||Martha Angelici, Solange Michel, Michel Sénéchal,|
Jean Giraudeau, Jacques Pruvost, Louis Noguera (voices)
Chorale des Jeunesse musicales de France et orchestre
Henriette Roget (organ), Françoise Petit (accompanist), Louis Martini (conductor)
||Pathé 33 DTX 259, 1958.
||BnF B-3004 - Disque microsillon, 33 t, 30 cm
||Le Reniement de Saint Pierre
|Opus/Catalogue NumberOp./Cat. No.
||1 (3 general sections)
- Cum caenasset Jesus et dedisset discipulis
- Ecce Judas unus de duodecim venit
- Tunc respexit Jesus Petrum
||Cum caenasset Jesus et dedisset discipulis
|Year/Date of CompositionY/D of Comp.
||1897 (by Durdilly) or earlier
|Average DurationAvg. Duration
|Composer Time PeriodComp. Period
||5 parts (Dessus, Bas-dessus, Haute-contre, Tenor, Basse), continuo
- Source : Collection Brossard n. 723 - F-Pn/Vm1 1269
- Grove Music states that the Charpentier's dramatic motets "are more commonly known as oratorios – a misnomer, since they were composed as Latin motets for sacred services, not for meetings in oratories or for spiritual concerts." Nevertheless, the part of Grove's work list that includes this piece is headed "Dramatic motets (oratorios)". Tagged as a motet.
- We have rather strict tagging rules: we go not by category allocations by Grove, or by current critical or popular naming conventions (or even by expert dissertations on the composer and the work, e.g. Gosine (in Cessac, ed., "Marc-Antoine Charpentier: un musicien retrouvé") who does refer to this as a dramatic motet), but by the earliest available sources of the work so far as available to us, combined with specific cases and subcases specified in our own rules. But that is the default: we go by the manuscript (F-Pn (BNF) Vm1.1269 in this case) or manuscript copies (in other cases) that are earliest available. The source manuscript (Vm1 1269) says "motets" on the cover. (See BNF.) That's quite sufficient - any argument between Grove, Fétis, Baker, Christie, your uncle, your nephew, ... is exiguous; the Brossard manuscript -is- the point of resource.
(Also, librettist: does Charpentier use a text based on one of the Gospels (by whom then?), or stick close to (one of) them? Thomas a Kempis?)
Déodat de Sévérac, btw, wrote an essay (published in his Écrits) in which he mentions a performance of this work at the Schola Cantorum (ca.1902?) which impressed itself very much on him...
3 sections per Harmonia Mundi HMU807588 (2014) at least.
French Wikipedia gives 1704 for date. However, that's just Charpentier's death date. BNF gives 1680-1700 ca. for the approximate date of the Brossard (as in, once possessed by Brossard) manuscript.