphee: Cependant Le Heros Arrive
21. Cantates, Orphee: Pluton Surpris D' Entendre Des Accords

Eric Bellocq – theorbo
Marc Hantaï – flute
Bruno Croscet, Hiro Kurosaki – violin
Noemi Rime – soprano
Jean-Paul Fouchécourt – tenor
Nicolas Rivenq – bass
William Christie - harpsichord

Les Arts Florissants
William Christie – conductor

Louis-Nicolas Clérambault came from and later added to a family known for its musical service to French royalty; his father, Dominique Clérambault, was a musician for the king's violin consort (an ensemble of 24 violinists!), and he himself served both at Versailles and at royal churches. Both his sons were musicians and organists for royal churches, and one of them, César François Nicolas, was also a minor composer. He was one of the most respected composers and performers of his time, and, like Campra, helped to lead French music out of the musical isolation that Lully had imposed, adding more melodiousness and energy to the delicacy and grace that had become almost the sole considerations for composition and performance. Also like Campra, he added a strong Italian influence, but with a French style; one contemporary quotation says that "If Campra writes modulations in the Italian style, [his music] speaks in the French style." He was also one of the first composers to give names to his sonatas.

His first music lessons were with his father, but his main musical influences were Jean-Baptiste Moreau and Andre Raison, his two organ and composition teachers. As his reputation spread, he was appointed to the organist position at Saint Louis and became part of the musical forces of Versailles, responsible (together with Madame de Maintenon, the king's mistress) for the music for the king's private concerts. In 1697, he published his Book of Airs, followed by his Book for the Harpsichord in 1702. In 1710, he produced the first of his five books of cantatas (his second was in 1713, his third in 1716, his fourth in 1720, and the last in 1726), as well as his Book for the Organ. When Madame de Maintenon retired to Saint Cyr, a school and royal church founded by the king for the daughters of impoverished military officers, and known for the quality of its musical education, he became organist and music master there. Many of his motets and cantatas were written for the Demoiselles de Saint-Cyr, the girls' chorus. In 1715, he was appointed main organist at Saint Sulpice, where he had served as a deputy for several years, and in 1720, to the same position at Saint Jacques. His one major stage work was an allegory, Le Soleil, Vainqueur des Nuages (The Sun, Conqueror of Clouds), celebrating Louis XIV's recovery from illness (Louis was known as The Sun King, and took particular pleasure in works that glorified this image) and first performed at the Opera. He had continued writing four more books of cantatas, the last of which was published in 1726. They were among his most popular works, and frequently performed at the court as well as in various salons, the Jesuit colleges, and at Saint Cyr. After the end of the 1720s, he was far less prolific, and relatively few of these are important, though many, such as Le départ du Roi (The King's departure) written in 1745, were given major productions. --- Anne Feeney, Rovi

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01-08 : Book 3, ”Apollon”, Op. 15
09-14 : Book 1, ”Le jaloux”, Op. 2
15-20 : Book 4, ”L'amour, guéri par l'amour”, Op. 20
21-31 : Book 2, ”Pirâme et Tisbé”, Op. 10

Arr. for Tenor & Chamber Ensemble

Reinoud Van Mechelen - tenor
A Nocte Temporis

After a Bach album, the tenor Reinoud Van Mechelen and his ensemble A Nocte Temporis present a programme of French music devoted to Nicolas Clérambault (1676–1749), a precociously gifted composer who published four volumes comprising a total of twenty-one cantatas. Reinoud van Mechelen offers us an anthology of these Cantates Françoises – Le Jaloux with its final air ‘Dieu des Amants’, Apollon, L’Amour guéri par l’amour and Pirasme et Thisbé (based on Ovid’s Metamorphoses) – set as a succession of recitatives, airs and simphonies, as in a tragédie lyrique. The young Flemish tenor, now aged thirty, pursues an intensive solo career with the leading Baroque conductors (Christie, Pichon, Niquet) but is also keen to develop his personal projects and his ensemble: ‘I’m a purist but without elitism. Music has to appeal to people. Perhaps that requires them to make an effort and depends on different criteria from the somewhat sensationalist criteria of society, politics and money. But music must be more than a simple distraction, and many people actually want it that way’, he told the Belgian newspaper Le Soir in 2017, when the Prix Caecilia named him ‘Artist of the Year’. ---arkivmusic.com

Après un album consacré à Bach, le ténor Reinoud Van Mechelen et son ensemble A Nocte Temporis présentent un programme de musique française, consacré à Nicolas Clérambault (1676-1749), musicien très précoce et auteur de quatre livres comprenant un total de 21 cantates. Reinoud van Mechelen nous propose un florilège de ces Cantates françoises : Le Jaloux avec son air final « Dieu des amants », Apollon, L’Amour guéri par l’amour et Pirasme et Thisbé, tiré des Métamorphoses d’Ovide, où Clérambault enchaîne récitatif, airs, simphonies, comme dans une tragédie lyrique. Le jeune ténor flamand de 30 ans poursuit une carrière de soliste époustouflante aux côtés des grands chefs baroques (Christie, Pichon, Niquet) mais il a à coeur de développer ses projets personnels et son ensemble : « Je suis un puriste mais sans élitisme. La musique doit plaire aux gens. Cela leur demande peut-être un effort et relève d’autres critères que ceux, un peu racoleurs, de la société, de la politique et de l’argent. Mais la musique doit être autre chose qu’une simple distraction et beaucoup de gens sont en fait en demande », confie-t-il au journal belge Le Soir en 2017, lorsque le Prix Caecilia le consacre « artiste de l’année ». ---outhere-music.com

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01. Overture
02. Entrée I - Scène 1 - Prélude
03. Entrée I - Scène 1 - Marche
04. Entrée I - Scène 1 - Sarabande
05. Entrée I - Scène 1 - Menuet
06. Entrée I - Scène 1 - Air [Silvandre]
07. Entrée I - Scène 1 - Trio puis chœur
08. Entrée I - Scène 1 - Bourrée
09. Entrée I - Scène 1 - Canaries
10. Entrée I - Scène 2 - [Air italien]
11. Entrée I - Scène 3 - Daphnis et Silvie
12. Entrée II - Scène 1 - Prélude
13. Entrée II - Scène 2 - Philis et Tircis
14. Entrée II - Scène 3 - Philis et chœur
15. Entrée II - Scène 3 - Premier rigaudon
16. Entrée II - Scène 3 - Menuet
17. Entrée II - Scène 3 - Une bergère
18. Entrée II - Scène 3 - Loure
19. Entrée II - Scène 3 - Premier passepied
20. Entrée II - Scène 3 - Chaconne chantante. Rondeau
21. Entrée III - Scène 1 - Prélude
22. Entrée III - Scène 2 - Silvie et Daphnis
23. Entrée III - Scène 2 - Silvie et Daphnis
24. Entrée III - Scène 3 - Simphonie agréable
25. Entrée III - Scène 4 - Prélude pendant que l' Amour achève de descendre
26. Entrée III - Scène 4 - Chœur de la suite de l' Amour, des bergers et bergères
27. Entrée III - Scène 4 - Sarabande pour les suivans de l' Amour
28. Entrée III - Scène 4 - Premier passepied pour les bergers et les bergères
29. Entrée III - Scène 4 - Deuxième passepied

Sylvie – Gaëlle Méchaly
Daphnis – Serge Goubioud
Philis – Claire Geoffroy-Dechaume
Tircis – Jacques Bona
Sylvandre – Jean-François Novelli
Licaste – Jean-François Lombard
La bergére, l'Amour, ''air italien'' – Marie-Louise Duthoit

Le Concert Spirituel
Associate Ensemble of the Centre de Musique Baroque de Versailles
Conductor – Hervé Niquet

Clérambault came from and later added to a family known for its musical service to French royalty; his father, Dominique Clérambault, was a musician for the king's violin consort (an ensemble of 24 violinists!), and he himself served both at Versailles and at royal churches. Both his sons were musicians and organists for royal churches, and one of them, César François Nicolas, was also a minor composer. He was one of the most respected composers and performers of his time, and, like Campra, helped to lead French music out of the musical isolation that Lully had imposed, adding more melodiousness and energy to the delicacy and grace that had become almost the sole considerations for composition and performance. Also like Campra, he added a strong Italian influence, but with a French style; one contemporary quotation says that "If Campra writes modulations in the Italian style, [his music] speaks in the French style." He was also one of the first composers to give names to his sonatas.

His first music lessons were with his father, but his main musical influences were Jean-Baptiste Moreau and Andre Raison, his two organ and composition teachers. As his reputation spread, he was appointed to the organist position at Saint Louis and became part of the musical forces of Versailles, responsible (together with Madame de Maintenon, the king's mistress) for the music for the king's private concerts. In 1697, he published his Book of Airs, followed by his Book for the Harpsichord in 1702. In 1710, he produced the first of his five books of cantatas (his second was in 1713, his third in 1716, his fourth in 1720, and the last in 1726), as well as his Book for the Organ. When Madame de Maintenon retired to Saint Cyr, a school and royal church founded by the king for the daughters of impoverished military officers, and known for the quality of its musical education, he became organist and music master there. Many of his motets and cantatas were written for the Demoiselles de Saint-Cyr, the girls' chorus. In 1715, he was appointed main organist at Saint Sulpice, where he had served as a deputy for several years, and in 1720, to the same position at Saint Jacques. His one major stage work was an allegory, Le Soleil, Vainqueur des Nuages (The Sun, Conqueror of Clouds), celebrating Louis XIV's recovery from illness (Louis was known as The Sun King, and took particular pleasure in works that glorified this image) and first performed at the Opera. He had continued writing four more books of cantatas, the last of which was published in 1726. They were among his most popular works, and frequently performed at the court as well as in various salons, the Jesuit colleges, and at Saint Cyr. After the end of the 1720s, he was far less prolific, and relatively few of these are important, though many, such as Le départ du Roi (The King's departure) written in 1745, were given major productions. ---Anne Feeney, allmusic.com

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_ 	Miserere 	25:40
1.1 	Justicieris Domine 	
1.2 	Miserere mei Deus 	
_ 	Suite du premier ton + Magnificat 	
1.3 	Princeps Gloriosissime 	
1.4 	Magnificat Anima Mea Dominum 	
1.5 	Et Exultavit 	
1.6 	Quia Respexit 	
1.7 	Quia Fecit Mihi 	
1.8 	Et Misericordia 	
1.9 	Fecit Potentiam 	
1.10 	Deposuit Potentes 	
1.11 	Esurientes Implevit 	
1.12 	Suscepit Israël 	
1.13 	Sicut Locutus Est 	
1.14 	Gloria Patri 	
1.15 	Sicut Erat.. 	
1.16 	Princeps Gloriosissime 	
- 	Motet Pour Le Roy, la Reine Et Le Dauphin 
1.17 	Exultet in Domino 	
_ 	Pour un Salut du Saint Sacrement 
1.18 	O Salutaris Hostia 	
1.19 	O Felix Maria 	
1.20 	Hic Vir Despiciens Mundum 	
1.21 	Cantate Vincentium 	
1.22 	Tantum Ergo 	
1.23 	Domine Salvum Fac Regem 
_ 	Motets Pour Le Calendrier de L'Eglise 
2.1 	(Noël): Hodie Christus Natus est 	
2.2 	(Noël): Gloria in Excellais Deo 	
2.3 	(Carème): Domine Ante Te 	
2.4 	(Pâques): Immolabit Haedum 	
2.5 	(Pâques): Ad Caenam Agni Providi 	
2.6 	(Pâques): Regina Caeli Laetare 	
2.7 	(Assomption de la Ste Vierge): Hodie Maria Virgo Carlos Ascendit 	
2.8 	(Dédicace de la Saint-Michel): Factum Est Silentium In Carlo 	
2.9 	(Tous les Saints): Exultate Deo 	
2.10 	(Trépassés): De Profundis Clamavi 
_ 	Suite de Deuxième Ton + Benedictus 	
2.11 	Beata Dei Genitrix 	
2.12 	Benedictus Dominus Deus Israël 	
2.13 	Et Erexit Cornu Salutis Nobis 	
2.14 	Sicut Locutus Est 	
2.15 	Salutem Ex Inimicis Nostris 	
2.16 	Ad Faciendam Misericordia 	
2.17 	Jusjurandum Quod Juravit 	
2.18 	Ut Sine Timore De Manu 	
2.19 	In Sanctitate Et Justicia 	
2.20 	Et tu Puer Propheta 	
2.21 	Ad Dandam Scientiam 	
2.22 	Per Viscera Misericordiae 	
2.23 	Illuminare His Qui In Tenebris 	
2.24 	Gloria Patri 	
2.25 	Sicuri Erat 	
2.26 	Beata Dei Genitrix

Jean Boyer - organ
Les Demoiselles De Saint-Cyr - choir
Emmanuel Mandrin - conductor

The present Music at Versailles series is devoted to discovering or rediscovering little known gems from France's musical heritage. These are liturgical presentations of several motets and two organ suites by Nicolas Clerambault (1676-1749), recorded in 1994 on the historic organ of St Michel Abbey, Thierarche. They explore the various solo stops of an attractive instrument, built around 1710, the same time that the organ pieces were published. (Some listeners may prefer to programme the organ pieces of the Suites for uninterrupted listening; this is easily done on a CD player.)

The women's choir, with attractive, true-toned but pleasingly fresh and unsophisticated soloists, comes into its own in the motets and gives great pleasure. The acoustic is ideal for this music and the whole is inspiring and memorable. It is well documented, but without organ specification and the texts are given in Latin only. ---Peter Grahame Woolf, musicweb-international.com

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