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)
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En el treinta aniversario del Ensemble Gilles Binchois, Dominique Vellard está más activo que nunca, tanto en vivo -son memorables sus multifacéticas actuaciones en los conciertos de su propio festival, en Thoronet, y en Les Meslanges du Printemps, en Dijon-, como en disco, donde tras su llegada a Glossa en 2007 alterna proyectos medievales de extraordinaria calidad e interés (el reciente Arbre de Jessé, o el próximo L’Amor de Lonh) con la experimentación con las nuevas músicas (recordemos su Vox Nostra Resonet).
El disco Motets Croisés que ahora presentamos pertenece a la faceta más experimental de Vellard, e ilustra su intensa y comprometida relación musical con Jean-Pierre Leguay, uno de los organistas titulares de Notre-Dame de París, y uno de los mejores improvisadores al órgano de la actualidad. Se alternan motetes «históricos» de Monteverdi o Schütz con composiciones del propio Leguay y piezas instrumentales de Frescobaldi, en un fascinante tapiz sonoro en el que destacan la voz clara y radiante de Vellard y las siempre deslumbrantes intervenciones al órgano de Leguay.
Since starting making recordings for Glossa in 2007 Dominique Vellard has been demonstrating the broad range of interests which have been so influential over the thirty years of the career of his Ensemble Gilles Binchois and which help to make up this complex musical personality. From the earliest polyphonies interspersed with Gregorian Chant (in L’Arbre de Jessé and the reissued Music and Poetry in St Gallen) to 21st century compositions from Vellard himself and Jean-Pierre Leguay (in Vox nostra resonet and Motets croisés) by way of the 17th century polyphony of Monteverdi, Schütz and Frescobaldi, some of the facets of Vellard’s continuing interest in religious music have been reflected on the label. [read more...]
“It is the same effect as when you see the sun shining through stained-glass windows in a church: suddenly all the colours are singing.”
After nearly three decades of carving out a niche (as rich as Romanesque statuary found in the Burgundy where he lives and works), Dominique Vellard has returned with a new vigour for performing (and recording), whether it is with his colleagues from the Ensemble Gilles Binchois or as a solo singer. The tenor voice of this deeply-thinking musician has the capacity to explore and explain the messages and subtleties of liturgical traditions that range far beyond the Western tradition. [read more...]
I began to compose seriously back in 1999. Prior to that I always liked making song arrangements or fauxbourdons, or writing pieces ‘in the style’ of, for instance, 14th or 15th century songs. Very often in the medieval field, of course, we need to add some voices or to complete some defective parts. I had no real desire to compose – I didn’t think that it was my field. I was a singer, after all, and music from the past is so good, whether it was from composers of the 17th century or Ligeti. Then, one day, in Sheffield in England, I was asked by Peter Cropper of The Lindsays whether there were any chants in existence that could accompany Haydn’s Seven Last Words. On not finding any interesting pieces in the repertory and whilst being at home, I started writing three-part pieces – for my wife, my daughter and myself. I was I bit surprised to see that it was working and on finishing the compositions I found that they had some sense! [read more...]