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Couperin - Leçons de Ténèbres

Couperin - Leçons de Ténèbres produced by UNIK ACCESS

François Couperin

LEÇONS DE TÉNÈBRES

LES PALADINS direction JÉRÔME CORREAS

LABEL ENPHASES, DISTRIBUTION OUTHERE
ENP004

A theatrical version of François Couperin's masterpiece, sung by two male voices, as suggested by the composer in the reader's advisory in the original edition.

Sortie : 16 novembre 2018

01

1ère Leçon de Ténèbres pour le Mercredy

02

2ème Concert Royal : Prélude

03

1ère Leçon de Ténèbres (suite)

04

2ème Concert Royal : Air Contrefugué

05

1ère Leçon de Ténèbres (fin)

06

1er Concert Royal : Sarabande

07

2ème Leçon de Ténèbres pour le Mercredy

08

2ème Concert Royal : Allemande Fuguée

09

2ème Leçon de Ténèbres (fin)

10

3ème Leçon de Ténèbres pour le Mercredy

11

1er Concert Royal : Gavotte

12

3ème Leçon de Ténèbres (fin)

13

2ème Concert Royal : Air Tendre

14

Motet pour le Jour de Pâques

Jean-François Lombard, Romain Champion, haute-contre
Sylvia Abramowicz, Françoise Enock, viole de gambe 
Benjamin Narvey, théorbe
Jérôme Correas, clavecin et orgue

Avec le soutien de : ADAMI (dans le cadre du dispositif 365) – La Fondation Royaumont –
La Fondation Singer-Polignac

Couperin - Leçons de Ténèbres produced by UNIK ACCESS

About the project

"A few years ago I composed three Leçons de Tenébres for Holy Friday, at the request of the Dames Religieuses de L[ongchamps], where they were sung with success (...) although the chant is noted on the Clef de dessus, all other types of voices can sing them, especially as most of the people who accompany us today know how to transpose...

This is how François Couperin expressed himself in his preface to the Leçons de Ténèbres du Mercredy Saint, giving us some very useful indications for the understanding of a work that we must hear here without the support of a religious ceremony or architecture. (...)

1714 was definitely a fertile year for François Couperin: present in church with his Leçons de Ténèbres, he was also present at court with his Concerts Royaux.

Intended to entertain Louis XIV at the end of his life, these instrumental pieces are visibly inspired by the same spiritual demands and harmonic richness that go beyond the strict framework of the dance suite. Here we find the same freedom granted to the performer in the choice of instruments: harpsichord, viola da gamba, flute or violin. We have chosen the version for viola da gamba, which is very rarely performed. (...)

In this imaginary concert, we have taken advantage of the freedom of interpretation offered by the Baroque repertoire to explore the expressive possibilities of a masterpiece of religious theatre. Let us imagine for a moment the emotion of the audience of the time when listening to the artists of the Royal Academy of Music interpreting these Leçons de Ténèbres, moving from the splendour of lyrical theatre to that of sacred music.
Jérôme Corréas 

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