RECORDING OF THE MONTH
Jean-Henri d'ANGLEBERT (1629 - 1691)
Complete Harpsichord Music
Suite in G [29:44]
Suite in g minor [25:57]
Suite in d minor [38:15]
Suite in D [20:55]
Ouverture de Cadmus [3:08]
Ritournelle des Fées de Roland [1:15]
Menuet 'Dans nos bois' [1:25]
Chaconne de Phaeton [4:03]
Courante de Lully [1:25]
Double de la courante [1:28]
Sarabande 'Dieu des Enfers' [2:11]
Gigue de Lully [1:46]
Menuet 'La Jeune Iris' [1:23]
Gavotte 'Où estes vous allé' (air ancien) [1:27]
Gavotte 'Le Beau Berger Tirsis' (air ancien) [1:37]
La Bergère Annette (vaudeville) [1:15]
Ouverture de la Mascarade [2:59]
Les Sourdines d'Armide [3:12]
Les Songes agréables d'Atys [2:51]
Air d'Apollon du Triomphe de l'Amour [3:27]
Menuet de poitou (vaudeville) [1:05]
Passacaille d'Armide [4:55]
Ouverture de Proserpine [2:51]
Chaconne de Galatée [1:50]
[Pieces in C]
Prélude [0:48]
Allemande [2:15]
Gaillarde [2:43]
Double [2:57]
Chaconne [3:58]
Francesco Cera (harpsichord)
rec. 29-31 May 2013, Palazzo Cagnano, Laureana Cilento, Italy. DDD
BRILLIANT CLASSICS 94793 [3 CDs: 55:52 + 59:23 + 58:27]
In the late 16th and early 17th centuries the lute was the
leading instrument in France. During the 17th century this role was gradually
taken over by the harpsichord. The key figure in the emancipation of the harpsichord
was Jacques Champion de Chambonnières (1601/02 - 1672), who is considered
the father of the French harpsichord school. He played a key role in the rise
to fame of Louis Couperin, and Jean-Henry d'Anglebert is assumed to
have been one of his pupils. This could explain why d'Anglebert wrote
a Tombeau de M. de Chambonnières, which closes his Suite in D.
D'Anglebert was born in Bar-le-Duc, a village west of Nancy. Nothing
is known about his early musical education and we also don't know when
he came to Paris. Here his first official position was that of organist to
the Jacobins in the rue Saint-Honoré (1660). Through marriage he became related
to another organist, François Roberday, who used a theme by d'Anglebert
in his Fugues et Caprices. In 1662 he became ordinaire de la
musique de la chambre du roi pour le clavecin. The only publication of
his keyboard works was the Pièces de clavecin - printed in 1689.
These were dedicated to the Princesse de Conti (legitimated daughter of Louis
XIV and Mlle de la Vallière), for whom he composed most of his harpsichord
music.
The harpsichord book includes four suites of different length. The suites
in G and in d minor comprise twelve and thirteen pieces
respectively whereas the other suites have only seven (Suite in D)
or eight (Suite in g minor). To these four suites d'Anglebert
added transcriptions of movements from operas by Lully as well as four arrangements
of folk songs (air ancien or vaudeville).
Three of the four suites open with a prélude non mesuré. The preludes
of the first two suites are rather short, the prelude of the Suite in
d minor is about twice as long. The Suite in G includes three
courantes; the first has a double. Chaconnes and passacailles were
a fixed part of French music, and that includes Lully's operas. This
suite includes a chaconne rondeau. That is also the case with the
Suite in D which ends with the above-mentioned tombeau.
The Suite in g minor ends with a passacaille which is its longest
movement. The Suite in d minor has two courantes - the first comes
with a double - and two sarabandes, one of them with the addition
grave. The suite ends with a set of variations on the Folia (Les
Folies d'Espagne) which inspired so many composers of the 17th
and 18th centuries.
The fact that d'Anglebert was associated with the court explains that
he transcribed a number of movements from operas by Lully who was in the service
of Louis XIV from 1651 until his death in 1687. However, these pieces also
bear witness to the composer's admiration for Lully. No fewer than
16 transcriptions are included in the Pièces de clavecin. Not every
piece explicitly mentions the name of the opera from which it is taken. As
Lully's operas are hardly standard repertoire today - Armide
is one of the best-known stage works - they are also not immediately recognizable.
This release is presented as d'Anglebert's "Complete Harpsichord
Music". That is not entirely true. A number of pieces from his pen have
been preserved in manuscript. Cera plays only four of them (or five, if we
take the gaillarde and its double as two): those which he
composed "independently", as the translation of his liner-notes
say. By that he means that these four are original works, in contrast to the
other items. Some of those are transcriptions of lute pieces by composers
of previous generations; others are doubles or variations which
d'Anglebert
composed for pieces by other composers, such as Chambonnières, Pinel and Louis
Couperin. It is a little disappointing that Cera decided not to include them
in his recording. Fortunately they are available in a fine interpretation
from Paola Erdas (Arcana, 2006). The Pièces de clavecin end with
five organ pieces. These are also not included here, despite the fact that
Cera is also a renowned organist.
That said, although d'Anglebert's oeuvre is well represented
on disc this is the first time his almost complete output is available in
one single set and by one interpreter. This is a fitting tribute to one of
the great exponents of the French harpsichord school. Its quality is reflected
by the fact that the collection was twice reprinted after his death, in 1703
and 1704. A large number of copies have survived, another token of the fact
that they were highly appreciated. One of the admirers was Johann Sebastian
Bach: he made a copy of d'Anglebert's keyboard pieces which
clearly influenced his own development as a composer.
Francesco Cera plays a copy of an instrument of 1691, one of the three extant
harpsichords of Vincent Tibaut. It is a splendid instrument which is perfectly
suited to this music. Cera is one of Italy's most prominent keyboard
players who has made many recordings on harpsichord and organ. This is the
first time I have heard him in French music. I have greatly enjoyed these
performances: his playing is superb. He has a good feeling for the refinement
and elegance of d'Anglebert's music. This is chamber music to
be played not on the concert platform but in the intimacy of the home. That
even goes for the Lully transcriptions: in the Passacaille d'Armide
he underlines its theatrical origin - without exaggeration - but he mostly
treats them as true harpsichord pieces in their own right. If I had to choose
some highlights I would take the sarabande grave from the Suite
in d minor, a superior piece here given a brilliant performance, and
the passacaille which closes the Suite in g minor. Among
the opera transcriptions the Air d'Apollon du Triomphe de l'Amour
stands out. Another gem is the gavotte Où estes vous allé, the transcription
of a vaudeville with a beautiful melody.
The historical importance of d'Anglebert, the quality of his oeuvre
and the splendid interpretation by Francesco Cera justify the accolade of
Recording of the Month.
Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
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