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Marc-Antoine CHARPENTIER (1643 - 1704): "Motets"
La Nébuleuse
Dir: Gabriel Rignol
rec: 2024, Mons (B), Ateliers de l'UCLouvain en Hainaut (La Chapelle des Sœurs Noires)
Musica Ficta - MF8040 (© 2025) (81'55")
Liner-notes: E/F; lyrics - translations: E/F
Cover, track-list & booklet
Scores Charpentier
Spotify
Sébastien DE BROSSARD (1655-1730):
Suonata 1a (SDB.220);
Marc-Antoine CHARPENTIER:
Alma redemptoris mater (H 44);
Ave Regina caelorum (H 45);
De profundis clamavi (H 212);
Egredimini filiae Sion (H 280) [2];
Litanies de la Vierge (H 87);
Magnificat (H 72);
Memorare (H 367);
Quare fremuerunt gentes (H 363);
Nisi Dominus (H 150);
Regina caeli (H 46);
Salve Regina (H 27);
Salve Regina (H 47);
Henry DU MONT (1610-1684):
Allemanda [1];
Symphonia [1]
Sources:
[1] Henry du Mont, Cantica sacra II. III. IV. cum vocibus, tum et Instrumentis modulata, adjectae ibidem litaniae 2 vocib. ad libitum 3. & 4. voc. cum basso-continuo, 1652;
[2] Marc-Antoine Charpentier, Motets melêz de symphonie. Livre premier, 1709
Clémence Niclas, soprano;
Brice Claviez-Homberg, haute-contre;
Antonin Rondepierre, tenor;
Imanol Iraola, bass
Minori Deguchi, Ugo Gianotti, violin;
Manon Papasergio, viola da gamba;
Gabriel Rignol, theorbo;
Riho Ishikawa, harpsichord, organ
Marc-Antoine Charpentier takes a special place in French music history. His career was different from that of most of his colleagues, as he spent several years in Italy. This had a lasting influence on his development as a composer. Not only left the Italian style its mark in his oeuvre, but he also made use of genres that were hardly known in France. One of them is the oratorio, a genre that he had become acquainted with in Rome through the oeuvre of Giacomo Carissimi. His histoires sacrées, as he called his oratorios, were unique, and even among later generations such works were very rare. The disc which is the subject of this review focuses on another genre that was not exclusively Italian, but which was not widespread, and which in his oeuvre took an unmistakably Italian character: the petit motet.
The motet had its origin in the Middle Ages, but had stylistically developed with time, and in Italy it had taken the form of a work for solo voice(s) and basso continuo. To this scoring one or more instruments could be added. In the early 17th century that could be almost any instrument, in particular violin(s) or cornett(s). With time the scoring became more or less standardized to two violins and basso continuo. That is also the scoring of some of the motets that the ensemble La Nébuleuse recorded.
Today the larger-scale counterpart of the petit motet, the so-called grand motet for solo voices, choir and orchestra, is better-known and more frequently recorded. Such motets, usually on texts from the Book of Psalms, were performed at the Chapelle Royale, and later also found their way into public concerts at the Concert Spirituel, founded in 1715. Among the composers of such works were Henry du Mont, Jean-Baptiste Lully and Michel-Richard de Lalande. The latter's motets were the favourites of Louis XIV.
Charpentier was never connected to the court, probably mainly because of his Italian leanings, which were not appreciated in France in his time, and certainly not by Lully, who was engaged to create a truly French opera, as an alternative to the Italian opera, and hence suspicious of everything that could compromise Frenchness in music. From 1670 to 1688 Charpentier was in the service of Marie de Lorraine, known as 'Mademoiselle de Guise'. With her family she had lived some time in Italy, and was a great lover of Italian music. During his time in her home, the Hôtel de Guise, he composed a wide variety of music, sacred and secular. Later he occupied positions where the composition of sacred music was part of his duties. In the early 1680s he started to act as maître de chapelle of the Jesuit Collège de Clermont and later as maître de musique at the principal Jesuit church in Paris, St Louis. In 1698 he was appointed maître de musique of Sainte-Chapelle, the Gothic chapel in the Palais de Justice. Most of his larger-scale sacred works date from the 1680s and 90s, as one may expect.
However, the scoring of his sacred works is various, and the fact that strings are included does not indicate that an 'orchestra' is needed. In many cases two violins may suffice. Nathalie Berton-Blivet (Institut de Recherche en Musicologie), in her liner-notes, refers to "motets for four-part choir", which could cause some confusion. It suggests that a vocal ensemble of more than one voice per part is needed. However, such a choir does not participate in these performances. The addition of a 'choir' may well be optional, such as the participation of a capella in the music of the German Heinrich Schütz. Unfortunately this aspect of performance practice is not discussed. The work-list in New Grove only mentions in such cases '4/4vv', referring to solo voices and tutti respectively, but not indicating whether the latter are required. Some pieces date from Charpentier's time at the Hôtel de Guise, which may well indicate a small line-up (although he may have had more performers at his disposal than one may expect in a private household). In some of the later pieces the scoring is specifically for solo voice, two violins and basso continuo (Egredimini filiae Sion, a motet for the holy Sacrament).
The same instrumental scoring is required in the four Marian antiphons (H 44-47), which probably date from the early 1690s, meaning that they were written for the church of the Jesuits. These antiphons are sung during different stages of the ecclesiastical year, which is reflected by their content, and hence the way they are set. There is a clear contrast between the Salve Regina, with its exclamations "To thee do we cry, poor banished children of Eve. To thee do we send up our sighs, mourning and weeping in this valley of tears", and Regina caeli, sung at Eastertide, in which each line ends with a jubilant "Alleluia". Charpentier's settings make these differences crystal clear.
Quare fremuerunt gentes is an eloquent example of the Italian influence in Charpentier's oeuvre. It is a setting of Psalm 2: "Why are the nations in tumult, and why do the peoples devise a vain plot? The kings of the earth rise up, and the rulers take counsel together, against the Lord and against his anointed." In the work-list this piece is ranked among the occasional motets, with the French title 'Motet pendant la guerre' (motet in times of war). It may date from the early 1690s; whether it was written for a special occasion or just for use in times of war more generally is not mentioned in the liner-notes. Charpentier makes use of the stile concitato, which fits the belligerent text.
Very different is De profundis clamavi, which is the setting of Psalm 129 (130), one of the penitential psalms, especially sung during Holy Week. However, it is also part of the Office of the Dead, and that is what this setting is intended for, as it ends with a text from the Requiem mass: "Requiem æternam dona eis Domine. Et lux perpetua luceat eis."
Memorare is another liturgical text: a prayer to the Virgin Mary, invoking her intercession; it has been attributed to St Bernard of Clairvaux, which explains the French title 'La prière à la vierge du Père Bernard'. Nisi Dominus is one of Charpentier's psalm settings, which take a substantial part in his oeuvre. They cover nearly his entire career, and one wonders whether this should have any effect on the number of performers. This setting of Psalm 126 (127) seems to date from the early 1670s, which suggests that a small line-up as we have here, is appropriate. In many pieces episodes for solo voice(s) alternate with tutti, and that is also the case with the Litanies de la Vierge. The conclusion of each section - "Ora pro nobis" - is set for the tutti, which is a way to emphasize the text.
This programme of vocal music by Charpentier is extended with instrumental pieces by Henry du Mont and Sébastien de Brossard. Both were also influenced by the Italian style, but in different ways. Du Mont's oeuvre includes a number of short instrumental works. At least some of them may have been intended for use in the liturgy. The same goes for the Suonata 1a by De Brossard, which is of the sonata da chiesa type. The Italian title of the piece and of each movement is an indication of Brossard's Italian leanings. That makes him an ideal companion to Charpentier.
This disc seems to be the debut of the ensemble La Nébuleuse. Its release is part of the label Musica Ficta's project under the title of 'Opera Prima', which "will offer young, emerging artists, chosen according to the value and artistic qualities of their projects, the opportunity to make their debut recordings." It is nice that La Nébuleuse has made a start with Charpentier. Although his music is often performed and recorded, it is mostly the same stuff that is selected. A large part of his oeuvre is still little-known, and so this disc with a number of pieces for a more modest line-up is most welcome. Overall I am happy with these performances, as the singers have grabbed the character of the music rather well. Their singing is good and they pay much attention to the text. The harmonic peculiarities, which serve the expression of the text, come off very well. It is just a shame that here and there an audible vibrato has crept in. It is not very disturbing, but regrettable nevertheless. The instrumentalists are excellent, and especially De Brossard's sonata receives an outstanding performance. The long playing time is a bonus.
This album is a further testimony to the art of Charpentier, who undoubtedly was one of the greatest and most expressive composers of the baroque era.
Johan van Veen (© 2026)
Relevant links:
La Nébuleuse