Menault: Vespers for Père la Chaize. Arsys/La Fénice.

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Pierre Menault (1642-1694) Vêpres pour le Père La Chaize Vespers for Père La Chaize Solistes Catherine Greuillet, dessusPhilippe Jaroussky, Els Janssens, bas-dessusJean-François Lombard, haute-contre Stephan van Dyck, tailleHervé Lamy, taille, basse taille et plain chant soliste arsys Pôle d'art vocal de Bourgogne Pierre Cao, director La Fénice Jean Tubéry, director K617 [France] 118. DDD. 2001. Timing: 57'33.Made in France This item, consisting of a CD in a jewel case, enclosed with a booklet in a cardboard slipcase, has been gently used. The disc and all packaging are in very good condition. T is no cut-out marking. While available in Europe, this CD seems to be very rare in the U.S. What do my descriptions of used CDs mean? See the note at the bottom of this listing. ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Pierre Menault (1642-1694) was conductor of the choir of Saint-Etienne in Dijon. His Vespers for Père La Chaize were published in 1693. The work follows the pattern of the great Versailles motets, and as one looks at its scoring today one cannot help wondering whether it was not intended for the Court. This version, produced as part of the series Burgundy’s Musical Heritage , used the critical edition prepared at the Centre de musique baroque in Versailles.Arsys Bourgogne and its conductor Pierre Cao have been based in Vézelay since 1999, and La Fenice (conductor Jean Tubéry) recently established its base in Sens. The two groups thus know each other well and have frequently worked together, both in Burgundy and further afield." - -Arsys Web site_____________________ A Versailles, le baroque. En Bourgogne, les vins fins ! Désormais, on ne pourra plus penser uniquement comme cela avec ce premier enregistrement des Vêpres pour un Confesseur : œuvre solennelle écrite par le Maître de Chapelle bourguignon Pierre Menault en 1693. Le dédicataire était le fameux père La Chaize, provincial des jésuites et, � ce titre, confesseur de Louis XIV. Mais, loin de nous ramener vers le fameux cimetière qui porte le nom de ce dernier, ce grand office de Vêpres est imposant et très significatif d’un art baroque développé loin de la cour du Roi Soleil. L’atout de cet enregistrement, en plus de son programme, c’est la direction de Jean Tubéry, associant sa Fenice aux premiers pas discographiques de l’excellent Pôle d’Art Vocal arsys, fondé tout récemment par Pierre Cao en Bourgogne. ~~~~~~~~~~~~~~~~~~~~~~~~~~ is the brief entry on Menault from Grove Music Online : Menault , Pierre ( b Beaune , 1642 ; d Dijon , 1694 ). French composer . He attended the choir school of the collegiate church of Notre Dame, Beaune, from 1650 to 1660 and was taught by Jacques Huyn, the maître de chapelle , and Claude Chardenet, the organist. He was made maître de musique at Châlons-sur-Marne Cathedral, and he then occupied the same post in the collegiate church of his native city from 1671 to 1676. He was back in Châlons-sur-Marne from 1676 to 1687. In 1683 he took part in the competition for the appointment of sous-maîtres to the royal chapel at Versailles, but he did not get past the first round. He ended his career in Dijon, w he became choirmaster of the large collegiate church of St Etienne (w Rameau’s father was organist). The works by Menault which have come down to us were published by Christophe Ballard between 1676 and 1693. The five masses are in the old Franco-Flemish style and, like many others of the period, use the same head-motif at the beginning of several sections. Most movements begin with successive entries in imitation and some approach a fugal exposition, but on the whole the counterpoint is treated with the greatest freedom. From 1686 onwards Menault regularly wrote a basso continuo part for those movements w the vocal forces were reduced. The Vespers setting is ambitious in both its dimensions (five psalms, antiphons and motets) and its scoring (for few voices, stri... read more

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