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| | Charpentier - Noëls & Christmas Motets | | | Music Artist : | | Marc-Antoine Charpentier | | Music Style : | | General | | Record Label : | | Naxos | | Release Date : | | 1999-11-01 | | Store Price : | | $8.99 | | Artistopia's Price: $8.99 | | Usually ships in 24 hours | | |
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CD Tracks/Songs
Disc 11. Messe de minuit, for 5 voices, chorus, instruments & continuo, H. 9: A minuit fut fait un réveil
2. Noëls (6) sur les Instruments, for 2 flutes, strings & continuo, H. 534: A la venue de Noël
3. Noëls (6) sur les Instruments, for 2 flutes, strings & continuo, H. 534: Où s'en vont ces gais bergers?
4. Noëls (6) sur les Instruments, for 2 flutes, strings & continuo, H. 534: Joseph est bien marié (I orch. II org.)
5. In nativitatem Domini canticum, Christmas motet for soprano, countertenor, tenor, bass, 2 flutes, 2 violins & continuo, H. 314
6. Noëls (6) sur les Instruments, for 2 flutes, strings & continuo, H. 534: Or nous dites Marie
7. Noëls (3) sur les instruments, for 2 flutes, strings & continuo, H. 531: Vous qui désirez sans fin
8. Noëls (3) sur les instruments, for 2 flutes, strings & continuo, H. 531: O Créateur
9. Canticum in nativitatem Domini, Christmas motet for 2 sopranos, bass, 2 treble strings & continuo, H. 393
10. Noëls (3) sur les instruments, for 2 flutes, strings & continuo, H. 531: Laissez paistre vos bêtes
11. Noëls (6) sur les Instruments, for 2 flutes, strings & continuo, H. 534: Une jeune pucelle (I soloist, II orch III org)
12. Noëls (6) sur les Instruments, for 2 flutes, strings & continuo, H. 534: Les bourgeois de Châtres
13. In Nativitatem Domini Canticum, histoire sacrée for 3 voices, chorus, orchestra & continuo, H. 416: Chanson
14. In nativitatem Domini Nostri Jesu Christi Canticum, histoire sacrée for 4 voices, chorus, 2 treble instruments & continuo, H. 414
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Other Artist Albums
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Customer Reviews of This Album/CD |
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 Delightful
Submitted on: 2008-11-30 |
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| I found this disc to be unexpectedly delightful. The music is full of charming tunes and the adaptations are tastefully done--Charpentier would doubtless have approved. (As another review has noted, the changes the ensemble has made are in fact mentioned in the liner notes). It's also very well recorded--not always the case with Naxos. The Aradia Ensemble came out with a second disc of Charpentier Christmas music (http://www.amazon.com/Noels-Christmas-Motets-Vol-2/dp/B00006L3VT/ref=sr_1_4?ie=UTF8&s=music&qid=1228085618&sr=1-4), which is good, but if you have a choice buy this one, vol. 1. |
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Really deserves a rating better than listed by one reviewer only!
Submitted on: 2007-12-15 |
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First of all, this is a delightful listening at the holiday season - the voices (both solo & together) are well recorded, as are the period instruments. The liner notes explain the changes made explicitly - I guess this does not really upset me as much as the one other 'poor' (and unjustified) review of this recording. Baroque music is often left open to interpretation, embellishments, etc., esp. w/ borrowings from other literary sources or in the use of carols (noels). Below is another review found elsewhere which simply confirms my own thoughts - take a chance, this is still lovely music which is very well done, and at a Naxos price!
"For early music lovers, this is a delightful collection of Christmas motets and arrangements of popular French carols played on period instruments, performed with distinction by the Canadian Aradia Ensemble under the direction of Kevin Mallon. The solo singing is uniformly strong, and the recorded sound in the Church of St. Mary Magdalene, Toronto, is atmospheric but not overly reverberant. And at the Naxos bargain basement prices, this is hard to resist." |
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 Danger Will Robinson, Danger...
Submitted on: 2002-03-20 |
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| This disc is well recorded and well played but it is not Charpentier. Rather, it is a disc of arrangements of Charpentier done by Kevin Mallon of the Aradia Ensemble. The Aradia Ensemble is a period instrument group, so one expects authenticity. One does not find it, however. What I find most troubling is that Naxos did not feel the need to inform its potential consumers (somewhere on the outside of the package) that these discs are inauthentic adaptations. All they would have needed to do is list the composer as Charpentier-Mallon or to note that Mallon arranged and adapted these pieces adding new instrumentation and, in some instances, expanding the texts. Why do record companies continue to issue product in this way? Not only is it historically perverse, it is unethical. Anyway, what I have learned from all this is that you stay with those who brought you, at least in this repertoire. In other words, stay away from the nouveau Stokowskian perversions of Mallon and stick with Christie and Minkowski. |
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