Michel-Richard de Lalande: Grands Motets, Dies irae, Miserere, Veni creator Sébastien Daucé & Ensemble Correspondances

• Michel-Richard de Lalande (1657 - 1726): Dies iræ, S. 31:
• 1 Lalande: Dies iræ, S. 31: Dies iræ 01:17
• 2 Lalande: Dies iræ, S. 31: Quantus tremor est futurus 01:08
• 3 Lalande: Dies iræ, S. 31: Tuba mirum spargens sonum 01:16
• 4 Lalande: Dies iræ, S. 31: Mors stupebit et natura 01:19
• 5 Lalande: Dies iræ, S. 31: Liber scriptus proferetur 03:28
• 6 Lalande: Dies iræ, S. 31: Recordare 02:00
• 7 Lalande: Dies iræ, S. 31: Quærens me 02:34
• 8 Lalande: Dies iræ, S. 31: Juste judex 03:33
• 9 Lalande: Dies iræ, S. 31: Inter oves locum præsta 02:09
• 10 Lalande: Dies iræ, S. 31: Oro supplex et acclinis 01:52
• 11 Lalande: Dies iræ, S. 31: Lacrymosa dies illa 02:52
• 12 Lalande: Dies iræ, S. 31: Pie Jesu Domine 03:49
• Troisième Caprice, S. 162/5:
• 13 Lalande: Troisième Caprice, S. 162/5: Quatuor 02:22
• Miserere, S. 27:
• 14 Lalande: Miserere, S. 27: Miserere mei Deus 03:57
• 15 Lalande: Miserere, S. 27: Amplius lava me 00:52
• 16 Lalande: Miserere, S. 27: Quoniam iniquitatem meam 01:18
• 17 Lalande: Miserere, S. 27: Tibi soli peccavi 02:17
• 18 Lalande: Miserere, S. 27: Ecce enim in iniquitatibus 02:00
• 19 Lalande: Miserere, S. 27: Incerta et occulta 01:12
• 20 Lalande: Miserere, S. 27: Asperges me hysopo 02:07
• 21 Lalande: Miserere, S. 27: Auditui meo dabis gaudium 01:46
• 22 Lalande: Miserere, S. 27: Averte faciem tuam 01:18
• 23 Lalande: Miserere, S. 27: Cor mundum 02:38
• 24 Lalande: Miserere, S. 27: Ne projicias me a facie tua 02:08
• 25 Lalande: Miserere, S. 27: Redde mihi 01:01
• 26 Lalande: Miserere, S. 27: Docebo iniquos vias tuas 01:25
• 27 Lalande: Miserere, S. 27: Libera me 01:46
• 28 Lalande: Miserere, S. 27: Domine 01:32
• 29 Lalande: Miserere, S. 27: Quoniam 00:45
• 30 Lalande: Miserere, S. 27: Sacrificium Deo 03:51
• 31 Lalande: Miserere, S. 27: Benigne fac Domine 02:54
• Veni creator, S. 14:
• 32 Lalande: Veni creator, S. 14: Veni creator Spiritus 02:52
• 33 Lalande: Veni creator, S. 14: Qui Paraclitus diceris 01:54
• 34 Lalande: Veni creator, S. 14: Tu septiformis munere 03:21
• 35 Lalande: Veni creator, S. 14: Hostem reppellas longius 03:29
• 36 Lalande: Veni creator, S. 14: Per te sciamus da Patrem 01:35
• 37 Lalande: Veni creator, S. 14: Gloria Patri Domino 03:01
• Grande Pièce royale en sol, S. 161 "Deuxième Fantaisie ou Caprice que le Roi demandait souvent" (Bonus Track):
• 38 Lalande: Grande Pièce royale en sol, S. 161 "Deuxième Fantaisie ou Caprice que le Roi demandait souvent" (Bonus Track) 08:04
• Total Runtime 01:28:42

Info for Michel-Richard de Lalande: Grands Motets, Dies irae, Miserere, Veni creator

For more than forty years, Lalande was the French court’s favourite composer, cultivating the most elevated and touching aspects of the spirit of the Grand Siècle. Sébastien Daucé and the Ensemble Correspondances offer us some remarkable examples of his output here: with the imposing Miserere, ample and sombre, the Dies irae and the rarely heard Veni Creator, this ‘Latin Lully’ brought the art of the grand motet to its zenith.

"There are many, many more examples of the outstanding qualities of the performances that could be brought to notice, but I’ll restrict myself to a couple, the first of which provides a splendid illustration of not only the sheer variety of effect and texture, but also an acute textual awareness on the part of the composer that is one of the great qualities of Lalande’s compositions. In the Miserere the verse ‘Cor mundum’ (Create in me a clean heart, O God) starts with an exquisitely tender solo quartet, madrigalian in its weaving of imitative contrapuntal lines. The second part of the verse brings a greater urgency (‘renew a right spirit within me’) that Lalande responds to with lightfooted, dance-like verve, beautifully caught by Daucé. My other example takes us back to the Dies irae and the longest solo passage of récit and air in any of these works, the four verses commencing at ‘Liber scriptus’ and superbly sung and projected by alto Lucile Richardot, the possessor of a voice with the rare qualities of a genuine contralto." (Brian Robins, earlymusicreview.com)

Ensemble Correspondances
Sebastien Dauce, conductor

The ensemble Correspondances
presents mainly 17th century French sacred music; an era which saw produced a considerable number of masterpieces, some still unpublished, just waiting to be revived by young and passionate musicians.


Sébastien Daucé, the Artistic Director, and his musicians met while studying at the Conservatoire National Supérieur de Musique de Lyon. A dedicated collaboration blossomed to unearth rare and neglected musical treasures, revealing, through their interpretation, a whole range of emotions within these works.


Since its formation in 2009, the ensemble has performed in France, Switzerland, Germany, Italia, Japan and South-America. Its first recording for Zig-Zag Territoires, O Maria !, featuring motets by Marc-Antoine Charpentier was released in 2010 to great critical acclaim (Choc de Classica Diapason découverte, Coup de cœur de l'Académie Charles Cros, ***** Fonoforum and Supersonic in Pizzicato). This was followed by L'Archange et le Lys, a collection of motets by Antoine Boësset, the first recorded anthology of the composer.

The ensemble has recently appeared at the Saintes festival, OudeMuziek festival in Utrecht, Easter Festival in Fontevraud, Printemps des Arts de Nantes, Nuremberg, Paris, Rome and Fribourg. They have recorded extensively for the radio: Bayerischer Rundfunk, Radio-France and Radio Suisse Romande. Highlights of the forthcoming season include festival d’Ambronay, Abbaye de Royaumont, festival de Lanvellec, and a Asian tour in April 2013.

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 Michel-Richard de Lalande: Grands Motets, Dies irae, Miserere, Veni creator