André Campra (1660 – 1744) was a French composer and
conductor of the Baroque era. The leading French opera
composer in the period between Jean-Baptiste Lully and
Jean-Philippe Rameau, Campra wrote several tragédies
en musique and opéra-ballets that were extremely well
received. He also wrote three books of cantatas as well
as religious music, including a requiem. His Requiem of
1695 is one of the first great settings of the liturgy
of the dead in France. It was composed during his time
as ...(+)
André Campra (1660 – 1744) was a French composer and
conductor of the Baroque era. The leading French opera
composer in the period between Jean-Baptiste Lully and
Jean-Philippe Rameau, Campra wrote several tragédies
en musique and opéra-ballets that were extremely well
received. He also wrote three books of cantatas as well
as religious music, including a requiem. His Requiem of
1695 is one of the first great settings of the liturgy
of the dead in France. It was composed during his time
as Kapellmeister at Notre-Dame Cathedral in Paris as a
commissioned work in memory of the deceased Archbishop
of Paris. The work was so appreciated that from the end
of the 18th century until 1805 parts of it were
regularly performed at funerals or memorial services in
southern France. Campra envisages four groups of
performers: a five-voice Grand Choeur, a two- to
three-voice Petit Choeur (which could be drawn from the
Grand Choeur), three vocal soloists and an instrumental
group designated as a "symphony".
Messe de Mort or Requiem Mass is of uncertain date of
composition but, since the closing fugue is an
elaboration of one which he had incorporated into his
grand motet of 1723, Der profundis, we might suppose it
to have been composed sometime after that. Others,
however, place the work earlier in Campra's life.
During the eighteenth century there were various
permutations of the content of the Requiem Mass and in
Campra's version there are certain omissions. There is
no Dies irae, for instance, nor a Libera me. The
Benedictus, too, is excluded, though this is also true
of some of Charpentier's Masses. Campra's setting is,
nevertheless, quite extended and falls into seven
section—Introit; Kyrie; Gradual Offertory; Sanctus;
Agnus Dei and Post Communication. These sections are
further sub-divided variously into recits, dialogues,
duos, trios and choruses. This is considered a great
work of enduring beauty.
Campra was a gifted theatre composer and knew well how
to handle the components of an elaborate sacred work in
a colourful and dramatic manner evidenced by the
Gradual, whose reiterated ''non, non'' etc. recalls a
chorus in Act 3 of Charpentier's Medee, and in the
throbbing bass of the Offertory opening. But it is the
quiet intensity and the strongly contemplative
character of Campra's Requiem which, perhaps, strike
the profoundest note. It is, furthermore, a work of
considerable individuality which stands out from among
the greater number of sacred works of the ''Grand
Siecle''.
Although originally composed for Chorus (SSATB),
Strings and Continuo, I created this Interpretation of
the "Introit" (Mvt. 1) from the "Messe de Requiem" for
Winds (Flute, Oboe, English Horn, French Horn &
Bassoon) and Strings (2 Violins, Viola & Cello).
PARTITION