CLAUDE LE JEUNE

Dix Pseaumes De David (1564)

Ludus Modalis (dir. Bruno Boterf)

1. Pseaume 96

2. Pseaume 102

3. Pseaume 135

4. Pseaume 88

5. Pseaume 57

6. Pseaume 98

7. Pseaume 149

8. Pseaume 95

9. Pseaume 97

10. Pseaume 81

Nathalie Marec, soprano

Annie Dufresne, soprano

Jean-Christophe Clair, alto

Vincent Bouchot, tenor

Bruno Boterf, tenor

Jean-Michel Durang, bass

François Fauché, bass

Yannick Varlet, organ & harpsichord

When publishing his Dix Pseaumes de David in Paris in 1564, Claude Le Jeune was still a young musician in his thirties: we know his work from this time solely through a few chansons included in two collective anthologies.

This first personal volume clearly identifies him as a Huguenot composer. The four-part texture with frequent homorhythmic passages and the free alternation of long and short syllables clearly belong to the world of protestant psalmody. Yet, in numerous passages, the richness of the rhythmic palette and the abundance of polyphony originate from within this framework: the rhythmic values are chosen to illustrate both words and ideas. And as much could be said of the use of rising and falling intervals, of the melodic shapes, and of the polyphony itself. Careful listening will allow the auditor to discover the ever-present figuration with which they are adorned. Although a youthful work, the depth and sincerity of construction of the Dix Pseaumes de David are as touching as the greatness of their creator’s vision is impressive. Their employment of modes and rhythm clearly announce certain essential features that would become the hallmark of his mature masterpieces.

Ramee RAM1005