A few months ago I reviewed another recording of Delalande's Te Deum under the baton of William Christie on Harmonia Mundi. Now Erato have issued the same work in a performance directed by Paul Colleaux, who also includes two of the composer's other grands motets—the Jubilate Deo and Confitebimur tibi Deus. While enjoying Christie's performance I parted company with him over tempos, which from time to time I felt prevented the music from unfolding with the grandeur and nobility which it unquestionably possesses. Now I learn something which I confess I had not previously known: that is the existence of Delalande's own preferred timings for almost all sections of the Te Deum. He was frequently occupied in revising his work and, as Lionel Sawkins who edited the three works remarks in an informative note, many of the grands motets have survived in two or more versions.
In this recording Colleaux follows the composer's suggested timings and I found the results affecting. Not all aspects of the performance, however, are entirely convincing; there are passages of limp articulation in the instrumental playing—the dramatic ''Tu devicto'', though marked fierement, is sadly understated in spite of the best endeavours of the bass Bernard Deletre. Poor oboe intonation mars the ''Salvum fac populum'' and the Ensemble Vocal de Nantes is not always a match for the choir of Les Arts Florissants (Christie), as you will quickly find in movements such as the ''Te ergo quaesumus'' where the five-parts are not sustained with equal assurance. But, as I say, this is none the less an affecting performance which probes beyond superficialities. The ''Dignare'' and ''Miserere'' are beautifully interpreted.
The two accompanying works are attractive, too. The Jubilate Deo is modest in dimension, the more darkly coloured Confitebimur tibi, Deus a fine example of Delalande's mature cantata style. The vocal soloists here and almost throughout comprise a strongly cohesive group, Mieke van der Sluis imbuing her performance with an alluring radiance; also noteworthy is the sympathetic violin playing of the leader, Florence Malgoire. The disc is sympathetically recorded and, reservations notwithstanding, can be confidently recommended.'