MOTETS CROISÉS Monteverdi, Schütz, Leguay, Frescobaldi
Dominique Vellard Jean-Pierre Leguay
Dominique Vellard, tenorJean-Pierre Leguay, organ
Recorded at Abbaye Bénédictine de Pradines and at Collégiale Saint-Jean Baptiste de Roquemaure, France, in June and October 2004 Engineered by Robert Verguet Produced by Anne-Marie Vellard Executive producer: Carlos Céster Design: Valentín Iglesias English Français Deutsch Español
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Monteverdi, Schütz, Leguay, Frescobaldi
1 Pater noster (Jean-Pierre Leguay)2 O quam pulchra es (Claudio Monteverdi)3 Toccata avanti la Messa della Domenica4 Toccata per l’elevatione, Messa degli Apostoli (Girolamo Frescobaldi)5 Alleluia6 Alleluia instrumental (Jean-Pierre Leguay)7 O Jesu, nomen dulce (Heinrich Schütz)8 Canzon doppo l’epistola, Messa della Madonna (Girolamo Frescobaldi)9 Salve regina (Claudio Monteverdi)10 Canzon quarti toni doppo il post comune, Messa deglo Apostoli11 Recercar con obligo di cantare la quinta parte, Messa della Madonna (Girolamo Frescobaldi) 12 Secundum Matthaeum (Jean-Pierre Leguay)
About this CD
In the 30th anniversary year of the legendary Ensemble Gilles Binchois, Dominique Vellard is more active than ever, as much as when performing live - the versatility which he exhibits in concert performances such as at his own festivals in Thoronet or at Les Meslanges de Printemps in Dijon is deeply memorable - as when recording for CD. Following his arrival at Glossa in 2007 he is alternating projects of medieval music of superb quality and interest (such as the recent L’Arbre de Jessé or the forthcoming secular programme of L’Amor de Lonh) with his involvement in new forms of musical expression (witness his Vox Nostra Resonet).
And this current Motets Croisés disc belongs precisely to that more adventurous and exploratory aspect of Vellard’s art: here he demonstrates his vital and strongly-engaged musical collaboration with Jean-Pierre Leguay, a titular organist at Notre-Dame de Paris, and also one of today’s leading improvisers on the organ. Crossing the paths of “historical” motets by Monteverdi and Schütz are compositions from Leguay himself and instrumental pieces by Frescobaldi, all conjuring up a fascinating sound tapestry, in which the clear and radiant voice of Vellard and the always dazzling organ interventions from Leguay are vividly and strongly highlighted.