Concert de Trompettes
1 Prélude avec les trompettes, Rondeau   1'59
2 2e Air pour les mesmes, Air des Echos 0'57
3 Chaconne avec les trompettes   2'03
4 Menuet avec les trompettes - 2e Menuet pour les hautbois (alternativement)   2'07
5 Fanfare de trompettes, 2e Air des Echos   1'20

1e Suite
6 Ouverture   2'37
7 Trio de hautbois, Gigue   1'32
8 Air   1'21
9 Sarabande   1'13
10 Prélude   1'38
11 Air grave   1'40
12 Trio de hautbois   1'31
13 Petit air 0'56
14 Passacaille Grande Pièce   6'38
15 1er Air grave   1'27
16 2e Air viste, Air de furie   1'04
17 3e Air   1'50
18 Trio de hautbois, Gavotte   1'11
19 4e Air   1'16

2e Suite
20 Ouverture   1'46
21 1er Air, Prélude, Gracieusement   2'47
22 2e Air   1'28
23 3e Air   1'26
24 Chaconne de Villers-Cotterêt   4'17
25 Grand Air   1'45
26 Air pour les Echos 0'55
27 Sarabande   2'01
28 Concert   1'44
29 1er Air   1'32
30 2e Air   4'20
31 Gavotte 0'58
32 Passepied 0'51

3e Suite
33 1er Air   1'19
34 Trio de hautbois, Loure   1'01
35 2e Air, Légèrement   1'06
36 Sarabande   2'20
37 1er Air   1'45
38 2e Air, Gigue   1'10
39 La Loure   1'27
40 1er Menuet - 2e Menuet (alternativement)   1'58

La Simphonie du Marais (Orchestra)
Hugo Reyne - Conductor, Flute, Oboe, Recorder

With this first-ever complete recording of the legendary Symphonies pour les Soupers du Roy made in 1990, Hugo Reyne produced a set of discs as varied as it is comprehensive. Twenty-five years later – and 300 years after the death of Louis XIV – it still remains the benchmark version. ---arkivmusic.com

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1 Grande Pièce en D-la-ré, Passacaille   5'45

4e Suite
2 Ouverture (extraite des Fontaines de Versailles)   2'31
3 Rondeau   1'14
4 Gigue   1'17
5 Air, Petit air tendre, "Jeunes Zéphirs"   1'33
6 Chaconne   3'54
7 1er Air   1'40
8 2e Air, Bourrée en rondeau, Gayement   2'13
9 Trio de hautbois 0'48
10 Rondeau   1'08
11 Sarabande   1'38
12 1er Air   2'02
13 2e Air, "La Naissante Aurore"   2'10
14 3e Air 0'45

5e Suite
15 Ouverture   2'23
16 1er Air   1'19
17 2e Air, Légèrement 0'42
18 Chaconne   3'00
19 1er Air   2'23
20 2e Air   1'26
21 3e Air, vif   1'05
22 Sarabande - 2e Sarabande (alternativement)   3'12
23 Grande Pièce en G-ré-sol, La grande pièce royale, 2e Fantaisie ou Caprice
que le Roy demandoit souvent. Un peu lent - (viste) - Doucement
Gracieusement - Gayement - Vivement   9'32
24 Grand Air   1'48
25 Loure   1'43
26 Trio de hautbois, Rondeau 0'57
27 Dernier Air, vif et détaché   1'01

6e Suite, Airs du Ballet de Flore ou de Trianon
28 Ouverture   2'41
29 Bourrée 0'59
30 Menuet de la Princesse de Blois   1'18
31 Air des Zéphirs   1'49
32 Grand Air   1'53
33 Air de Diane   3'10
34 Bourrée, Rondeau   1'04
35 Sarabande en trio (de hautbois), "Sur les Autels"   1'26
36 Gigue   1'15

La Simphonie du Marais (Orchestra)
Hugo Reyne - Conductor, Flute, Oboe, Recorder

The highly talented musician Michel-Richard Delalande tried hard from an early age to obtain a position at the court of Louis XIV. Delalande gained his first post at court thanks to his success at a competition in 1683 when fifteen composers had been asked to set the words of the psalm “Beati quorum”. This marked the beginning of an era which was to last more than four decades, during which Delalande worked at the French royal court. He continually rose through the ranks, collecting an impressive number of posts. Delalande’s chief task entailed composing church music. In doing so, he raised the “grand motet” – celebratory psalm settings for choir, soloists and orchestra – to a new level, producing over seventy large-scale works. He also composed numerous stage works, particularly ballets and divertissements, as royal entertainments.

Immediately after starting in his post as Surintendant de la Musique de la Chambre in 1689, Delalande began composing instrumental movements. These suites were chiefly intended for the king’s soupers which, as the sociologist Peter Burke has pointed out, resembled a ritual:

“Louis might eat more formally (the grand couvert) or less formally (the petit couvert), but even the least formal occasions, très petit couvert, included three courses and many dishes. These meals were performances before an audience. It was an honour to be allowed to watch the king eat, a greater honour to be spoken to by the king during the meal, a supreme honour to be invited to serve him his food or to eat with him.”*)

In this context, instrumental music played an important role, its magnificence reflecting the regent’s powerful self-image. Since new works were continually being demanded, this “table music” practice resulted, over the course of the years, in an impressive body of works. Delalande had a first volume of these works assembled in 1703, containing 160 compositions which are presented as ten suites. The title of the volume uses the term Les Symphonies de M. de La Lande, referring to the entirety of his orchestral works. Further volumes appeared in the following years until after the composer’s death; in all, there are around three hundred movements in different sequences. They are mostly short compositions, either taking after traditional dance models or presented as character pieces.

These collections of Delalande’s works survive as partitions réduites, i.e. in incomplete versions. Most pieces are only noted with two parts, the upper part (“dessus”) and bass; in the trios, a second upper part (“deuxième dessus”) is added; very rarely does one find four-part pieces (“quatuors”). However, it may be assumed that most of this repertoire would have been played by five-part ensembles, according to the ideal of French orchestral writing at the time. ---challengerecords.com

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6e Suite, Airs du Ballet de Flore ou de Trianon
1 Air des Héros 0'53
2 Air pour la Gloire 0'44
3 Gavotte   1'02
4 Sarabande 0'59
5 Gigue   1'09
6 Passacaille   6'21

7e Suite
7 Allemande   1'38
8 Rondeau   1'21
9 Passepied 0'38
10 Trio (de hautbois)   1'15
11 Chaconne   4'09
12 Air de mouvement, Vivement   1'06
13 Gavotte (en bourrée) - 2e Gavotte (en bourrée), Trio (alternativement)   1'31
14 Air   1'17
15 Trio (de hautbois)   1'54
16 2e Air   1'09
17 3e Air, Gay   1'31
18 Symphonie du Marais 0'26
19 Caprice de Villers-Cotterêts, 1er Caprice - Légèrement, Fièrement et détaché
Lentement, Gracieusement - Viste, Un peu plus gay - Augmentation, 1er Air neuf,
Gracieusement - Viste, Suitte de l'ancien, Vif   6'58
20 Lentement, Trio, Doucement - Augmentation, 2e Air neuf
Viste, Suitte de l'ancien, Vivement   7'34

8e Suite
21 Ouverture   2'59
22 Air grave   2'30
23 2e Air plus vite - Trio de hautbois (alternativement)   1'27
24 Grand Air, Grave   2'12
25 2e Air, Vif   1'19
26 Loure en Rondeau   1'26
27 3e Air 0'43
28 Prélude   2'30
29 Sarabande   2'05
30 Rondeau   1'26
31 Dernier Air 0'55
32 Passacaille, Chaconne en Passacaille   6'11

9e Suite, Airs du Ballet de Mélicerte
33 Ouverture   1'54
34 Prélude pour les Muses   1'13
35 Air 0'42
36 Passepied 0'38
37 Petit Air, "Pour Aimer" 0'44

La Simphonie du Marais
Hugo Reyne - Conductor	

Imaginez les soupers du Roi-Soleil, le faste d'une cour réunie pour contempler son souverain à table et celui-ci prenant le pouls de son royaume. Il fallait des musiques de circonstance que Couperin mais également Telemann composèrent avec zèle. Le cas de Michel Richard Delalande est remarquable parce que ce dernier pousse l'art de la musique d'accompagnement à son sommet. Cinq heures de musique sont enregistrées, mais on sait que des dizaines de partitions manquent à l'appel. Quelle édifiante perspective que cette reconstitution des ambiances de l'époque ! Certes, ce sont des musiques fonctionnelles, mais d'une telle richesse, aussi savoureuses que les mets dégustés par le roi, parfois humoristiques et souvent éclatantes de vie. Les vents, les violons, les percussions réunis par l'ensemble La Symphonie du Marais explorent ces musiques de danse et de cérémonie qui mêlent une fantastique variété de couleurs et de climats. Aucune sécheresse d'inspiration dans ces portraits qui valent ceux de Monsieur de Voltaire. On y devine les perruques et les jeux de la noblesse. Un fascinant spectacle historique et musical ! --Pierre Graveleau, amazon.com

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9e Suite, Airs du Ballet de Mélicerte
1 Grand Air   2'04
2 Rondeau, Légèrement 0'59
3 Loure, Doucement   1'58
4 Air Grave, Air des Fleuves, Doucement et Gracieusement   4'21
5 Chaconne   5'16
6 1er Air des Siamois, Pesament   2'27
7 2e Air des Siamois, Pesament, Doucement, La Pagode   1'53
8 Air des Basques, Canarie 0'26
9 Menuet 0'37
10 2e Air, Bourrée 0'32
11 Passepied 0'42
12 Rigaudon - 2e Rigaudon, Trio (alternativement)   1'29

10e Suite
13 Ouverture   2'34
14 Prélude   1'08
15 1er Air, Légèrement   1'10
16 Trio, "Dans ces lieux"   1'05
17 Gigue   1'25
18 Gavotte 0'41
19 2e Air, Gavotte, Rondeau, "C'est l'amour" 0'54
20 La Forlana   1'11
21 Sarabande 0'51
22 Saltarelle 0'32
23 Contredance, Marche   1'13
24 Air, Légèrement 0'52
25 Loure   1'18
26 Chaconne   2'45

11e Suite
27 Ouverture   2'23
28 Trio, "A cette pompe"   1'57
29 Air   1'09
30 Sarabande   2'09
31 Air, Léger   1'03
32 Trio, "Les oiseaux"   1'32
33 Rondeau   1'11
34 Gigue, Légèrement   1'50
35 Symphonie, Trio, "Mais quelle aimable mélodie"   2'54
36 Trio, "Père des jeux"   1'02
37 Trio, Gayement, "Chantons ce héros"   1'48
38 Air, Légèrement 0'49

12e Suite
39 Gracieusement   2'29
40 2e Air mineur   2'05
41 Air vif, presto   1'16
42 Gigue, Gracieusement   2'16
43 Quatuor, Doucement   3'28
44 Prélude 0'24
45 Air vif   1'45

La Simphonie du Marais
Hugo Reyne – Conductor

Michel-Richard de Lalande was one of the main composers in France in the decades around 1700. He was educated as a keyboard player but no compositions for organ or harpsichord have survived. He especially made a name for himself as a composer of sacred music, particularly grands motets for soloists, choir and orchestra. His motets were greatly appreciated by King Louis XIV under whose rule he made his career. Shortly before the Sun King's death in 1715 he had collected the main musical positions at the court. No fewer than 77 motets have come down to us and even in the late 18th century they were still considered masterpieces.

Lalande also composed a considerable number of works for the theatre including serenades, ballets and divertissements. This is relevant in regard to the music played on the present disc. The symphonies pour les soupers du roy include a number of pieces which were part of Lalande's theatre music. Some of the airs are instrumental versions of vocal items in those theatre pieces. The word symphonie has nothing to do with the classical term symphony or sinfonia. In France this accorded to an instrumental work of any kind, independent of its function or the size of the performing ensemble.

The symphonies have been preserved in two versions. The first dates from 1703, with additions from 1713 (the so-called Philidor-manuscript); this includes 185 pieces divided into 12 suites, written for performance during the suppers of Louis XIV. The second version comprises two manuscripts from 1727 and 1745 respectively, and consists of around 300 pieces in 18 suites. The 12 suites from the first version are integrated in this second version, but in a different order; extracts from Lalande's ballets are added. The symphonies consist of three different types of music: purely instrumental works such as preludes and trios, dances and pieces taken from ballets. They are scored for one treble instrument and basso continuo; there are no indications in regard to instrumentation. However, the original sources of some of the pieces suggest that in addition to the common strings wind instruments such as recorders, transverse flutes and oboes can be added. They can be used either independently or play colla parte with the violins.

Unfortunately we don't know how many players were involved in the performances that took place during the King's suppers. No pictures have been preserved. Reyne opted for a performance of the treble part with five violins, plus additional wind instruments and in some pieces also percussion. --- Johan van Veen, musicweb-international.com

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1. Deitatis Majestatem: Deitatis 	4:39
2. Deitatis Majestatem: Hic enim 	4:31
3. Deitatis Majestatem: Simphonie 	0:44
4. Deitatis Majestatem: O caro Ch 	2:23
5. Deitatis Majestatem: Te omnes 	3:14
6. Deitatis Majestatem: O mentis 	4:17
7. Deitatis Majestatem: Quam dulc 	3:03
8. Deitatis Majestatem: O bonitat 	3:53

9. Ecce Nunc Benedicite, S.8: Ecc 	4:58
10. Ecce Nunc Benedicite, S.8: In 	5:34
11. Ecce Nunc Benedicite, S.8: Ben 	3:07

12. Te Deum, S.32: Te Deum laudamu 	2:11
13. Te Deum, S.32: Te æternum Pat 	1:08
14. Te Deum, S.32: Tibi omnes ange 	1:46
15. Te Deum, S.32: Sanctus, Sanctu 	1:33
16. Te Deum, S.32: Te gloriosus Ap 	2:30
17. Te Deum, S.32: Te per orbem te 	1:23
18. Te Deum, S.32: Tu rex gloriæ 	2:18
19. Te Deum, S.32: Tu, ad liberand 	2:19
20. Te Deum, S.32: Tu, devicto mor 	2:47
21. Te Deum, S.32: Tu ad dexteram 	1:26
22. Te Deum, S.32: Te ergo quæsum 	1:40
23. Te Deum, S.32: Æterna fac cum 	1:50
24. Te Deum, S.32: Salvum fac popu 	1:17
25. Te Deum, S.32: Et rege eos 	1:44
26. Te Deum, S.32: Per singulos di 	2:15
27. Te Deum, S.32: Dignare, Domine 	1:15
28. Te Deum, S.32: Miserere nostri 	1:35
29. Te Deum, S.32: In te, Domine, 	2:57

Emmanuelle de Negri – soprano
Dagmar Šašková – soprano
Sean Clayton – counter-tenor
Cyril Auvity – tenor
André Morsch  - bass
Ensemble Aedes - choir
Le Poème Harmonique - orchestra
Vincent Dumestre - conductor

Opéra Royal de Versailles , Versailles 
A la Chapelle Royale, 30 + 31 may 2017 

+ Bonus

1. Deitatis majestatem		27:05
2. Ecce nunc benedicite (Psalm 133)		13:49
3. Magnificat		8:03	
4. Te Deum laudamus		34:04
5. Dignare Domine & In te Domine Speravi from Te Deum		5:38

Sophie Junker – soprano 
Dagmar Šašková – soprano 
Sean Clayton – counter-tenor
Mathias Vidal – tenor
Benoît Arnould – baritone
Capella Cracoviensis Chorus - choir
Le Poème Harmonique - orchestra
Vincent Dumestre - conductor

Misteria Paschalia, Cracov
Kongress-Centre ICE, 16.04.2017

In 1683, Michel-Richard de Lalande entered the Chapelle Royale as a sous-maître after receiving the support of Louis XIV in a formidable recruitment competition. Still only twenty-five years old, the young composer was swiftly to become established as the King’s favourite and accede to the most coveted posts at court in a career spanning almost forty years. Above all, Louis included him in the consultations for the construction of the new Chapelle Royale, adjacent to Versailles Palace. As the arches gradually rose skywards, Lalande composed and revised his motets, which give expression to the then-peerless grandeur of the realm, while at the same time testifying to the chapel’s incomparable acoustics. His works – settings of psalms, hymns, the Te Deum – record the atmosphere at court in the liturgy, in times of both trouble and rejoicing. Following their earlier recording of Te Deum settings by Lully and Charpentier at the Chapelle Royale, Vincent Dumestre and Le Poème Harmonique have now returned to Versailles to tackle the music Lalande composed for that extraordinary place. Alongside the grands motets Deitatis majestatem and Ecce nunc benedicite, with their synthesis of royal pomp and the language of opera, they offer the deeply moving Miserere and the most grandiose Te Deum performed in the reign of Louis XIV, the Te Deum of the King himself. ---prestoclassical.co.uk

Vincent Dumestre studied the theorbo under the direction of such illustrious teachers as Hopkinson Smith or Rolf Lieslevand. His talent brought him swiftly to the fore within important early music groups such as the Ricercar Consort, La Simphonie du Marais, Le Concert des Nations, A Sei Voci, La Grande Ecurie and the Chambre du Roy.

However it was not long before his urge to explore music in more depth and his passion for the early Baroque spurred him to found his own ensemble. From the outset two discs from Alpha, recorded in conjunction with the mezzo-soprano Guillemette Laurens, propelled Le Poème Harmonique to the forefront. ---prestoclassical.co.uk

Et si de Lalande était le Bach français ? Sa maîtrise exceptionnelle des constructions musicales de grande ampleur, à l'œuvre dans tous ses Grands Motets, rappelle la rigueur et l'inventivité du Cantor.

Comme lui, de Lalande passa toute sa vie au service des grandes cérémonies religieuses qui devaient glorifier Dieu - et le Roi, pour son cas. Comme lui, il donna à ses enfants des talents musicaux notables, et sut toujours trouver les mélodies qui allaient enchanter l'auditoire, et les chœurs les plus somptueux. Surtout, il partagea avec le Maître protestant une extraordinaire faculté rhétorique. Le moindre mot prend sens dans sa musique, qui vient autant l'illustrer que le magnifier : le texte sacré est ainsi plus que jamais exalté.

Né en 1657, de Lalande accède à la Chapelle Royale en 1683, à 26 ans à peine, au moment du départ de Dumont. Il prend rapidement toutes les charges de musique de la Cour, et devient indispensable à son souverain (puis à son successeur Louis XV) en ne quittant son poste qu'à sa mort en 1726, après 43 ans de service. Ses motets furent joués à Versailles et au Concert Spirituel sans discontinuer jusqu'à la Révolution, avec près de 600 exécutions. Surnommé le « Lully Latin » pour avoir essentiellement composé de la musique religieuse, de Lalande produisit aussi les fameuses Symphonies pour les Soupers du Roi.

Après avoir enregistré les Te Deum de Lully et Charpentier, Vincent Dumestre entreprend de donner tout son lustre à celui de de Lalande, peut-être le plus abouti, et à coup sûr celui qui fut le plus souvent joué pour le Roi. Avec plusieurs autres Grands Motets, il brosse ainsi le portrait musical de la plus célèbre Chapelle Royale à l'époque baroque : tambours, trompettes, solistes, grand chœur et symphonie résonnent à nouveau dans le lieu qu'ils ont tant glorifié. ---theatreonline.com

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