The Baroque link - classic with authenticity and humanity ...

For twenty years Christophe Rousset revisits the traditional repertoire of Baroque works (Couperin, Bach, Rameau ...) and explores unpublished works (or Mondonville Traetta). Christophe Rousset belongs, like Hervé Niquet, this new generation of baroque musicians, seeking to combine historical authenticity to emotion. It thus turns back to dogmatic excesses of artists 60-70 years, although they were essential to the rediscovery of Baroque music.

In the Stabat Mater by Pergolesi, the soprano and alto (countertenor) involved in solo or duo and alternates throughout the work. Let's look at four examples.

1 - Stabat Mater: a sharp pace continuo and a plaintive melodic phrase overlap. This introduction is taken when entering a duet of the two voices singing with sorrow and prayer verse. Christophe Rousset and light contrasts frankly these two musical ideas. Some see the bass rhythmic supported a continuous dancing side, a gallant style, which would be at least strange given the subject! Personally, and listening to the beat that prints obsessive Christophe Rousset to continuo, I rather discerns the will to express the inevitability of distress of the Virgin carrying the body of his martyred son. And then the two singers of polyphonic lament brings pleadingly without emphasis, they get a complicity writing service rarely encountered. It is thought as the second Kyrie of the Mass in Bach.
We acquire through this clear direction, without theatrical adornments, the certainty that Pergolesi ad classicism with fifty years in advance. This spare style, almost ascetic, is the signature of the spirituality of work in which a rival drama and a deep humanity.
Is it possible to remain unmoved by hearing the seraphic treble Barbara Bonney and tear emanating from the impulses of Andreas Scholl? I hope not.

2 - Cujus gemmentem anima: the text "plunge a sword in his heart," more violent, requires more energy to the soprano aria. Barbara Bonney's voice is very clear in his vocal line, very deliberate. The average number chosen by Christophe Rousset (17 strings + harpsichord / organ) offers a beautiful expressive dynamics, silky tone that pervades the voice. With some strings, we would get a mere decorative accompaniment. Christophe Rousset without using a romance unsavory as well situates the book in the classical aware that prefigures.

4 - Quae moerebat and dolebat: this tune sung by countertenor establishes a paradox between despondency suggested by the verse "... to see the shots so painful that his son received" and the gallant style of melody and used intonation close to the entertainment. It is surprising that choice "a little lively" but do not forget that at the time Pergolesi composed numerous operas and Neapolitan doted of that air style. Certainly not serious, but the use of a minor mode and the staccato vocals, staccato emphasis on each word in the resumption of the text, show the affliction shared with the grieving mother. The incredible flexibility of the speech of Andreas Scholl and strong high notes blend perfectly the conflicting principles underlying pain and leaping style. It is thus clear expression of a modest grief without any emphasis of the musical discourse.

12 - the ultimate final duet develops as a heartfelt and poignant arabesque. On the organ arrangements, two votes curl and merge, rise with a delicate grace. Christophe Rousset offers us one of the most authentic versions and least ostentatious of the rich discography, this is its merit.

The CD is completed by two Salve Regina interpreted by Talens Lyriques and Andreas Scholl and Barbara Bonney. Two works that extend and share the Stabat Mater climate.

The full article is available in the blog Deblocnot '(see profile) with an alternative discography ...