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    Te Deum

    Marc-Antoine Charpentier 

    Dumont and Charpentier where the art of the Grand Motet “à la française” in its most perfect completeness.

    Sébastien Daucé
    Sébastien Daucé © Diego Salamanca

    Caroline Weynants, Caroline Bardot, Perrine Devillers, Marie-Frédérique Girod | dessus
    Marie Pouchelon | bas-dessus
    David Tricou, Léo Vermot-Desroches | haute-contre
    Antonin Rondepierre, Randol Rodriguez | taille
    Ryan Veillet | taille
    Etienne Bazola, René Ramos Premier | basse-taille
    Nicolas Brooymans, Renaud Bres | basse

    Sébastien Daucé | direction and organ 
    Ensemble Correspondances 

    Complementary program
    Charpentier Ouverture pour quelque belle entreprise H. 540
    Dumont Memorare O piissima Virgo Maria
    Charpentier Symphony of Kyrie de la Missa Assumpta est Maria H. 11
    Dumont Super flumina Babylonis
    Charpentier Messe pour les Trépassés H. 2, Ouverture pour le sacre d’un évêque H. 536 

    Composer and singer, Marc-Antoine Charpentier left more than 500 pieces, the great majority of them vocal. Thus Leçons des ténèbres, Te Deum, oratorios and no fewer than 235 motets constitute a unique corpus for the time. If Lully and Henry Dumont are the great figures of the court, Charpentier would evolve far from the splendours of Versailles and the spheres of power. He was nonetheless appreciated by Louis XIV and it was at his request that he composed his most famous Te Deum, H146, most probably to celebrate the Victory of Steinkerque in 1692. This powerful fresco, whose prelude opens to the martial rhythms of timpani and trumpets, symbolises Louis XIV's Great Century of the Arts. Beyond its first eight bars, which in 1953 became the musical symbol of Eurovision, it is urgent today to rediscover other no less admirable works by this composer who was so representative of the French spirit. Sébastien Daucé, a great connoisseur of this corpus, will gladly introduce us to it.

    PRODUCTION Théâtre des Champs-Elysées

    Te Deum de Charpentier : huit mesures d’éternité

    Le monde entier connaît – bien souvent sans le savoir – au moins huit mesures de Marc-Antoine Charpentier : la fanfare d’introduction de son Te Deum…

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