musica Dei donum
CD reviews
Marc-Antoine Charpentier: Te Deum & Motets
Le Concert Spirituel
Dir: Hervé Niquet
rec: July 2000, Paris, Eglise Notre Dame du Liban
Glossa - GCD 921603 (55'13")
Dixit Dominus (H 202), Domine salvum fac regem (H 291), In honorem Sancti
Ludovici Regis Galliae Canticum (H 365), Marches pour les trompettes (H 547);
Te Deum (H 146)
Marc-Antoine Charpentier was one of the most distinguished composers in France
of the second half of the 17th century. He is mainly known for his sacred music,
some of which has been recorded on this CD. All works on it can be associated
with the "Sun King", Louis XIV, in one way or another. It was quite usual to
thank God for military victories. The text of the Te Deum was
pre-eminently suitable for such an occasion. Its content invited to a
composition of splendour and brilliance. And without any doubt, the verse
"Sanctus Dominus Deus Sabaoth" (Holy is the Lord, God of the armies, Heaven and
Earth are filled with your majesty and your glory) will have appealed to the
imagination of monarchs, who considered themselves God's representatives on
earth, who were ruling in his name. But it wasn't the Te Deum only which
played a role in the praise of God and King alike. The Dixit Dominus
(Psalm 110) was also inspiring, since it begins with the words: "The Lord said
to my Lord: sit down at my right side. And I will make your enemies your
footstool. The Lord will extend his power from Zion: he will rule in the midst
of your enemies."
Like the planets revolve around the sun, everything in Charpentier's time
revolved around the "Sun King". The Te Deum is thought to have been
composed at the occasion of the victory of the Marshall of Luxemburg at
Steinkerque in 1692. It even can be specifically associated to Louis XIV. In
the booklet Jean-Yves Patte writes "The prelude of Charpentier's Te Deum is in
D major. The alchemical and heraldic correspondence assigns the colour of fire
to that tonality, fire being the double element of destruction and benevolent
warmth, while its planetary correspondence is the sun." I would like to add
that the German theorist Mattheson links this tonality to the conduct of
war. How appropriate! The motet Salvum fac regem is a prayer to God to
protect the king, and the preceding work, In honorem Sancti Ludovici regis
Galliae canticum was written for the feast of Saint Louis on August 25.
In this recording two things stand out. First of all, the small number of players
involved: the instrumental parts are all played by one player. I find this very
strange. It is difficult to imagine that a work like the Te Deum, related
to a military victory, would have been intended to be performed by such a small
band of players. One expects more "pomp and circumstance" in a context like
that. But this practice also results in an unsatisfying balance between the
"orchestra" and the singers. If one decides to play one-to-a-part, then why
aren't the vocal parts performed the same way?
Secondly, the tempi in the Te Deum are very fast. That sounds quite
exciting, at least on first hearing, but is it in line with the character of
the work? In a work associated directly with the "Sun King" one expects a more
majestical performance than Le Concert Spirituel is giving.
Generally speaking this recording is somewhat superficial. In his recording of
the Te Deum, William Christie, with his ensemble Les Arts Florissants,
has made much more of this work. His recording is far richer in contrast, for
instance within "Te aeternum Patrem". I believe that on the long term his
recording is more satisfying than Hervé Niquet's. This new recording has one
advantage, though: the lower pitch, which is historically more correct. Niquet
also has better tenors and haute-contres, whereas Christie on top as far
as the sopranos are concerned.
The interpretation of the other works on this CD is more convincing, although
some sopranos think they are singing in the opera. In regard to these works I
would like to recommend this recording. But as far as the Te Deum is
concerned, William Christie has still the upper hand.
Johan van Veen (© 2002)