Jean-Claude Malgoire, La Grande Ecurie et la Chambre du Roy, Ensemble Vocal Sagittarius - Philidor: Carmen Saeculare (1992)
Jean-Claude Malgoire, La Grande Ecurie et la Chambre du Roy, Ensemble Vocal Sagittarius - François-André-Danican dit Philidor: Carmen Sæculare (1992)
EAC | FLAC | Image (Cue & Log) ~ 318 Mb | Total time: 74:58 | Scans included
Classical | Label: Erato | # 2292-45609-2 | Recorded: 1990
EAC | FLAC | Image (Cue & Log) ~ 318 Mb | Total time: 74:58 | Scans included
Classical | Label: Erato | # 2292-45609-2 | Recorded: 1990
François-André Danican Philidor started his musical career as a boy chorister in the Chapelle Royal at Versailles. Taught by Campra, his first motet was performed there in 1738. At the same time as he was building his career in music, Philidor acquired considerable ability as a chess player, and in the 1740s he could regularly be found playing opponents such as Voltaire and Rousseau in the Café de la Régence.
After travels in Europe and England, Philidor returned to France in 1754. Theatre was the court fashion of the time, and the composer ensured considerable success with works such as the comic opera Le maréchal ferrant (The Blacksmith), the overture for which is in the Italianate form of a three movement Sinfonia. These overtures, which also include Le sorcier, and Tom Jones, which was of course based on Fielding’s famous novel, are typically fresh and lively, setting the scene of the drama to follow and introducing some of the musical themes in the opera. Listeners wondering how to classify Philidor’s style should think very much in terms of Mozartean or Haydnesque high classical, with all traces of twiddly French baroque ornamentation having long ago gone by the wayside.
The work on this CD is Philidor’s Carmen Sæculare. This is an oratorio, setting poems by Horace, some of which are associated with the Roman centennial celebrations of 17 B.C. Philidor was by 1788 once again in England, and the work came about on the instigation of an Italian scholar called Giuseppe Baretti, a well known intellectual figure in London. By all accounts a colourful figure in his own right, Baretti had once been charged with murder after stabbing a man in self defence in the Haymarket. He was acquitted, with no less than Dr. Johnson, Edmund Burke and David Garrick appearing as character witnesses. Baretti chose the Latin texts for the Carmen Sæculare, and sought a man ‘fertile in ideas and expedients and able to temper alternately the solemnity of Church-music with the brilliancy of the theatrical’.
Philidor succeeded admirably in this task, and the piece is full of gorgeous moments. There are of course hints at what went before in the mighty oratorio tradition of Handel, and with a little imagination one can sense the immenence of Haydn’s The Creation. Philidor never quite gives us a blockbuster number which would have us on our feet, but considering the complexity of the texts this might be less of a surprise. The first parts invocate Apollo, and deal with various aspects of Achilles and the Trojan war, the foundation of Rome, praise for Diana and prayers that the plague should be averted from Caesar and his people, descending instead on the Persians and Britons.
The fourth part deals with the Carmen Sæculare proper, with Sapphic stanzas which include further prayers to the gods, and recollections of their interaction with mortals such as Aeneas. Philidor’s music is suitably responsive to the texts, and at times descriptive, with the rising of Apollo as the god of the sun clearly depicted.– Dominy Clements
Performer:
Ghylaine Raphanel, soprano
Sophie Fournier, mezzo-soprano
Donald Litaker, tenor
Jean-François Gardeil, bass
Ensemble Vocal Sagittarius
La Grande Ecurie et la Chambre du Roy
Jean-Claude Malgoire, conductor
Tracklist:
François-André-Danican dit Philidor (1726-1795)
Carmen Sæculare
01. Ouverture - Largo
02. Prologus № 1 Largo “Odi profanum vurgus et arceo”
03. 1 Pars № 2 Allegro “Spiritum Phoebus mihi, Phoebus artem”
04. 1 Pars № 3 Molto andante “Deliae tutela deae, fugacis”
05. 1 Pars № 4 Recitativo “Nupta jam dices; Ego dis amicum”
06. 2 Pars № 5 Andantino “Dive, quem proles Niobea magnae”
07. 2 Pars № 6 Maestoso “Ceteris major, tibi miles impar”
08. 2 Pars № 7 Cantabile moderato “Ni tuis flexus Venerisque gratae”
09. 2 Pars № 8 Andantino “Doctor argutae fidicen Thaliae”
10. 3 Pars № 9 Cantabile “Dianam tenerae dicite virgines”
11. 3 Pars № 10 Poco lento “Vos laetam fluviis et nemorum coma”
12. Pars 4 № 12 Andantino con spirito “Phoebe silvarumque potens Diana”
13. Pars 4 № 13 Poco lento “Alme sol, curru nitido diem qui promis”
14. Pars 4 № 14 Largo “Rite maturos aperire partus”
15. Pars 4 № 16 Moderato “Vosque veraces cecinisse, Parcae”
16. Pars 4 № 17 Moderato con spirito “Fertilis frugum pecorisque Tellus”
17. Pars 4 № 18 Lento “Condito mitis placidusque telo”
18. Pars 4 № 19 Poco lento “Roma si vestrum est opus Iliaeque”
19. Pars 4 № 20 Largo “Quaeque vos bobus venertus albis”
20. Pars 4 № 21 Moderato “Iam mari terraque manus potentis”
21. Pars 4 № 22 Molto andante “Augur et fulgente decorus arcu”
22. Pars 4 № 23 Andantino “Quaeque Aventimun tenet Algidumque”
23. Pars 4 № 24 Allegro “Haec Jovem sentire deosque cunctos”
Exact Audio Copy V1.2 from 12. August 2016
EAC extraction logfile from 28. January 2018, 16:31
Jean-Claude Malgoire / Carmen Sæculare
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==== Log checksum DE3FF183725B3A77AAAA26848D16AA2FF3BCDEF898EBD37EAF81EC46B363E3A4 ====
Jean-Claude Malgoire, La Grande Ecurie et la Chambre du Roy, Ensemble Vocal Sagittarius - Philidor: Carmen Saeculare (1992)
Thanks to the original releaser