Alarcón: Lully - Dies irae, De Profundis, Te Deum (24/176 FLAC)
Alarcón: Lully – Dies irae, De Profundis, Te Deum (24/176 FLAC)

Composer: Jean-Baptiste Lully
Performer: Cappella Mediterranea, Chœur de Chambre de Namur
Orchestra: Millenium Orchestra
Conductor: Leonardo Garcia Alarcón
Audio CD
Number of Discs: 1
Format: FLAC (tracks)
Label: Alpha
Release: 2019
Size: 2.88 GB
Recovery: +3%
Scan: yes

Sophie Junker, soprano
Judith van Wanroij, soprano
Mathias Vidal, tenor
Cyril Auvity, tenor
Thibaut Lenaerts, tenor
Alain Buet, bass
Chœur de Chambre de Namur
Millenium Orchestra
Cappella Mediterranea
Leonardo Garcia Alarcón

Dies irae, LWV 64/1
01. Dies irae dies illa
02. Tuba mirum spargens sonum
03. Mors stupebit et natura
04. Liber scriptus proferetur
05. Quid sum miser tunc dicturus
06. Rex tremendae majestatis
07. Quaerens me, sedisti lassus
08. Juste judex ultionis
09. Ingemisco tanquam reus
10. Confutatis maledictis
11. Oro supplex et acclinis
12. Lacrymosa dies illa
13. Pie Jesu domine

De profundis, LWV 62
14. De profundis
15. Quia apud te
16. Requiem aeternam

Te deum, LWV 55
17. Te deum laudamus
18. Tibi omnes angeli
19. Pleni sunt caeli et terra
20. Patrem immensae majestatis
21. Tu rex gloriae, christe
22. Tu ad dexteram dei sedes
23. Te ergo quaesumus, tuis famulis subveni
24. Salvum fac populum tuum, domine
25. Dignare, domine, die isto
26. In te, domine, speravi

‘Although Lully never held any post in the Chapelle du Roi, his influence on the development of the grand motet, so emblematic of the Grand Siècle, was of decisive importance. He wrote imposing motets celebrating the glory of God and the King for the great ceremonies at court. Of the many royal funerals, that of Queen Marie-Thérèse in 1683 was among the most grandiose. Lully’s Dies iræ and De profundis were sung there. But his most celebrated motet was undoubtedly his Te Deum, which rang out for the first time in 1677 and became the king’s favourite. In 1687 Lully directed itonce again, but struck his foot violently with the heavy walking stick he used to beat time. The wound became infected and the gangrene gradually spread, causing the surintendant’s death on 22

March. Such was the tragic destiny of the man who was capable of conveying the most brilliant glory but also all the anguish of death in the same vein of grandeur.’*… That theatrical grandeur is the characteristic of this version recorded in the Chapelle Royale of the Château de Versailles. Lully is in the limelight again in 2019, on the occasion of the 350th anniversary of the Académie Royale de Musique (Paris Opéra), of which he was director from 1672 until his death.

Leave a Reply