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Lamentations de Jérémie / Michael Chance, contreténor - John Mark Ainsley, ténor - The Chandos Baroque Players

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  • Lamentations de Jérémie / Michael Chance, contreténor - John Mark Ainsley, ténor - The Chandos Baroque Players
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Détails sur le produit

  • CD (7 juin 2002)
  • Nombre de disques: 1
  • Label: Hyperion
  • ASIN : B000063TSW
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 70.548 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Incipit lamentatio jeremiae prophetae
  2. Omnes amici eius spreverunt eam
  3. He. facti sunt hostes eius in capite
  4. Jerusalem, jerusalem, convertere ad dominum deum tuum
  5. Vau. et egressus est a filia sion
  6. Zain. recordata est jerusalem
  7. Ipsa autem gemens conversa est retrorsum
  8. Jerusalem, jerusalem, convertere ad dominum deum tuum
  9. Heth. cogitavit dominus dissipare murum filiae sion
  10. Teth. defixae sunt in terra portae eius
  11. Yod
  12. Sederunt in terra
  13. Jerusalem, jerusalem, convertere ad dominum deum tuum
  14. Lamed
  15. Matribus suis dixerunt
  16. Samech. plauserunt super te manibus
  17. Jerusalem, jerusalem, convertere ad dominum deum tuum
  18. Heth
  19. Misericordiae domini quia non sumus consumpti
  20. Teth. bonus est dominus sperantibus in eum
  21. Yod. sedebit solitarius, et tacebit
  22. Yod. dabit percutienti se maxillam
  23. Aleph. quomodo obscuratum est aurum
  24. Quomodo reputati sunt in vasa testea
  25. Daleth
  26. Adhaesit lingua lactentis ad palatum eius in siti
  27. Jerusalem, jerusalem, convertere ad dominum deum tuum

Descriptions du produit

LAMENTATIONS DE JÉRÉMIE / MICHAEL CHANCE, CONTRETÉNOR - JOHN MARK AINSLEY, TÉNOR - THE CHANDOS BAROQUE PLAYERS


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Format: CD Achat vérifié
Je ne vais pas idi reprendre la dissection complète des offices des Ténèbres, que j'ai faite à plusieurs reprises. (voir par exemple mon commentaire sue celles de Sermisy). En revanche, Zelenka est un des rares compositeurs (avec Gesualdo) à avoir mis en musique non seulement les "leçons" de Jérémie, mais aussi les Répons. C'est l'ensemble ZWV 53-54(perdu)-55.

Pour une fois, les éditeurs font bien les choses. ce disuq enous présente les "leçons" qui subsistent (deux sur trois pour chaque jour du "triduum sacrum"). Le disque Responsoria Pro Hebdomada Sancta, Zwv55. comme son titre l'indique nosu présente les répons en faisant l’impasse sur les leçons, sauf une. A peu de chose près, ils sont donc complémentaires sans redondance.

Or, les leçons sont des textes implorants, dramatiques de Jérémie, les répons des textes de "commentaire doctrinal" si l'on peut dire, empruntés généralement aux Evangiles, un peu "la morale de la fable" si je puis me permettre cette hérésie. Je veux dire par là que leur ton est plus docte.

Un compositeur aussi sensible à l'affect que Zelenka va donc traiter très différemment les très lyriques lamentations et les doctes répons. Il est donc à mon avis nécessaire de posséder ces deux disques. Bien entendu, on sépare les répons de leurs leçons,mais en disant cela, attention.
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Par Vopiscus le 18 décembre 2010
Format: CD Achat vérifié
Zelenka, comme bien d'autres compositeurs des 17e et 18e siècles, a été particulièrement inspiré par le texte des Lamentations de Jérémie (ce qui correspond, dans la tradition française, aux "leçons de ténèbres"). La musique est ici d'une très grande beauté, émouvante, avec cette petite touche bizarre caractéristique (selon moi !) du génie de Zelenka. En plus l'interprétation est remarquable. Bref, je recommande chaudement ce CD.
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Format: CD Achat vérifié
Ce compositeur de l'époque Baroque, polonais, nous était totalement inconnu, supplanté par Bach, Monteverdi, Clérambault, Charpentier, Mondonville. C'est une grande découverte de la musique comptemplative des pays plus continentaux. Bravo.
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interprétation, et Direction excellentes, au service d'un compositeur majeur.Incontournable. Ces lamentations sont très belles, aussi fortes que le remarquable Miserere du même compositeur
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Amazon.com: 4.7 étoiles sur 5 9 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Lamentations that Bring Much Joy 27 juin 2012
Par The Primordial - Publié sur Amazon.com
Format: CD Achat vérifié
Move over Bach, Handel, and Vivaldi. Make room for Mr. Zelenka. He's a major talent who deserves to be in any early music lover's pantheon. Whoever is responsible for rescuing him from obscurity, thank you.

This is absolutely beautiful music. All 73 minutes of it. Sublime. Heartbreaking. Unforgettable. Try going right to track 14. If your eyes don't get misty and your knees weak, you might want to check your pulse to see if you're still alive.

I must admit that when I first listened to this disc, I thought it was lovely but not remarkable. Perhaps it was my mood, or that I was distracted, for when I listened to it again a few days later I discovered just how remarkable this music is. It is a work of devotion, of piety--no operatic bluster or bombast here--with long, sinuous melodic lines, and graceful, eminently polished instrumental accompaniment. Countertenor Michael Chance, tenor John Mark Ainsley, and bass Michael George sing with great verve, and they are helped with a pleasantly deep and slightly resonant acoustic--like what you might experience in a Gothic or Baroque cathedral. Each soloist takes two of the six Lamentations.

Any lover of the Baroque, any lover of classical music in general, should add this disc to their collection. I'm looking forward to discovering more of Zelenka's music.
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Lamentation for the End of Time ... 6 mars 2009
Par Gio - Publié sur Amazon.com
Format: CD Achat vérifié
... for the fall of Jerusalem, of course, by the Prophet Jeremiah, but quite appropriate for Our Times as well, with the once proud City on the Hill of democratic capitalism in shambles of its own creation.

The Lamentations texts were recited and set to music as part of the liturgical services of Holy Week, at Matins on Thursday, Friday, and Saturday (by modern clock/calendar). The usual service was tri-partite, with only the first two sections set to music, as is the case with Zelenka. Many composers have left settings of the Lamentations; recordings are available right now for those of Brumel, Tallis, Palestrina, White, Lassus, Massaino, de Orto, Cavalieri, Durante, Rosenmüller, Stravinsky, Ginastera, Martynov, Schnittke, and perhaps others. Let me crawl out to the end of the limb, and declare that, to my ears, Zelenka's setting is the most extraordinary, the most emotionally potent of all.

Jan Dismas Zelenka (1679-1745) was the son of a small-town organist in Bohemia. He was educated in Prague at a Jesuit college, he traveled at least briefly to Vienna and to Italy, and his musical tradition was that of the Italian-Viennese catholic composers - Caldara and Fux, for instance. Opportunity took him away from that musical ambience, however, to spend the bulk of his career in Dresden, in the shadow of the German-school Kapellmeister JD Heinichen. In a sense, Zelenka seems to have hit some kind of 'glass ceiling' in his career, never receiving the more prestigious appointments he sought and deserved.

Zelenka these days is often compared to JS Bach, a comparison put forward both by admirers of his work and by Czech nationalists in music. The comparison is justified; Zelenka's virtues, as a composer of the deepest profundity and theoretical acumen, are exactly those of Bach. Both men were simultaneously 'old-fashioned' according to the popular tastes of their maturity, yet extremely novel and adventuresome in their explorations of the harmonic resources of their era. Both of them were unafraid to write music that challenged the skills of their players and singers to the maximum, as well as the musical sensibilities of their audiences. Both of them left some of their grandest compositions unperformed during their lifetimes, unheard except in the minds of their composers until our day.

These Lamentations were probably performed in the Electoral chapel in Dresden. The manuscript that has survived is dated 1722. They are scored for solo voice and a small orchestra; the Chandos Players use recorders, oboes, violins, viola, cello, bassoon, double bass, and organ. Zelenka's instrumental writing is remarkably 'progressive;' earlier composers had certainly exploited the affective color of individual instruments, and written idiomatically for them, but Zelenka boldly mixes and matches the timbres of the whole orchestra into an expressive palette, a symphonic whole. It's this symphonic coloration that puts modern listeners to thinking of Haydn and Mozart when they hear Zelenka. On the other hand, the dark chromatics and eccentric voice leading of these Lamentations, especially those for Maundy Thursday, put 'yours truly' to thinking backwards, to Gesualdo and Palestrina. It's one of the odd scraps of biographical knowledge of Zelenka that have survived, by the way, that he was a avid collector of Renaissance musical manuscripts.

Although the full series of six Lamentations were not intended to be performed together, but rather in pairs of two on three consecutive evenings, they form a remarkably unified whole. Even with much reiteration of the words of the text -- each Lament concludes with an extended treatment of the refrain "Jerusalem, convertere ad Dominum Deum tuum -- and with every movement adagio, there is a potent current of emotion in this music, from the desolation expressed in the first lamentaion, sung by bass Michael George, to a kind of serenity and consolation in the last Lamentation, sung by countertenor Michael Chance, an affective transformation supported by the simplest progressive from minor key to major. The only other work of the 18th Century to which this composition might be compared is Haydn's sublime string quartet based on his oratorio of The Seven Last Words.

Chance and George are joined by tenor John Mark Ainsley, and all three sing at the acme of their talents. This is a recording of the highest musicianship in every aspect. Is it too early in the month to declare it the Giordano Bruno "must-buy" CD for March?
1 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 progressively endearing 22 janvier 2009
Par classical newb - Publié sur Amazon.com
Format: CD Achat vérifié
Among Zelenka's work this might be the least accessible one; at least that is how I felt when I encountered "Lamentation of Jeremiah". Perhaps it this the not-so-much exiting religious aspect that made me feel that way. But after 10th listen (according itune play count) I could appreciate how satisfying this record is. It has all the devotional feeling of a traditional format of "Lamentation of Jeremiah" a Catholic musical idiom (btw, I am not claiming to know anything; I not even a Catholic. I just know that past composers like Palestrina and others wrote their own Lamentation of Jeremiah), but Zelenka pushes beyond that by giving a penetrating touch of warm humanity that is very hard to find elsewhere. This feeling is so deep that any person who can invest some time to introspect this music cannot avoid feeling the tranquility. I know that most of the mood of the music is "Lamentation", (duh) but after each section ends you find some sort of comfort (like after finishing a prayer) an uplifting resolution that gives purpose to live on through this tough life with many let downs.

Alright, I know that what I wrote here is bunch of random petty insights, but I wrote it anyway just to see what I could come up with.
11 internautes sur 13 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Bohemian Bach 19 janvier 2008
Par Michael Martin De Sapio - Publié sur Amazon.com
Format: CD Achat vérifié
We have been conditioned to think of Bach's style as peculiar to him, or a direct outgrowth of the Lutheran tradition. Just ten minutes' acquaintance with the music of Jan Zelenka (1679-1745) will shatter this notion. Zelenka (accent on the first syllable) was a Bohemian-German Catholic composer working within the traditions of Latin liturgical music whose works are very Bach-like in their depth and originality. While Zelenka is not yet widely known to the general public, I believe that his time will come soon. Fellow Bohemian Biber has seen a huge revival in recent years, and it is surely only a matter of time before Zelenka will be recognized for what he is - one of the major figures of the high baroque.

Zelenka's setting of the Lamentations of Jeremiah, written in 1722, is cast as a set of cantatas (comprising arias, recitatives, and arioso) for solo voice and orchestra. Written for Holy Week, they pass from anguish to warmth and childlike hopefulness in the final two major-key Lamentations for Easter Eve. The performances of Michael George, Michael Chance, John Mark Ainsley, and the Chandos Baroque Players have a radiant, mystical aura about them; they are flawless and lovingly rendered. One thing about these pieces that I found surprising and touching: Zelenka gives some of the most florid music, not to the text of the Lamentations itself (which is set largely in recitative and arioso) but to the Hebrew letters at the head of each stanza. An analogy with the florid initials of illuminated manuscripts, perhaps?

Zelenka's music demands to be heard, and this budget-priced disc is the ideal means of discovering this great composer.

Caveat emptor: This CD is also available, with identical cover art, at full price. Don't be fooled!
11 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 a voice teacher and early music fan 22 janvier 2008
Par George Peabody - Publié sur Amazon.com
Format: CD
JEREMIAH LAMENTS-SKILLED SINGERS PRESENT-ZELENKA'S CONTENT

If Handel and Bach are the first two members of the Baroque Musical Trinity, then Jan Dismas Zelenka must be the third, for his music is fast coming to the fore, and more and more recordings of it are being made.

Jan Zelenka (1679-1745) studied with Fux in Vienna(1715) and Lotti in Venice(1717), returning to Dresden in 1719, where in 1735 he acquired the post of 'church composer'.

Zelenka's highly individualitic idiom no doubt militated against general favor, although he was clearly admired by discerning contemporaries. The bulk of his output was religious music, including three oratorios, a sacred opera about St. Wenceslas and twelve masses,as well as many smaller works.

Zelenka's music sounds somewhat like J.S.Bach, but it is different enough from Bach's structure and instrumentation. However,like Bach, he valued counterpoint, fugal technique and careful craftsmenship, besides its sonorous color which is shown by the use of obligato wind instruments and a complex chromatic harmony.

The typrical 'Zelenkaisms' are: frequent alternation between immediately adjoining major and minor in the same chord, chromatic and contrasts such as orchestra unison as well as vocal unison, sequence of quickly moving descending scales ending in unexpected harmonies. These characteristics are carefully balanced and integrated into a translucent bar structure of heavy Italian influence(think of Scarlatti or Lotti), even though the specific personal elements are in no way reduced.

In the Christian Religion there is a Service called 'Tenebrae' celebrated by the Western Church. It takes place on the evening before Maunday Thursday, Good Friday and Holy Saturday, which are the last three days of Holy Week. Many composers through the years have composed music for the Liturgy of this service which is from 'The Lamentations of Jeremiah'. A few of these who have written musical settings are Thomas Tallis, William Byrd, Francois Couperin and of course Zelenka.

These 'Lamentations of Jeremiah' are beautifully conceived by Zelenka who seems to have a knack for providing wonderful melodies imbued with mysticism and at the same time a sense of anticipation, for both chorus and orchestra. Each lamentation is about twenty-four minutes long and is split into two parts that contain some crafty and intelligent writing.

The three soloists are quite superb in their portrayals of Christ's Passion.
Having said all of this I need to mention the skill involved in performing these Lamentations. The three excellent soloists are: Michael Chance (countertenor) who sings: Lamentations II for Maunday Thursday and Easter Eve. His voice is warm, almost hypnotic and a pure joy hear. Michael George (bass) sings Lamentations I for Maunday Thursday and Lamentations II for Good Friday. His voice is deeply sonorous, but without a 'rumbling' quality that often muddies up the clarity of the words; a listening pleasure. John Mark Ainsley (tenor) sings Lamentation I for Good Friday and Easter Eve. He sings precisely with clear diction and an intense tone quality that is very pleasing to the ear. They each have lengthy solo passages and perform them within a proper emotional framework.

BBC-Nicholas Anderson
'These soloists are on their accustomed strong form, shading the music with sensitivity and evenness of tone. But the warmly colored and gently inflected support provided by the Chandos Baroque Players deserves equal praise'.

The recording comes with excellent liner notes and a complete text.
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