Marc-Antoine Charpentier - Sacred Music, Volume 4

Naxos: 8554453

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Marc-Antoine Charpentier - Sacred Music, Volume 4

Label:

Naxos

Catalogue No:

8554453
(8.554453)

Discs:

1

Barcode:

0636943445327

Length:

67 minutes

Medium:

CD (download also available)
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Marc-Antoine Charpentier - Sacred Music, Volume 4


Charpentier, M-A:

Quatre antiennes a la Vierge, H. 44 - 47

Priere a la Vierge du Pere Bernard, H. 367

Litanies de la Vierge, H83

Magnificat, H. 76

Pro omnibus festis, B.V.M., H. 333

Petit motet pour la Vierge, H. 30

Chant joyeux du temps de Paques, H. 339


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Marc-Antoine Charpentier: Alma Redemptoris mater, H. 44

Alma Redemptoris, H. 44

Ave Regina caelorum, H. 45

Regina caeli, H. 46

Salve Regina, H. 47

Marc-Antoine Charpentier: La priere a la vierge du Pere Bernard, H. 367, "Memorare, o piissima virgo"

Priere a la Vierge du Pere Bernard, H. 367

Marc-Antoine Charpentier: Litanies de la vierge, H. 83

Litanies a la Vierge, H. 83

Marc-Antoine Charpentier: Canticum B.V.M., H. 76

Magnificat, H. 76

Marc-Antoine Charpentier: Pro omnibus festis B.V.M., H. 333, "Annuntiate superi, narrate coeli"

Pro omnibus festis B.V.M, H. 333

Marc-Antoine Charpentier: Regina coeli laetare, H. 30

Petit motet pour la Vierge, H. 30

Marc-Antoine Charpentier: Chant joyeux du temps de Paques, H. 339

Chant joyeux du temps de Paques, H. 339

International Record Review

May 2000

“Herve Niquet and his ensemble, Le Concert Spirituel, are generally agreed to rank among the very finest exponents of French Baroque music. It was therefore an inspired choice when Naxos engaged them to record a series exploring the sacred music of Marc-Antoine Charpentier. This new disc is a worthy successor to the three previous releases and, like them, contains a mixed programme of motets and other liturgical works. The connecting theme for this volume is devotion to the Blessed Virgin Mary, though the mood changes at the end with a festive Chant joyeux du temps de Paques.Niquet is an ideal interpreter of this repertory, and his thoroughly idiomatic performances allow the two soprano voices in particular to be heard to maximum effect.”

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