musica Dei donum
CD reviews
Jacques-Christophe NAUDOT (1690 - 1762): "Fantaisies Champêtres - Arcadian Concerts"
Les Ambassadeurs ~ La Grande Écurie
rec: Jan 3 - 7, 2022, Villefavard, La Ferme
Château de Versailles Spectacles - CVS084 (© 2023) (80'47")
Liner-notes: E/D/F
Cover & track-list
Scores Op. 17
Concerto in C, op. 17,1d;
Concerto in C, op. 17,2b;
Concerto in C, op. 17,3a;
Concerto in C, op. 17,4e;
Concerto in G, op. 17,5c;
Concerto in G, op. 17,6a;
Divertissement Champêtre en trioacf
Jean-Pierre Van Hees, musettea;
Alexis Kossenko, recorderb, transverse flutec, petite flûte traversièred;
Tobie Miller, vielle à rouee;
Stefano Rossi (solof), Diana Lee, violin;
Hager Hanana, cello;
David Douçot, bassoon;
Emmanuel Arakelian, harpsichord
From the second quarter of the 18th century onwards, the word champêtre makes an increasingly frequent appearance in the arts, literature and music in France. Around 1722 Jean-Antoine Watteau painted his Fête champêtre, and composers often included movements with the word champêtre in suites and sonatas. The word means "rustic, rural" in English; its frequent use attests to the fascination for life at the countryside. This was not entirely new: since the Renaissance the imaginary world of Arcadia, populated by shepherds and nymphs, and not very different from the coutryside, was the ideal of the aristocracy across Europe. In addition, in the 18th century we see the growth of a longing for 'naturalness', and that was perfectly embodied by the simple life at te countryside.
In France, two instruments were especially associated with it: the musette and the vielle. There are quite some similarities between them, as Jean-Pierre Van Hees explains in his liner-notes to the present disc. "(They are) built around a common characteristic. The circular bow of the vielle and the air reservoir of the musette are both used to make a sound based on the concept of producing a continuous sound, an effect accentuated by the presence of strings or pipes acting as a drone, giving an added resonance to the melody."
The connection to the countryside has had the effect that in our time the musette and the vielle have not been taken really seriously. Thanks to the work of some specialists, who are virtuosos on one of these instruments, this has changed, which is documented by several recordings that have been released in recent years. They have brought to our attention some music that is anything but simple. And if one has a closer look, that reflects the quite sophisticated construction of the two instruments. It makes sense to quote once again Van Hees."A wind instrument with two melodic pipes, the musette allows polyphonic playing, similar to the two-stringed violin. Its dynamic and articulation possibilities (thanks to what is known as 'closed' fingering) are comparable to those of wind instruments played with the mouth. The range of the current model is one tone lower than that of the vielle. The sound of the melodic register of the vielle is close to that of the violin, while the sound signature of the musette is very distinct from that of all instruments of the time."
Recent recordings include music by composers who were virtuosos on the musette or the vielle. The present disc offers music by a prolific French composer who is not that well-known, although one of the concertos performed here has enjoyed quite some popularity. The Concerto in G, the fifth from the six Six concerto en quatre parties pour les vièles, musettes, flute traversières, flutes a bec et hautbois, 2 violons et basse, which was published as the Op. 17 by Jacques-Christophe Naudot, has been included in several recordings. In the Petrucci Music Library it is available in a modern edition, in which the solo part is allocated to the transverse flute. However, if one looks at the title of the collection, it is clear that this is a modern preference, reflecting the performance practice of our time, in which the musette and the vielle play a marginal role. Naudot leaves it to the performers to choose the instrument on which to play the solo parts in his Op. 17.
These concertos are comparable with the Italian concerto da camera, as we find it in Vivaldi's oeuvre. They have no viola part, and there can be little doubt that they were intended for performance in domestic surroundings. The reference to an Italian genre and an Italian composer is relevant, because all six sonatas are in three movements, with the tempo indications allegro and adagio. Only the central movement of the Concerto No. 4 is different, and called airs. Stylistically these pieces attest to the Italian influence in French music, which increased since the early 18th century.
In this recording the solo parts are performed on five different instruments: the musette, the vielle, the recorder, the transverse flute and the piccolo (petite flûte traversière). Naudot was a famous player of the flute, and he may also have taught the musette and the vielle. This collection of concertos was dedicated to one of the most famous vielle players of the time, known as Danguy (his real name may have been Étienne Bergeron). It is known that he played together with a musette virtuoso, Colin Charpentier, known as 'Charpentier la Musette'. This shows in what circles Naudot moved, and explains the technically demanding character of the solo parts. "Naudot's compositions for the musette and the vielle usually require skills that only talented amateurs and professionals possess", Van Hees states.
This makes one expect more than just entertaining stuff. This is serious music, which requires great skills from all participants. With Alexis Kossenko, Jean-Pierre Van Hees and Tobie Miller we have three experts on their respective instruments. It results in exciting and brilliant performances, that leave a lasting impression. In a way it is regrettable that the Concerto No. 5 is again played here on the transverse flute. As several other recordings are available, it would have been interesting to hear it on the vielle or the musette. However, we should not complain: it can only be welcomed that the entire collection is available now in excellent performances.
In addition to the six concertos of the Op. 17, the programme offers a separate work, the Divertissement Champêtre en trio, which is specifically scored for the instruments on which it is played here: the musette, the transverse flute and the violin. It is notable that this piece omits a basso continuo. Whereas the concertos have no specific rustic leanings as far as the musical material is concerned, that is different here. This is indeed a diverting piece, less demanding and stylistically more French than the concertos. The disc ends with a chaconne polonaise, which is not included in the track-list nor mentioned in the liner-notes. As the digital tracks have no tags, it remains a mystery what piece this is and who the composer is. I assume it is from the pen of Naudot as well.
It is a fine conclusion of this disc, which as a whole is entertaining and at the same time is an impressive testimony of the quality of music inspired by the countryside.
Johan van Veen (© 2024)
Relevant links:
Les Ambassadeurs ~ La Grande Écurie