Psaumes du XVIème

Psaumes du XVIème
Centre de musique ancienne Genève / Ensemble Clément Janequin / Ensemble Les Eléments
Cascavelle 1001


  1. Goudimel: Psaume 87 "Dieu pour fonder tresseur habitacle" (1565, Paris; 5 voices, 4 viols, recorder, lute, organ)
  2. Loys Bourgeois: Psaume 29 "Las en ta fureur aigue" (1547, Lyon; 4 violes)
  3. Paschal de l'Estocart: Psaume 7 "Mon dieu j'ay en toy esperance" (1553, Genève; 5 voices, 4 viols)
  4. Adrian Leroy: Psaume 50 "Le Deiu, le Fort, l'Eternel parlera" (1552, Paris; voice, lute)
  5. Leroy: Psaume 104 "Sus, sus mon âme, il te fant dire bien" (1552, Paris; lute)
  6. Bourgeois: Psaume 23 "Mon Dieu me paist sous sa puissance haute" (1547, Lyon; voice, 2 viols, recorder, organ)
  7. Pierre Certon: Psaume 130 "Du fond de ma pensée" (1554, Paris; 4 viols, lute)
  8. Bourgeois: Psaume 37 "Ne sois fasché si durant ceste vie" (1547, Lyon; 4 voices)
  9. Estocart: Psaume 33 "Resveillez-vous chacun fidèle" (1583, Genève; 5 voices, 4 viols, recorder, lute, organ)
  10. Sweelinck: Psaume 1 "Qui au conseil des malins n'a esté" (1614, Amsterdam; 4 voices, 4 viols, 2 recorders, organ)
  11. Jacob van Eyck: Psaume 133 "O combien est plaisant et souhaitable" (1646, Amsterdam; recorder)
  12. Nicolas Vallet: Praeludium (1620, Amsterdam; lute)
  13. Vallet: Psaume 137 "Estans assis aux rives aquatiques" (1619, Amsterdam; voice, lute)
  14. Sweelinck: Psaume 140 "O Dieu, donne moi delivrance" (1604, Amsterdam; organ)
  15. Sweelinck: Psaume 118 "Rendez à Dieu louange et gloire" (1604, Amsterdam; 5 voices, 3 viols, 2 recorders, lute, organ)

Playing time: 51'

Recording date: January 1986

This is a major program from the Geneva Psalter. On the whole, this is simple, functional music, meant for performance in private homes. The performance emphasizes instrumental arrangements, but is very accomplished overall.

In many ways, this French repertory is more closely aligned with the English and North German music of c.1600, with a similar approach to "points" of imitation and contrapuntal function. Of course, this direction was discarded in France for an emphasis on the Italian monody. It is, I suppose, coincidence that this sort of harmonic divide should align with religion. After all, it is counter to what "tradition" should have implied. Nonetheless, this brief French repertory is interesting partly for this reason.

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Todd M. McComb