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Leçons de ténèbres

April 09, 2024

For other uses, see Leçons de ténèbres (disambiguation).

Leçons de ténèbres (lit. 'lessons of darkness'; sometimes spelled Leçons des ténèbres) is a genre of French Baroque music which developed from the polyphonic lamentations settings for the tenebrae service of Renaissance composers such as Sermisy, Gesualdo, Brumel, Tallis, and Tomás Luis de Victoria into virtuoso solo chamber music.

Spelling edit

In the original French sources "Leçons de ténèbres" is more common; the spelling "Leçons des ténèbres" is increasingly common in later resources, but modern sources still use "de", as seen in Sébastien Gaudelus's Les offices de Ténèbres en France, 1650–1790 (2005). The capitalisation of "ténèbres" varies.

Liturgical function edit

The tenebrae service uses the text of the Lamentations of Jeremiah, originally deploring the Siege of Jerusalem (587 BC) and subsequent desolation of the city, but applied allegorically to the three days of mourning for Christ between his crucifixion and resurrection.

However the context of the French Leçons de ténèbres was often private performance. Delalande's 15-year-old daughter sang for Louis XIV first in his living rooms and then in chapel, becoming the praise of all Paris. Philidor's catalogue indicates that Delalande's three surviving virtuoso solo Leçons de ténèbres were composed for such occasions.[1]

A complete set of Leçons de ténèbres for the full three days of Holy Week (Holy Thursday, Good Friday, Holy Saturday; played for practical reasons on the eve of each mentioned day, so: Holy Wednesday, Holy Thursday, Good Friday), would have included nine lessons, with each of these leçons requiring the setting of specific texts from Lamentations, although the conventions of exactly which texts to set varied slightly from the Renaissance to the Baroque, and by local custom. The following represents the typical French baroque schema set by Marc-Antoine Charpentier,[2] which follows the order of the Roman Breviary of St. Pius V as it was promulgated after the Council of Trent in 1568.

Holy Wednesday
  • Première leçon pour le mercredi Saint – 1:1–5
  • Deuxième leçon pour le mercredi Saint – 1:6–9
  • Troisième leçon pour le mercredi Saint – 1:10–14
Holy Thursday
  • Première leçon pour le jeudi Saint – 2:8–11
  • Deuxième leçon pour le jeudi Saint – 2:12–15
  • Troisième leçon pour le jeudi Saint – 3:1–9
Good Friday
  • Première leçon pour le vendredi Saint – 3:22–30
  • Deuxième leçon pour le vendredi Saint – 4:1–6
  • Troisième leçon pour le vendredi Saint – 5:1–11

However, in practice composers rarely supplied a complete group of all 9 settings. A notable exception was Charpentier, who authored a complete set Les Neuf Leçons de ténèbres (H. 96–110) and duplicated all the settings several times over.[3]

In addition the services required antiphons and supplementary motets – 9 for each day, 27 in total. Charpentier again produced extensively in this genre, such as his Les neuf répons du mercredi saint (H. 111–119, 120–125, 135–137). As with the lessons the French répons are stylistically differentiated from the Renaissance responsories for Holy Week of Victoria and Gesualdo.

Musical style edit

The characteristic style of the Leçons de ténèbres is defined by the trend to soloist virtuoso performance, for one or two vocalists with basso continuo, and introspective and melismatic music – specifically in the melismas on the Hebrew letters introducing each Latin verse.

By way of contrast the larger scale choral and orchestral lamentations of provincial composer Jean Gilles stand outside the mainly Parisian genre, and more in line with the lamentations of Central European baroque composers such as Zelenka and Heinichen.

Composers edit

Of the settings by far the best known are the Leçons de ténèbres of Couperin, however Couperin's were not the first nor was he the most prolific composer in the genre:[4]

Later composers who in part followed the French chamber style in their settings of lamentations include:

Selected recordings edit

  • Marc-Antoine Charpentier :
    • Leçons de Ténèbres, Office du Mercredi Saint, H.117, H.120, H.138, H.131, H.126, H.141, H.173, Office du Jeudi Saint, H. 121, H.139, H.136, H.144, H.128, H. 528, H. 510, H. 521, Office du Vendredi Saint, H.95, H.99, H.100, H.140, H.133, H.130. Il Seminario Musicale, Gérard Lesne. Virgin Classics 1995. Diapason d'Or
    • Leçons de Ténèbres, Office du Mercredi Saint, H.96, H.97, H.98, H.111, H.112, H.113, Office du Jeudi Saint, H.102, H.103, H.109; Office du Vendredi Saint, H.105, H.106, H.110 - Judith Nelson, Anne Verkinderen (sopranos), René Jacobs, Concerto Vocale René Jacobs, dir. Harmonia Mundi 1979 Diapason d'or
    • Leçons de Ténèbres, H.96, H.97, H.98/108, H.102, H.103, H.106, H.105, H.109, H.110, H.100 a - Anne Marie Rodde, Sonia Nigoghossian, Helen Watts, Clara Virz, La Grande Écurie et La Chambre du Roy, dir Jean Claude Malgoire. CBS 1978
    • Leçons de Ténèbres, H.120, H.121, H.122, H.123, H.124, H.125, H.135, H.136, H.137; Howard Crook, Luc de Meulenaere, haute-contres; Jan Caals, Harry Ruyl, ténors; Michel Verschaeve, basse taille; Kurt Widmer, basse; Musica Polyphonica, dir Louis Devos. Erato 1984.
  • François Couperin :
  • Michel Richard Delalande :
  • Michel Lambert
    • Neuf Leçons de Ténèbres, Ivete Piveteau, conductor, Noemi Rime, soprano, Nathalie Stutzmann, contralto, Charles Brett, haute-contre, Howard Crook, ténor, Virgin classics 1989
    • Neuf leçons de Ténèbres, Marc Mauillon, Myriam Rigol, viole de gambe, Roussel Thibaut, luth, Mankar-Bennis, clavecin. CD Harmonia Mundi 2018
  • Jan Dismas Zelenka
    • Leçons de Ténèbres and Répons, Collegium Vocale 1704, Collegium 1704, Vaclav Luks, conductor. CD Accent 2012

References edit

  1. ^ Chapter 5. Leçons des ténèbres in Lionel Sawkins, John Nightingale, Michel-Richard de Lalande (1657–1726) British Academy
  2. ^ per Jacobs and Lesne recordings, C. Cessac Charpentier appendix, but see also Emfaq, Lamentations for comparisons with other composers
  3. ^ Catherine Cessac, Reinhard G. Pauly Marc-Antoine Charpentier 1995
  4. ^ Sébastien Gaudelus Les offices de Ténèbres en France, 1650–1790 – 2005
  5. ^ The Harvard biographical dictionary of music Don Michael Randel

April 09, 2024
leçons, ténèbres, other, uses, disambiguation, lessons, darkness, sometimes, spelled, leçons, ténèbres, genre, french, baroque, music, which, developed, from, polyphonic, lamentations, settings, tenebrae, service, renaissance, composers, such, sermisy, gesuald. For other uses see Lecons de tenebres disambiguation Lecons de tenebres lit lessons of darkness sometimes spelled Lecons des tenebres is a genre of French Baroque music which developed from the polyphonic lamentations settings for the tenebrae service of Renaissance composers such as Sermisy Gesualdo Brumel Tallis and Tomas Luis de Victoria into virtuoso solo chamber music Contents 1 Spelling 2 Liturgical function 3 Musical style 4 Composers 5 Selected recordings 6 ReferencesSpelling editIn the original French sources Lecons de tenebres is more common the spelling Lecons des tenebres is increasingly common in later resources but modern sources still use de as seen in Sebastien Gaudelus s Les offices de Tenebres en France 1650 1790 2005 The capitalisation of tenebres varies Liturgical function editThe tenebrae service uses the text of the Lamentations of Jeremiah originally deploring the Siege of Jerusalem 587 BC and subsequent desolation of the city but applied allegorically to the three days of mourning for Christ between his crucifixion and resurrection However the context of the French Lecons de tenebres was often private performance Delalande s 15 year old daughter sang for Louis XIV first in his living rooms and then in chapel becoming the praise of all Paris Philidor s catalogue indicates that Delalande s three surviving virtuoso solo Lecons de tenebres were composed for such occasions 1 A complete set of Lecons de tenebres for the full three days of Holy Week Holy Thursday Good Friday Holy Saturday played for practical reasons on the eve of each mentioned day so Holy Wednesday Holy Thursday Good Friday would have included nine lessons with each of these lecons requiring the setting of specific texts from Lamentations although the conventions of exactly which texts to set varied slightly from the Renaissance to the Baroque and by local custom The following represents the typical French baroque schema set by Marc Antoine Charpentier 2 which follows the order of the Roman Breviary of St Pius V as it was promulgated after the Council of Trent in 1568 Holy WednesdayPremiere lecon pour le mercredi Saint 1 1 5 Deuxieme lecon pour le mercredi Saint 1 6 9 Troisieme lecon pour le mercredi Saint 1 10 14Holy ThursdayPremiere lecon pour le jeudi Saint 2 8 11 Deuxieme lecon pour le jeudi Saint 2 12 15 Troisieme lecon pour le jeudi Saint 3 1 9Good FridayPremiere lecon pour le vendredi Saint 3 22 30 Deuxieme lecon pour le vendredi Saint 4 1 6 Troisieme lecon pour le vendredi Saint 5 1 11However in practice composers rarely supplied a complete group of all 9 settings A notable exception was Charpentier who authored a complete set Les Neuf Lecons de tenebres H 96 110 and duplicated all the settings several times over 3 In addition the services required antiphons and supplementary motets 9 for each day 27 in total Charpentier again produced extensively in this genre such as his Les neuf repons du mercredi saint H 111 119 120 125 135 137 As with the lessons the French repons are stylistically differentiated from the Renaissance responsories for Holy Week of Victoria and Gesualdo Musical style editThe characteristic style of the Lecons de tenebres is defined by the trend to soloist virtuoso performance for one or two vocalists with basso continuo and introspective and melismatic music specifically in the melismas on the Hebrew letters introducing each Latin verse By way of contrast the larger scale choral and orchestral lamentations of provincial composer Jean Gilles stand outside the mainly Parisian genre and more in line with the lamentations of Central European baroque composers such as Zelenka and Heinichen Composers editOf the settings by far the best known are the Lecons de tenebres of Couperin however Couperin s were not the first nor was he the most prolific composer in the genre 4 Claudin de Sermisy John Sheppard Tenebrae Responsories Thomas Tallis Lamentations of Jeremiah Marc Antoine Charpentier many complete settings H 91 H 92 H 93 H 94 H 95 H 96 H 97 H 98 H 99 a b c H 100 a b c H 101 H 102 H 103 H 104 H 105 H 106 H 107 H 108 H 109 H 110 Repons H 111 H 119 H 120 H 121 H 122 H 123 H 124 H 125 Repons H 126 134 H 135 H 136 H 137 H 138 H 139 H 140 H 141 H 142 H 143 H 144 1670 1695 Michel Lambert 1689 5 Michel Richard Delalande before 1711 one setting each for Wednesday Thursday and Friday survive Francois Couperin 1714 3 settings for Wednesday survive the other 6 settings for Thursday and Friday are lost Sebastien de Brossard Jean Fery Rebel lost Louis Nicolas Clerambault C 183 188 lost Jean Gilles Nicolas Bernier Jean Baptiste Gouffet Joseph Michel Charles Henri de Blainville Guillaume Bouzignac Alexandre Villeneuve Joseph Meunier d Haudimont Charles Henri de Blainville Michel CorretteLater composers who in part followed the French chamber style in their settings of lamentations include Joseph Hector Fiocco Franz Xaver Richter Jan Dismas Zelenka Arnaud Dumond Suite of nine nocturnes for solo guitarSelected recordings editMarc Antoine Charpentier Lecons de Tenebres Office du Mercredi Saint H 117 H 120 H 138 H 131 H 126 H 141 H 173 Office du Jeudi Saint H 121 H 139 H 136 H 144 H 128 H 528 H 510 H 521 Office du Vendredi Saint H 95 H 99 H 100 H 140 H 133 H 130 Il Seminario Musicale Gerard Lesne Virgin Classics 1995 Diapason d Or Lecons de Tenebres Office du Mercredi Saint H 96 H 97 H 98 H 111 H 112 H 113 Office du Jeudi Saint H 102 H 103 H 109 Office du Vendredi Saint H 105 H 106 H 110 Judith Nelson Anne Verkinderen sopranos Rene Jacobs Concerto Vocale Rene Jacobs dir Harmonia Mundi 1979 Diapason d or Lecons de Tenebres H 96 H 97 H 98 108 H 102 H 103 H 106 H 105 H 109 H 110 H 100 a Anne Marie Rodde Sonia Nigoghossian Helen Watts Clara Virz La Grande Ecurie et La Chambre du Roy dir Jean Claude Malgoire CBS 1978 Lecons de Tenebres H 120 H 121 H 122 H 123 H 124 H 125 H 135 H 136 H 137 Howard Crook Luc de Meulenaere haute contres Jan Caals Harry Ruyl tenors Michel Verschaeve basse taille Kurt Widmer basse Musica Polyphonica dir Louis Devos Erato 1984 Francois Couperin Couperin Lecons de tenebres Alfred Deller Philip Todd Raphael Perulli Michel Chapuis Harmonia Mundi 1970 Office des Tenebres de la Semaine Sainte 3 Lecons de Tenebres du Mercredy Il Seminario Musicale Gerard Lesne Harmonic records Cantus 1993 Diapason d or Hasnaa Bennani Isabelle Druet Claire Lefilliatre sopranos Vincent Dumestre Le Poeme Harmonique Alpha 2014 Michel Richard Delalande Claire Lefilliatre soprano Vincent Dumestre Le Poeme Harmonique Alpha 2002 Sophie Karthauser soprano Sebastien Dauce Ensemble Correspondances Harmonia Mundi 2015 Michel Lambert Neuf Lecons de Tenebres Ivete Piveteau conductor Noemi Rime soprano Nathalie Stutzmann contralto Charles Brett haute contre Howard Crook tenor Virgin classics 1989 Neuf lecons de Tenebres Marc Mauillon Myriam Rigol viole de gambe Roussel Thibaut luth Mankar Bennis clavecin CD Harmonia Mundi 2018 Jan Dismas Zelenka Lecons de Tenebres and Repons Collegium Vocale 1704 Collegium 1704 Vaclav Luks conductor CD Accent 2012References edit Chapter 5 Lecons des tenebres in Lionel Sawkins John Nightingale Michel Richard de Lalande 1657 1726 British Academy per Jacobs and Lesne recordings C Cessac Charpentier appendix but see also Emfaq Lamentations for comparisons with other composers Catherine Cessac Reinhard G Pauly Marc Antoine Charpentier 1995 Sebastien Gaudelus Les offices de Tenebres en France 1650 1790 2005 The Harvard biographical dictionary of music Don Michael Randel Retrieved from https en wikipedia org w index php title Lecons de tenebres amp oldid 1127410657, wikipedia, wiki, book, books, library,

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