L'Esprit Galant (2007)

Boesset, Gautier, Pinel, Lambert, Hotman, Camus, Visée, Charpentier

Johannette Zomer, Fred Jacobs

L’Esprit Galant (Airs by) Boësset, Lambert, Le Camus, and Charpentier Pièces de théorbe by Gautier, Pinel, Hotman, and De Visée. The short and succinct Air sérieux experienced a great flowering in the second half of the 17th century. The audiences of the time loved variety and novelty, in the theatre, the dance, and in music as well. The poetry on which the Air sérieux was based bore the general name of galanterie. ‘Delicate’, ‘cheerful’, ‘sweet’, and ‘light-footed’ (1) were the words associated with galant poets around 1670. The music was similarly referred to: Un air doux et galant En parlant, trouve souvent L’heureux secret de plaire (Jean Sicard, 1679) (2) The characteristics described above, however, apply not only to the text and music, but to the performing style as well. The importance of diction in singing is an important topic in Bénigne de Bacilly’s ‘Remarques curieuses sur l’art de bien chanter’ (1668): he devotes no fewer than 186 pages to the subject. The language used in singing is different than that used in speaking. In order to be expressive, a singer, according to Bacilly, cannot neglect a single syllable. Bacilly uses the term style galant when he speaks of the relationship between expression and lightness. To illustrate this, he makes reference, among others, to the Airs of Michel Lambert, the most important composer of the Air sérieux at that time. Lambert’s Airs, some 330 of them, formed the core of the précieux literary Salons in Paris, inseparably associated with the Esprit Galant which set the tone there. He dedicated the Airs and Doubles (decorated second verses) in his first collection (1660) to Pierre de Niert, ‘Premier valet de Chambre du Roy’, in homage to the latter’s gifts as a singer. Niert owed his belle manière de chanter to a stay in Rome in 1663. The art of singing, as practised in Rome (cf. our CD Splendore di Roma, CCS SA 19903), greatly inspired both Niert and, at a later date, Lambert. Unfortunately, none of Niert’s compositions has survived. Lambert was undoubtedly familiar with the Airs de Cour of Antoine Boësset, a contemporary of De Niert’s, and Louis XIII’s Sur intendant de la Musique. Boësset was fond of the familiar Italian technique of emphasizing the emotional content of certain words by the use of affekt-laden intervals. In 1640, ‘Me veux-tu voir mourir’ won a competition between the rational and the instinctive methods, as applied to the composition of the most expressive possible Air. The ‘Jury’ included the Dutch poet and musician Constantijn Huygens and the French scholar Marin Mersenne, who wrote about Boësset: ‘...ses airs ont je ne sçay quoi de grand et d’heroïque...’ (1640 (3)...

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Johannette Zomer

After several years as a microbiologist, Dutch SopranoJohannette Zomer trained at the Sweelink Conservatorium,Amsterdam with Charles van Tassel. She currently studieswith Diane Forlano.Johannette made her opera debut as Tebaldo in Don Carlowith the Nationale Reisopera and has gone on to sing Belinda– Dido & Aeneas, La Musica & Euridice – L’Orfeo,Gassman’s Opera – Seria, Dalinda – Ariodante, Ilia – Idomeneo,Pamina – Die Zauberflöte and Amanda – Le GrandeMacabre for the company. She has also sung Oberto in Alcinaat the Komische Oper. On the concert platform she has aenviable reputation as a baroque specialist working with manyof the top conductors in the field such as Ton Koopman,Frans Bru?ggen, René Jacobs, Reinhardt Goebel and PaulMcCreesh as well as collaborating for 20th century and contemporaryrepertoire with Kent Nagano, Daniel Harding,Valery Gergiev, Reinbert de Leeuw and Peter Eötvös. Herrecent engagements have included Bach B Minor Mass with the Tonhalle Orchestra/Bru?ggen, and Euridice in Gluck’s Orfeo with the Bamberger Symfoniker/Christian Zacharias.She regularly gives recitals with fortepianist Arthur Schoonderwoerd with whom she has recordedSchubert Songs for Alpha Records and is a member of the early music ensembles Compania Vocale andAntequera with whom she sings Neapolitan and Spanish baroque repertoire and medieval Cantigas.Johannette’s recent and future plans include projects of Handel and Frank Martin with the RiasKammerchor/Daniel Reuss; Bach and Buxtehude with the Amsterdam Baroque Orchestra/Koopman,Handel with Collegium Vocale, Gent and Gluck and Buxtehude with The Netherlands Bach Soc

Fred Jacobs

Fred Jacobs studied lute and theorbo with Anthony Bailes at the Sweelinck Conservatory in Amsterdam. In 1985 he co-founded The Locke Consort,  acknowledged for their interpretations and praised for their recordings of 17th Century English chamber music. He is a member of the Gabrieli Consort and Players, The Parley of Instruments, the Baroque Orchestra of the Netherlands Bachsociety and the Monteverdi Continuo-ensemble of the Bavarian State Opera, where he has performed in all Monteverdi and Cavalli productions since 1997.

Fred Jacobs is a regular accompanist of many distinguished singers, such as soprano Anne Azéma, countertenor Michael Chance and baritone Maarten Koningsberger. With the Dutch soprano Johannette Zomer he has been recording a series of programmes devoted to 17th Century monody for which his research has unveiled many hidden treasures.

Over the years Fred Jacobs has been a guest at the major early music festivals in Europe and the United States. He performs in opera productions in London, Paris, Munich, Amsterdam and Florence. Fred Jacobs has worked with many conductors such as Gustav Leonhardt, Frans Brüggen,Ton Koopman, Ivor Bolton, Andrew Parrot, Marc Minkowski and Richard Egarr. With soprano Emma Kirkby, contralto Carolyn Watkinson, and baritone Maarten Koningsberger he gives workshops on the English lute song and on French ‘Air de Cour’.

Since 1995 Fred Jacobs teaches lute and theorbo at the Amsterdam Conservatory.

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L'Esprit Galant (2007)

Boesset, Gautier, Pinel, Lambert, Hotman, Camus, Visée, Charpentier

Johannette Zomer, Fred Jacobs

    Toccata

Johannette ist diezen Aufgaben voll gewachsen: ihre diktion ist ausgezichnenet und jede Nuance des Textes komt zum Tragen. Ihre Ornamenten sind immer gut u dosiert und geschmackvoll. Fred ist ein äusserts sensibler Begleiter und spietl auch die Lautenstücke mit der erforderlichen Eunfühlsamkeit. Eine hervorragende Aufnahme, die eine Stunde grössten Vergnügens bietet.

L'Esprit Galant (2007)

Boesset, Gautier, Pinel, Lambert, Hotman, Camus, Visée, Charpentier

Johannette Zomer, Fred Jacobs

Cables:Van den Hul T3 series
Digital Converters:Meitner A/D DSD / Meitner DA
Mastering Engineer:Jared Sacks
Mastering Equipment:B&W 803 diamond series
Microphones:Bruel & Kjaer, Schoeps
Mixing Board:Rens Heijnis custom design
Producer:Jared Sacks
Recording Engineer:Jared Sacks
Recording location:Doopgezinde kerk, Deventer The Netherlands 2007
Recording Software:Pyramix bij Merging
Recording Type & Bit Rate:DSD64
Speakers:Audiolab, Holland

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24307: L'Esprit Galant
01:00:50   Select quality & channels above
Tracks
1.
ësset - Noires forêts
Boesset
00:01:47   Select quality & channels above
2.
ësset - Que servent tes conseils
Boesset
00:03:14   Select quality & channels above
3.
L?Immortelle
Gautier
00:02:03   Select quality & channels above
4.
ësset - Me veux-tu voir mourir
Boesset
00:02:11   Select quality & channels above
5.
Prélude
Pinel
00:01:06   Select quality & channels above
6.
Vous éprouver toujours sévère
Lambert
00:00:55   Select quality & channels above
7.
Ombre de mon amant
Lambert
00:03:44   Select quality & channels above
8.
Sarabande
Hotman
00:02:03   Select quality & channels above
9.
Il n?est point d?amour sans peine
Lambert
00:01:01   Select quality & channels above
10.
Rochers, vous êtes sourds
Lambert
00:04:06   Select quality & channels above
11.
Vos mépris chaque jour
Lambert
00:02:04   Select quality & channels above
12.
Pièces de théorbe in d minor - Allemande
Hotman
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13.
Pièces de théorbe in d minor - Courante
Hotman
00:01:37   Select quality & channels above
14.
Pièces de théorbe in d minor - Passacaille
Hotman
00:02:57   Select quality & channels above
15.
Forêts solitaires et sombres
Camus
00:02:05   Select quality & channels above
16.
Ah! Fuyons ce dangereux séjour
Camus
00:01:03   Select quality & channels above
17.
Laissez durer la nuit
Camus
00:05:15   Select quality & channels above
18.
Qu?une longue tiédeur ennuie
Camus
00:01:15   Select quality & channels above
19.
Amour, cruel Amour
Camus
00:02:26   Select quality & channels above
20.
ée - Prélude
Visée
00:02:01   Select quality & channels above
21.
ée - la Mascarade
Visée
00:01:38   Select quality & channels above
22.
ée - Chaconne en rondeau
Visée
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23.
Ah! Laissez-moi rêver h. 441
Charpentier
00:02:48   Select quality & channels above
24.
Celle qui fait tout mon tourment h. 450
Charpentier
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25.
Ah! Qu?on est malheureux h. 443
Charpentier
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26.
Ruisseau, qui nourrit dans ce bois h. 466
Charpentier
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27.
Sans frayeur dans ce bois (Chaconne) h. 467
Charpentier
00:01:46   Select quality & channels above

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