Charles Martin Loeffler, Mélodies  

Emmanuel de Fonscolombe
Messe Brève

Carolyn Shuster-Fournier, órgano
Catherine Manandaza, soprano
Patrick Garayt, tenor
Hacquard, baritono
Felicitas Bergmann, mezzo-soprano

Primera mundial

VOL IC 217

Precio por un CD : 6.90 €

Escuchar todas las pistas :

Pista, Título Escuchar Caddie
01. Tout l'univers (6:26) 0.59
Messe Brève
02. Kyrie (2:10) 0.59
03. Gloria (8:20) 0.59
04. Credo (18:19) 0.59
05. Sanctus (4:16) 0.59
06. Agnus Dei (5:31) 0.59
07. Ave Maria (3:02) 0.59
08. Panis Angelicus (4:56) 0.59

Duración total 52:03

Emmanuel de Fonscolombe

was born in 1810 in Aix-en-Provence, where he also died in 1875. Emmanuel Honoré Boyer de Fonscolombe, Baron de la Mole, has composed, besides several masses, diversen scacred music and an opera : "Un prisonnier en Crimée" (A prisoner in the Crimea),charming melodies, vocal duets and a trio (violin, violoncello and piano).

He is one of the great choirmasters of Aix-en-Provence (Église de la Madeleine), in the tradition of Jean Gilles and André Campra.

As a contemporary of Berlioz, he is one of the rare romantic composers of the Provence. Having studied law, he was a friend of Félicien David, who dedicated to him "Eden" and "Moïse au Sinaï". He was also interested in Entomology and Botanics.

He lived in the Château de la Mole in southern french Var and he is the great-grandfather of the writer-pilot Antoine de Saint Exupéry.

His duets and melodies have been recorded in 2008 by Hybrid'Music.

Messe Brève

(tracks 2 à 6)

We know little about this mass. It had been composed originally for a three part choir and soloists. We decided ourselves for a version with three soloists because of the difficulty of the parts, especially for the tenor, which is in a nowadays scarcely common register.

As the score had never been published, the manuscript which was found in the Châteu de la Mole had to be read and corrected carefully. It is a work full of contrasts which never fatigues the listeners ear. The sequence of divers movements, especially in the Gloria and in the Credo surprises at every transition and brings a sense of pleasure.

The Credo (the intonation of which has been borrowed from the Messe Royale by du Mont) starts like a polyphony of Palestrina before developping quickly into a bolder counter point.

The rise to the Calvary of the crucifix is full of dramatic intensity and mirors the romantic feeling of the contemporary period, which began in France with Berlioz.

Other passages are very elegant and resemble the Missa brevis by Mozart or by Haydn. Large fugues as in the Rossini of the Small Solemn Mass clonclude brilliantly the Gloria and Credo.

Musica et Memoria : Association des Amis d’Emmanuel de Fonscolombe