Devozioni Veneziane

Sacred music in the city of the Doges

Following on from the programme Dulcissime Jesù, devoted to motets for one and two voices from 17th century Italy, this new programme deals with the Latin motets and anthems composed in Venice by its greatest maestri di cappella, all of them natives of the city.

There are naturally works by the great Claudio Monteverdi, as well as others by Alessandro Grandi, Giovanni Picchi, Francesco Cavalli and his pupil and successor Natale Monferrato: several of Monferrato’s motets have not been heard since the 17th century. An extra bonus is provided by the inclusion of the intensely moving Stabat Mater by Giovanni Sances.

The Céladon Ensemble here provides a sumptuous background for the voice of Paulin Bündgen with a splendid continuo ensemble made up of viol, violone, theorbo, triple harp, harpsichord, and organ.

 

Performers

Paulin Bündgen, countertenor & artistic director
Nolwenn Le Guern, viol
Luc Gaugler, violone

Marie-Domitille Murez, triple harp

Florent Marie, theorbo

Caroline Huynh Van Xuan, harpsichord & organ

An evening hymn to Henry Purcell

Songs & Ayres by Henry Purcell

Henry Purcell was one of the most daring geniuses of English Baroque music. During his short but intense life he endeavoured to compose in all of the musical genres of the period.

His fine and innovative compositional style was characterised by its great elegance and was greatly admired by his contemporaries, who acclaimed Purcell asthe Orpheus Britannicus even during his lifetime. The is the proof, if one were needed, of his musical genius; he has inspired and enchanted the world from the 17th century and continues to do so even today.

Purcell composed a huge number of Songs for solo voice and continuo that deal with a great variety of subjects, from love, intoxication and politics to magic and madness and more. In order to express the psychic disorder expressed by the texts that he set to music, he did not hesitate make use of outrageous chromaticism, frenzied and passionate melodies as well as imaginative and obsessive rhythms that can sometimes reach the point of incoherence.

True operas in miniature, Purcell’s Mad Songs are amongst the greatest of his works.

 

 

Performers

Paulin Bündgen, countertenor & artistic director
Nolwenn Le Guern, viol
Caroline Huynh Van Xuan, harpsichord

L'offerta del cuore umano 

An oratorio by Giovanni Legrenzi, libretto by Pier Matteo Petrucci, Venice, 1673

The oratorio makes use of allegorical characters that were frequently used in religious works at the beginning of the 17th century: the human Heart, who decides to sell himself to the highest bidder, is eagerly pursued by Pleasure, the World and the Devil before finally returning to the paths of righteousness at the side of Christ. A Guardian Angel counsels the Heart throughout his quest and guides him towards the light.

The oratorio, composed for four voices and continuo, is typical of its period and seems almost to have been composed especially for the Céladon Ensemble, given the artistic values that they have defended for more than 15 years. L’offerta del cuore umano is notable for its original instrumentation, the audacious style of its composition and the truly literary quality of its libretto. 

In order to do full justice to such a challenging project, the Céladon Ensemble engaged a team of singers and instrumentalists of international renown, all of whom are highly experienced in the interpretation and performance of music from the early 17th century.

Performers

Claire Lefilliâtre, soprano
Paulin Bündgen, countertenor & artistic director
Rémy Mathieu, tenor
Renaud Delaigue, bass
Angélique Mauillon, triple harp
Florent Marie, theorbo
Nolwenn Le Guern, viol
Luc Gaugler, violone
Caroline Huynh Van Xuan, harpsichord & organ

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Paulin Bündgen

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Avec le soutien de la Région Auvergne-Rhône-Alpes