A precursor in terms of style, form and harmony, Charpentier returned to Paris at the end of the 1660s, imbued with a thousand riches collected in Italy during five years of concerts, meetings and discussions. In perpetual research, Charpentier thus brought to 17th century France a new breath of fresh air, an exciting inventiveness, a taste for spices from elsewhere. Starting with the very first work preserved in his famous M\u00e9langes, one of the first le\u00e7ons de t\u00e9n\u00e8bres composed in France, this program reconstructs an imaginary liturgy from this nocturnal lamentation to the daybreak service.<\/p>\n\n\n\n
This concert presents a concentration of the different moments of the Office of Darkness, from Matins to Lauds and at daybreak, symbolizing the resurrection. Three excerpts from Charpentier’s Le\u00e7ons de T\u00e9n\u00e8bres answer the music of his Roman masters: a responsorial and a Magnificat composed by Bonifacio Graziani in the year Charpentier arrived in Rome. Charpentier certainly heard these pieces at Saint-Louis des Fran\u00e7ais where Graziani was Master of the Chapel. And finally Carissimi, Charpentier’s teacher during his stay in Rome. Gathered in the same concert, these pieces highlight Charpentier’s musical universe before he started his own production on his return to France and illustrate the path from the Passion to the Resurrection.<\/p>\n\n\n\n
\u2662<\/p>\n\n\n\n
Marc-Antoine Charpentier<\/strong> \u00b7 De Profundis H.156 Marc-Antoine Charpentier<\/strong> \u00b7 Motet pour les Tr\u00e9passs\u00e9s \u2662<\/p>\n","protected":false},"excerpt":{"rendered":" A precursor in terms of style, form and harmony, Charpentier returned to Paris at the end of the 1660s, imbued with a thousand riches collected in Italy during five years of concerts, meetings and discussions. In perpetual research, Charpentier thus brought to 17th century France a new breath of fresh air, an exciting inventiveness, a […]<\/p>\n","protected":false},"author":5,"featured_media":1393,"template":"","program_cat":[16],"class_list":["post-276","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\/276","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\/1393"}],"wp:attachment":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/media?parent=276"}],"wp:term":[{"taxonomy":"program_cat","embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program_cat?post=276"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Marc-Antoine Charpentier<\/strong> \u00b7 Tenebrae Factae Sunt H.129
Marc-Antoine Charpentier<\/strong> \u00b7 Desolatione Desolata Est H.380
Marc-Antoine Charpentier<\/strong> \u00b7 1\u00e8 Le\u00e7on du vendredy saint H.91
Bonifacio Graziani<\/strong> \u00b7 Repons de la Semaine Sainte, Rome 1664
Francesco Cavalli<\/strong> \u00b7 Canzon a 10
Marc-Antoine Charpentier<\/strong> \u00b7 O vos Omnes H.134
Marc-Antoine Charpentier<\/strong> \u00b7 Jerusalem Surge H.130
Marc-Antoine Charpentier<\/strong> \u00b7 Velum Templi H.128
Marc-Antoine Charpentier<\/strong> \u00b7 Stabat Mater<\/p>\n\n\n\n
Plain-chant<\/strong> \u00b7 O Mors
Alessandro Melani<\/strong> \u00b7 Miserere a 8
Giacomo Carissimi<\/strong> \u00b7 Christus Factus Est
Marc-Antoine Charpentier<\/strong> \u00b7 O Oriens splendor lucis aeternae
Alessandro Melani<\/strong> \u00b7 Litanie per la Sa vergine a 9 voci<\/p>\n\n\n\n