The impression one gets from listening to this compilation “musique a versailles” is that Versailles was less the spectacularly opulent, grandiose center of the universe that befits a sun king and more a subdued, intimate setting for his spiritual reflection. The most upbeat selection included is Lully’s brief moderately flamboyant overture to his opera Alceste, one of the only four orchestral selections from the twenty offered. The bulk consists of chamber and solo instrumental works combined with a hand full of sacred choral and organ pieces. The somber nocturnal photograph of an unpopulated courtyard and sparsely lit palace on the digipak’s cover couldn’t be more indicative of what is heard inside.
Few label catalogues can claim the depth and wealth of recorded French music from this period as Astree (now part of the Naive conglomerate) and whoever compiled this program (no one is credited) is to be congratulated for digging deep since every selection chosen was originally from a single composer full-priced CD long out-of-print or out-of-distribution in North America. Since the booklet also provides no information about these worthwhile (if not important- many of these are the only recordings) CD’s, included here are the numbers to assist those whose appetites are whetted by the treasures featured. What a joy to hear again Blandine Verlet’s performance of Louis Marchand’s exquisitely quirky ‘chaconne’ from her complete recording of “Pieces de Clavecin 1702” (Astree 7736). Guillaume Nivers sublime “Beata es Maria” as well certainly deserves to see the light of day again especially when it’s as gloriously performed as it is here by Les Demoiselles de Saint-Cyr (from “Motets et Hymnes de Eglise”, (A8621). Ditto Jean Mondonville’s inspired “Caeli enarrant” extract from the Ensemble Baroque de Limoges and Les Chantres de la Chapelle’s complete recording of the composers Grand Motets (A8614). The Ensemble Fitzwilliam’s performances of the Rondeau and Passacaille from the Marin Marais’s Suite in E minor “Pieces en Trio” (A4638) and Michel de la Barre’s “Rondo, Le Provencal” (A7786) performed by Stephan Preston, Jordi Savall, and Hopkinson Smith highlight the chamber music offerings splendidly with vibrant knowing renderings of this rarely heard repertoire. And what has become of the magnificent and prolific legacy of organist Michel Chapuis? While all of his full-length recordings are now sadly deleted, three representative selections from two of his rarest recitals by Francois Roberday (A7768) and Louis Clerambault (A7730) more than aptly testify to his achievements as well as the grand state of organ composition at Versailles.
These were great sounding state of the art recordings to begin with and they sound just as great now. Philippe de la Genardiere’s appreciation of French Classicism is fine as is current Versailles managing director Vincent Berthier de Lioncourt’s brief tribute to Naive’s extraordinary talents. This is a gorgeous program brimming with rarities and undeserved obscurities; and as thematic compilations go this is certainly one of the best of its kind.
