Le chant des poetes, Arcadelt ou lAntiquite en musique Ensemble Entheos and Benoit Damant

• 1Ut re mi fa sol la à trois violes01:40
• 2À Charles Cardinal de Lorraine01:17
• 3Quand le soleil se reveille03:53
• 4Voi mi poneste in foco02:00
• 5Comment au départir03:33
• 6Dai dolci campi Elisi02:35
• 7Hymne de Charles de Lorraine01:40
• 8Duo Alfonso àdeux violes01:11
• 9Poscimur si quid vacui01:40
• 10Duo Alfonso pour luth et harpe01:12
• 11At trepida et coeptis immanibus05:15
• 12Gaillarde02:07
• 13Montium custos01:29
• 14D'où vient cela, mon prélat01:34
• 15Je ne veulx plus que chanter03:32
• 16Che giova posseder citt'à ne regni01:41
• 17Nous avons quelque fois grand faute03:30
• 18Fantaisie à 404:54
• 19Vénus et Adonis05:01
• 20Laiss é s la verde couleur04:27
• Total Runtime54:11

Info zu Le chant des poetes, Arcadelt ou lAntiquite en musique

This programme originated in an article by Jeanice Brooks, in which the author evokes Ronsard’s Hymn of Charles Cardinal of Lorraine, which describes the cardinal playing the lute and the Ferrabosco brothers “Making Dido die again to Virgil’s verses”. The poet is at his patron’s home in Meudon at the end of 1558, and hears the work At trepida. Jeanice Brooks also mentions works based on texts by Horace. I’ve therefore constructed a program evoking the patron, three composers and, above all, a glimpse of Antiquity. I’ve invited Cléreau, Arcadelt and the Ferraboscos, who could sing, play or declaim. The Pléiade group is also represented, along with Ronsard and the most obscure of them all: Rémy Belleau.

Ensemble Enthéos
Benoît Damant, conductor

Ensemble Enthéos
The work of Plato, translated and edited in the 15th century, opposes the traditional interpretive technique, preferring the poet’s inspiration, and is a creative force, a fury. The term “enthusiastic” comes from the Greek “enthusiasmos,” and describes the sort of divine possession that takes over the poet, rendering him “engodded” or “entheos.” The creative ardour of Renaissance artistes has produced important literary and musical materials that Ensemble Entheos has chosen to revive through their concerts and shows.

Created in 2005, Ensemble Entheos explores the musical repertoire from the end of the Middle Ages and the Renaissance connected to the courts of the French dukes of Guise and Lorraine. Strong in its research of history of art, organology, and rhetoric, Entheos subscribes to a reasoning of memory and scientific rigour. However, as important as this research-based approach is, Entheos’ concerts and performances are occasions to show the ties between literature, art, music, and history. We want to be loyal to the ways of thinking of Renaissance artists, for whom all creation was also a respect for aesthetic canons and imitation of the Greeks.

Coming from ensembles such as Akadémia, Le Concert Spirituel, Le Poème Harmonique, Les Arts Florissants, Les Percussions de Strasbourg, and Sagittarius, the artists of Entheos have worked under the direction of conductors such as Martin Gester, Valérie Fayet, and Pierre Cao. The instrumentalists of Entheos play on facsimiles of 16th century instruments and conduct their own research on facture, bows, reeds, mouthpieces, and methods of playing. The close examination of the works themselves constitutes, however, the heart of Entheos’ artistic project.

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