FULL Tenebrae Lessons and Indian Nocturnes Silvacane 2012 Monique Zanetti, Dominique Vellard

Information on the Performance

• Work Title: Tenebrae Lessons and Indian Nocturnes  
• Composer: various  
• Libretto: various  
• Venue & Opera Company: Abbaye de Silvacane, France  
• Recorded: June 22, 2012
• Type: Concert Live
• Singers: Monique Zanetti, Dominique Vellard, Sudha Ragunathan
• Conductor:   
• Orchestra:
• Stage Director: Colin Laurent  
• Costume Designer:   

Information about the Recording

• Published by: ALTEA MEDIA  
• Date Published: 2023  
• Format: Streaming
• Quality Video: 4 Audio:4
• Subtitles: nosubs  

• ADDITIONAL INFORMATION ON THIS PERFORMANCE

  The archaic and revived musical culture of the European Middle Ages, and the traditional music of North India, ancient, but still alive. Common features bring together these two worlds separated by space and time.

  1. ••••• D mode
  2. Natali regis gloria: conductus (12th century). Composition and improvisation in the same mode
  3. ••••• F mode
  4. Llena de pena Maria: traditional Spanish lament – Extremadura
  5. ••••• mode of C
  6. Raga Pahari: traditional Indian
  7. Alleluia, angelus Domini: Gregorian chant
  8. Raga Man Khammaj: traditional Indian
  9. Bonté sen valours: ballad of Jehan de Lescurel – early 14th century
  10. ••••• Mi mode
  11. O splendidissima gemma: antiphon by Hildegard von Bingen – 12th century 12. Râga Bhairavi: traditional Indian

  Lesson of Darkness – Michel Lambert

  Michel Lambert, Master of Music in the Chamber of Louis XIV, known for his
  magnificent airs de cour, also leaves us two cycles of 9 lessons of Darkness and a Miserere. The , which can already be heard in Italy at the beginning of the 17th century in a less developed form, represent in France with the Grand Motet, one of the most characteristic manifestations of sacred music of the “Grand Siècle”. These Lamentations, borrowed from the Old Testament, evoke the destruction of the Temple of Jerusalem, and offer a moving symbolic description of the people of Israel. The first cycle of Lamentations was written around 1662, in a style halfway between composition and improvisation. This notation, very ornamented and so imprecise, required a transcription work carried out with the help of Dominique Serve and Sylvia Abramowicz, which allows us to finally make the public rediscover a rare and touching music, composed just 350 years. This music of incomparable refinement, written in a melismatic style, very fashionable in 17th century France, immerses us in a meditative atmosphere, close to the modes (ragas) of Indian music.

  italian lament
  1. Sabbato Sancto, Lectio Prima
  Anonymous 17th century Italian author
  Bologna manuscript – transcription JEAN-MARC AYMES

  2. Tomb of Mr. Meliton
  Marine Swamp

  3. Monetic lament for Maundy Thursday
  Lectio secunda Lamed Matribus am dixerunt

  4. Pierre Ballard
  On the Ballard edition of 1655, cantors added ornaments. restitution JEAN-YVES HAMELINE

  5. First Wednesday Lesson
  Michael Lambert
  Excerpt from the First Book

  SACRED SONGS OF SOUTH INDIA

  SUDHA RAGUNATHAN, vocals
  RAGHAVENDRA RAO BASAVARAJU VENKATA, violin
  SKANDA SUBRAMANIAN SUNDARARAJAN, percussion (mridangam & tanpura)

  1. Visalakshim Part I and Part II
  This song is dedicated to the Universal Mother Devi who lives in Kasi in the North of India and is addressed to Visalakshi. The rhythm is seven, “misarachapu”, and the raga is Kasi Ramakriya.

  2. Valli Kanavan
  A song about Lord Muruga, a melody derived from folklore.
  Paal Vadiyum Mugam
  The author expresses the ecstasy attained whenever he thinks of the innocent face of Lord Krishna.

  3. Gandhamu Puyyaruga
  A composition by the famous composer Thyagaraja (1767-1847). In this song, tinged with joy and happiness, the Gupikas praise the beauty of Krishna.

  4. Theeradha Vilayattu Pillai
  Another song about Krishna but in a different mood. The poet Subramania Bharatiya describes the pranks of the rascal that was Lord Krishna in his childhood.

  5. Jagadhodhaarana

  6. Brahmam Okate
  Composed on a Krishna Bowli raga, very nomadic in rhythm and melody. The message expresses that if we worship God in many forms and address him by many names, he is ultimately One.

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