Michel-Richard DE LALANDE (1657-1726) Choral Music for Versailles
- Three Grand Motets
Regina coeli S53 1698 [8:42]
De profundis S23 1689 [22:01]
Cantate Domino … quia mirabilia S72 1707 [25:59]
Ex Cathedra Chamber Choir
Ex Cathedra Baroque Orchestra/Jeffrey Skidmore
rec. n/d, St Paul's Church, Birmingham, England. DDD
ALTO ALC 1216 [56:04]
Here's a lively, energetic and utterly enjoyable CD. Originally issued
on - or at least as part of - ASV Gaudeamus (CDGAU150) in 1995 or thereabouts,
this is a collection of three sacred choral works by Michel-Richard de Lalande
who worked for Louis XIV and XV at Versailles from the time the French court
moved there from Paris itself in 1683.
They're all lively, sprightly - yet substantial - compositions with
Latin texts: motets for use in the daily religious services at the Court.
The Easter Antiphon, Regina coeli [trs. 1-4], makes something of
an extrovert opening for the CD, which does not, however, attempt to recreate
or stage any one event.
In that Lalande represents the apogee of French Baroque sacred choral work,
the disc contains a good selection of his work - otherwise unavailable - apart
from a recording by Deller of the De profundis on Vanguard 8108.
Both the latter [trs. 5-13] and Cantate Domino … quia mirabilia [trs.
14-21] are stimulating compositions that will elicit delight. They're
amongst Lalande's best. Full of varied instrumental colour, plangent
and joyous tonalities, they exude movement and energy, and are directed purposefully
to the liturgical ends to which they belong.
None of the three works here is in any way monolithic or unapproachably bland.
For all that their sonic compass is precise and tethered to an idiom which
came and went relatively quickly in the course of the evolution of this corner
of the Baroque, there is breadth, depth and much feeling in Lalande's
choral, solo and instrumental writing. Skidmore and his forces are completely
at home and in tune with this world. They obviously love the tenor and substance
of Lalande's marriage of text and music; and make the most of it in
their careful yet unstudied delivery.
At the same time the singing and playing allude to the universality of the
appeals which the music makes - to sorrow, regret, a sense of doom, lament
and elation. Yet at the same time there’s a confidence that comes from knowing
how far the poignancy and uplift of the music itself can counter the pure
feelings: balm, equilibrium, hope. The final 'Requiem aeternam'
[tr. 13] movement of the De profundis is a splendid example. It's
as generous in feeling and expression as anything else on this wonderful CD.
Similarly, the Cantate Domino is unwavering in expressing respect,
joy and hope from happiness and devotion, not loss. Here too the playing is
light of touch, yet misses no opportunity to underline the texts in all their
reach. It's never superficial playing yet is equally unlaboured.
The members of Ex Cathedra Chamber Choir sing with a "weak" French
Latin pronunciation. They also evince a precision and projection that makes
the text easy to follow; and hence easy to relate to. Nothing is over-florid
or unnecessarily elaborate. At the same time, expression and a sense of how
the music was used in those particular circumstances are nicely blended with
its longer-lasting communicative virtues.
The acoustic of the CD is a little on the dry side, although it manages to
retain the sense that this is music made for the more spacious environments
of Versailles. Indeed, the sound-world may enhance the already pleasingly
clear diction of the singers.
The booklet contains brief background and the outline texts in Latin and English.
Lalande ought to be better known than he is. If you want to spread the word,
or just respond to his wonderful senses of pace, emotivity and technical brilliance
both orchestrally and textually, this is a very good CD to help.
Mark Sealey
A welcome re-issue of works from the French Baroque sung and played with style
and care by the Ex Cathedra group.
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