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Sacred music

Leçons de Ténèbres by Couperin

Season

2023/2024

At the helm of his Concert Spirituel, Hervé Niquet exalts the spellbinding sobriety of these soul-stirring pages.

Herve Niquet Couperin Sacred music Lecons Tenebres Le Concert Spirituel

During the Ceremony of Darkness, the Lamentations of Jeremiah, recounting the ruin of Jerusalem destroyed by the Babylonians, were sung for the three Lessons of Holy Wednesday. Each letter of the Hebrew alphabet was then sung at the beginning of the Latin verses, to celebrate the acrostic nature of the original text.

Cast

Le Concert Spirituel, Chœur et Orchestre

François Saint-Yves, Orgue

Hervé Niquet, Direction

Programme

François COUPERIN (1668-1733)      

Première Leçon à une voix  

Marc-Antoine CHARPENTIER (1643-1704)  

Répons unus ex disciplis meis H114

Jacques-François LOCHON (1660?-1710?)

Tuere nos mortales (pièce instrumentale)

François COUPERIN                    

Deuxième Leçon à une voix

Marc-Antoine CHARPENTIER              

Répons eram quasi agnus innocens H115

Louis CHEIN (1637-1694)                                

Missa Pro Defunctis - Introït (pièce instrumentale)

François COUPERIN                    

Troisième Leçon à deux voix

Marc-Antoine CHARPENTIER              

Répons Una hora non potiuistis vigilare Mecum H 116

Michel-Richard DELALANDE (1657-1726)  

Miserere

Production

Le Concert Spirituel

Duration

1h15 minutes

without intermission

Photo credit

Le Concert Spirituel au Festival de Rocamadour 2017 ©Louis Nespoulous

Additional information

The concert on 28 March at La Sainte-Chapelle will open the Paris Opéra Festival 2024.

Seasons

Le Concert Spirituel au Festival de Rocamadour 2017 ©Louis Nespoulous

« Il existe beaucoup de très belles Leçons (Cavalieri, Michel, Lalande, Charpentier, Zelenka...), mais j’ai choisi celles de Couperin, qui frappent par la beauté de leurs mélismes, la souplesse mouvante à l’extrême de leurs harmonies, et la simplicité profonde de leur ton.

We know from period documents that the highly ornate vocal part of these Lessons, written for one or two vocal parts and basso continuo, could be sung in unison by a choir of nuns.

At the time, female singers practised ornamented plainchant on a daily basis, and together they were able to perform the highly ornamented figures in Couperin's writing as a single voice.

It may seem an impossible feat to achieve today, but with the six singers who surround me on this programme, we decided to take up the challenge.

And all of a sudden, that was it: the sound, the music, took on an extraordinary dimension."

Hervé Niquet

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