Episodes
| Series | Episode | Title | First Broadcast | Comments |
|---|---|---|---|---|
| 2020 | 01 | Chalk And Cheese | 20201026 | Donald Macleod discovers the stories of two very colourful figures of the French baroque, Henri Desmarets and Joseph Bodin de Boismortier. Born a generation apart, Boismortier and Desmarets are perhaps lesser known figures of the French baroque, but together they provide a fascinating picture of life and music-making in the reigns of the Sun King and Louis XV after him. Boismortier's success came from what seems to be a natural ability to keep his finger on the pulse: his music followed all the latest trends and styles. He made a small fortune supplying music to the amateur market. They were works that fall cleverly under the fingers, and he advanced his profits by publishing them for any number of different combinations of instruments. That's not to say he didn't dip his toe into deeper waters: he wrote cantatas, motets and stage works, of which the comic opera about Don Quixote is probably the best known. After a golden career in 1753 at the age of 63, Boismortier retired to enjoy life on a beautiful estate 45 minutes outside Paris. That kind of material comfort was not to be Henri Desmarets's destiny. Born in 1661, he started out as a page at the Sun King's court. What was shaping up to be a promising career fell off the tracks after he eloped with one of his pupils. Her furious father got an order for his arrest, arranged for him to be attacked in the street, and dragged him through the courts. The furore finally ended when the couple fled into exile. In his absence Desmarets was condemned to death. He eventually settled at the Court of Lorraine. There's little doubt his fall from grace had a detrimental effect on his reputation. His operas and masses show him to be a talented and innovative composer. He was one of the very first composers known to have written for double choir and orchestra. Today Donald Macleod charts the formative years of these two contrasting characters. Boismortier: Trio sonata in D, op 37 no 3 I. Allegro Cappella Musicale Enrico Stuart Desmarets: Mass for Two Choirs and Two Orchestras Kyrie La capella Reial de Catalunya Le Concert des Nations Jordi Savall, director Desmarets: La Diane de Fontainebleau (excerpt) Christophe Laporte, countertenor Patrick Aubailly, tenor Arnaud Marzoratti, baritone Marie-Louise Dutholt, soprano Marie-No뀀lle Maerten, soprano Rapha뀀le Kennedy, soprano Fran瀀oise Masset, soprano La Simphonie du Marais Hugo Reyne, director Boismortier: Flute sonata in B minor op 44/2 Colin St. Martin, transverse flute Arcanum Desmarets: Te Deum (excerpt) Stephan van Dyck, tenor Robert Getchell, counter-tenor Alain Buet, baritone Hanna Bavodi, soprano Marie-Louise Duthoit, soprano Emmanuel Vistorky, bass Le concert spiritual Herv退 Niquet, director Producer: Johannah Smith for BBC Wales Donald Macleod steps into the French baroque with Desmarets and Boismortier. |
| 2020 | 02 | Making Your Mark | 20201027 | Donald Macleod continues his survey of two larger than life characters of the French baroque, Henri Desmarets and Joseph Bodin de Boismortier. Born a generation apart, Boismortier and Desmarets are perhaps lesser-known figures of the French baroque, but together they provide a fascinating picture of life and music-making in the reigns of the Sun King and Louis XV after him. Boismortier's success came from what seems to be a natural ability to keep his finger on the pulse: his music followed all the latest trends and styles. He made a small fortune supplying music to the amateur market. They were works that fall cleverly under the fingers, and he advanced his profits by publishing them for any number of different combinations of instruments. That's not to say he didn't dip his toe into deeper waters: he wrote cantatas, motets and stage works, of which the comic opera about Don Quixote is probably the best known. After a golden career in 1753 at the age of 63, Boismortier retired to enjoy life on a beautiful estate 45 minutes outside Paris. That kind of material comfort was not to be Henri Desmarets's destiny. Born in 1661, he started out as a page at the Sun King's court. What was shaping up to be a promising career fell off the tracks after he eloped with one of his pupils. Her furious father got an order for his arrest, arranged for him to be attacked in the street, and dragged him through the courts. The furore finally ended when the couple fled into exile. In his absence, Desmarets was condemned to death. He eventually settled at the Court of Lorraine. There's little doubt his fall from grace had a detrimental effect on his reputation. His operas and masses show him to be a talented and innovative composer. He was one of the very first composers known to have written for double choir and orchestra. In part two, the prospect of a court appointment improves Desmarets's prospects and the free spirited Boismortier paves his own way to being a society composer in Paris Desmarets: La Diane de Fontainebleau - Marche La Simphonie du Marais Hugo Reyne, director Desmarets: La Diane de Fontainebleau (excerpt) Fran瀀oise Masset, soprano Boismortier: Bassoon Concerto, Op 21 Laurent le Chenadec, bassoon Le Concert Spirituel Herv退 Niquet, director Boismortier: Les quatre saisons, Op. 5 Cantata no 4: Hyver: (excerpt) Valerie Gabail, soprano Fran瀀ois Nicolet, flute Les Festes V退nitiennes Eric Martinez-Bournat, director Desmarets: De Profundis Hanna Bayodi, soprano Sebastian Droy, tenor Stephanie Revidate, soprano Francois-Nicola Gestot, high tenor Donald Macleod surveys two composers of the French baroque, Desmarets and Boismortier. |
| 2020 | 03 | Between Tragedy And Farce | 20201028 | Donald Macleod explores Desmarets and Boismortier's theatrical leanings, with music from Didon and the comic opera Don Quichotte |
| 2020 | 04 | Love And Exile | 20201029 | Donald Macleod charts Desmarets's fall from grace and Boismortier tries his hand at sacred music by writing a grand motet. Born a generation apart, Boismortier and Desmarets are perhaps lesser known figures of the French baroque, but together they provide a fascinating picture of life and music-making in the reigns of the Sun King and Louis XV after him. Boismortier's success came from what seems to be a natural ability to keep his finger on the pulse: his music followed all the latest trends and styles. He made a small fortune supplying music to the amateur market. They were works that fall cleverly under the fingers, and he advanced his profits by publishing them for any number of different combinations of instruments. That's not to say he didn't dip his toe into deeper waters: he wrote cantatas, motets and stage works, of which the comic opera about Don Quixote is probably the best known. After a golden career in 1753 at the age of 63, Boismortier retired to enjoy life on a beautiful estate 45 minutes outside Paris. That kind of material comfort was not to be Henri Desmarets's destiny. Born in 1661, he started out as a page at the Sun King's court. What was shaping up to be a promising career fell off the tracks after he eloped with one of his pupils. Her furious father got an order for his arrest, arranged for him to be attacked in the street, and dragged him through the courts. The furore finally ended when the couple fled into exile. In his absence Desmarets was condemned to death. He eventually settled at the Court of Lorraine. There's little doubt his fall from grace had a detrimental effect on his reputation. His operas and masses show him to be a talented and innovative composer. He was one of the very first composers known to have written for double choir and orchestra. Boismortier advances his lucrative publishing outlet, and a major drama which leads to scandal and exile, inspires Desmarets to write an opera about love. Desmarets: Les amours de Momus (opera-ballet) Lieux charmants A Nocte Temporis Reinoud Van Mechelen, tenor & director Desmarets: Usquequo Domino (Psalm XII) (excerpt) Les Arts Florissants William Christie, director Desmarets: V退nus et Adonis (Act 3 Sc 3, excerpt) Sarabande Heureux amans - Connois le prix Karine Deshayes, mezzo soprano, V退nus S退bastian Droy, tenor, Adonis Chorus of the National Opera of Lorraine Les Talens Lyriques Christophe Rousset, director Desmarets: V退nus et Adonis (Act 5, sc 5 to 8, excerpt) Passacaille - Que toute la terre g退misse Anna-Maria Panzarella, soprano, Cidippe Boismortier: : Exaudiat te Dominus (Psalm 19) Kevin Mallon, violin Marcos Loureiro de Sa, baritone Jean-Paul Fouch退court, tenor Peter Harvey, baritone V退ronique Gens, soprano Le Concert Spirituel Herv退 Niquet, director Donald Macleod charts Desmarets's fall from grace and Boismortier writes a mass. |
| 2020 | 05 LAST | Only The Best | 20201030 | Donald Macleod recounts how Desmarets saves his career while living in exile, and back in Paris, Boismortier finally conquers the Paris opera with his opera Daphnis et Chloe. Born a generation apart, Boismortier and Desmarets are perhaps lesser-known figures of the French baroque, but together they provide a fascinating picture of life and music-making in the reigns of the Sun King and Louis XV after him. Boismortier's success came from what seems to be a natural ability to keep his finger on the pulse: his music followed all the latest trends and styles. He made a small fortune supplying music to the amateur market. They were works that fall cleverly under the fingers, and he advanced his profits by publishing them for any number of different combinations of instruments. That's not to say he didn't dip his toe into deeper waters: he wrote cantatas, motets and stage works, of which the comic opera about Don Quixote is probably the best known. After a golden career in 1753 at the age of 63, Boismortier retired to enjoy life on a beautiful estate 45 minutes outside Paris. That kind of material comfort was not to be Henri Desmarets's destiny. Born in 1661, he started out as a page at the Sun King's court. What was shaping up to be a promising career fell off the tracks after he eloped with one of his pupils. Her furious father got an order for his arrest, arranged for him to be attacked in the street, and dragged him through the courts. The furore finally ended when the couple fled into exile. In his absence, Desmarets was condemned to death. He eventually settled at the Court of Lorraine. There's little doubt his fall from grace had a detrimental effect on his reputation. His operas and masses show him to be a talented and innovative composer. He was one of the very first composers known to have written for double choir and orchestra. Once again proving he has his finger on the pulse, Boismortier chooses a subject to please Louis XVth's favourite mistress Madame de Pompadour, while Desmarets finds work in Madrid, only to be thwarted by the advent of war. Boismortier: Daphnis et Chlo退 (Act 3) Cantatille - Vole amour vole Ga뀀lle M退chaly, soprano, Chlo退 Le Concert Spirituel Herv退 Niquet, director Boismortier: Daphnis et Chlo退 (Act 2, Sc 3, excerpt) Rassemblons nous - Vents orageux Fran瀀ois-Nicolas Geslot, high tenor, Daphnis Marie-Louise Duthoit, soprano, La Matelote Desmarets: Domine ne furore Sophie Daneman, soprano Rebecca Ockenden, soprano Paul Agnew, tenor Laurent Slaars, baritone Arnaud Marzorati, bass Les Arts Florissants William Christie, director Boismortier: Concerto for 5 flutes in A minor, Op 15/2 Barthold Kuijken Danielle Etienne Frank Theuns Mark Hanta Serge Saitta Desmarets: Circ退 Sommeil - Ah! Que le sommeil est charmant A Nocte Temporis Reinoud Van Mechelen, tenor and director Producer: Johannah Smith for BBC Wales Donald Macleod recounts how Desmarets saved his career, and Boismortier writes a hit opera |