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Charpentier: Missa Assumpta est MariaHervé Niquet Conductor
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Missa Assumpta est Maria, the last of Charpentier's many mass settings, written about 1700, is considered his greatest work in the genre, and this splendid recording by Hervé Niquet supports that assessment. The mass offers further evidence that Charpentier, whose music was virtually unknown except to scholars until the late twentieth century, deserves a spot in the pantheon of the most exceptional Baroque composers. His music was controversial during his lifetime, and he wrote of his discouragement that he had as many vociferous detractors as supporters. What is most striking to modern listeners is probably the transparent emotion expressed in his music, which gives it an extraordinarily modern sensibility. He is best known for his noble and often achingly poignant religious works, but his secular love songs dazzle with their simplicity and unmannered charm, and other works reveal a wicked wit. This mass is notable for the warmth of Charpentier's choral and vocal writing, which often has an intensity and harmonic richness that practically give it a Romantic character, particularly in movements like Et incarnatus, from the Credo. Niquet's performance, with five soloists and the choir and orchestra of Le Concert Spirituel, beautifully captures the range of the music's luminous expressiveness while attending to the exquisite details of mid-Baroque French ornamentation and performance practice. The sound of the choir is large and warm, but always pure, with a lovely blend, and it plays intriguingly against the sometimes astringent timbres of the period instruments. The soloists sing with clean and focused tone. Niquet interpolates several other Charpentier works to liturgically fill out the mass, including an instrumental Offertory, an Elevation, a prayer for the King, a motet for dismissal, and a remarkable four-minute motet for unaccompanied bass voice following the Gloria, a setting taken mostly from an extended passage from the Epistle to the Hebrews. Glossa's sound is clear and ideally resonant.
© Stephen Eddins, All Music Guide
Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.
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Marc-Antoine Charpentier ComposerAssumpta est Maria, mass for 6 voices, chorus, orchestra and continuo, H.11 Work
19:16
Le Concert Spirituel Chorus Chorus/Choir,
Hervé Niquet Conductor,
Benoît Arnould Bass,
Chantal Santon Soprano,
Le Concert Spirituel Orchestra Orchestra,
Romain Champion Tenor,
Hanna Bayodi Soprano
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| 1 | Kyrie. Sinfonie devant le premier Kyrie | 1:56 |
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| 2 | Kyrie. Premier Kyrie | 1:56 |
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| 3 | Kyrie. Sinfonie devant le Christe | 1:33 |
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| 4 | Kyrie. Christe | 1:22 |
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| 5 | Kyrie. Sinfonie devant le deuxième Kyrie | 1:56 |
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| 6 | Kyrie. Deuxième Kyrie | 2:21 |
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| 7 | Gloria. Gloria | 0:13 |
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| 8 | Gloria. Et in terra pax hominibus | 2:28 |
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| 9 | Gloria. Domine Deus, Rex caelestis | 1:17 |
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| 10 | Gloria. Qui tollis | 1:59 |
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| 11 | Gloria. Quoniam tu solus Sanctus | 2:15 |
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Le Concert Spirituel Chorus Chorus/Choir,
Hervé Niquet Conductor,
Benoît Arnould Bass,
Le Concert Spirituel Orchestra Orchestra,
Chantal Santon Soprano,
Romain Champion Tenor,
Hanna Bayodi Soprano
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| 12 | Pour plusieurs martyrs, for bass, H.361 | 4:10 |
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Marc-Antoine Charpentier ComposerAssumpta est Maria, mass for 6 voices, chorus, orchestra and continuo, H.11 Work
32:04
François Saint-Yves Organ,
Le Concert Spirituel Chorus Chorus/Choir,
Hervé Niquet Conductor,
Benoît Arnould Bass,
Le Concert Spirituel Orchestra Orchestra,
Chantal Santon Soprano,
Romain Champion Tenor,
Hanna Bayodi Soprano
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| 13 | Credo. Credo in unum Deum | 0:09 |
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| 14 | Credo. Patrem omnipotentem | 1:46 |
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| 15 | Credo. Et in unum Dominum | 1:47 |
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| 16 | Credo. Et incarnatus | 1:26 |
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| 17 | Credo. Crucifixus | 0:57 |
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| 18 | Credo. Et resurrexit | 1:50 |
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| 19 | Credo. Et in spiritum | 1:18 |
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| 20 | Credo. Confiteor unum Baptisma | 1:30 |
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| 21 | Credo. Et vitam venturi saeculi | 1:33 |
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| 22 | Offertoire. Pour un reposoir [H. 508]. Ouverture | 1:41 |
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| 23 | Offertoire. Pour un reposoir [H. 508]. Tantum ergo | 3:17 |
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| 24 | Offertoire. Pour un reposoir [H. 508]. Allemande grave | 3:25 |
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| 25 | Sanctus. Sinfonie du Sanctus | 0:41 |
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| 26 | Sanctus. Sanctus | 1:17 |
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| 27 | Élévation: O salutaris Hostia [H. 262] | 2:29 |
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| 28 | Benedictus pour l'orgue | 3:00 |
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| 29 | Agnus Dei. Sinfonie devant l'Agnus | 1:18 |
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| 30 | Agnus Dei. Agnus Dei | 1:28 |
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| 31 | Agnus Dei. Sinfonie derrière l'Agnus | 1:12 |
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Le Concert Spirituel Chorus Chorus/Choir,
Hervé Niquet Conductor,
Benoît Arnould Bass,
Le Concert Spirituel Orchestra Orchestra,
Chantal Santon Soprano,
Romain Champion Tenor,
Hanna Bayodi Soprano
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| 32 | Domine salvum, for chorus, strings and continuo, H.303 | 1:41 |
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Marc-Antoine Charpentier ComposerDomine salvum, for 4 voices, double chorus, strings and continuo, H.291 Work
Le Concert Spirituel Chorus Chorus/Choir,
Hervé Niquet Conductor,
Benoît Arnould Bass,
Le Concert Spirituel Orchestra Orchestra,
Chantal Santon Soprano,
Romain Champion Tenor,
Hanna Bayodi Soprano
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| 33 | Domine salvum, for 4 voices, double chorus, strings and continuo, H.291 | 3:01 |
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