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Strona Główna Muzyka Klasyczna Gilles Jean Jean Gilles - Motet À Saint Jean Baptiste • Trois Lamentations (1989)

Jean Gilles - Motet À Saint Jean Baptiste • Trois Lamentations (1989)

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Jean Gilles - Motet À Saint Jean Baptiste • Trois Lamentations (1989)

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Motet À St Jean Baptiste 
1 	Symphonie Et Chœur «Cantate Jordanis Incolae» 	5:18
2 	Quatuor «Ut Nunciatus» 	2:33
3 	Air Ténor «O Res Mirabilis» 	2:42
4 	Chœur «Qui Gestat» 	2:37
5 	Air Contre-ténor «Redemit Christus» 	2:44
6 	Duo Soprane-Basse «Quantus Amor» 	1:20
7 	Chœur Final «Gaudeat Caelum» 	3:50
Lamentation Du Mercredi Soir 
8 	Entrée 	2:14
9 	Beth 	3:37
10 	Ghimel 	2:06
11 	Daleth 	4:26
12 	Heth 	1:57
13 	Jerusalem Convertere 	1:42
Lamentation Du Jeudi Soir 
14 	Entrée 	3:04
15 	Teth 	3:22
16 	Caph 	2:05
17 	Jerusalem Convertere 	1:37
Lamentation Du Vendredi Soir 
18 	Entrée 	3:08
19 	Teth 	3:27
20 	Jod 	2:00
21 	Jerusalem Convertere 	1:43

Véronique Gens - soprano
Francine Gédéon - soprano
Douglas Nasrawi, Jean-Paul Fouchécourt - tenor
Jean-Louis Paya - baritone
Jean-Claude Saragosse - bass
Chœur Et Orchestre Le Concert Spirituel
Hervé Niquet - conductor


Jean Gilles - Born: January 8, 1668 Died: February 5, 1705. Poitevin was his teacher at Cathedral of St Sauveur at Aix-en-Provence. (Poitevin also taught Campra and Blanchard.) Gilles succeeded Poitevin as the master of music at Aix-en-Provence and later appointed as the master of music at the Cathedral of St Etienne at Toulouse. In 1701 (because his fame had spread) he was offered the choral direction at Notre Dames des Doms, Avignon. The position was temporarily filled by Rameau but Gilles never vacated his position at Toulouse. The "Messe de Morts," whihc was performed for the funerals of both Louis XV and Rameau, begins in the key of F-dur through the Kyrie, and the remainder is set in G-mol. This structure follows the tradition of the Gregorian modal form. Gilles compositions were described in terms of deep orchestral pathos combined with fugues worked with care. Like Lalande, Gilles' orchestras were not contingent upon the chorus which may also be an indication of Lalande's influence. Gilles superbly blended polyphony with homophony, the latter being employed for emphasis. ---arkivmusic.com

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