CD 1
Office du Jeudi Saint (
Tenebræ
for Maundy Thursday) [66:12]
Prelude a 4 in g minor, H528
Antiphon
Habitabit in tabernaculo
Psalm 14 (plainchant and faux-bourdon)
First Lesson, H121 (
De Lamentatione
Jeremiæ: Cogitavit Dominus)
Jerusalem, convertere from H120
First Response, H144
Omnes amici
mei
Prelude in d minor a 3, H510
Second Lesson, H139 (
Lamed. Matribus
suis dixerunt Jerusalem from H138)
Second Response, H128
Velum temple
Third Lesson H136 (
Jerusalem
convertere from H135)
Third Response
Tenebrae factae sunt
(plainchant)
Prelude a 4 in F major, H521
Psalm 50 (51)
Miserere (plainchant
and faux-bourdon)
Sandrine Piau (soprano); Gérard
Lesne (counter-tenor); Ian Honeyman
(tenor); Peter Harvey (baritone)
CD 2
Office du Vendredi Saint (
Tenebræ
for Good Friday) [70:55]
Antiphon:
Astiterunt reges terræ
Psalm 26 (plainchant and faux-bourdon)
First Lesson, H99 with instrumental
ritornello H100
First reponse, H133
Tanquam ad latronem
Second Lesson for solo voice, H140
Second Response, H130
Jerusalem surge
Third Lesson for two voices, H95
Third Response
Vinea mea electa
(plainchant)
Psalm 50
Miserere (plainchant
and faux-bourdon)
These two CDs are
taken from the three discs of Charpentier
settings of Tenebræ included
in a 5-CD collection reviewed
and recommended by RH in 2005. The
remaining disc, of Ténèbres
pour Mercedi Saint, is available
separately, albeit still at full price
(5 45107 2) and the three discs of
Tenebræ are available
together on 5 61483 2 for around £25.
The services of Matins
and Lauds in the Roman rite for the
last three days of Holy Week, the
so-called Sacred Triduum are – or
were before being replaced by the
vernacular liturgy – beautiful and
complex. Matins for Maundy Thursday,
Good Friday and Holy Saturday consist
of psalms with antiphons, readings
from the Lamentations of Jeremiah
and versicles and responsories related
to and reflecting upon the events
of those days. Over the centuries
they have proved fruitful inspiration
for music, even in post-reformation
England, where the Book of Common
Prayer continued to prescribe readings
from Lamentations and settings of
them, often in Latin, continued to
be sung in cathedrals and collegiate
churches.
It is a human tendency
to anticipate and the services of
Holy Week and Easter have been especially
susceptible to anticipation, so that
many Roman Catholic and Anglican churches
often used to celebrate the first
Mass of Easter during the afternoon
or even the morning of the previous
day, Holy Saturday. Even now the Paschal
Fire is often kindled well before
midnight.
Matins in monastic
usage is a night office, but the tradition
arose in France in the late 16th
and 17th centuries of anticipating
the Matins of the Sacred Triduum on
the evening of the previous day, often
in a dramatic fashion. A hearse of
candles behind the altar would be
extinguished one by one until a single
candle was left alight, to signify
Christ, the Light of the World – hence
the name Tenebræ, in
French Ténèbres,
meaning ‘darkness’ – and the psalms,
antiphons, readings and responsories
would be performed in a mixture of
chant and more elaborate settings
with instruments. So prevalent was
this practice that it took a Papal
Decree in 1955 to restore these services
to their proper liturgical places.
Charpentier composed
a large number of settings for texts
associated with Tenebræ,
rather than complete settings of the
office, all of them works of great
beauty and most of them intense, almost
operatic. From these Gérard
Lesne has on this recording put together
an assemblage from different collections
to represent what might have been
performed – not quite the kind of
liturgical reconstruction for which
Paul McCreesh has become famous, but
a feasible representation. It certainly
works for me; I tend to rate Charpentier
even more highly than Couperin, Lully
or Rameau, but I imagine that this
programme would work for all but the
greatest purist.
The first CD offers
selections from Tenebræ
of Maundy Thursday, actually Matins
of Good Friday, the second from Tenebræ
of Good Friday, actually Matins of
Holy Saturday. Unfortunately, no texts
are included and even the incipits
of the readings from Lamentations
are not always provided, so it is
difficult to follow how these selections
fit into the liturgy. My post-1955
Holy Week Manual is not much
help, since the psalms in particular
were re-allocated when Matins was
returned to its proper place. Thus,
the antiphon Habitabit in tabernaculo
and Psalm 14, Domine quis habitabit,
are transferred in the restored rite
from Good Friday to the opening of
Matins for Holy Saturday. Conversely,
the antiphon Astiterunt reges terræ
and Psalm 2 to which it applies (only
the antiphon is included here) open
Matins of Good Friday post 1955, not
those of Holy Saturday. Even I, as
something of an erstwhile liturgical
expert, find what we are offered hard
to follow. We really do need more
help than is provided here: perhaps
EMI/Virgin could have obliged by offering
something on their website.
Of course, we could
just sit back and enjoy some beautiful
music, excellently performed and well
recorded, but I want more than that.
The general listener is more likely
to be confused than helped by what
information is offered in the booklet:
what, for example, is faux-bourdon,
employed as we are informed for the
psalm settings? And what is the Bréviaire
de G.G.Nivers from which some
of the settings are taken?
Guillaume-Gabriel
Nivers (c.1631-1714) was an older
contemporary of Charpentier, who provided
modified versions of the chants associated
with the psalms in the Breviary, the
book of daily liturgical offices.
Faux-bourdon or falsobordone
refers to a manner of chanting the
psalms not unlike Anglican chant –
it’s actually immensely more complicated
than that: for full details look in
Grove or the Oxford Companion
to Music.
Even the voices of
the singers are indicated in French
and not translated into English –
I’ve corrected that in my heading.
Not many Anglophones are likely to
know what a basse-taille voice
is. I know that the music originated
with EMI France, but it’s the usual
case of spoiling the ship for a ha’porth
of tar, and I fear it may put prospective
listeners off. Actually, the notes
in French are unrelated to those in
English and German and, though shorter,
slightly more informative.
I can’t imagine better
performances: singing, direction and
accompaniment are excellent – Lesne
himself is one of the vocal treasures
as well as directing the performances
– and the recording is equally first-class.
Il Seminario Musicale is a small group;
its personnel changed slightly between
the two recording dates, but both
sets of performers offer discreet
and effective support.
All this, and at
such a reasonable price, is sure to
encourage purchasers who have forgiven
the inadequacies of the documentation
– and even I can do that for the sake
of obtaining such wonderful music
– to investigate some of the other
Veritas twofers advertised in the
booklet, not least the same performers’
versions of sacred music by Vivaldi
and Galuppi (5 62413 2).
Some reviewers of
the original issue found the inclusion
of plainsong intrusive. I’m all for
including as much of Charpentier’s
music as possible, but I find the
alternation of the two forms illuminating,
especially considering the elaborate
decoration of the Hebrew letters in
Charpentier’s setting – shouldn’t
these properly be called melismata,
not melismas, as per the booklet
– against the comparative simplicity
of chant. Such contrasts were, of
course, inherent in the practice of
the time: settings of the Magnificat
and other canticles often alternate
verses in chant. Allegri’s Miserere
is the best known example of this
form of alternation.
In compiling the
programme, Gérard Lesne has
been careful to choose contemporary
forms of chant, from a Roman collection
of 1650 on CD1 and from the Nivers
Breviary on CD2. ‘Gregorian’ chant
or plainsong is not the timeless creation
that most of us think it to be: it
has been sung in many different ways
during the centuries.
If you’re looking
for more Charpentier settings of music
for Tenebræ, your next
stop might usefully be another inexpensive
2-CD set, on the Warner Apex label:
not quite such first-rate performances,
but there are very few items of overlap
between the two collections (2564
61742 2). But be sure to obtain this
Virgin Veritas issue first. Forget
all those collections which claim
to offer the most relaxing music of
all time, go for this instead – and
the recent Universal release of Chant:
Music for Paradise, UCJ176 6016
which I recently made Recording
of the Month, while you’re about
it. If you still want more Charpentier,
Harmonia Mundi have just reissued
William Christie’s first-class account
of his famous Te Deum at mid
price (HMG50 1298 with Litanies
and Missa Maria assumpta est)
and you can’t go wrong with the recordings
of Charpentier by Le Concert Spirituel/Hervé
Nicquet on various Naxos and Glossa
CDs.
Brian Wilson