Louis XIV did things on a grand scale. So to perform two Grand Motets and other orchestral music for Sun King and the Court of Versailles required an expanded Melbourne Baroque Orchestra complemented by the singers of Polyphonic Voices under the direction of both Michael Fulcher and Tim Willis.
In addition to the usual complement of strings, there was a complete woodwinds section made up of oboes, recorders and bassoons, with notable players including Adam Masters and Simon Rickard, with the addition of a bass oboe played by Kailen Cresp. The instrument is called a quinte de cromorne in French and like its cousin the krummhorn has a distinct resonance, a soft buzz if you like.
According to the program notes, the instrument was a catalyst for the program as it features in the scores of these particular Grand Motets, two settings of the Dies Irae from the Requiems for Marie-Thérèse of Austria (also of Spain) Queen of France and Louis’ wife and Marie Anne Victorie of Bavaria, daughter-in-law to the Sun King.
A shout out to Adam Masters for his refreshingly plain translation of the Latin text, essential to listening in this case, and to Michael Fulcher for ensuring the pronunciation had a French accent was in keeping with historical accuracy and the context of Versailles.
In addition to the woodwinds, we were treated to an expanded basso continuo section with Laura Vaughan on viola de gambe, a Grand Basse de Viole, Théorbe and guitar, harpsichord and organ. What a joy to see so many period instruments framed by the delicate marble of the high altar at Our Lady of Mount Carmel in Middle Park, a great acoustic setting for the concert.
The orchestra works were favourites of the King Louis, and included the Fantaisie ou Caprice and Chacconne from Les Fontaines de Versailles by Michel-Richard de Lalande. The orchestra works were led from the first violin by Tim Willis, who co-directed the concert and reconstructed some of the parts for the performance as well.
There was also an elegant and substantial Ouverture and Suite from Le Concert by Mademoiselle Laurent, a composer of the period about whom we know little but who wrote for the top musicians from the French court.
The first setting of the Dies Irae, the song of judgement from the Requiem for the Dead from the Catholic rites, was composed by court favourite and friend to the King, Jean-Baptiste Lully. A master of his craft, you could really hear the sophistication of his composing talents as delivered by both the MBO band and Polyphonic Voices and conducted by Michael Fulcher. Watch out for the twist at the end of the Amen!
However, in this case, it was the second setting of the same text, this time by de Lalande which, from the very first dramatic sweep of the orchestra completely took my breath away.
The singing was superb, with highlights from soloists Jane Wiebusch, Cathy Green, Miranda Gronow, Stewart Webb, Evan Wels, Matt Bennett, and Will Fellows.
The word painting by de Lalande was exquisite. The tension of the arrival of the Judge. The trumpet reverberating in the bass woodwinds through the tombs sung by the lower voices. The plodding and seeking footsteps in the basso continuo. The pleading with the judge by the bass solo (Will Fellows). The tenderness of the ‘last end.’ And the way de Lalande brings the work to a close after a mighty Pie Jesus with the simplest Amen; breath-taking and heart wrenching at the same time.
When you listen to the work, which I hope you will, do follow the words as we were encouraged to do by MBO co-founder and cellist Rosanne Hunt. There is added richness and delight in doing so.
As always the concert was followed with the opportunity to mix with the musicians and fellow audience members. To extend a lovely expression beyond its application to the musical form of the Grand Motet, the MBO and Polyphonic Voices experience was ‘ne plus ultra’ (I just couldn’t resist!).
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Melbourne Baroque Orchestra acknowledges the sovereignty of the people of Boon Wurrung and Woi Wurrung language groups of the Eastern Kulin Nations on whose unceded lands we perform and share our love of music. We acknowledge their Ancestors and Elders past and present.