Although Marc-Antoine Charpentier is considered one of France's greatest composers of the late 17th century, little is known about his production of liturgical music. His three-voice motets, works full of interiority and fervor, are small lyrical masterpieces, as if it was an intimate parenthesis in the music of the Grand Siècle. The composer's creative genius is revealed in the refinement and mastery of male vocal writing, testimony to the performer's savoir-faire: the haute-contre part was sung by Charpentier himself. The cult of the Virgin, privileged after the Council of Trent, finds in these motets the expression of devotion, effusion and the greatest tenderness.

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