Campra, Rameau, Mondonville

Nobody knows for sure when André Campra composed his Messe de Requiem. Some believe it was written in 1695 as a memorial for the recently deceased Archbishop of Paris. Others argue that it dates from 1723, the year of Campra’s appointment as one of four sous-maîtresor “sub-masters” serving the Chapelle Royale at Versailles. There’s no doubt about the work’s expressive power, or the haunting beauty of its emotional journey from the darkness of the grave into the light of eternal salvation. Those qualities and the religious sentiments behind them run through Emmanuelle Haïm’s glorious interpretation of the work with the ensemble Le Concert d’Astrée. “I think Campra was confident about putting himself into the arms of the future, knowing that the Resurrection was to come,” Haïm tells Apple Music Classical. Her choice of companion pieces was influenced by the once commonly held Christian belief in life beyond death, in the perpetual light of God that triumphs over despair. The notion is deeply embedded in the words and music of Rameau’s In convertendo Dominus (When the Lord brought back) and Mondonville’s no less grand In exitu Israel (When Israel came out of Egypt), settings for soloists, choir, and orchestra respectively of Psalms 126 and 114 (as numbered in the King James Bible). Haim and her musicians recorded the three compositions in single takes in the Chapelle Royale, fitting each between breaks in restoration work to the building. “We musicians in general are very privileged because we have the opportunity to be alone in these incredible places,” she observes. “You definitely feel the past. And the incredible vibrations of the people who were there before you. I strongly believe in that.” Read on, as Emmanuelle Haïm takes us through each of the three works on this remarkable album. André Campra (Messe de Requiem) “Campra’s Requiem combines the stillness of ancient plainchant with the theatrical style of contemporary French opera. The old church style comes at the beginning of the piece, like waves of consolation or a soothing balm for your soul. “There’s sweet lyricism in some of the songs that follow, like the solo at the beginning of the ‘Graduel’ and in the ‘Lux aeterna.’ I find that absolutely wonderful. And in the ‘Domine Jesu Christe,’ Rameau is so passionate. The music for the three male soloists here is extraordinarily personal. When the text talks of the pains of hell, his harmonies and repeated bassline are so tormented.” In convertendo Dominus (Jean-Philippe Rameau) “This piece emerges from nowhere. It’s so fragile at first but grows into a great celebration. The psalm recalls the liberation of the Israelites from their long captivity in Babylon, their joy at their deliverance and sorrow at what they’ve gone through. Again, it’s about the triumph of light over darkness. “In convertendo is extremely poetic. And it’s so elaborate and very difficult to perform. I don’t think Rameau cares about its feasibility—he just wants the music to be transparent. The music really floats!” In exitu Israel (Jean-Joseph de Mondonville) “In exitu Israel, like In convertendo, is about deliverance. This psalm recalls the Israelites crossing the Red Sea out of Egypt and the River Jordan into the Promised Land, with God’s help. The music is so virtuosic for orchestra and chorus. “I love Mondonville. I relate to his virtuoso violin writing at the beginning of In exitu Israel and his dramatic portrayal of the Israelites’ salvation. And the water here is like that of baptism, with the ultimate baptism being Resurrection. So, this piece, like Campra’s Requiem and Rameau’s motet, goes from death to life. It’s the ideal conclusion to this album’s voyage from darkness to light.”