musica Dei donum
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Marc-Antoine CHARPENTIER (1643 - 1704): Missa Assumpta est Maria
Louise Champion, Nicolas de la Fortelle, dessus;
David Tricou, haute-contre;
Romain Champion, taille;
Nicolas Brooymans, basse;
Gaétan Jarry, organ (solo)
Maîtrise, Choeur & Orchestre Marguerite Louise
Dir: Gaétan Jarry
rec: March 11 - 13, 2024, Versailles, Chapelle Royale
Château de Versailles Spectacles - CVS150 (© 2025) (67'05")
Liner-notes: E/D/F; lyrics - translations: E/D/F
Cover, track-list & booklet
Scores Charpentier
Spotify
[in order of appearance]
Marc-Antoine CHARPENTIER:
Missa Assumpta est Maria (H 11) (Kyrie; Gloria; Credo);
Concert pour quatre parties de violes (H 545) (prélude; sarabande);
Missa Assumpta est Maria (H 11) (Sanctus);
O salutaris hostia (H 249);
Louis MARCHAND (1669-17320;
Tierce en taille;
Marc-Antoine CHARPENTIER:
Missa Assumpta est Maria (H 11) (Agnus Dei);
Domine salvum fac regem (H 303);
Jean-Adam GUILAIN (c1680-1739):
Suite du 1er ton (plein jeu);
Marc-Antoine CHARPENTIER:
Motet pour une longue offrande (H 434)
Sources:
[1] Jean-Adam Guilain, Pièces d'orgue pour le Magnificat sur les huit tons différents de l'Eglise, 1706;
[2] Louis Marchand, Livre Premier, 1740
During his career Marc-Antoine Charpentier contributed to several genres in vogue in his time. He did not get the chance to compose operas on a reular basis, but he compensated that with vocal music, both sacred and secular, in which he could explore his great dramatic skills. A large part of his output was composed when he was in the service of Mlle de Guise, who had her own musical establishment, and who appreciated Charpentier's Italian leanings, which came especially to the fore in his secular works. He also wrote many sacred works, and he also did so when he became connected with the Jesuits, at first as maître de chapelle at their Collège de Clermont and then as maître de musique of the principal Jesuit church in Paris, St Louis. His last post was the most prestigious: in 1698 he became maître de musique of the Sainte-Chapelle in the Palace of Justice, which was second in importance only to the Chapelle Royale. He held this post until his death.
During these years he wrote some of the music which is considered the best of his oeuvre. Two of them are the subject of the disc to be discussed here. The longest work is the Missa Assumpta est Maria; it cannot be dated with certainty, but there are good reasons to assume that it was written between summer 1698 and spring 1699.
The name of the mass suggests that it was intended for the feast of the assumption of the Virgin Mary, which is celebrated on 15 August. However, the title could also indicate that it is based upon a plainchant melody. The mass is for six voices (soli and tutti), but sometimes extended to an eight-part double choir. The six solo voices usually sing in trios, and mostly the high vs the low voices, with the haute-contre switching from one to the other. The orchestra is relatively modest: the strings are only extended with two transverse flutes. In this recording the mass is performed in the way it was in Charpentier's time, which means that at certain moments the organ plays solo, and elsewhere the orchestra takes care of parts of the mass.
The Kyrie opens with a trio of solo voices, following a symphonie. Then the organ plays a solo, according to Charpentier's indication ("The organ plays a couplet here"), which is followed by the Christe eleison for three male voices, after which the symphonie and the Kyrie are repeated.
The Gloria and Credo begin with the usual intonation, sung by a solo voice accompanied by a serpent, as was the custom in France. In both sections for solo voices and tutti alternate. The Gloria is only divided into two sections. In the first, Charpentier sets 'Et in terra pax' for the lower voices and uses double choir effects in the Laudamus te. The second begins at Domine Deus; the opening three statements are sung by bass, tenor and haute-contre respectively. 'Cum Sancto Spirito' is a fugato.
In the Credo the 'Deum de Deo' section is a dialogue between the high and the low voices, as is 'Cuius regni' towards the end. Charpentier creates a strong contrast between the 'Incarnatus est' and 'Et resurrexit' through scoring and tonality. It is one of the dramatic aspects which are so typical of Charpentier. This section closes with a fugue.
The remaining sections are devoid of episodes for solo voices. As an Offertory we get two movements from one of Charpentier's few purely instrumental works, the Concert pour quatres parties de viole, here in an orchestral arrangement. For the Sanctus, Charpentier suggests the insertion of an elevation motet - here O salutaris hostia - and the replacement of the Benedictus by an organ solo, as is the case here. This was common in his masses, as was the instrumental performance of Agnus Dei I and III. In each mass a setting of the text Domine salvum fac regem was included, and here we have one of Charpentier's own (he composed 25 such pieces). The mass closes with another organ solo.
The Sainte-Chapelle was also the venue where each year the Parlement opened with a mass, known as Messe du Saint-Esprit or Messe Rouge (the magistrates who attended the mass wore scarlet robes). For such an occasion Charpentier wrote the Motet pour une longue offrande. It is scored for four solo voices, eight-part choir and an ensemble of woodwinds, strings and basso continuo. In accordance with the legal function of the Parlement, the text is about God's judgment of the sins of mankind. After a symphonie it opens with the words "The Lord in his judgment has prepared his throne; he is ready to dispense afflictions, distress and death." Then, after a prélude by the orchestra, modulating from D major to C major, follows a vivid description of the way he expresses his anger: "Slings and arrows will rain down on the heads of sinners; they will be made to pass through fire, lightning, clouds of smoke and the raging tempest". Next is a quotation from Psalm 36 (Vulgata): "I have seen the ungodly exalted and raised up like the cedars of Lebanon and I passed by and behoid, he was not there". After that the description of God's anger is repeated. After a symphonie, God is asked for mercy: "Why is the just and patient God stirred to anger each day? Lord, where is thy mercy?" It is in the key of A minor, which Charpentier characterised as "tender and plaintive". The last and longest section is about God's justice: "Lord, you are just; Lord, you are good, mighty, righteous, patient and compassionate. Justice and peace have embraced one another." The last phrase is taken from Psalm 84 (Vulgata). The words "justitia et pax" and the musical motif connected with them, return time and again. In this section Charpentier returns to the original key of D major (joyous and very warlike), as it emphasizes God's greatness and power.
The two works brought together here are reckoned among Charpentier's masterpieces, and rightly so, although one may argue that Charpentier hardly has left any pieces that don't deserve that assessment. He is one of those composers who seem not to have been able to write anything that is not at least very good. It is nice that the mass has been put into a kind of liturgical framework, which gives the listener a good impression of how such music was received by the audience. Descriptions of performances at the Sainte-Chapelle during Charpentier's years of office there are unanimous in their judgment of his music as "excellent".
That word can be used for these performances as well. It also deserves praise that Gaétan Jarry decided to use young voices for the upper parts. The Maîtrise Marguerite Louise consists of boys and girls - a choir of only boys is probably hard to realise these days - and two of them act as soloists, and do so admirably. The elevation motet O salutaris hostia is sung by Louise Champion, who has quite a powerful voice and her performance is really impressive. Given that she has acted as a solo singer in recent years, she may not be that young, but I prefer her way of singing to that of some adult colleagues, who think they need to add lots of vibrato. Her male colleagues all deliver fine performances, and as they usually sing in ensemble, it is important to note that their voices blend very well. The performances of the tutti sections do full justice to the powerful settings by Charpentier. The orchestra plays an important role, especially in the motet, and shows to be an outstanding ensemble.
This recording is an impressive testimony of Charpentier's brilliance.
Johan van Veen (© 2025)
Relevant links:
Romain Champion
David Tricou
Ensemble Marguerite Louise