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Lyrics & Music Missa Gotica ~ Ensemble Organum, Pérès
Posted on 2010-09-21
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More Missa Gotica ~ Ensemble Organum, Pérès 04 juin 2009 | Zig-Zag Territoires | Filesonic + Fileserve "This is an extremely beguiling disc. The polyphony it contains comes from the 14th century, a combination of the work known, because of the location of its source, as the Mass of Toulouse with a Gloria and Credo preserved in a manuscript at Apt. The six voices of Ensemble Organum singin a flamboyantly improvisational declamatory style, adding lavish decoration to the written line at every opportunity. The sound is open-throated and natural, the atmosphere one of impressive solemnity. Even those for whom ancient music is usually anathema will surely be won over" Stephen Pettitt--Times Online - Octobre 2009 Missa Gotica is a recreation of an anonymous polyphonic mass from the fourteenth century - the time when the Papacy was relocated to Avignon. A major motive for this recording by the highly respected, and uncompromising, Ensemble Organum (six accomplished singers - including director Marcel Pérès) is to demonstrate the significant changes in style of such music at a time of equally significant developments in the liturgy. Despite the calamitous nature of the fourteenth century (the Black Death, the Schism and European-wide devastation, war and poverty), its musicians, artists, writers and indeed its clerics were confident and proud of their new - and still emerging - abilities. In musical composition, for example, new understanding of arithmetic enabled more precise and expressive structures to be produced. These fitted the greater enthusiasm for observation and what we would now call 'scientific' advances; these enabled stronger and more spectacular architectural construction, for example. The tremendous belief of such makers in their world and in their powers to represent and reflect it is mirrored in the immense energy of the music on this CD. Admittedly, the style of Ensemble Organum has always been about as different from such ensembles as The Tallis Scholars or The Sixteen, say, as you can get. Initially, you think it's a roughness and unpolished style. On more careful listening, you accept that the articulation of text and sound may be superficially 'raw'. But it's as careful and thoughtful, as practised and sophisticated as you can get without being staid or over-produced. In other words, perhaps, Ensemble Organum's performance is very genuine. We shall never know for sure how the music of that age sounded. Self-consciously coarse Ensemble Organum's delivery is not. But that their voices and their relationship with such distant music are actively stripped of gentility and restraint is a potent virtue of what Pérès believes is an appropriate way to interpret it. And this sound - here, as with their other recordings - paradoxically brings the music to life in ways that a more apparently 'poised' style never could. This composite Mass is also evidence of at least one important technical development, of which its contemporary performers were both aware and proud: the commonly-accepted notation of note length. The Ars subtilior was an expression of the exhilaration which composers and performers clearly felt: this developing system allowed music to be 'frozen' in time, and hence contemplated independently from its (otherwise unrecordable) performance. Think, perhaps, of the way in which piano rolls, then tape, afforded twentieth century musicians and listeners the same sense of capturing nuance - but at a much more basic level: the very sense that music existed as an entity was new and exiting. These new (notational) techniques played an important part in the move towards known and nameable composers emerging in the course of the fourteenth century. Pérès and his singers capture this excitement splendidly; they do so, too, with a perfect balance which tempers the 'rush' of a determined recreation with their unparalleled expertise. Indeed, there isn't a note on this spectacularly-executed CD which isn't shot through with this enthusiasm and the sense that, Now anything is possible. And in terms of the development of polyphony, indeed it was. Yet the way the singers phrase the music demonstrates that confessional commitment - not specious spectacle - still dictated the tone. Pérès has chosen for this CD to situate the changes in the context of the parallel shifts in liturgical practice introduced at the time of Avignon by the Franciscans. The Old Roman chant (explored with zest elsewhere by Ensemble Organum and Pérès of course) on which earlier polyphony had begun to be based was quite quickly eclipsed. The break with Antiquity - at least in this aspect of music-making - was lost for good. Indeed, writers from the sixteenth century coined the term Gothic (one 't' in this title) to emphasise what they saw as a desertion from a superior aesthetic. The reconstruction on this highly desirable CD comes from French manuscripts: it was common at the time for a variety of such sources to be used in the realisation of a single Ordinary mass. That's what we have here; it's interspersed with Gregorian chant sung in the French manner. Such a blend dramatically emphasises the intricacies and subtleties of the text. It almost goes without saying that every syllable of the Ensemble's diction is clear and loaded with an expressiveness rarely found to quite this extent. Above all, it's the energy of the singers and the singing that will stay with you - as well as the music's amazing beauty, which is borne of a nevertheless temperate match between due service to the objects(s) of the fourteenth century musicians' belief and their wish to reveal them by creations of great loveliness. The booklet has the text of the work(s) in Latin, Modern French and English; there is also a highly informative essay in Pérès authoritative and infectiously enthusiastic style. The acoustic (modestly resonant) and production standards exceed expectations. ZigZag Territoires is to be congratulated for this important and stimulating contribution to the repertoire and its performance practice.-- Mark Sealey, MusicWeb International MISSA GOTICA 1. Kyrie (manuscrit de Toulouse) 2. Gloria (manuscrit de Barcelone - Apt) 3. Alleluia : Veni Sancte Spiritus (plain chant) 4. Credo (manuscrit de Barcelone) 5. Préface 6. Sanctus (manuscrit de Toulouse) 7. Offertoire : Confirma hoc Deus (plain chant) 8. Agnus Dei ( manuscrit de Toulouse) 9. Introït : Spiritus domini (plain chant) 10. Ite missa est : Deogratias (manuscrit de Toulouse) Zig-Zag Territoires ZZT 090601 sortie 4 juin 2009 Ensemble ORGANUM Direction Marcel Pérès Jean Christophe CANDAU, Giavannangelo DE GENNARO, Jean Etienne LANGIANNI, Luc TERRIEUX, Antoine SICOT, Marcel PERES Présentation Missa gotica : messe gothique ? Les hommes du xive siècle auraient été bien surpris d’entendre ainsi qualifié leur savoir faire artistique et liturgique. Gothique commence à désigner, au XVIe siècle, l’esthétique des siècles précédents, jugée un peu barbare par ceux qui voyaient dans l’Antiquité le modèle fondamental. Les hommes du xvie siècle ne partageaient plus la vision du monde qui suscita les formes artistiques des xiiie, xive et xve siècles, trois siècles que les historiens du xixe siècle établirent comme étant définitivement gothique. Aujourd’hui, par commodité, nous continuons à qualifier ainsi cette période, tout en sachant que les Goths les hommes de la fin du Moyen Age étaient loin d’imaginer que des historiens les réuniraient sous un même vocable. C’est au xive siècle que le genre musical des messes polyphoniques prit son essor. Il s’agit de l’agencement à plusieurs voix de l’ordinaire de la messe (Kyrie, Gloria, Credo, Sanctus, Agnus Dei, Ite missa est), principalement à trois voix, seule la messe de Machaut est à quatre voix. L’usage de ces compositions polyphoniques va très rapidement se répandre au cours du xive siècle. Mais peu de messes construites avec une unité thématique ou stylistique ont été conservées. C’est surtout au xve siècle que seront composées des messes construites autour d’un même thème, avec parfois une destination liturgique particulière. Au xive siècle, les recueils de messes polyphoniques présentent des successions de Kyrie, de Gloria et des autres sections liturgiques, mais peu de livres offrent un enchaînement où après un Kyrie viennent un Gloria spécifique, puis un credo et ainsi de suite. Seuls cinq manuscrits montrent une telle succession. Ces messes portent le nom de l’endroit où est conservé le manuscrit, il s’agit des messes de Tournai, de Besançon, de Barcelone et de Toulouse, seule la cinquième, la messe de Machaut, porte le nom de son auteur (1). Le programme de cet enregistrement présente une combinaison de ces deux types de manuscrits polyphoniques. La messe de Toulouse provient d’un manuscrit qui a appartenu à la Curie pontificale, mais ne s’y trouvent qu’un Kyrie, un Sanctus, un Agnus et l’Ite missa est. Nous avons complété le cycle en ajoutant un Gloria et un Credo du manuscrit d’Apt. Ces deux pièces font également partie de la messe de Barcelone mais la partie de contre-ténor du Gloria est composée différemment. Un fragment du Credo – la fin de la partie de ténor – se trouve également dans le manuscrit de Toulouse. Pour placer ces polyphonies si colorées dans leur contexte rituel, nous avons constellé la messe de quelques chants grégoriens chantés selon la manière française décrite par Jérôme de Moravie vers la fin du xiiie siècle. Il s’agit ici du propre de la messe de la Pentecôte. La scansion du plain chant exprime le degré de solennité. Vive et alerte les jours ordinaires, le débit de la déclamation devient lent pour les grandes célébrations liturgiques. La polyphonie s’inscrit toujours dans un contexte de solennité, car elle permet de chanter encore plus lentement, c’est pourquoi la polyphonie était parfois appelée la Positio Solemnis. Plus le chant est lent, plus s’ouvrent les espaces dans lesquels l’art de l’ornementation peut s’épanouir. Aujourd’hui cet art – malgré les évidences des documents de l’époque – est toujours ignoré des interprètes qui tentent de restituer cette musique du XIVe siècle. C’est dommage parce que cette pratique, loin d’être un élément superflu, constituait le fondement de l’art du chant. L’ornement exprime le savoir-faire et donc la légitimité du chantre. Car l’ornement, est avant tout au service du texte, dont il met en relief les incises, les périodes. Il permet de souligner les articulations syllabiques en attirant l’attention des auditeurs sur les sonorités complexes des mots : les diphtongues, les liquescences, la percussion de certaines consonnes importantes pour la compréhension du mot. L’art de l’ornementation, dûment maîtrisé, ouvre les esprits aux multiples résonances du texte qui est proféré, car chaque mot est ciselé, sculpté comme peut l’être une pierre précieuse dans laquelle chaque entaille, en reflétant les rayons qu’elle reçoit, projette les scintillements de la lumière. (1) cf. nos deux enregistrements parus en 1991 et 1997 : Messe de Tournai (HMC 901353) et la Messe de Guillaume de Machaut (HMC 901590) -- Marcel Pérès CRITIQUE ENA (Magazine des Anciens Elèves de l'ENA) "Grace à cet enregistrement réalisé par Marcel Pérès, c'est un magnifique pan de la musique occidentale qui se dévoile à nos oreilles dans une fascinante réalité" "...Le grain de voix de l'Ensemble Organum donne parfois l'impression d'écouter les polyhponies corses du groupe Muvrini" "Gothique vous avez dit gothique? Athypique sans aucun doute, résolument moderne très certainement." Arnaud Roffignon et Christophe Jouannard | | fileserve | |
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