Charpentier secured the position of ‘resident composer’ under the patronage
of his sponsor, Duchess Marie de Lorraine of the Guise family, and found
himself in a household which boasted an expansive musical establishment
that performed both services in the family chapel and theatrical works.
Though forced to adapt to the prevailing taste, Charpentier integrated
Italianate features in the works which he composed during the next decades
– first for the Guise family and, from 1687, in his position as director of
music at the most prestigious Jesuit institution in Paris, the Saint Louis
Church. And, this ‘duality’ can be heard in the two dramatic works based on
the Nativity which Solomon’s Knot performed at St John’s Smith Square: In nativitatem Domini canticum (On the Birth of Our Lord, a Song)
and Pastorale sur la naissance de notre signeur J Èsus-Christ (Pastorale on the Birth of Our Lord Jesus Christ).
The anonymous librettists of both works took a similar approach to the
Nativity story. First, a group await the coming of Christ; then follows the
Christmas story, focusing on the shepherds to whom Christ’s birth was first
announced; finally, the shepherds reflect on the meaning of events they
have witnessed. The Latin text of In nativitatem incorporates
numerous scriptural references including a paraphrase of the gospel reading
for the Midnight Mass on Christmas Eve, suggesting that it was performed as
part of a religious service, most probably at Saint Louis.
In contrast, the French text of Pastorale sur la naissance and the
appearance at the top of the score of two characters, ‘Marie’ and ‘Joseph’,
who do not take part in the musical presentation of the work, suggests a
more theatrical staging – perhaps one presented by the Guise household (the
names of Guise performers appear in the margins of the score) or by the
‘Daughters of the Academy of the Infant Jesus’ at the BarrÈ Institute.
(There are three versions of the work, dating from 1684-86.) The Academy,
which some have suggested may have commissioned Pastorale sur la naissance, had been founded by the Guises in
1675, after the death of the family’s last male heir. A devotional centre
with a particular focus on the birth and infancy of Christ, it served to
train girls who had little financial support to become teachers.
While the melodic style and the use of dance movements in In nativitatem accord with French musical style, there are some
Italian elements such as the use of word-painting and counterpoint. Leading
the small ensemble with discrete assurance, violinist Naomi Burrell began
the Praeludium in which high tenor Peter Davoren pleaded urgently: “How
long will you turn your face away, O Lord, and disregard our torment?” In
the Chorus of the Righteous that followed, individual voices stepped forth
from the finely blended choral ensemble, creating a forward momentum that
built towards the prophetic declaration: “let the earth be opened and bud
forth the Saviour.” Dynamic contrasts and beautifully executed
ornamentation of the final cadence enhanced the sense of anticipation and
wonder.
A short instrumental movement, ‘Night’, made for a deeply expressive
transition to the Angel’s announcement to the shepherds of the birth of
Jesus. The strings were muted and the tone was full of mystery, but, seated
close to the performers, I wondered how well the instrumental sound
projected to the rear of St John’s, and whether In nativitatem
requires a more intimate venue for its beauty to be fully appreciated. But,
Jonathan Sells’ tambourine taps added some gaiety to the shepherds’
awakening, as Davoren guided the shepherds, “Be not afraid”, presenting the
Angel’s proclamation with varied tone and dramatic conviction. The chorus
praising the infant Saviour was full of awe and reverence – deepened by
some harmonic contortions which surely would not have pleased Charpentier’s
French peers – but the dynamism was quelled in the closing lines, where
solemnity and was restored: “Righteousness will reign on our earth, and
peace will be without end.”
With Pastorale sur la naissance, Charpentier undoubtedly chose a
genre which would have pleased his contemporaries, the gently comic
‘Pastorale’ being one of the most popular genres in France. Solomon’s Knot
communicated the innate vivacity and emotional range of what is essentially
a Christmas cantata, observing the ‘silences’ that Charpentier interjects –
for example, before the Elder’s pronouncement in the first scene, or
following the Angel’s call for mankind to be silent in the presence of the
Lord – and pushing forward persuasively, as when the shepherds depart
excitedly for Bethlehem: “We depart, we go. Divine spirit, we go, we fly
hither.”
Indeed, it might have been fruitful to have had even more intimation of a
‘staging’ such as the Guise family might have experienced in December 1684,
especially as the singers performed from memory (with the exception of
tenor Marcus Farnsworth, who made occasional use of a discrete prompt and
who I imagine must have been a late substitution). But, there was no sense
of staticism: the ensemble moved fluently through the multi-sectional
divisions and frequent changes of tempo. The simple recitatives had a
melodic freshness and clarity, while the counterpoint – as in the
overlapping descents of the choral cry to the heavens, “drop down your dew,
Dissolve divine clouds./Rain the Just One on these lowly places” – was
neatly shaped. The instrumental playing was disciplined but eloquent, and,
when required, dynamic.
Bass Alex Ashworth was a bold, magisterial Elder, foretelling a time of
good tidings. The pure tone of sopranos Clare Lloyd-Griffiths and ZoÎ
Brookshaw perfectly captured the innocence of the shepherdess and angels,
though Charpentier’s lines lie quite low at times and when the solo soprano
recitative was accompanied by organ, occasionally the voice was
overshadowed. Brookshaw beautifully shaped the First Shepherdess’s lament,
“HÈlas, cette brebis si chere” (Alas, this ewe so dear to me), reaching
through the melancholy lines which are accompanied with surprising
dissonance. The shepherds’ dance in praise of God was bright and joyful,
the exchanges between solo voices and ensemble generating lively energy.
First Davoren (A Shepherd), then Farnsworth (The Elder) confirmed the birth
of the Messiah with dignified ceremony, leading tenor Thomas Herford to
present a simple but exquisite air, celebrating the return of the sun’s
light to the dark Earth. The final chorus, “Source de de lumieres et de
gr‚ce” (Source of light and grace) had both grandeur and refinement, the
suspensions overlapping expressively as the voices entered one by one.
Solomon’s Knot wonderfully captured the simple, perhaps naÔve, joyfulness
of these two Christmas works by Charpentier. “The sun begins to gild our
mountains once more,/ In spite of the harshness of winter,” the Shepherd
rejoices as the close of the Pastorale – uplifting sentiments
which we can but hope to share.
Claire Seymour
Solomon’s Knot: Charpentier – A Christmas Oratorio
In nativitatem Domini canticum
H.416, Pastorale sur la naissance de notre signeur J Èsus-Christ H.483 & 483b
Clare Lloyd-Griffiths/ZoÎ Brookshaw (soprano), Kate Symonds-Joy/Peter
Davoren (haute-contre), Thomas Herford/Marcus Farnsworth (tenor) Jonathan
Sells/Alex Ashworth (bass).
Naomi Burrell/Beatrice Scaldini (violins), Joanne Miller (viola), Jonathan
Rees (viola da gamba), Carina Cosgrave (violine), Eva Caballero/Marta
GonÁalves (flutes), Jamie Akes (theorbo/lute), William Whitehead
(harpsichord/organ).
St John’s Smith Square, London; Monday 9th December 2019.
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product_title=Solomon’s Knot: Charpentier – A Christmas Oratorio
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product_id=Above: Solomon’s Knot at St John’s Smith Square
Photo credit: Alexander Barnes/Apple and Biscuit