Harmonia Mundi continue their pioneering Charpentier project with a recital by Concerto Vocale of predominantly small-scalre Latin motets. All of this music was written for performance during various church services; two of the pieces belong to the special Tenebrae services for the last three days of Holy Week and two others are Elevations belonging to the Mass. Several more have specific designations for various liturgical prescriptions and there is a fine, though brief, Dialogue between Jesus and Mary Magdalene. Approximately half of the pieces are for solo voice and other half for vocal duet. All the music is, to my sensibilities, very affecting. Charpentier is a master of poignant modulation and, in present-day terms, is not averse from piling on the agony by means of effectively contrived modulations. It doesn't matter that with growing familiarity with his music we come to anticpate his next harmonic move because the effect is never one of bathos. Indeed, this is music which unashamedly plays on our senses and feelings.
Rene Jacobs (alto) an Judith Nelson (soprano) are both well-known soloists who have made a speciality of mid- and late-baroque music. Both of them give fine performances and indeed, I am not sure that I have ever heard Judith Nelson on better form. Rene Jacobs has a notably expressive voice and a fine technique; only the occasional theatrical mannerisms temper my admiration for his singing here. The continuo group of cello, organ and theorbo with the addition of solo violins in several of the pieces, provides strong and positive support. Charpentier's most poignant music is, perhaps, contained in the two responses O vos omnes and Amicus meus, both of which are sung by Jacobs. A fine setting for solo soprano of Magdalena lugens with its once reiterated refrain ''O amor meus'' is, however, of greater musical interest. The poem is, as its title implies, an impassioned lament by Mary Magdalene at the foot of the Cross. Her direct speech, in which grief and ecstasy are skilfully depicted by Charpentier, is framed by a commentary which fulfils a role not unlike that of the chorus in Classical drama. Judith Nelson sings with affecting radiance and intensity of expression yet brings, too, an emotional restraint without which the music's power would be greatly reduced.
The recorded sound, non-digital, has just about the right amount of resonance but my pressing was below an acceptable standard. Otherwise recommended.'