André Campra: De profundis - Sheet music | Carus-Verlag

André Campra De profundis

Psalm 129. Motet à grand choeur

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In his roles as Music Director at the Cathedral of Notre Dame in Paris and in the Royal Choir [chapel] of Louis XV, André Campra (1660–1744) composed numerous motets which frequently displayed the influence of contemporary opera. If today Campra is known almost exclusively for his famous Requiem, nevertheless his more than forty motets composed for soli, choir and orchestra are still awaiting discovery. Among these is a setting of Psalm 129, De profundis, published here in a new critical edition after the autograph score. The work was composed in 1723 during the first months of Campra's service to the French king and it proves to be the equal to the compositions of Michel-Richard de Lalande, who during his lifetime shaped and dominated the genre of the "Grand Motet."
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  • Symphonie
  • Récit de Basse-taille
  • Si iniquitates
  • Quia apud te
  • A custodia
  • Qui apud Dominum
  • Et ipse redimet Israel
  • Requiem aeternam
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  • 1. Récit de basse-taille

    De profundis clamavi ad te Domine;
    Domine, exaudi vocem meam.
    Fiant aures tuae intendentes
    in vocem deprecationis meae.

    2. Récit de haute-contre

    Si iniquitates observaveris Domine,
    Domine, quis sustinebit?

    3. Chœur

    Quia apud te propitiatio est;
    et propter legem tuam
    sustinui te, Domine.
    Sustinuit anima mea in verbo ejus:
    speravit anima mea in Domino.

    4. Récit de dessus

    A custodia matutina
    usque ad noctem,
    speret Israel in Domino.

    5. Trio (haute-contre, taille, basse-taille)

    Quia apud Dominum misericordia,
    ...
  • 1. Récit de basse-taille

    Out of the depths have I cried unto thee,
    O Lord. Lord, hear my voice:
    let thine ears be attentive
    to the voice of my supplications.

    2. Récit de haute-contre

    If thou, Lord, shouldest mark iniquities,
    O Lord, who shall stand?

    3. Chœur

    But there is forgiveness with thee,
    that thou mayest be feared.
    I wait for the Lord,
    my soul doth wait,
    and in his word do I hope.

    4. Récit de dessus

    My soul waiteth for the Lord
    more than they that watch for the morning:
    Let Israel hope in the Lord:

    5. Trio (haute-contre, taille, basse-taille)

    for with the Lord there is mercy,
    ...
  • 1. Récit de basse-taille

    Aus den Tiefen ruf ich zu dir, o Herr,
    Herr, erhöhe meine Stimme.
    Lass Acht haben dein Ohr
    auf die Stimme meines Flehens!

    2. Récit de haute-contre

    Wenn du Acht haben wolltest auf die Missetaten,
    o Herr, wer könnte dann bestehen?

    3. Chœur

    Aber bei dir ist Versöhnung,
    und um deines Gesetzes willen
    harr ich auf dich, o Herr!
    Meine Seele harret auf sein Wort;
    meine Seele hoffet auf den Herrn.

    4. Récit de dessus

    Von der Morgenwache
    bis in die Nacht
    hoffe Israel auf den Herrn;

    5. Trio (haute-contre, taille, basse-taille)

    denn bei dem Herrn ist Barmherzigkeit,
    ...
  • Texte abrégé du livret du CD Carus 83.391

    Jean-Paul Montagnier

    Né d’un père d’origine italienne, André Campra reçut le baptême à Aix-en-Provence le 4 décembre 1660. Admis comme enfant de chœur à la maîtrise de la cathédrale Saint-Sauveur le 4 mai 1668, il y bénéficia de l’enseignement de Guillaume Poitevin avant d’embrasser la carrière traditionnelle d’un maître de musique, d’abord à la tête des maîtrises de Sainte-Marie-de-la-Seds à Toulon (1680–1681), de Saint-Trophime d’Arles (1681–1683), puis de la cathédrale Saint-Étienne de Toulouse (1683– 1694). En juin 1694, il se fixa définitivement à Paris, à l’exception d’une brève période (1714–1715) où il assura la direction de l’Opéra de Marseille. Il succéda à Jean Mignon comme magister musices à la cathédrale Notre-Dame de Paris, mais dut démissionner de ce poste envié en raison de l’immense succès de son opéra-ballet L’Europe galante (1697), et succès incompatible avec une charge à

    ...
  • Abridged text from the CD Carus 83.391

    Jean-Paul C. Montagnier
    Translation: Charles Johnston

    Born to a father of Italian origins, André Campra was baptized in Aix-en-Provence on 4 December 1660. On 4 May 1668 he was admitted as a choirboy to the maîtrise of that city’s cathedral, Saint-Sauveur, where his teacher was Guillaume Poitevin. Having completed his studies, he embarked on the traditional career of a maître de musique and occupied a number of posts in the south of France, notably at the head of the choir schools of Sainte-Marie-de-la-Seds in Toulon (1680–1681), Saint-Trophime in Arles (1681–1683), then Toulouse Cathedral (Saint-Étienne) from 1683 to 1694.

    In June 1694 he settled permanently in Paris, except for a brief period in 1714–1715 when he was director of the Marseille Opera. He worked initially as magister musices at Notre-Dame Cathedral in Paris, replacing Jean Mignon, but had

    ...
  • Booklet-Text der CD Carus 83.391

    Jean-Paul Montagnier
    Übersetzung: Hans Ryschawy, Barbara Großmann

    André Campra, väterlicherseits italienischer Abstammung, wurde am 4. Dezember 1660 in Aix-en-Provence getauft. Nachdem er am 4. Mai 1668 als Chorknabe in die Chorschule der Kathedrale Saint-Sauveur eingetreten war, erhielt er dort Unterricht bei Guillaume Poitevin und schlug schließlich die traditionelle Laufbahn eines Musiklehrers ein: zunächst als Leiter der Chorschulen von Sainte-Marie-de-la-Seds in Toulon (1680–1681) und Saint-Trophime in Arles (1681–1683) sowie schließlich an der Kathedrale Saint-Étienne in Toulouse (1683–1694).

    Im Juni 1694 ließ er sich dauerhaft in Paris nieder, nur unterbrochen durch ein kurzes Intermezzo (1714–1715) als Direktor der Oper von Marseille. Er trat die Nachfolge von Jean Mignon als Kapellmeister an der Kathedrale Notre-Dame de Paris an, musste allerdings dieses begehrte Amt auf Grund des ungeheuren Erfolges seiner Opéraballet

    ...
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Gustav Danzinger, CHOR aktuell, März 2016

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