Le premier ouvrage de la collection, Pour des pratiques pédagogiques revitalisées, se concentre sur le changement pédagogique. " Il en examine à la fois le pourquoi et le comment, poursuit la directrice dans sa présentation…
Very little is known about Charpentier's life (1643-1704). The main source of information is an obscure rival composer named de Brossard. According to de Brossard, Charpentier was originally from Paris but studied music in Rome under the composer Carissimi. In 1696 he beat out de Brossard for the post of choirmaster at the Sainte Chapelle Cathedral in Paris, where he remained until his death in 1704. As Goebels writes in the album liner notes, there are several reasons for Charpentier's neglect as a composer.
Drawing on its vast catalogue of Baroque recordings, French label Naïve has assembled a selection of opera and ballet extracts from Marais, Charpentier, de Visée and others that the Sun King would have enjoyed. The disc itself is nicely layered in mood and energy, showing off some of the world's finest period-performance players at their best - including lute master Luca Pianca, the Ensemble Organum and Le Parlement de Musique-Strasbourg.
In 1724, Sébastien de Brossard hailed Jean-Baptiste Drouard de Bousset as ‘indisputably the best of our composer-authors’. Although, at the beginning of the 18th century, the Master of Music at the Académies des Sciences et des Inscriptions imposed himself as the unquestionable leader of the genre, his 875 airs sérieux are little known nowadays and deserve to be brought back into the light. Such is the desire of Elizabeth Dobbin and the ensemble Le Jardin Secret, who recreate with artistry and intelligence the ‘noble, pleasant and natural’ songs of the composer, described by Titon du Tillet in his Parnasse françois (1732). Reflecting the traditions of the 17th and 18th centuries, the musicians have included improvised passages in their performance of these airs and, in particular, chosen to accompany the voice with two theorbos and viola da gamba, instruments that Bousset owned when he died.
Two fantastic examples of 17th century mass performed by specialists of the genre. The whole is perfectly chiseled, mixing the warm sonorities of the viols with the vocal and textual rigor of the singers, restoring in a serene atmosphere the style appropriate to each of the composers (delicately archaic for the one, soberly modern for the other.