For lovers of the French baroque repertoire – and of church music
in particular – this double disc set is a real treat. Campra is
still a relatively neglected composer, although he deserves not
to be. With a long career straddling those of Lully and Rameau,
and as a contemporary of Charpentier, Delalande and Couperin,
Campra exemplifies the musical changes that took place in France
from the later years of Louis XIV’s grand siècle into the reign
of his grandson Louis XV.
The
first disc includes three of Campra’s grands motets, scored
for soloists, chorus and a sizeable orchestra. All three display
Campra’s distinctive style, with its lively, rhythmic quality
and rich harmonies. Notus in Judea Deus includes a hushed, lyrical
‘sleep’ movement (track 4) – popular in operatic works of the
period – with an affecting solo part for dessus (soprano), sung
beautifully by Jaël Azzaretti. Her bright, pure tone reappears
in De Profundis (track 14), accompanied by darker oboe, bassoon
and strings. Altogether more sombre and reflective, this work
provides the other soloists with less interesting parts. Their
contributions are more introspective and serviceable than inspired,
although the final Requiem movement, in which the chorus bursts
into life, is a real highlight.
Exaudiat
te Dominus is a much brasher affair, with martial trumpets and
timpani. Written to celebrate the recovery of Louis XIV from
illness, and coinciding with the War of the Spanish Succession,
the motet has shades of Charpentier’s Te Deum, and includes
a warlike ‘bruit de guerre’ (track 23). The CD concludes with
the Introit from Campra’s Requiem. An expanding web of shifting
vocal lines, this movement surges to a powerful and deeply affecting
climax.
The
second CD is less dazzling than the first, but deserves repeated
listening. It includes several short petits motets by Campra
and his contemporary Couperin. Composed on a much smaller scale,
these works feature solo parts for haute-contre (high tenor)
and a small band of instrumentalists, ranging from organ and
viola da gamba to additional violins and flutes. Unlike the
grands motets, the petits motets were designed for genuine religious
contemplation, and call upon technical virtuosity and subtlety
from the solo singer. Paul Agnew rises to, and indeed surpasses,
the challenge. His voice is light, delicate, versatile and genuinely
expressive. The final motet, Campra’s ‘Florete prata’ is particularly
delightful, with the florid vocal line matching the text’s call
to the fields to burst into flower.
John-Pierre Joyce
Jaël Azzaretti
(dessus); Paul Agnew (haute-contre); Bruno Renhold (haute-contre);
Nicolas Rivenq (taille); Andrew Foster-Williams (basse-taille);
Arnaud Marzorati (basse-taille); Les Arts Florissants Chorus and
Orchestra/William Christie 
