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Symphonies pour les Soupers du Roy

Elbipolis Barockorchester

Symphonies pour les Soupers du Roy

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917266429
Catnr: CC 72664
Release date: 23 January 2015
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Label
Challenge Classics
UPC
0608917266429
Catalogue number
CC 72664
Release date
23 January 2015

"... tender beauty, sometimes with a hint of melancholy."

agoraclassica.com, 07-6-2019
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Artist(s)
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About the album

The highly talented musician Michel-Richard Delalande tried hard from an early age to obtain a position at the court of Louis XIV. Delalande gained his first post at court thanks to his success at a competition in 1683 when fifteen composers had been asked to set the words of the psalm “Beati quorum”. This marked the beginning of an era which was to last more than four decades, during which Delalande worked at the French royal court. He continually rose through the ranks, collecting an impressive number of posts. Delalande’s chief task entailed composing church music. In doing so, he raised the “grand motet” – celebratory psalm settings for choir, soloists and orchestra – to a new level, producing over seventy large-scale works. He also composed numerous stage works, particularly ballets and divertissements, as royal entertainments.

Immediately after starting in his post as Surintendant de la Musique de la Chambre in 1689, Delalande began composing instrumental movements. These suites were chiefly intended for the king’s soupers which, as the sociologist Peter Burke has pointed out, resembled a ritual:

“Louis might eat more formally (the grand couvert) or less formally (the petit couvert), but even the least formal occasions, très petit couvert, included three courses and many dishes. These meals were performances before an audience. It was an honour to be allowed to watch the king eat, a greater honour to be spoken to by the king during the meal, a supreme honour to be invited to serve him his food or to eat with him.”*)

In this context, instrumental music played an important role, its magnificence reflecting the regent’s powerful self-image. Since new works were continually being demanded, this “table music” practice resulted, over the course of the years, in an impressive body of works. Delalande had a first volume of these works assembled in 1703, containing 160 compositions which are presented as ten suites. The title of the volume uses the term Les Symphonies de M. de La Lande, referring to the entirety of his orchestral works. Further volumes appeared in the following years until after the composer’s death; in all, there are around three hundred movements in different sequences. They are mostly short compositions, either taking after traditional dance models or presented as character pieces.

These collections of Delalande’s works survive as partitions réduites, i.e. in incomplete versions. Most pieces are only noted with two parts, the upper part (“dessus”) and bass; in the trios, a second upper part (“deuxième dessus”) is added; very rarely does one find four-part pieces (“quatuors”). However, it may be assumed that most of this repertoire would have been played by five-part ensembles, according to the ideal of French orchestral writing at the time.

Jörg Jacob has been involved with the Elbipolis Barockorchester Hamburg from its beginnings, both as performer and programme researcher. For this recording of the Symphonies pour les Soupers du Roy by Michel-Richard Delalande, Jacobi has produced a complete reconstruction of the featured worksOn this new release, the Hamburg ensemble perform these astonishing pieces for the first time in their originally intended five-part textures.
Delalande's tafelmuziek voor Lodewijk XIV, voor het eerst in de originele bezetting
Dit album bevat de Symphonies pour les Soupers du Roy van Michel-Richard Delalande, uitgevoerd door het Elbipolis Barockorchester Hamburg. Deze tafelmuziek wordt zelden uitgevoerd, en kan vergeleken worden met de beroemde werken van Telemann.

De hooggetalenteerde componist Delalande probeerde al op vroege leeftijd een positie aan het hof van Lodewijk XIV te bemachtigen. Hij verkreeg zijn eerste positie door in 1683 mee te doen aan een competitie. Dit was het begin van Delalande’s periode aan het Franse hof, die meer dan 40 jaar zou duren.

Zijn belangrijkste taak was het componeren van kerkmuziek. Nadat Delalande in 1689 benoemd werd als Surintendant de la Musique de la Chambre, begon hij ook instrumentale werken te schrijven. Deze suites waren bedoeld voor het begeleiden van de soupers van de koning, die eerder een ritueel vormden dan een maaltijd. De muziek tijdens de maaltijd gaf het zelfbeeld van de koning weer.

Omdat er steeds nieuwe composities gevraagd werden, resulteerde deze ‘tafelmuziekpraktijk’ in een indrukwekkend aantal werken. Delalande componeerde ongeveer driehonderd werken. Deze zijn meestal kort, en gebaseerd op traditionele dansen of gepresenteerd als karakterstukken.

De collecties van de werken zijn van Delalande zijn incompleet: van de meeste werken zijn slechts twee partijen genoteerd. Dankzij de reconstructie van onderzoeker Jörg Jacobi kan de tafelmuziek voor de Zonnekoning voor de eerste keer in de originele vijfstemmige bezetting uitgevoerd worden, op historische instrumenten.
Schon früh bemühte sich der hochtalentierte Komponist Delalande um einen der überaus begehrten Posten am königlichen Hofe Ludwigs XIV. Einem Wettbewerb verdankte er seine erste Stelle, die den Beginn seiner über vierzigjährigen Karriere markiert. Als Surintendant de la Musique de la Chambre komponierte er Begleitmusik für die groß angelegten, feierlichen Soupers des Königs, die vielmehr einem Ritual als einer reinen Mahlzeit glichen. Dieser Tafelmusiken, überliefert lediglich in den beiden Oberstimmen, hat sich nun Interpret und Forscher Jörg Jacobi angenommen. Er hat die fehlenden Stimmen rekonstruiert, und das renommierte Hamburger Ensemble stellt diese wundervolle Musik nun zum ersten Mal überhaupt in ihrer ursprünglich gedachten, fünfstimmigen Fassung der modernen Welt vor.
Il talentuoso musicista Michel-Richard Delalande si diede da fare fin da giovanissimo per ottenere un posto alla corte di Luigi XIV. Egli ne entrò a far parte grazie al successo ad un concorso tenuto nel 1683, in cui era stato chiesto a quindici compositori di mettere in musica il testo del salmo “Beati quorum”. Questo concorso segnò l’inizio di un’epoca che durerà più di quattro decenni, durante i quali Delalande lavorò alla corte del re di Francia. Egli svolse incarichi di crescente responsabilità, collezionando un numero impressionante di posti. Il compito principale di Delalande riguardava la composizione di musica sacra. Nel fare questo, portò ad un nuovo livello il “grand motet” – un salmo celebrativo per soli, coro e orchestra – producendo più di settanta mottetti di grandi proporzioni. Compose anche parecchi lavori teatrali, in particolare balletti e divertissements, come intrattenimenti per il re.

Subito dopo avere assunto il posto di Surintendant de la Musique de la Chambre, nel 1689, Delalande cominciò a comporre movimenti strumentali. Queste suites erano principalmente destinate ad accompagnare le cene del re che, come ha osservato il sociologo Peter Burke, somigliavano a un rito: «Luigi poteva mangiare in modo più formale (il grand couvert) o in modo meno formale (il petit couvert), ma anche le occasioni meno formali (très petit couvert) comprendevano tre portate e molti piatti. Questi pasti venivano consumati davanti a un pubblico. Era un onore essere ammessi a vedere mangiare il re, un onore ancor più grande conversare con il re durante il pasto, un onore supremo essere invitato a servirgli il cibo o mangiare con lui.

In tale contesto, la musica strumentale giocava un ruolo importante, e la sua magnificenza rifletteva l’immagine potente del reggente. Poiché erano continuativamente richieste nuove opere, questa pratica della ‘musica da tavola’ produsse, nel corso degli anni, un impressionante corpus di opere. Nel 1703 Delalande vide riunito un primo volume di queste opere, contenente 160 composizioni suddivise in dieci suites. Il titolo del volume utilizza il termine Les Symphonies de M. de La Lande, riferendosi alle opere orchestrali nella loro interezza. Altri volumi apparvero negli anni seguenti fin dopo la morte del compositore; in tutto, vi sono all’incirca trecento movimenti disposti in diverse suites. Si tratta perlopiù di brevi composizioni, che si richiamano a modelli di danza tradizionali o si presentanto come pezzi caratteristici.

Queste collezioni di musiche di Delalande ci sono giunte come partitions réduites, cioè in versioni incomplete. Molti brani sono notati soltanto a due parte, la parte superiore (“dessus”) e il basso; nei trii viene aggiunta una seconda parte superiore (“deuxième dessus”); molto di rado si trovano brani a quattro parti (“quatuors”). Tuttavia, si può presumere che gran parte di questo repertorio venisse affidato ad ensemble a cinque parti, secondo l’ideale della scrittura orchestrale francese del tempo.

Jörg Jacob ha fatto parte dell’Orchestra Barocca Elbipolis di Amburgo fin dalla sua fondazione, sia come esecutore sia come ricercatore. Per questa registrazione delle Symphonies pour les Soupers du Roy di Michel-Richard Delalande, Jacobi ha realizzato una ricostruzione completa delle opere in programma. In questa novità, la compagine amburghese esegue questi brani straordinari per la prima volta nella loro tessiture destinate originalmente a cinque parti.

Artist(s)

Jochen Grüner

After training in choral conducting and violin at the Vocational School for Music in Dinkelsbühl, he studied 'historical performance practice' at the Academy of Ancient Music / Hochschule für Künste in Bremen at Prof.Thomas Albert. Award by the Arts & Cultural Foundation of Sparkasse Bremen with the loan of a violin by Jacob Stainer, Absam 1680. Jochen Green as soloist and leader in the European music festivals present.
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After training in choral conducting and violin at the Vocational School for Music in Dinkelsbühl, he studied "historical performance practice" at the Academy of Ancient Music / Hochschule für Künste in Bremen at Prof.Thomas Albert. Award by the Arts & Cultural Foundation of Sparkasse Bremen with the loan of a violin by Jacob Stainer, Absam 1680. Jochen Green as soloist and leader in the European music festivals present.

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Elbipolis Barockorchester Hamburg

A baroque orchestra at the gateway to the world: this is how Elbipolis sees itself. It is no coincidence that the ensemble is named after the great Hanseatic port it calls home: Elbipolis – City on the Elbe. Hamburg.  The musicians of the orchestra – all specialists in baroque music – demonstrate their zeal for new musical discoveries in projects that reach beyond the boundaries of standard repertoire, and they have been rewarded with success and accolades from connoisseurs and enthusiasts. From guest appearances at the Kölner Philharmonie or on the North German Radio (NDR) programme “Das Alte Werk” to regular performances at the Handel Festivals in Halle and Göttingen, at the Schleswig-Holstein Music Festival, or in the halls of the...
more

A baroque orchestra at the gateway to the world: this is how Elbipolis sees itself. It is no coincidence that the ensemble is named after the great Hanseatic port it calls home: Elbipolis – City on the Elbe. Hamburg.

The musicians of the orchestra – all specialists in baroque music – demonstrate their zeal for new musical discoveries in projects that reach beyond the boundaries of standard repertoire, and they have been rewarded with success and accolades from connoisseurs and enthusiasts. From guest appearances at the Kölner Philharmonie or on the North German Radio (NDR) programme “Das Alte Werk” to regular performances at the Handel Festivals in Halle and Göttingen, at the Schleswig-Holstein Music Festival, or in the halls of the Elbphilharmonie in Hamburg, Elbipolis is by now a well-established presence on German concert stages. The ensemble is also internationally sought-after: extensive concert tours across Europe have led Elbipolis to the Palais des Beaux Arts in Brussels and the West Cork Music Festival in Ireland, among others. At the invitation of the Goethe Institute, the orchestra has toured to Brazil and Southeast Asia. Passion for the musical history of one’s own region and a cosmopolitan worldview are not mutually exclusive. Both the identification of this Hamburg ensemble with the repertoire of its city as well as its openness to unconventional programmes have shaped its discography. Its debut CD Don Quichotte in Hamburg (2007), featuring music by Georg Philipp Telemann, Johann Mattheson, and Francesco Bartolomeo Conti, was warmly received by listeners and critics alike; subsequent productions

with similarly close ties to the ensemble’s home city include the CD Musik der Hamburger Pfeffersäcke (2008) and a recording of Johann Christian Schieferdecker’s Musicalischen Concerte (2011). In 2013, Elbipolis released Undercover Bach, an album of arrangements and original versions of orchestral suites and concertos by Johann Sebastian Bach. Its next CD, Sinfonies pour les soupers du Roy (2016), offered reconstructions of instrumental suites that had been composed by Michel-Richard Delalande (1657–1726) for the Sun King Louis XIV. These works have only survived to the present day in the form of a partition réduite, but Jörg Jacobi’s reconstruction of the missing parts has allowed modern listeners to hear this music for the first time in its full five-voice setting, as intended by the composer but only implicit in the reduced original score.

Alongside its work as a purely instrumental ensemble, Elbipolis performs in opera productions and choral projects with equal parts passion and dedication. The ensemble as a large orchestra has collaborated with Philipp Ahmann (NDR Choir) and the sopranos Nuria Rial and Deborah York, among others. Elbipolis takes a special interest in cultivating enthusiasm for early music in younger audiences. In 2008, the ensemble established the highly successful concert series “Baroque Lounge”, in which it collaborated with Brezel Göring (Stereo Total), Johannes Malfatti, Tim Exile, DJ Ipek, and other leading artists of the electronic music scene. For other ensembles and event organisers, this innovative format has come to serve as a model of how traditional concert formats can further evolve. In 2020, Elbipolis was awarded funding from the Federal Commissioner for Culture and Media (Neustart Kultur) for “Aus der Tiefe”, a Germany-wide concert series featuring cantatas by J. S. Bach. A new round of grants in 2022 enabled the realisation of the follow-up project “Mehr Bach!”, comprising a concert tour through northern Germany and the recording of the present disc.


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Jürgen Groß (conductor)

Jürgen Gross studied violin and music pedagogy with Isabella Petrosjan in his hometown of Hamburg. His intense interest in the baroque violin led him to studies with Thomas Albert at the University of the Arts in Bremen and later to the Institute for Early Music in Trossingen.  In 1999, he founded the Elbipolis Barockorchester Hamburg, with which he performs extensively throughout Germany and beyond. In recent years, the ensemble has toured to Switzerland, Sweden, Belgium, France, Czechia, Brazil, and southeast Asia.  Jürgen Groß is also regularly active as a coach and guest concertmaster for baroque and classical projects, for example at the Orchestra Academy of the Schleswig-Holstein Music Festival or at the University of Music in Nuremberg. 
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Jürgen Gross studied violin and music pedagogy with Isabella Petrosjan in his hometown of Hamburg. His intense interest in the baroque violin led him to studies with Thomas Albert at the University of the Arts in Bremen and later to the Institute for Early Music in Trossingen.

In 1999, he founded the Elbipolis Barockorchester Hamburg, with which he performs extensively throughout Germany and beyond. In recent years, the ensemble has toured to Switzerland, Sweden, Belgium, France, Czechia, Brazil, and southeast Asia.

Jürgen Groß is also regularly active as a coach and guest concertmaster for baroque and classical projects, for example at the Orchestra Academy of the Schleswig-Holstein Music Festival or at the University of Music in Nuremberg.


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Press

... tender beauty, sometimes with a hint of melancholy.
agoraclassica.com, 07-6-2019

Article - no quote possible
Concerto, 01-3-2016

no quote possible
Fono Forum, 01-9-2015

"This is their first recording of French music and is characterised by delicacy, warmth and clarity.” 
Gramophone, 08-7-2015

"The dozen musicians of Elbiplis regularly arouses the impression to be at least with twice as many, so tastefull and festive it all sounds."
Klassieke Zaken, 01-6-2015

"That is how it should have sounded at the French court."
Luister, 01-6-2015

[''].. I was surprised by the richness and depth of this music for Louis XIV."
The Observer, 19-4-2015

CD of the week "The twelve Elbipolis musicians connect tonal ingenuity with lightness and rhythmical precision. Delalande's music for Ludiwg XIV. is a real discovery."
rbb Kulturradio, 13-4-2015

["].. If Louis XIV was publicly eating his supper at Versailles, he could hardly wait to do so in silence." 
Classical Music, 01-4-2015

["].. This music is truly delightful - it's easy to see why the Sun King made Delalande such a prominent figure in the musical life of his court."
Early Music Review, 01-4-2015

"With Symphonies pour les Soupers du Roy will every brunch become a feast." 
De Gelderlander, 27-3-2015

"The lively play of Elbipolis leaves little doubt: their sounds dancing energetically through the room." 
De Standaard, 25-3-2015

"The lively play of Elbipolis leaves little doubt: their sounds are dancing energetically through the room."   
De Standaard, 25-3-2015

(...) refreshing and noble, so relaxing and endearing (...)
Rondo Online, 21-3-2015

(...) soulful and elegant, colourful, fiery up to the boarder of ferocity.
BR Klassik Leporello, 19-3-2015

***
La Libre Culture, 18-3-2015

[''].. The result is music of magnificence and touching eloquence." 
Sunday Times, 15-3-2015

CD of the week
MDR Figaro, 09-3-2015

CD of the week "This new CD of the Elbipolis Barockorchester absolutely appetising, fits to a good dinner and it is not for nothing that is is our CD of the week."
MDR Figaro, 09-3-2015

5***** [''].. I'm amazed that Louis and his court didn't abandon their nosh and start dancing, so nimble and lyrical is the music.''  
The Times, 07-3-2015

It is worth to listen to it closely. Especially if the music is interpreted in such a thrilling way as it is on this CD. The ensemble and the conductor combine rhythmical precision with refinement and lightness and revive the special attraction of this music.  
Hamburger Abendblatt, 04-3-2015

Play album Play album
01.
Première Caprice, Caprice de Villers-Cotterets: Fierement et detaché - Gracieusement - Un peu plus gay – Viste
03:01
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
02.
Première Caprice, Caprice de Villers-Cotterets: Gracieusement sans lenteur
02:13
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
03.
Première Caprice, Caprice de Villers-Cotterets: Vivement
00:33
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
04.
Première Caprice, Caprice de Villers-Cotterets: Trio
02:38
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
05.
Première Caprice, Caprice de Villers-Cotterets: Air
02:34
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
06.
Première Caprice, Caprice de Villers-Cotterets: Vivement - Doucement – Vivement
01:44
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
07.
Première Suite: Prélude
01:52
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
08.
Première Suite: Air grave
01:54
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
09.
Première Suite: Trio
01:21
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
10.
Première Suite: Petit Air
00:36
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
11.
Première Suite: Passacaille ou Grande Piéce
05:45
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
12.
Troisième Suite: Première Air
01:42
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
13.
Troisième Suite: Rondeau
01:10
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
14.
Troisième Suite: Loure
01:01
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
15.
Troisième Suite: Première Menuet & Deuxième Menuet alternativement
01:32
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
16.
Troisième Suite: Grand Pièce in D la re. Passacaille
04:20
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
17.
Cinquième Suite: Première Air G re sol
01:55
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
18.
Cinquième Suite: Deuxième Air leger
01:22
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
19.
Cinquième Suite: Air gay
01:11
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
20.
Cinquième Suite: Sarabande en Rondeau
03:27
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
21.
Grande piece en G re sol „Fantaisie ou Caprice que le Roy demandoit souvent“: Un peu lent - Viste - Doucement
04:49
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
22.
Grande piece en G re sol „Fantaisie ou Caprice que le Roy demandoit souvent“: Gracieusement - Gayment - Vivement
02:46
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
23.
Troisième Caprice: Gracieusement - Deuxième Air. Mineur
03:51
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
24.
Troisième Caprice: Air
01:15
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
25.
Troisième Caprice: Gigue. Gracieusement
02:08
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
26.
Troisième Caprice: Quatuor. Doucement – Prélude
03:17
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
27.
Troisième Caprice: Air vif
01:40
(Michel-Richard Delalande) Jurgen Groß, Elbipolis Barockorchester Hamburg
show all tracks

Often bought together with..

Johann Brouwer plays Bach, Böhm, Couperin and Forqueray
Johan Brouwer
Locatelli in Amsterdam
Ton Koopman / Amsterdam Baroque Orchestra

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