Jehan Titelouze
Hymnes de l’église & Le Magnificat
Ed. Jon Baxendale
251 pages • ISMN 979-0-706670-54-6 (Hardback) • 979-0-706670-55-3 (Wire)
Lyrebird Music. LBMP–026
The latest in the enterprising range of music editions from Lyrebird Music features the only known organ publications of Jehan Titelouze (c1562-1633), organist at Rouen Cathedral and generally considered to be the founder of the French organ school. He composed his two books of organ versets in 1623 and 1626. The 1623 Hymnes de l’Église pour toucher sur l’orgue, avec les fugues et recherches sur leur plain-chant was the first published collections of organ music in 17th-century France, and the first since the 1530s. It contained sets of three or four verses for each of the twelve major hymns of the church year. The 1626 Le Magnificat ou Cantique de la Vierge pour toucher sur l’orgue suivant les huit tons de l’Église included settings of eight Magnificats in all eight church modes, each with seven verses. They both used the alternatim format with organ (odd-numbered) verses alternating with the even-numbered verses which would have been sung by a cantor or a choir.
Antoine Blanchard (1696-1770) is a rather shadowy figure in French musical history. There is far more information in Bernadette Lespinard’s detailed CD notes than can be found in other source that I could find on the internet in English. He is sometimes given the additional first names of Esprit-Joseph, although he never used them himself. He was a choirboy in the Saint-Sauveur Cathedral in Aix-en-Provence, and became a cleric from about 18. Transgression of the rules led to his departure from this role after only one year. He then moved to Marseilles as director of music at Saint-Victor, although he spent two years away in Toulon, detained there by the plague. Whilst building up his contacts in Paris, he worked in the choir school at Amiens Cathedral, eventually getting a Royal appointment in the Versailles Musique de la Chapelle in 1738.
Magnificat vocal ensemble celebrate their 25th anniversary with this CD of extraordinarily powerful large-scale polyphonic works by Renaissance masters, all influenced by the equally extraordinary Italian Dominican friar and prophet, Girolamo Savonarola. His rather alarming prophesies (including declaring Florence to be the ‘New Jerusalem’, the destruction of all things secular, and a biblical flood), his denouncement of the Medicis, clerical corruption, and the exploitation of the poor, together with his extreme puritanical views (resulting in the Bonfire of the Vanities) led, not surprisingly, to his getting himself caught up in Italian and Papal politics.
Returning for their fifth visit to the St John’s, Smith Square Christmas Festival, the Solomon’s Knot Baroque Collective presented a concert based on Advent and Christmas music from Leipzig, with pieces by the three successive Thomaskantor’s. The seating in St John’s was reconfigured from the usual facing-the-stage layout to one where the orchestra and choir were to one side, projecting about two-thirds of the way into the floor space, with the audience arranged on three sides. This was undoubtedly excellent for about one-third of the audience who found themselves sitting directly in front of them, but most of the audience had only a side (or a rear-end view) of the performers. 
plainchant choir and organ sing and play alternate verses, a tradition dating from the late Medieval period through to the late Baroque). Then late 16th century intabulations of choral settings and variations and, thirdly, examples of the organ pastorella, a popular Christmas musical theme in southern Europe, representing the shepherds away the birth of Jesus, and often including well-known Christmas melodies such as the Resonet in laudibus.
Loyset Compère is not as well-known as he deserves to be, and this recording could be the means by which his (recently re-assessed) place in musical history is acknowledged. The key to the re-assessment is the slightly embarrassing realisation that the Josquin that musicologists assumed to have been born in 1440 was not, in fact, Josquin des Prez, but another Josquin altogether. That makes Josquin des Prez around 10 years younger than thought. Similar birth date realignment concerning Obrecht and Agricola also make them younger than first thought. As David Fallows explains in his comprehensive programme notes, this leaves Loyset Compère as one of the earliest composers in the imitative style, now known to be later developed, rather than instigated, by Josquin and others. 
Andrew Benson-Wilson : Early Music Reviews + 