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Te Deum Motets Import


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Audio CD, Import, July 11, 2006
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Editorial Reviews


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

Product Details

  • Audio CD (July 11, 2006)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: Harmonia Mundi Fr.
  • ASIN: B000FDFO12
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #455,947 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By Giordano Bruno on September 2, 2008
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Guillaume Bouzignac (1690?-1743?) was not attached to the French Royal Court. His music was not published by Ballard, who held a royal monopoly on musical publication. He MAY have been a choirboy in Narbonne, a master of the choirboys in Grenoble, a musical servant of Henri Montmorency, governor of Languedoc at the time of the wars against the Huguenots, and a person of musical importance in the city of Tours, where the manuscript of these motets was discovered in 1905. That covers almost everything that's known about the composer outside of the very specific information about his musical thought contained in his works.

The American musicologist James Anthony wrote in 1974: "There is a degree of individuality in his music altogether remarkable in a period of general conformity within a prescribed genre. Simply stated, there is no other music of the time that looks the same on the page or sounds the same as the motets of Bouzignac." Honestly, I'd go a little farther. It seems to me that Bouzignac took the musical vocabulary of the 17th Century - Schuetz, for instance - and composed an alternate future aesthetic all of his own, uninfluenced by his Italian and French contemporaries, which lay dormant until the end of the 20th Century. I don't mean that Bouzignac has suddenly become influential; far from it, he's hardly less obscure than he was 300 years ago. Rather, I think I could take several of his motets and palm them off on a contemporary audience as the work of a modern composer, one who was steeped in the aesthetics of Early Music but who chose to incorporate elements of the Protestant choirbook and the "Negro spiritual." The works described as "dialogue motets" in the program notes could just as easily be considered "call and response.
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3 of 3 people found the following review helpful By Slobberer on December 22, 2008
Guillaume Bouzignac French c.1592-c.1641
Bouzignac: Ecce festivitas amoris. Ecce homo. Unus ex vobis. In pace in idipsum. Ha, plange, filia Jerusalem. Vulnerasti cor meum. Alleluya, Venite amici. Flos in floris tempore. 0 more, ero mors tua. Clamant clavi. Ecce aurora. Dum silentium. Jubilate Deo. Salve Jesus piissime. Ave Maria. Tota pulchra es. Te Deum.

Les Pages de la Chapelle; Orlando Gibbons Viol Ensemble; Les Arts Florissants Chorus and Instrumental Ensemble / William Christie.
Harmonia Mundi © HMC 901471 (63 minutes: DDD: 6/94). Recorded 1993.

If, by any chance, you should think that with another disc of French seventeenth-century church music from Les Arts Florissants you know what to expect, think again. Bouzignac is quite definitely, quite splendidly, different. Try Unus ex vobis on your friends and see if they can tell what century it comes from, let alone what country (its lugubrious dialogue between Christ and his disciples actually sounds more like something from the Russian Orthodox Church). This is music that abandons itself to its text in as absolute and direct a way as you are ever likely to encounter in the baroque period, and the results are sometimes gripping, sometimes haunting, and sometimes both. But that is not all.

Bouzignac knew his counterpoint; he could write in joyous, celebratory vein, rather like a lightfooted Gabrieli (Jubilate Deo}', and there is also music of aching beauty -- In pace in idipsum should be enough to melt anyone into their chair. Christie marries an acute sense of drama to a sensitivity to words and to the music's lyrical qualities. He uses boy sopranos, and though their singing is hardly in the polished Arts Florissants mould, it does square nicely with this music's straightforward mode of communication.
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2 of 2 people found the following review helpful By Sid Nuncius TOP 100 REVIEWER on March 18, 2011
This is a very welcome reissue of the original recording of 1993. The rather wonderfully named Bouzignac is a shadowy figure of whose life little is known, but who was active in the first half of the 17th Century. His music deserves to be far better known on this evidence - the selection here is thrilling, moving and very beautiful by turns and startlingly original in many places.

There are two motet forms here: ordinary ritornello motets and some dialogue motets, which are very striking indeed. Ecce homo, for example, is an amazing dialogue beween Pilate, beautifully sung by the excellent Paul Agnew, and the crowd whose angry and agitated cries of "Crucifige, crucifige eum!" are truly chilling. Set against this is a limpidly lovely setting of In pace, in idipsum for four voices and viols which is simply spellbinding, and the brief motet O mors, ero mors tua whose opening dissonances and suspensions sound 20th Century rather than 17th. The closing Te Deum is just fabulous. There is endless variety and it's a fascinating, hugely enjoyable and very rewarding programme.

The performance is terrific. William Christie and his ensemble respond to the texts with real empathy, and the standard of musicianship and interpretation is excellent. They bring this excellent music wonderfully to life, and I simply can't fault them in any way.

The recorded sound is excellent and the disc comes with full, interesting notes and texts (although no translations). It's a really cracking disc and (as I write, at least) a monumental bargain. Very highly recommended.
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