Symphony in C minor, Op. 6, No. 3 
1 I. Allegro 		00:05:08
2 II. Minuetto gratioso 		00:04:37
3. Fugato 	00:03:43

Symphonie a grand ochestre in D major, Op. 13, No. 3, "La Chasse"
4 I. Grave maestoso - Allegro 		00:04:26
5 II. Allegretto poco allegro 		00:03:10
6 III. Minuetto 		00:03:17
7 IV. Tempo di caccia 	00:03:37

Symphonie concertante in D major, "Mirza"
8 I. Allegro 		00:01:16
9 II. Adagio 		00:03:56
10 III. Rondo allegro 	00:05:56

Symphonie a 17 parties
11 I. Maestoso - Allegro molto 		00:05:41
12 II. Larghetto 		00:06:31
13 III. Minuetto 		00:07:06
14 IV. Allegro assai 	

Martin Sandhoff – flute
Andrea Keller – violin
Concerto Köln
Werner Erhardt – conductor
Andrea Keller  -conductor

One of the leading figures of eighteenth century French music, Gossec was a versatile and prolific composer—particularly of instrumental music, as exemplified by his symphonies and string quartets. He enlarged the expressive capabilities of the orchestra, relying on his harmonic imagination and sense of sound texture; in many ways his experiments presage the works of Haydn and Beethoven. His choral music is also significant; his Te Deum, for example (written for 300 instrumentalists and a choir of more than 1,000 singers), foreshadows the later works of Berlioz.

Born in the historic Hainaut region (an incubator of great composers all the way back to the Renaissance), Gossec started his musical studies on the violin and the harpsichord. In 1741, he joined the choir of the Notre Dame Cathedral in Antwerp, continuing his music studies. In 1751, Gossec went to Paris, armed with a letter of introduction to Rameau. The composer was so impressed by Gossec that he found him a position as violinist and bass player in the famous orchestra of La Pouplinière, conducted by Johann Stamitz (of Mannheim fame—thus his affinity for the emerging symphonic form). During this period, he produced large quantities of symphonic and chamber music; Gossec's symphonies composed in the 1750s and 1760s (mostly the three-movement Italianate variety) displayed an extraordinary range of form and orchestration.

In 1762 Louis-Joseph de Bourbon, Prince of Conde, appointed Gossec director of his private theater; however, despite some success, Gossec's operas did not show the same promise as his instrumental works. Gossec founded a new orchestra, the Concert des Amateurs, in 1769. This extraordinary ensemble attracted the best musicians of the time and performed many of Gossec's own symphonies, including his immensely popular La chasse. During his final season as director Gossec conducted the first performance of a symphony by Haydn in France.

In 1773, Gossec left the Concert des Amateurs, assuming the leadership of the Concert Spirituel. In addition, he worked for the Opéra, supervising the production of contemporary works. In 1774, Gossec's oratorio La nativité was performed at the Concert Spirituel. Among the innovations introduced in this work was a choir of angels, which Gossec put offstage, a device which Berlioz used in his oratorio L'Enfance de Christ (1854).

In 1780, Gossec obtained the post of sous-directeur of the Opéra, assuming the directorship, four years later, of the newly founded Ecole Royale de Chant, which was under the Opéra's administrative control. During this period, Gossec continued composing symphonies, also writing works for the stage, including ballets, which were not very successful.

Unlike Cherubini, Gossec quickly adapted to the new cultural climate in the wake of the French Revolution. In 1789, he severed all his ties with the Opéra, which the revolutionary government regarded as a royalist institution. In addition, he placed his talent as a composer in the service of the new regime, composing popular pieces and organizing musical events to celebrate the Revolution. Prominent among Gossec's politically motivated composition is his massive Te Deum (1790), written to commemorate the storming of the Bastille.

While Gossec's output drastically diminished after 1800, works written during his final creative period include important works such as Symphonie a 17 parties (1809) and Derniere messe des vivants (1813).

Because of his enthusiastic support for the Revolution, Gossec was not treated well by the restored French monarchy. In 1816, King Louis XVIII dissolved the Conservatoire, which he doubtless perceived as an institution created by the Revolution, and Gossec was left without employment. He eventually moved to Passy, then a suburb of Paris, where he spent his remaining years. --- Zoran Minderovic, All Music Guide

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01. I. Kyrie - Kyrie eleison    [0:03:00.30]
02. I. Kyrie - Christe eleison    [0:02:57.55]
03. I. Kyrie - Kyrie eleison    [0:02:05.30]
04. II. Gloria - Gloria in excelsis    [0:02:22.67]
05. II. Gloria - Gloria agimus    [0:05:36.03]
06. II. Gloria - Qui sedes    [0:00:59.17]
07. II. Gloria - Quoniam    [0:02:29.43]
08. II. Gloria - Cum Sancto Spiritu    [0:03:00.62]
09. III. Credo - Credo in unum Deum    [0:01:16.58]
10. III. Credo - Et in unum    [0:03:35.02]
11. III. Credo - Et incarnatus est    [0:00:51.43]
12. III. Credo - Crucifixus    [0:02:17.45]
13. III. Credo - Et ressurrexit    [0:00:54.10]
14. III. Credo - Et iterum    [0:01:16.70]
15. III. Credo - Et in Spiritum    [0:01:54.62]
16. III. Credo - Confiteor    [0:01:32.05]
17. III. Credo - Et vitam    [0:02:58.35]
18. IV. Sanctus    [0:01:41.15]
19. V. O Salutaris    [0:03:16.25]
20. VI. Agnus Dei    [0:02:15.65]
21. VII: Domine Salvum Fac    [0:01:36.08]

Margot Parès-Reyna - soprano
Jacqueline Mayeur - contralto
Alexandre Laiter - tenor
Michel Piquemal – baritone

Choeur Régional Vittoria d'Ile de France
Le Sinfonietta, Orchestre Régional de Picardie
Dominique Rouits – conductor

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1. Toinon et Toinette 	

Toinon	- François Piolino
Toinette - Anna Maria Panzarella
Sabord	- Daniel Salas
La Roche - Franck Leguérinel
Antoine - Gilles Ragon

Les Talents Lyriques
Christophe Rousset - conductor

Opéra Royal du Château de Versailles
23.11.2002

Synopsis.

Sabord, capitaine corsaire, arrive au port dans le cabaret du père la Roche. Celui-ci est fort triste : il a placé la dot de sa fille, Toinette, sur un bateau dont on est sans nouvelles depuis 3 ans. Il a été contraint d’emprunter à un usurier, Antoine Bertrand, lui apportant sa fille en gage. Celle-ci est éprise de Toinon, neveu de l’usurier. Antoine Bertrand entre dans le cabaret pour réclamer son dû ; le père la Roche le supplie de lui accorder un délai, espérant toujours la venue du vaisseau la Belle Marguerite. Sabord, ayant croisé le navire rempli de richesses, en annonce l’arrivée imminente. L’usurier, pressé de faire sa noce, rend visite à Toinette et lui fait croire que son neveu va en épouser une autre. Il crée, à l’arrivée de ce dernier, un quiproquo entre le nom du bateau et la prétendue de Toinon. Le père la Roche débrouille l’équivoque. Pendant l’entracte gronde une tempête. Antoine Bertrand apprend aux amants que le bateau a sombré et qu’il a fait jeter le père la Roche en prison. Arrive un officier du capitaine Sabord qui, prenant l’usurier pour son neveu, vient le chercher pour embarquer : Toinon s’est engagé en remboursement de la dot de Toinette. Le père la Roche, libéré, apprend alors que le capitaine de la Belle Marguerite vient d’arriver : il avait échangé son navire avec un autre en chemin. L’usurier, comprenant que c’est son bien qui a sombré, veut se pendre. La Roche vient à son secours. L’oeuvre.Cette comédie, mêlée d’ariettes, est l’une des dernières du compositeur. Elle fut créée à la Comédie Italienne de Paris en 1767. Le répertoire oscille alors entre le drame et la comédie légère, voire le comique de foire, ce qui le rend peu favorable aux succès durables. Pourtant, l’oeuvre de Gossec reçut un accueil chaleureux du public et connut de nombreuses reprises, notamment à Paris, Liège, Copenhague, La Haye, Bruxelles, Kassel, Amsterdam, Stockholm… Elle fut traduite en allemand, en hollandais, en danois… L’année suivante, Grétry inaugura sa brillante carrière, qui influera sur l’évolution du genre, en créant Le Huron. ---lyricetco.fr

Je viens d'écouter Toinon et Toinette de Gossec.

Voilàce qu'en dit la critique :

"Cette comédie, mêlée d'ariettes, est l'une des dernières du compositeur. Le répertoire oscille alors entre le drame et la comédie légère, voire le comique de foire, ce qui le rend peu favorable aux succès durables. Pourtant, l'œuvre de Gossec reçut un accueil chaleureux du public et connut de nombreuses reprises, notamment à Paris, Liège, La Haye, etc. Elle fut traduite en allemand, en hollandais, en danois… L'année suivante, Grétry inaugura sa brillante carrière, qui influera sur l'évolution du genre, en créant Le Huron.

La science de l'orchestration, la précision de l'écriture et la maniabilité d'un tel effectif offrent de nombreux effets et une grande variété de couleurs qui participe notamment à la caractérisation des situations et des personnages. L'intrigue se veut légère et comique, réservant de nombreuses surprises et rebondissements." Pour moi cet opéra comique, en 2 actes, est très agréable à écouter, si on aime la musique classique de cette époque. Aucune révolution, c'est clair, mais un grand plaisir.

Seul défaut, l'action se passe dans les Flandres et pourtant des personnages importants parle avec l'accent marseillais , style Marius de Pagnol (une manie) !!!!et un autre bégaye si bien qu'on ne comprend rien de ce qu'il dit, mais il s'agit d'un rôle secondaire. Avec le livret aucun problème. Comme toujours les ricitatifs sont assez longs mais indispensables pour comprendre l'histoire.

Enregistrement Versailles, 2002, excellent, sauf les remarques ci-dessus. ---shanessean, musiqueclassique.forumpro.fr

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1. Introduzione 	4:50
	Introitus 	
2. Requiem Aeternam 	3:40
3. Te Decet Hymnus 	3:45
4. Exaudi Orationem Meam 	5:50
5. Requiem Aeternam 	1:10
6. Et Lux Perpetua 	5:30
	Sequenz 
7. Dies Irae 	4:20
8. Tuba Mirum 	4:10
9. Mors Stupebit 	3:35
10. Quid Sum Miser 	2:00
11. Recordare Jesu Pie 	4:25
12. Inter Oves 	7:00
13. Confutatis 	4:00
14. Oro Supplex 	1:05
15. Lacrimosa Dies Illa 	4:10
16. Juidcandus 	1:20
17. Pie Jesu Domine 	5:10
	Offertorium 
18. Vado Et Non Revertar 	5:00
19. Spera In Deo 	5:05
20. Cedant Hostes 	5:00
21. Sanctus 	0:30
22. Pie Jesu Domine (Wandlungsmotette) 	5:20
23. Agnus Dei 	2:25
	Communion 	
24. Lux Aeterna 	4:30
25. Requiem Aeternam 	5:30

Symphonie a 17 parties
26. I.Maestoso - Allegro molto	6:18
27. II.Larghetto	7:01
28. III.Minuetto		9:23
29. IV.Allegro assai 	4:45

Lia Rottier - soprano 
Jacqueline Lamy - mezzo-soprano 
Francine Bastianelli - contralto 
Roland Bufkens - tenor 
Louis Hendrix - bass 
Choeurs de la RTB 

Orchestre Symphonique de Liège
Jacques Houtmann – conductor

Though little known today, François-Joseph Gossec (1734-1829) was a composer of considerable significance, despite the fact that his contributions to the development of symphonic music in France were overshadowed by the material he provided for military and revolutionary purposes. Gossec’s 1760 Requiem (Missa pro defunctis) also served the purposes of revolution, in that performances given during August 1789 were dedicated to Parisian subjects who lost their lives during the storming of the Bastille. Mozart, incidentally, made Gossec’s acquaintance when staying in Paris in 1778, and described him (somewhat uncharitably) as “ein sehr trockner Mann” (“a very dull man”). That assessment notwithstanding, Gossec’s Requiem, with its surprising militaristic effects and pronounced theatricality, exerted tremendous influence upon the liturgical music of Berlioz. The other work here, a “Symphonie” in 17 parts, was written in 1809. Though of considerably less stature, this agreeably tuneful work still deserves an occasional hearing. -- classicstoday.com

It is not surprising that after the premiere of Messe des Morts in May 1760 the composer, François-Joseph Gossec, became an overnight success. It is surprising that, even today, a work of such magnificence remains relatively unknown. As few as five versions are to be found in the recorded music catalogue One may suggest as "amazing" the fact that in Vienna, the musical heart of Europe around 1800, where Haydn, Mozart, Beethoven and Schubert lived, this masterpiece by Gossec was not performed before 1992 and then only 18 of the total 25 movements.

Joseph Gossec was born in Belgium and later moved to Paris. Along with Sammartini, Haydn and composers of the Mannheim school he was the father of the classical symphony. Initially a choirboy, Gossec later became the protégé of his teacher Rameau.

Gossec wrote some fifty symphonies, and concertante works that attracted attention and invitations beyond France. The "hunting" symphonies of Karl Stamitz and Haydn are considered exact quotes from Gossec’s Symphonie de Chasse. Mozart’s Symphony in D major, written from Paris, unmistakably reflects Gossec’s influence and not least Beethoven’s Seventh Symphony contains similarities to Gossec’s Le Temple de la Révolution which some suggest to be plagiarism. As official composer for the French Revolution he wrote numerous choruses, marches, and hymns, a Te Deum and the opera, L’Offrande à la Liberté for public celebration.

Even before the publication of Haydn’s symphonies, in 1756 Gossec had his own first six symphonies published. However the 25 year-old composer intended his "breakthrough" by a masterpiece of breath-taking proportions. It is unknown for what occasion he composed his 90 minute long Requiem (Messe des Morts) but it is likely that Louis-Joseph de Bourbon commissioned a funeral mass for his daughter Marie who passed away one year, before aged three, and his wife who died on March 9th 1760, aged 23. It is a strange parallel to Count Wallseg-Schuppach who commissioned a Requiem from Mozart in similar circumstances but in that case the composer died before its completion.

Gossec divided the Latin requiem into twenty-five movements. He omitted the Kyrie and some strophes of the sequence. --- Zane Turner, www.musicweb-international.com

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