Charpentier: Histoires sacrées Ensemble Correspondances & Sébastien Daucé

• Marc-Antoine Charpentier (1643 - 1704): Cæcilia, virgo et martyr octo vocibus, H. 397, Prima pars:
• 1 Cæcilia, virgo et martyr octo vocibus, H. 397, Prima pars: Præludium - Est secretum, valeriane (Cæcilia) 01:27
• 2 Cæcilia, virgo et martyr octo vocibus, H. 397, Prima pars: Nullus audit, nullus videt (Valerianus, Cæcilia) - Et aquis lustratibus (Chorus fidelium) 03:47
• 3 Cæcilia, virgo et martyr octo vocibus, H. 397, Prima pars: Acceptis autem ab Angelo flosculis (Historicus, Cæcilia, Valerianus, Tiburtius) 04:37
• 4 Cæcilia, virgo et martyr octo vocibus, H. 397, Prima pars: O Christi fidem profitentium (Tutti) 01:47
• Cæcilia, virgo et martyr octo vocibus, H. 397, Secunda pars:
• 5 Cæcilia, virgo et martyr octo vocibus, H. 397, Secunda pars: Præludium 01:08
• 6 Cæcilia, virgo et martyr octo vocibus, H. 397, Secunda pars: Cum autem Valeriani et Tiburtii (Historicus, Almachius, Cæcilia) 05:02
• 7 Cæcilia, virgo et martyr octo vocibus, H. 397, Secunda pars: Ecce, ecce mihi Jesu (Cæcilia) 01:40
• 8 Cæcilia, virgo et martyr octo vocibus, H. 397, Secunda pars: Heu, heu, nos dolentes (Chorus fidelium, Angeli) 01:55
• 9 Cæcilia, virgo et martyr octo vocibus, H. 397, Secunda pars: Cur ploratis fideles (Angeli, Chorus fidelium) 01:45
• 10 Cæcilia, virgo et martyr octo vocibus, H. 397, Secunda pars: Guay - Nolite flere fideles (Angeli, Chorus fidelium, tutti) 06:46
• Motet pour les trépassés à 8, H. 311:
• 11 Motet pour les trépassés à 8, H. 311: Prélude - Miseremini mei 02:33
• 12 Motet pour les trépassés à 8, H. 311: Heu, mihi Domine 02:32
• 13 Motet pour les trépassés à 8, H. 311: Ritournelle - Ah, ah pœnis crucior 03:46
• Dialogus inter Magdalenam et Jesum, H. 423:
• 14 Dialogus inter Magdalenam et Jesum, H. 423: Hei, hei mihi infelix Magdalena 04:11
• Judith, sive Bethulia liberata, H. 391, Première partie:
• 15 Judith, sive Bethulia liberata, H. 391, Première partie: Stabat Holofernes super montes (Chorus Assyriorum) 00:28
• 16 Judith, sive Bethulia liberata, H. 391, Première partie: Filii Israel (Tres duces Assyrii) 00:59
• 17 Judith, sive Bethulia liberata, H. 391, Première partie: Et placuerunt (Historicus ex Assyriis, Historicus ex filiis Israel, Tres viri Israelitæ, Historicus ex Israel) 02:52
• 18 Judith, sive Bethulia liberata, H. 391, Première partie: Peccavimus, Domine (Filii Israel) 02:23
• 19 Judith, sive Bethulia liberata, H. 391, Première partie: Et, cum his clamoribus (Historicus ex filiis Israel, Ozias) 01:51
• 20 Judith, sive Bethulia liberata, H. 391, Première partie: Quod cum audisset (Historici ex filiis Israel) 00:27
• 21 Judith, sive Bethulia liberata, H. 391, Première partie: Quod est hoc verbum (Judith) 02:14
• 22 Judith, sive Bethulia liberata, H. 391, Première partie: Vera sunt omnia (Ozias, Judith, Chorus ex Israel, trois voix seules) 03:06
• 23 Judith, sive Bethulia liberata, H. 391, Première partie: Nocte autem sequetem (Historicus ex Israel, Judith) 03:46
• 24 Judith, sive Bethulia liberata, H. 391, Première partie: Post hæc Judith deposuit (Historicus ex Israel) 00:51
• 25 Judith, sive Bethulia liberata, H. 391, Première partie: La nuict 02:56
• Judith, sive Bethulia liberata, H. 391, Seconde partie:
• 26 Judith, sive Bethulia liberata, H. 391, Seconde partie: Cum autem Judith descenderat montem (Ancilla, Duo exploratores ex Assyriis, Judith, Chorus Assyriorum) 02:35
• 27 Judith, sive Bethulia liberata, H. 391, Seconde partie: Æquo animo esto (Holofernes, Judith) 06:03
• 28 Judith, sive Bethulia liberata, H. 391, Seconde partie: Et ingressa Judith (Historici ex Assyriis) 00:48
• 29 Judith, sive Bethulia liberata, H. 391, Seconde partie: Ut autem sero factum est (Ancilla) 01:40
• 30 Judith, sive Bethulia liberata, H. 391, Seconde partie: Aperite portas, custodes fideles (Judith) 00:43
• 31 Judith, sive Bethulia liberata, H. 391, Seconde partie: Et cum audissent filii Israel (Chorus filiorum Israel) 01:39
• 32 Judith, sive Bethulia liberata, H. 391, Seconde partie: Laudate Dominum Deum nostrum (Judith, Chœur) 04:21
• Mors Saülis et Jonathæ, H. 403:
• 33 Mors Saülis et Jonathæ, H. 403: Rumor bellicus 00:29
• 34 Mors Saülis et Jonathæ, H. 403, Première partie: Cum essent congregata (Chorus) 01:28
• 35 Mors Saülis et Jonathæ, H. 403, Première partie: O mulier, suscita mihi (Saül, Maga) 02:26
• 36 Mors Saülis et Jonathæ, H. 403, Première partie: Première symphonie [de l'enchantement] 05:37
• 37 Mors Saülis et Jonathæ, H. 403, Première partie: Cumque Samuel volente Deo (Duo ex choro) 00:39
• 38 Mors Saülis et Jonathæ, H. 403, Première partie: Surge Saül et responde mihi ! (Samuel, Saül) 03:14
• 39 Mors Saülis et Jonathæ, H. 403, Seconde partie: Cecidit repente Saül (Chorus) 01:48
• 40 Mors Saülis et Jonathæ, H. 403, Seconde partie: Tolle, quæso, tolle (Saül, Miles) 01:41
• 41 Mors Saülis et Jonathæ, H. 403, Seconde partie: Age cito (Saül, chorus) 01:56
• 42 Mors Saülis et Jonathæ, H. 403, Seconde partie: Cumque miles invitus (Tres ex choro) 00:58
• 43 Mors Saülis et Jonathæ, H. 403, Seconde partie: Quisnam es tu ? (David, Miles) 02:04
• 44 Mors Saülis et Jonathæ, H. 403, Seconde partie: O sors ! (Chorus sans violons) 02:04
• 45 Mors Saülis et Jonathæ, H. 403, Seconde partie: Sed tu, unde scis quod Saül (David, Miles) 03:01
• 46 Mors Saülis et Jonathæ, H. 403, Seconde partie: Doleo super te (David) 04:34
• 47 Mors Saülis et Jonathæ, H. 403, Seconde partie: David autem conversus (Duo ex choro, David) 00:51
• 48 Mors Saülis et Jonathæ, H. 403, Seconde partie: Montes Gelboe (Chorus ultimus) 03:23
• Prelude pour Mementote peccatores, H. 425a:
• 49 Prelude pour Mementote peccatores, H. 425a 01:18
• Dialogus inter Christum et peccatores, H. 425:
• 50 Dialogus inter Christum et peccatores, H. 425: Mementote peccatores (Christus) 01:17
• 51 Dialogus inter Christum et peccatores, H. 425: Vos autem (Christus, à 3) 02:20
• 52 Dialogus inter Christum et peccatores, H. 425: Quis capiti meo dabit aquam (Premier dessus) 01:32
• 53 Dialogus inter Christum et peccatores, H. 425: Heu, stupiditas cordis mei (Deuxième dessus) 01:35
• 54 Dialogus inter Christum et peccatores, H. 425: Ah, cor durum, ah cor ingratum (à 3) 02:00
• Dialogus inter Christum et homines H. 417:
• 55 Dialogus inter Christum et homines H. 417: Prélude - Homo Deus fecit cœnam magnam 04:39
• 56 Dialogus inter Christum et homines H. 417: O panis Deus 04:24
• Élévation, H. 408:
• 57 Élévation, H. 408: [Symphonie] 01:46
• 58 Élévation, H. 408: Famem meam quis replebit (Esuriens, Christus, Sitiens) 01:30
• 59 Élévation, H. 408: Panem cœlestem habeo (Christus) 01:52
• 60 Élévation, H. 408: Esurio, sitio (Esuriens, Sitiens, Christus) 02:50
• 61 Élévation, H. 408: O panis angelorum (Esuriens, Sitiens, Christus) 03:00
• Pestis mediolanensis, H. 398:
• 62 Pestis mediolanensis, H. 398: Prélude pour Horrenda pestis - Horrenda pestis Mediolanum vastabit 06:08
• 63 Pestis mediolanensis, H. 398: Afflictionem miseri populi ut audivit (grand chœur) 00:41
• 64 Pestis mediolanensis, H. 398: Cantilena. Infirmos languentes solatur 02:07
• 65 Pestis mediolanensis, H. 398: Hymnum ergo cantemus (grand chœur) 02:26
• Total Runtime 02:40:16

Info for Charpentier: Histoires sacrées

Marc-Antoine Charpentier is the only composer of the age of Louis XIV to have distinguished himself so remarkably in the genre of the ‘sacred history’: he wrote more than thirty such works, all composed after his residence in Italy. Sébastien Daucé and the Ensemble Correspondances have carefully extracted from this outstanding corpus a number of gems that reflect both his experience in Rome (probably studying with Carissimi, the master of the oratorio) and the humanist concerns of an entire period. Like a miniature opera, each piece relates an exemplary destiny, including several strong-willed women (Judith, Cecilia, Mary Magdalene) and a deep friendship put to the test (Mors Saülis and Jonathæ).

Ensemble Correspondances
Sébastien Daucé, direction

Ensemble Correspondances
Since its formation in 2008, the Ensemble Correspondances has devoted itself chiefly to French sacred music of the seventeenth century. Brought together by Sébastien Daucé during their studies at the Conservatoire National Supérieur de Musique (CNSM) de Lyon, the musicians of Correspondances pursue this work (focusing notably on Marc-Antoine Charpentier) with infectious enthusiasm today.

To date the Ensemble Correspondances has appeared at such French festivals as Saintes, Fontevraud, Musique & Mémoire, Sablé, Royaumont, and Sinfonia en Périgord. It has also performed at the Festival Oude Muziek Utrecht and in Rome, Nuremberg, Foligno, and Fribourg, and has toured Japan and Colombia. The ensemble has given several concerts for such radio stations as the Bayerischer Rundfunk, Radio France, and the Radio Suisse Romande. Its most recent engagements have taken it to Royaumont, the Ambronay, Lanvellec, and Pontoise festivals, and Rome, Hamburg, and Hong Kong.

Sébastien Daucé
After a specialized program at the National Conservatory of Music of Lyon, Sébastien Daucé played under the direction of Kenneth Weiss (Didon and Aeneas, Madrigal of Monteverdi), of Gabriel Garrido (Ercole Amante of Cavailli, in the Academy of Baroque Opera at Ambronay, and recently for the recording of another Cavalli opera, Gli Amori d’Apollo e Datne,) of Raphaël Pichon (Pygmalion), of Toni Ramon (Radio France), of Françoise Lasserre (Akademia) and Geoffroy Jourdain (The Crys of Paris).

He was the assistant of Kenneth Weiss’s for the 2006 and 2007 academies at the Festival d’Art Lyrique in Aix en Provence (France).

In 2006, he founded the Ensemble Correspondances. The first concerts of this ensemble, made up of young musicians from the National Conservatory of music of Lyon and of Paris, took place in France and in Switzerland. During this time, they were recorded and aired on the radio. The Ensemble Correspondances toured Japon in December 2009 ; and have played in some prestigious festivals (Pontoise, Saintes, Utrecht). Their two firsts Cds have been recorded on the ZigZag Territories label : they both received notable press such as Choc de Classica and a Diapason découverte. Sébastien Daucé has worked, as well in the past few years, on Marc-Antoine Charpentier; in which he has published in the Abbesses Editions, three operas, in collaboration with William Christie. From 2012, he is a teacher at the Pole Supérieur Paris-Boulogne.

Booklet for Charpentier: Histoires sacrées