Georg Muffat: Missa in Labore Requies a 24

Georg Muffat: Missa in Labore Requies a 24
Le Banquet Céleste, La Guilde des Mercenaires, Damien Guillon
Château de Versailles Spectacles CVS106. 58’53


If you like your music loud and dramatic, with moments of calm, you will love this recording by Le Banquet Céleste and La Guilde des Mercenaires of Georg Muffat’s c1690 Missa in Labore Requies a 24. Muffat (1653-1704) is one of the most interesting composers of the high Baroque period, not least because of his ability to combine musical genres from many different countries. Born in Savoy, he studied during his early teens with Lully in Paris. After a period as organist at Strasbourg Cathedral, he studied law in Ingolstadt, before moving to Vienna, Prague and then Salzburg, where he worked for about 10 years (with Biber) in the court of the Prince-Archbishop. After further study in Rome, where he studied organ with Pasquini and met Corelli. he moved to Passau as Kapellmeister to the Bishosh of Passau. It was in Passau that we find the first mention of the monumental Missa in Labore Requies, Muffat’s only surviving sacred workThe score came into Haydn’s hands, passing on his death into the Esterházy archives and finally to the Budapest National Library.

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Les Caractères d’Ulusse

Les Caractères d’Ulusse
Rebel & Boismortier: Suites pour deux clavecins

Clément Geoffroy, Loris Barrucand, harpsichords
Château de Versailles Spectacles CVS021. 74’03

Rebel, J-F: Suite d’Ulysse; Les Caractères de la Danse; Les Élémens;
Les Plaisirs Champêtres 
Boismortier: Premier ballet de Village; Suite de Daphnis et Chloé

Using two of the historic instruments from the collection at the Château de Versailles, one by Ruckers the other by Blanchet , harpsichordists Loris Barrucand and Clément Geoffroy present arrangements of music by Jean-Féry Rebel, (1661-1747) and Joseph Bodin de Boismortier (1691-1755). The impetus for this venture came from a commission in 2016, the 350th anniversary of Rebel’s birth, for a piece for two harpsichords and dancers combined with Rebel’s own comment that he wanted his 1715 orchestral piece Les Caractères de la Danse (an uninterrupted succession of fourteen dances completed in around eight minutes) to be played “like a piece on the harpsichord”. Continue reading