Le Concert des Nations
Tous les matins du monde
Jordi Savall, Director and Viol
Le Concert des Nations
·· Manfredo Kraemer, Violin
·· Charles Zebley, Flute
·· Philippe Pierlot, Bass Viol
·· Daniel Swenberg, Theorbo
·· Luca Guglielmi, Harpsichord
LULLY Selections from Le bourgeois gentilhomme
·· Marche pour la cérémonie des turcs
·· Premier air des Espagnols
·· Deuxième air des Espagnols
·· Chaconne des scaramouches
SAINTE-COLOMBE Concert a deux violes ésgales: Le retour
ANON. "Une jeune fillette"
DU CAURROY Fantasies on "Une jeune fillette"
MARAIS Pièces de viole, Troisième livre
MARAIS Sonnerie de Ste-Geneviève du Mont-de-Paris
COUPERIN Prelude, "Gracieusement" from Deuxième concert royal
COUPERIN Muzette, "Naïvement" from Troisième concert royal
COUPERIN Plainte pour les Violes: "Lentement et douloureusement" from Dixième concert royal
RAMEAU Tambourin I et II from Pièces de clavecin en concert, Troisième concert
SAINTE-COLOMBE Concert a deux violes ésgales: Tombeau les regrets
MARAIS "Les voix humaines" from Suite No. 3, Deuxième livre
MARAIS Couplets de folies
LECLAIR Sonata in D Major, Op. 2, No. 8
ANON. Bourée d'Avignonez from Recüeil de plusieurs vieux airs (transcr. André Danican Philidor)
Pre-Concert TalkPre-concert talk at 6:30 PM: Jordi Savall in conversation with Jeremy Geffen, Senior Director and Artistic Adviser, Carnegie Hall.
Public support for Carnegie Hall Live on WQXR is provided by the National Endowment for the Arts.
At a Glance
Following the huge success of Alain Corneau’s film Tous les matins du monde—based on the novel by Pascal Quignard—and the triumph of the corresponding music for viol, Jordi Savall and several of the musicians who took part in that original recording now commemorate its 25th anniversary. In so doing, they again pay tribute to the composers of France’s grand siècle, whose music the film helped to make more widely known today: Jean-Baptiste Lully, Louis XIV’s court composer who shaped the musical tastes of a whole century; François Couperin; and, of course, the film’s two protagonists, Jean de Sainte-Colombe and Marin Marais.
“I remember the first time I met Jordi Savall, in 1990,” writes Quignard. “He had read the novel. His concentration was such that I imagined he was Sainte-Colombe himself … They recorded at the dead of night. It was cold. And I fell asleep on a bench in the chapel [of Saint-Lambert-des-Bois]. I remember very little about the occasion. There was an old 17th-century score on which Jordi copied out by hand Sainte-Colombe’s piece Les pleurs, and underneath it he wrote, ‘For Pascal, a memento of a dream.’ … Sometimes dreams have a life far beyond the night on which they are dreamt.”
For more than 50 years, Jordi Savall—one of the most versatile musical personalities of his generation—has rescued musical gems from the obscurity of neglect and oblivion and given them back for all to enjoy. A tireless researcher of early music, he interprets and performs the repertory both as a gambist and as a conductor. His activities as a concert performer, teacher, researcher, and creator of new musical and cultural projects have made him a leading figure in the revival of historical music. Together with his wife Montserrat Figueras (1942–2011), he founded the ensembles Hespèrion XXI (1974), La Capella Reial de Catalunya (1987), and Le Concert des Nations (1989). Across all ensembles, he explores and creates a world of emotion and beauty shared with millions of early music enthusiasts around the world.
Mr. Savall has recorded and released more than 230 albums covering the Medieval, Renaissance, Baroque, and Classical styles, while giving special focus to the Iberian and Mediterranean musical heritage. His work has merited many distinctions, including the Midem Classical Award, International Classical Music Award, and multiple Grammy Awards. His concert programs use music as a form of mediation to achieve understanding and peace between different—and sometimes warring—peoples and cultures. Accordingly, guest artists appearing with his ensembles include Arab, Israeli, Turkish, Greek, Armenian, Afghan, Mexican, and Native American musicians. In 2008, Mr. Savall was appointed European Union Ambassador for intercultural dialogue and, together with Ms. Figueras, was named an Artist for Peace as part of the UNESCO Goodwill Ambassador program.
Mr. Savall’s prolific musical career has brought him the highest national and international distinctions, including honorary doctorates from universities in Évora (Portugal), Barcelona (Catalonia), Louvain (Belgium), and Basel (Switzerland), the title of Chevalier de la Légion d’Honneur (France), the Praetorius Music Prize awarded by the Ministry of Culture and Science of Lower Saxony, the Gold Medal of the Generalitat of Catalonia, and the prestigious Léonie Sonning Music Prize. As described by The Guardian, “Jordi Savall testifies to a common cultural inheritance of infinite variety. He is a man for our time.”
Mr. Savall performs on a seven-string bass viol made by Barak Norman in London in 1697.
Le Concert des Nations
Founded in 1989 by Jordi Savall and Montserrat Figueras during their project on Marc-Antoine Charpentier’s Canticum Beatae Virgine, the orchestra Le Concert des Nations was born out of the need for an orchestra of period instruments capable of performing a repertory that spans the Baroque to the Romantic period. The name comes from François Couperin’s work Les Nations and represents the coming together of musical tastes and the idea that art in Europe would always bear its own particular stamp, that of the Age of Enlightenment.
Le Concert des Nations, under the direction of Mr. Savall, was the first orchestra to be composed of a majority of musicians from Latin countries (Spain, Latin America, France, Italy, and Portugal), all of whom are leading specialists in performance on period instruments. From the outset, the group’s aim has been to raise awareness of historical repertoires of great quality by combining rigorous respect for the original spirit of each work with a revitalizing approach to performance, as heard on their recordings of works by Charpentier, Bach, Haydn, Mozart, Handel, Marais, Arriaga, Beethoven, Purcell, Dumanoir, Lully, Biber, Boccherini, Rameau, and Vivaldi.
In 1992, Le Concert des Nations made its opera debut in a production of Vicente Martín i Soler’s Una Cosa Rara, and the group subsequently performed Monteverdi’s L’Orfeo. The numerous recordings of Le Concert des Nations have won various awards and distinctions, including the Midem Classical Award and the International Classical Music Award.