Bouzignac: Te Deum; Motets

Bouzignac: Te Deum; Motets

Bouzignac: Te Deum; Motets
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Composer: Guillaume Bouzignac
Conductor: William Christie
Performer: Les Arts Florissants
Performer: Paul-Alexandre Dubois
Performer: Armand Gavrilidès
Performer: Anne Mopin
Performer: Paul Agnew
Performer: Nathan Berg
Performer: Stephan Van Dyck
Performer: Steve Dugardin
Performer: François Bazola
Performer: Aymeric Dorange
Performer: Christoph Davezac
Performer: Jeremie Poirier-Quinot
Performer: Arthur Le Mesre De Pas
Edition: Music CD
Audio: German (Unknown); German (Published)
Format: Import
CD Release Date: 2006-07-11
Music Label: Harmonia Mundi Fr.
Soundtracks:
  1. Ecce Festivitas Amoris
  2. Ecce Homo
  3. Unus Ex Vobis
  4. In Pace, In Idipsum
  5. Ha! Plange
  6. Vulnerasti Cor Meum
  7. Alleluia, Venite Amici
  8. Flos In Flores
  9. O Mors, Ero Mors Tua
  10. Clamant Clavi
  11. Ecce Aurora
  12. Dum Silentium
  13. Jubilate Deo
  14. Salve, Jesu Piissime
  15. Ave Maria
  16. Tota Pulchra Est
  17. Te Deum

Music reviews of Bouzignac: Te Deum; Motets

Music Review: a voice teacher and early music fan
Rating: 5 Stars

AN UNFORTUNATE BEST KEPT SECRET!

GRAMOPHONE MAGAZINE, September, 2007: "Don't begin to think this is just another French Baroque disc." (Lindsay Kemp). This quote prompted me to look into Bouzignac, and it's probably one of the more intelligent moves that I have made in my life.

Guillaume Bouzignac(1587-1641) is generally regarded as the most important French composer of sacred music from his time. He introduced Italian and Spanish elements into his style, thus enlivening the entire body of French sacred music, which had grown static owing to its provincial mindset and lack of innovation. Information about Bouzignac's life and musical career is sparse but the Bouzignac literature is unanimous in its assessment of his music: it is innovative, dramatic and unique. In a time of conformity within a preprescribed genre, he remains his own man. 'He did it HIS way'.

AND HIS WAY: The 'Bouzignac Style' is epitomized by a succession of short phrases, with rapidly shifting textures and voice combinations, as each phrase of text generates its own musical phrase, with no concern for homogeneity of style. Although Bouzignac's musical language remains that of the late 16th century, his attempt to introduce the dramatic into the syle fragments it. Therefore, his language is not new or unusual, but his arrangement of such language.

Some selections I found particularly interesting: Track Two "Ecce homo" chorus & tenor soloist Paul Agnew who enters lustily, the choir responding with rhythmic percussive sounds, all this reminiscent of 'call & response' as in the Early Christian Church. Track Three "Unus ex vobis" chorus & bass soloist Nathan Berg; very smooth sounding quiet entrance and a great contrast to the previous rendition; choir is underneath the soloist who sings agressively while the choir sings quietly until close to the end when both become equal. Track Four "In pace, in idipsum" with four soloists: Armand Gavriilides, sopraniste; Paul Agnew, tenor; Nathan Berg, bass; and Stephen van Dyke, tenor. In the middle of this lovely sounding quartet the Viol Consort enters and solos with a beautiful melody that reminded me of the American movie song "Born Free".

I would be remiss if I failed to mention the excellent voice of male alto, Steve Dugardin, who sang an exciting 'Jubilate Deo' with the choir responding vigorously. I thought that I must be in the 'little Brown Church in the Vale' in the deep American South a century ago or maybe even now. Positively glorious execution! I have always loved this type of choral singing; possibly because it can be so creative in its implementation, somewhat similar to improvisation. Of course, Bouzignac has never been to the 'little brown church', but I think based on this music he would fit right in.

The performance is slighlly weighted in the treble soloist area, using boy sopranos, a male sopraniste and male altos. And of course, there is the very excellent Anne Mopin, soprano. But overall we do hear as much in the lower frequencies, especially when full choir is involved. There are solos, duets, trios, quartets etc.

Be that as it may, upon listening to this disc for the first time my reaction was one of amazement, excitement and total involvement. It is surprising, captivating and incredibly interesting music. Of course, part of the reason is the fact that it was so well-performed by William Christie and forces.

AMERICAN RECORD GUIDE: "If you have never discovered this amazing composer before, start with this disc."

In 1979 Christie founded his own ensemble 'Les Arts Florissants' (The flourishing arts). He went beyond just using original instruments but also thoroughly investigated as to how works were played and staged. He realized that French Baroque as well as drama, itself, was governed by elaborate rules regarding diction and poetic rhythm. His expertise shines through this entire disc.

The forces on this recording are: Les Pages de dl Chapelle (eight member choir of boy sopranos, some used as soloists); Les Arts Florissants(thirteen adult voices, some used as soloists); Ensemble de violes Orlando Gibbons; and ensemble of three other instrumentalists.

The singing in every case is superb, soloists displaying lovely tone quality, precise disction; the choirs excellent in their contributions. The instrumentalists are expert both in their solo spots and their accompaniment.

The disc includes informative liner notes in French, English and German. The text is only in Latin; no translation.

CD REVIEW: "This four-part gem will find a soft spot in the heart of every music lover."
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