202165. Le Poeme Harmonique, Vincent Dumestre © Marieke Wijntjes
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About this concert

Under the influence of folk music such as the vaudeville and the villanella, a rich tradition of airs de cour flourished at the French royal court for a hundred years. Half music and half poetry: the humanistic songs of Pléiade poets such as Ronsard and Baïf and composers such as Guédron, Caïétain and Le Blanc are in the best possible hands with Le Poème Harmonique.

Programme

  • Jean Boyer

    Que ferai-je?

    before 1600 - before 16 may 1648
  • Pierre Guédron

    Tant et tant il m’ennuie…
    Bien qu’un cruel martire…

    after 1564-1619/20
  • Adrien Le Roy

    Ô combien est heureuse…

    ca. 1520-1598
  • Didier Le Blanc

    Quel secours…
    Les Mariniers…

    fl. 1578-1584
  • Fabrice Marin Caïétain

    Mais voyez mon cher esmoy…

    fl. 1570-1578
  • Antoine Boësset

    Frescos aires

    1586-1643
  • Pierre Francisque Caroubel

    Passepieds de Bretaigne - Spagnolette

    ?-1611
  • Fabrice Caïétain

    Allons vieille imperfaite…

  • Girard de Beaulieu

    Hélas que me faut-il faire

    ?
  • Pierre Guédron

    À Paris sur petit pont
    Qu’on ne me parle plus d’amour

Musicians

  • Claire Lefilliâtre soprano
  • Bruno Le Levreur countertenor
  • Serge Goubioud tenor
  • Virgile Ancely baritone
  • Le Poème Harmonique
  • Fiona-Émilie Poupard violin
  • Sylvia Abramowicz tenor viola da gamba
  • Lucas Peres viola da gamba
  • Françoise Enock violone
  • Mélanie Flahaut bassoon, flutes
  • Sara Agueda Martin harp
  • Vincent Dumestre theorbo and musical direction

About the performers

Le Poème Harmonique, under the direction of Vincent Dumestre, focuses on vocal and instrumental music of the 17th and early 18th centuries, and also regularly creates links with other artistic disciplines. For instance, the ensemble has collaborated with actors, dancers and circus artists in large-scale productions such as Le Bourgeois gentilhomme (Molière), Cadmus et Hermioneand Phaéton (Lully). Le Poème Harmonique is also praised for its refined approach to the 16th-century air de cour genre and for its performance of the Baroque Leçons de ténèbres by Francois Couperin.