When Michel-Richard de Lalande left this valley of tears, his fame was at its peak; between 1725 and 1730, he was the most programmed musician in Paris. People flocked to hear his motets, especially the three Le\u00e7ons de T\u00e9n\u00e8bres and the Miserere \u00e0 voix seule intended for the Holy Week services. Many composers had already proposed their vision of the Le\u00e7ons in the France of the Sun King, making the Office de T\u00e9n\u00e8bres a true worldly event. Faithful to this aesthetic, Lalande knew how to exploit this art of ambiguity, while turning away from the tradition.<\/p>\n\n\n\n
The Grand Si\u00e8cle was a time of unprecedented musical creation. Music sounded in the street, in the salons, in the church, in the opera, but also in places where its place was not obvious: the convents where nuns and the young girls whose education they supervised lived together were usually reserved for plainchant only. Nevertheless, when financial means permitted and the mother abbess – often from the upper class – showed a particular taste for singing, music was presented in a more sophisticated, sometimes even clearly seductive light. In the 17th century, the Offices of Darkness became a worldly event: courtesans and opera singers flocked to them, to the point of causing scandal among the devout.<\/p>\n\n\n\n
Far from these excesses, the Le\u00e7ons composed by De Lalande on the Lamentations of Jeremiah show an extremely seductive and theatrical music, while preserving a depth and an interiority in perfect mirror with the power of the text. Performed by the soprano Sophie Karth\u00e4user, this program has been unanimously acclaimed in France and internationally by the critics.<\/p>\n\n\n\n
Harmonia Mundi release April 5, 2015:<\/strong><\/p>\n\n\n\n Diapason d\u2019or de l\u2019ann\u00e9e 2015, Choc de Classica,\u00a0ffff<\/em>\u00a0T\u00e9l\u00e9rama, Meilleur disque de l\u2019ann\u00e9e 2015 De Standaard, \u2026<\/p>\n\n\n\n \u2662<\/p>\n\n\n\n Program<\/strong><\/p>\n\n\n\n Michel-Richard de Lalande<\/strong><\/p>\n\n\n\n Plange quasi virgo AVEC SOPHIE KARTH\u00c4USER When Michel-Richard de Lalande left this valley of tears, his fame was at its peak; between 1725 and 1730, he was the most programmed musician in Paris. People flocked to hear his motets, especially the three Le\u00e7ons de T\u00e9n\u00e8bres and the Miserere \u00e0 voix seule intended for the Holy Week services. Many […]<\/p>\n","protected":false},"author":5,"featured_media":1374,"template":"","program_cat":[16],"class_list":["post-1371","program","type-program","status-publish","has-post-thumbnail","hentry","program_cat-in-concert"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program\/1371","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program"}],"about":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/types\/program"}],"author":[{"embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/users\/5"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/media\/1374"}],"wp:attachment":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/media?parent=1371"}],"wp:term":[{"taxonomy":"program_cat","embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program_cat?post=1371"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Tristis est anima mea
IIIe Le\u00e7on pour le mercredy
Salve Regina
Ecce vidimus eum
IIIe Le\u00e7on pour le jeudy
Vinea mea electa
IIIe Le\u00e7on pour le vendredy
Cantique sur le bonheur des Justes et le malheur des R\u00e9prouvez
O Mors
Miserere<\/p>\n","protected":false},"excerpt":{"rendered":"