Mon Dieu me paist
Psalms by Claude Le Jeune
The Choir of St Catharine’s College, Cambridge, Edward Wickham
Resonus RES10206. 58’26
This fascinating recording from the mixed-voice choir of St Catharine’s College, Cambridge under their director Edward Wickham looks at a little-known part of the late Renaissance vocal repertoire – settings of Psalms from the Genevan Psalter during the Calvinist Reformation in France composed by the Franco-Flemish composer Claude Le Jeune (c1530-1600). Le Jeune’s Psalm collection, Dodecacorde, was published in 1598. Four of the twelve multi-verse settings are performed here, each preceded by a simple harmonised setting from the Calvin Psalter. Continue reading
The Psalms of David are a key part of the liturgy of Christian and Jewish worship, and were rather nicely described by the (un-named) programme note writer of The Cardinall’s Musick concert (Cadogan Hall, 5 Feb) as a “collection of praises and complaints, benedictions and moans … dealing with the problems of ordinary life”. Their programme looked at two of the many possible musical genres, comparing the European Catholic tradition of the 16th century with that of the English church of the same period, described by director Andrew Carwood as a collection of “sorbets and grand dishes”.
The 10 singers were used in many different formations, only coming together at the end of each half, firstly for the Allegri Miserere and then Byrd’s joyful Laudibus in sanctis. After the opening Jubilate Deo by Giovanni Gabrieli, the first half was built around three of Victoria’s large-scale double-choir Vespers Psalm settings, Nisi Dominus, Dixit Dominus and Laudate Dominum. These were contrasted with more intimate settings, notably Palestrina’s Super flumina Babylonis, with its closely-wrought stepwise musical lines, and the Ad Dominum cum tribularer by Lassus with its contrast between high and low voices. The often intense English settings were intended for a very different liturgical purpose, usually as anthems during Evensong or Mattins, or for more private devotions. Only with the opening Gibbons’ ‘O clap your hands together’ and the final Byrd Laudibus in sanctis did the English music approach the grandeur of Victoria’s settings. Indeed, it was the intimate and madrigal-like ‘O Lord in thy wrath’ and Laboravi in gemitu meo (by Gibbons and Weelkes respectively) that were the emotional highlights for me.
The rather youthful photographs of Andrew Carwood and Cardinall’s Musick belied the fact that they are in their 25th year. They were on excellent form on this occasion, their forthright vocal style ideal for the large-scale works as well as seeking out the emotional intensity of the more intimate works.