Une messe pour la Saint-Michel ~ Freddy Eichelberger, Ludus Modalis [repost] - ISBN:B001N2T50U

Une messe pour la Saint-Michel ~ Freddy Eichelberger, Ludus Modalis [repost]

Date: 12 November 2010, 08:03

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Trouvé en torrent et je pense qu'il s'agit du up de Scarabou ! Donc merci Scarabou :)
This is a unique example of neo-Gallican chant, though not the only one we have heard. The ensemble sings the Ordinary and Proper chants for the Mass of St. Michael and All the Holy Angels from the Graduel de Poitiers published by Barbier in 1788, certainly one of the last Neo-Gallican books. (Theodore Karp lists a publication bearing the same title page from a different publisher in 1774.) Integral to the performance are the organ improvisations on a historic instrument in Juvigny-sur-Marne, supplying alternate versets of the Kyrie and interludes in the other chants of the Ordinary. The singers are accompanied on the serpent, a wind instrument invented in the 16th century for this purpose, with Godard occasionally ornamenting the chant rather than supporting the melodic line. The neo-Gallican chants are entirely different than the Roman chants of the period, both in melody and (except for the introit) in text. The singers occasionally use chant sur le livre, the form of improvised counterpoint that was practiced at the time. As expected, prominent features of the Mass include an organ offertoire after the chant, an O Salutaris Hostia with organ élévation after the Sanctus, and Domine salvum fac Regem after communion.
The organ was constructed by Jean de Villers for Notre-Dame-en-Vaux in Châlons-sur-Marne in 1663. He died leaving the organ unfinished, so it was completed in 1666 by Jacques Carouge. It was removed to the nearby church in Juvigny in 1791 and suffered repeated alteration for the next 185 years. Only in 1990–94 was the organ completely restored, as far as possible, to its original condition. The Romanesque church itself had to be restored for the security of the instrument.
This is a valuable addition to the short list of neo-Gallican chant recordings. With reference to this subject in the review of Theodore C. Karp’s magisterial treatment of the broader subject of Graduals published between about 1590 and 1890 (30:1), Marcel Pérès’s two CDs were mentioned along with “Lux Aeterna,” a recent CD obtainable only in France. Omitted from that list was Nivers’s Officium Defunctorum on a Polish PolyGram recording issued on CD Accord 17. Another disc that has not come this way is a neo-Gallican Messe Agatange from Toulouse that dates from the 18th century. That recording on Pierre Verany 798032 also uses alternatim organ versets.
The program is well conceived and exquisitely executed. The sound of the organ is brilliant, and the serpent takes its place among the singers without being overbearing. That is not to say that chant of either the Medicean or neo-Gallican period was pleasant to listen to, even if we might find recordings of both genres to be valuable. Tempos were slow, rhythm was severely equalist for the most part, and the elegance of the medieval melodies had been debased. There were good reasons for the modern restoration, even if we have since heard a variety of interpretations of that approach to chant. It was curious to hear an occasional note sung at half the normal duration, exactly as Calvin Bowers did on the CD inserted in Karp’s book. The transcriptions of chants in his second volume showed precisely this note value. Anyone who wants to know more about neo-Gallican chant should try to find copies of all six discs.
FANFARE: J. F. Weber
Faire revivre un office religieux gallican au XVIIe siècle, tel est le projet pour le moins audacieux que réalisent ici l'organiste Freddy Eichelberger, avec Michel Godard au serpent et les trois voix d'hommes (Bruno Boterf, Vincent Bouchot et François Fauché) de l'ensemble vocal Ludus Modalis. Mais plutôt que d'interpréter du plain-chant à partir des recueils imprimés de cette période, les musiciens se sont attelés à dégager la pratique courante de l'interprétation liturgique du XVIIe siècle. Or, quoi de plus mouvant et de plus évanescent qu'une interprétation liturgique ?
Certes, les manuels sont nombreux, et les rubriques légions, mais cela ne suffit pas à restituer les échos vivants de la prière musicale des fidèles disparus. Marcel Pérès, le premier, a montré que le geste liturgique est avant tout affaire de tempérament : le degré de solennité, la fête célébrée, le temps liturgique orientent la pratique musicale plus que le texte musical lui-même, et d'une certaine manière, ceci n'a guère changé aujourd'hui en matière de chant ecclésiastique. Fort de cet argument, Freddy Eichelberger met en avant la pratique de l'alternance entre le chœur, l'orgue et le serpent. Les interventions improvisées de l'orgue sont ainsi le prolongement naturel des pièces de plain-chant. Le tempo, la dynamique d'ensemble, l'utilisation des registres participent à cet effort d'unification de l'office.
L'écoute pourra s'avérer austère, rude parfois, à l'image de ce plain-chant à la conduite lente et grave, impression accentuée par le soutien massif du serpent. L'orgue contribue alors à relancer le discours (cf. les interventions entre les versets du Gloria) en jouant sur les couleurs âpres de l'orgue, grâce notamment à son tempérament mésotonique (magnifique orgue Jean de Villiers de Juvigny-sur-Marne, de 1663).
Autre point fort de cet enregistrement, la pratique du contrepoint sur le livre. Ecoutez par exemple le Graduel ou l'Alleluia: nous voici plongés dans un univers sonore absolument saisissant, rare, parce que sans doute plus sensible. -- Sylvain Gasser
Performers
Freddy Eichelberger, orgue
Michel Godard, serpent
Ensemble vocal Ludus Modalis:
Bruno Boterf, taille & direction
Vincent Bouchot, basse taille
François Fauché, basse taille
01. Introït
02-06. Kyrie
07-15. Gloria
16. Graduel
17. Alleluia
18. Credo
19. Offertoire
20. Offertoire sur les grands jeux
21. Sanctus
22. Benedictus
23. O salutaris Hostia
24. élévation
25-26. Agnus Dei
27. Communion
28. Fantaisie
29. Domine salvum fac Regem
30. Ite Missa est

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