Berlioz: Messe solennelle Le Concert Spirituel & Hervé Niquet

• Hector Berlioz (1803 - 1869): Messe solennelle H20:
• 1Messe solennelle H20: Introduction01:35
• 2Messe solennelle H20: I. Kyrie07:42
• 3Messe solennelle H20: II. Gloria04:30
• 4Messe solennelle H20: III. Gratias04:50
• 5Messe solennelle H20: IV. Quoniam tu solus Sanctus01:53
• 6Messe solennelle H20: V. Credo03:04
• 7Messe solennelle H20: VI. Incarnatus03:20
• 8Messe solennelle H20: VII. Crucifixus01:41
• 9Messe solennelle H20: VIII. Resurrexit06:59
• 10Messe solennelle H20: Motet pour l'Offertoire03:15
• 11Messe solennelle H20: IX. Sanctus02:40
• 12Messe solennelle H20: X. O salutaris03:12
• 13Messe solennelle H20: XI. Agnus03:26
• 14Messe solennelle H20: Domine salvum03:09
• Total Runtime51:16

Info for Berlioz: Messe solennelle

Composed in 1824 by Hector Berlioz at the age of twenty-one and premiered at the church of Saint-Roch in Paris in 1825, the Messe solennelle has come down to us following an eventful history. After Berlioz declared that he had destroyed the score, the mass was considered lost until it was rediscovered in Antwerp in 1992. This remarkable work helps us both to appreciate the development of Berlioz’s style – already revolutionary in his early years – and to understand what he owed to his contemporaries, notably Cherubini, whose monumental Requiem Hervé Niquet has already recorded (Alpha 251). Scored for three soloists (soprano, tenor and bass), chorus and orchestra, the work consists of thirteen movements, material from which Berlioz was to reuse in several later works, notably in the ‘Scène aux champs’ of the Symphonie fantastique, which quotes the ‘Gratias’. On the occasion of the 150th anniversary of Berlioz’s death, Hervé Niquet, fascinated by this work – ‘There’s nothing he doesn’t know about dramaturgy and vocal style. At the age of twenty!’ – decided to programme it (the concert at the famous Berlioz Festival of La Côte Saint-André was a memorable occasion) and record it in the Chapelle Royale of the Château de Versailles.

"Hervé Niquet is an exceptional advocate for the work. The Gardiner performance has the excitement of a surprising new discovery about it; Niquet builds on that excitement, I think, and performs the work with fervour. The Gardiner recording still has a key place in the Berlioz discography but this newcomer ranks proudly alongside it." (MusicWeb International)

"Hector Berlioz’s Messe Solennelle, premiered in 1825 at the church Saint-Roch in Paris, was long considered lost. It was only rediscovered in Antwerp in 1992. Composed for a large ensemble, the Mass is written with an incredible imagination, and Hervé Niquet meets this inspiration with an equally inspired interpretation that does full justice to the score. Nobody who has heard it, will forget the flowery, joyful Gloria. The Gratias is equally remarkable because the theme was reused in the 3rd movement of the Symphonie Fantastique. The Crucifixus (here of course sung as Crücifixüs, like the Resürrexit and the Sanctüs) is also characteristic and expressive. An opulently jubilant Domine Salvum concludes the mass. The choir and the orchestra of the Concert Spirituel perform committedly. The soloists Adriana Gonzalez and Julien Behr are convincing, while Andreas Wolf is somewhat weak in the depth. The recording is well balanced and relatively present, but the sound is too sharp and correspondingly cool. More warmth would have benefited the music." (Remy Franck, pizzicato.lu)

Adrianna Gonzales, soprano
Julien Behr, tenor
Andreas Wolf, bass
Le Concert Spirituel
Herve Niquet, conductor

Le Concert Spirituel
was the first company to perform private concerts in France. Founded in the eighteenth century, it closed with the outbreak of French Revolution. Its name was revived by Hervé Niquet when he founded his ensemble of ancient instruments in 1987, bringing back to life the great French repertoire played at the court of Versailles. In this spirit, Le Concert Spirituel collaborates closely with the Centre de Musique Baroque de Versailles and is devoted to airing the works of the great composers of French musical heritage, from Charpentier to Lully, by ways of Campra or Boismortier.

Expanding its repertoire to Italian, English and other masters, Le Concert Spirituel has made a name for itself on the national and international stage as one of the authoritative ensembles for the interpretation of Baroque music. Guest to the Salle Pleyel, Théâtre des Champs-Elysées and Château de Versailles each year, Le Concert Spirituel is also invited at the Concertgebouw Amsterdam, London’s Barbican Center and Wigmore Hall, at the Royal Albert Hall for the BBC Prom’s, at the Luxemburg Philharmonie, Tokyo Opera, BOZAR in Brussels, Auditorio Nacional de Madrid, Shanghai Concert Hall, and Theater an der Wien etc.

Hervé Niquet is proud to assemble an orchestra of keen musicians who interpret music, make instruments and conduct historical researches. This dynamic confederation provides for a "team ethic" which enables the realization of projects that are on the cutting edge of the latest discoveries in interpretation on period instruments. The Fireworks & Water Music production, whose recording received the Edison Award, is typical of this work.

While Le Concert Spirituel specializes in French sacred music and is recognized the world over for its work on this repertoire, an important part of its activity is also devoted to lyrical music. The ensemble unveiled works that received the most prestigious international awards : Marais's Sémélé was voted « Opera Recording of the Year » by the ECHO Klassik Awards in 2009, Grétry's Andromaque was awarded a “Grand Prix – Académie du disque Charles Cros” in 2010, and Campra’s Carnaval de Venise lately received the Supersonic Award and German Record Critic’s Award in 2011.

These musical adventures were also the opportunity to work with directors and choreographers as diverse as Gilles and Corinne Benizio (alias Shirley & Dino), Karol Armitage, Georges Lavaudant,and Joachim Schloemer. This process involving French operas has given birth to a collection of book-CD's in collaboration with the label Glossa (distributed by Harmonia Mundi), with whom Le Concert Spirituel has an exclusive recording engagement since 2000.

In 2013-2014, Le Concert Spirituel had scheduled a series of events: a European tour with Striggio’s Mass for 40 voices in Paris, Utrecht, Bremen, Bruxelles and Metz, a unique re-creation of the French version of Mozart’s La Flûte Enchantée at Salle Pleyel in Paris, a new production of Rameau’s Les Fêtes de l’Hymen et de l’Amour at the Théâtre des Champs-Elysées, the Opéra royal de Versailles and the Palais de Beaux-Arts of Bruxelles (250th death anniversary of Rameau), the production of Purcell’s King Athur (stage directors Corinne and Gilles Benizio alias Shirley et Dino) at the Opéra de Massy, a production of Purcell’s The Indian Queen (stage director Joachim Schloemer) at the Opéra-Théâtre de Metz.

Le Concert Spirituel, in residence at the Opéra-Théatre de Metz Métropole and the Arsenal de Metz - Metz en Scènes, is funded by the Ministry for the Arts and the Communication and the City of Paris. Le Concert Spirituel is funded by the Fondation Bru.

Booklet for Berlioz: Messe solennelle