Episodes
| Series | Episode | Title | First Broadcast | Comments |
|---|---|---|---|---|
| 2017 | 01 | Italy V France | 20170703 | Donald Macleod explores Marc-Antoine Charpentier's formative years, with the dramatic motet Le Reniement de Saint Pierre and a discourse on pleasure, 'Les Plaisirs de Versailles It's just a case of bad timing for Marc-Antoine Charpentier that he happened to be born a decade or so after Jean-Baptiste Lully. The manipulative king's favourite held a monopoly at the Sun King's court and in the theatres. Even after his death in 1687, Charpentier had to contend with back-biting from Lully's vociferous supporters. Happily Charpentier also possessed a big reputation and a band of loyal and well-to-do supporters. In a career spanning 35 years, he enjoyed a succession of plum jobs, writing in every kind of genre for some of the most influential patrons and establishments in Paris. Indeed, perhaps Lully's restrictive practices were inadvertently his making, affording Charpentier the kind of artistic freedom to write exactly what he wanted. Back home after three years in Italy, the Italianate influences audible in Charpentier's music stirred up existing tensions over the merits of French and Italian style. Donald Macleod presents complete performances of the early Italian-influenced dramatic motet Le Reniement de Saint Pierre and the charming entertainment Les Plaisirs de Versailles, in which Conversation and Music argue as to which of them is indispensable. Te Deum, H.146 (excerpt) Les Arts Florissants William Christie, director Interm耀des: Le Mariage forc退 Le Reniement de Saint Pierre,H 424 Natalie Clifton-Griffith (soprano), Ostiaria Grace Davidson, soprano Ancilla Andrew Tortise (tenor) Petrus Benjamin Hulett (tenor), Jesus James Mustard, Eamonn Dougan (bass), Historicus Nicholas Mulroy, (tenor), Cognatus Malchi David Miller, Lynda Sayce, theorbo Richard Campbell, bass viol Silas Standage, organ Members of Ex Cathedra Choir and Baroque Ensemble Jeffrey Skidmore, director Les Plaisirs de Versailles H 480 Sophie Daneman (soprano), La Musique Katalin K |
| 2017 | 02 | The House Of Guise | 20170704 | Donald Macleod explores the treasury of pieces Marc-Antoine Charpentier wrote for his illustrious patron, Mlle de Guise, from theatrical entertainments to the most moving sacred texts. It's just a case of bad timing for Marc-Antoine Charpentier that he happened to be born a decade or so after Jean-Baptiste Lully. The manipulative king's favourite held a monopoly at the Sun King's court and in the theatres. Even after his death in 1687, Charpentier had to contend with back-biting from Lully's vociferous supporters. Happily Charpentier also possessed a big reputation and a band of loyal and well-to-do supporters. In a career spanning 35 years, he enjoyed a succession of plum jobs, writing in every kind of genre for some of the most influential patrons and establishments in Paris. Indeed, perhaps Lully's restrictive practices were inadvertently his making, affording Charpentier the kind of artistic freedom to write exactly what he wanted. For 18 years, Marc-Antoine Charpentier lived and worked in the H䀀tel de Guise, the palatial Parisian residence of Marie de Lorraine, the Duchesse de Guise. Generally known as Mademoiselle de Guise, she was a very well connected aristocrat - a first cousin of Louis XIV. Donald Macleod presents complete performances of the touching Hymn to the Blessed Virgin Mary, probably written for Mlle de Guise's visit to a popular pilgrimage site, Notre-Dame de Liesse, near the northern French city of Laon, contrasts with a splendid motet written for her nephew's funeral and the lively instrumental Sonata in 8 Parts, the first French chamber music to be called a Sonata. La Couronne de Fleurs (excerpts) Teresa Watkin (soprano), Flore Jesse Blumberg (baritone), Pan/Un Berger Amanda Forsythe (soprano), Roselie Dorothee Mields (soprano), Amaranthe Mireille Lebel (mezzo-soprano), Hyacinthe Jason McStoots (tenor), Forestan Zachary Wilder (tenor), Mirtil Douglas Williams (bass-baritone), Sylvandre Boston Early Music Festival Orchestra Paul O'Dette and Stephen Stubbs, Music Directors Motet pour les tr退pass退s, H311 Ensemble Vocal de l'Abbaye aux Dames de Saints Les Menus Plaisirs Michel Lapl退nie, conductor Sonate a huit, H548 London Baroque: Stephen Preston, Lisa Beznosiuk, transverse flutes Ingrid Seifert, Richard Gwilt, violins William Hunt, bass viol Nigel North, theorbo John Toll, harpsichord Charles Medlam, director Canticum in honorem beata virginis Mariae Le Concert des Nations Jordi Savall, director. Exploring Marc-Antoine Charpentier's sacred and secular music written for Mlle de Guise. |
| 2017 | 03 | Moliere And The Theatre Of Comedy | 20170705 | Donald Macleod delights over Marc-Antoine Charpentier's brilliantly evocative stage music, written for Moli耀re and his company of actors and his historical oratorio 'Mors Saulis et Jonathae'. It's just a case of bad timing for Marc-Antoine Charpentier that he happened to be born a decade or so after Jean-Baptiste Lully. The manipulative king's favourite held a monopoly at the Sun King's court and in the theatres. Even after his death in 1687, Charpentier had to contend with back-biting from Lully's vociferous supporters. Happily Charpentier also possessed a big reputation and a band of loyal and well-to-do supporters. In a career spanning 35 years, he enjoyed a succession of plum jobs, writing in every kind of genre for some of the most influential patrons and establishments in Paris. Indeed, perhaps Lully's restrictive practices were inadvertently his making, affording Charpentier the kind of artistic freedom to write exactly what he wanted. Charpentier got his big break in the theatre after a bust-up between the two leading artists of the day: Moli耀re, the master of theatrical comedy, and Jean-Baptiste Lully. For some years Charpentier supplied music for theatrical productions, notably 'Le Malade imaginaire' and 'Circ退', which contained an unprecedented number of thrilling special effects. This innate mastery of drama lent itself perfectly to setting the Old Testament story of the Death of Saul and Jonathan. Presented by Donald Macleod. Le Malade imaginaire (excerpts) Overture; Premier Intermꀀde Howard Crook (tenor), Spacamond Dominique Visse (countertenor,) La Vielle Alain Tr退tout (actor), Polichinelle Les Arts Florissants William Christie, director Circ退, H 496 (Instrumental music) London Baroque Charles Medlam, director Mors Saulis et Jonathae, H 403, (Part Two) Peter Kooy, Samuel Klaus Mertens, Saul Choir 1: Barbara Schlick, soprano; Kai Wessel, countertenor; Christoph Pr退gardien, tenor; Peter Kooy, bass Choir 2: Nancy Zijlstra, soprano; Dominique Visse, countertenor: Harry van Berne, tenor; Klaus Mertens, bass Amsterdam Baroque Orchestra Ton Koopman, director La Pierre philosophale Teresa Wakim (soprano), La Petite Gnomide Zachary Wilder (tenor,) Un Silphe Lydia Brotherton (soprano), Le Feu Olivier Laquerre (bass-baritone), L'Eau Boston Early Music Festival Vocal and Chamber Ensembles Paul O'Dette and Stephen Stubbs, Musical Directors. Donald Macleod explores Charpentier's evocative stage music. |
| 2017 | 04 | Working For The Jesuits | 20170706 | Donald Macleod explores Marc-Antoine Charpentier's decade working for the Jesuits, whose enormous wealth supported the creation of some ambitious large scale dramatic works, a raft of sacred works, among them quite possibly the much loved Te Deum in D major. It's just a case of bad timing for Marc-Antoine Charpentier that he happened to be born a decade or so after Jean-Baptiste Lully. The manipulative king's favourite held a monopoly at the Sun King's court and in the theatres. Even after his death in 1687, Charpentier had to contend with back-biting from Lully's vociferous supporters. Happily Charpentier also possessed a big reputation and a band of loyal and well-to-do supporters. In a career spanning 35 years, he enjoyed a succession of plum jobs, writing in every kind of genre for some of the most influential patrons and establishments in Paris. Indeed, perhaps Lully's restrictive practices were inadvertently his making, affording Charpentier the kind of artistic freedom to write exactly what he wanted. In 1688 Charpentier accepted the position of music master of the church of the Jesuit College. A generous salary and resources encouraged Charpentier to stay there for the next ten years, producing music for all occasions, pretty much on demand. Donald Macleod presents the poignant centrepiece of Charpentier's ground-breaking new style of music drama, David and Jonathan, and a complete performance of his brilliant Te Deum in the buoyant key of D. David et Jonathas (excerpts): Marche triomphante from Act 1; Prelude and scenes from Act 4 G退rard Lesne (countertenor,) David Monique Zanetti (soprano), Jonathan Les Arts Florissants William Christie, director Third Tenebrae Lesson for Good Friday, H 137 Kai Wessel, countertenor Christoph Pr退gardien, tenor Peter Kooy, bass Dominique Visse, countertenor Harry van Berne, tenor Klaus Mertens, bass The Amsterdam Baroque Orchestra Ton Koopman, conductor Te Deum, H.146 Annick Massus, soprano Magdalena Koenက, mezzo-soprano Eric Huchet, high tenor Patrick Henckens, tenor Russell Smyth, baritone Jean-Louis Bindi, bass Choir of Les Musiciens du Louvre Marc Minkowski, director. Donald Macleod focuses on Charpentier's decade working for the Jesuits. |
| 2017 | 05 LAST | Passion, Jealousy And Revenge | 20170707 | Donald Macleod assesses the astonishing breadth of Charpentier's musical activities with a drinking song, one of his most sumptuous masses and the operatic masterpiece M退d退e. It's just a case of bad timing for Marc-Antoine Charpentier that he happened to be born a decade or so after Jean-Baptiste Lully. The manipulative king's favourite held a monopoly at the Sun King's court and in the theatres. Even after his death in 1687, Charpentier had to contend with back-biting from Lully's vociferous supporters. Happily Charpentier also possessed a big reputation and a band of loyal and well-to-do supporters. In a career spanning 35 years, he enjoyed a succession of plum jobs, writing in every kind of genre for some of the most influential patrons and establishments in Paris. Indeed, perhaps Lully's restrictive practices were inadvertently his making, affording Charpentier the kind of artistic freedom to write exactly what he wanted. Donald Macleod explores Charpentier's final decade and attempts to get under the skin of this enigmatic, deeply talented individual. The series concludes with what is surely one of the highlights of Charpentier's career, the operatic jewel in his crown, M退d退e, which he produced at the age of 50 in 1693. Ayant bu du vin clairet, H 446 Les Arts Florissants William Christie, director Kyrie (Messe a 8 voix et 8 violons et flutes, H.3) Le Concert Spirituel Herv退 Niquet, director Transfige dulcissime Jesu, H 251 Harmony of Voices, Sweden Fredrik Malmberg, conductor M退d退e, Act 1, sc 2 to 4 Lorraine Hunt (soprano), Medea Mark Padmore (tenor) Jason Fran瀀ois Arcala (bass), Arcas Princesse, c'est sur vous que mon espoir se fonde (M退d退e, Act 2) M退d退e, Act 4 (excerpt) Fran瀀ois Piolino (tenor), Jealousy Jean-Claude Sarragosse (bass), Vengeance William Christie, director. Donald Macleod assesses the great breadth of Charpentier's musical activities. |