C'est en vain (Airs spirituels, 1688, II), rondeau for voice & theorbo
Gavotte de l'Op?ra d'Isis, for theorbo
Puisque Philis est infidelle (Airs, 1668, I), for voice & theorbo
Allemande, for theorbo
Non je ne pr?tens point (Airs spirituels, 1688, I), for voice & theorbo
La Dialogue des graces sur Iris, allemande for lute
Quoy! ne voulez vous rien comprendre (Airs, 1668, II), for voice & theorbo
La Mallassis, sarabande for lute
Auprez des beaux yeux (Airs, 1668, I), for voice & theorbo
Benigne de Bacilly (1625-1690) was a talented poet, composer, and singer who excelled in all types of airs. Between 1661 and 1688 he published secular and religious airs for solo voice and basso continuo. He devoted his... more » whole life to reforming French song and his treatise "L'art de bien chanter" (1668) is his major manifesto, laying down a theory of French pronunciation. The present recording is an anthology of secular and religious airs, each of which is preceded by a piece for lute by Charles Mouton, a lutenist and contemporary of Bacilly's. Mouton's stylized dances are well suited to Bacilly's airs, since both have a number of points in common (including sources) and because of the decisive influence of dance rhythms on most French vocal works. Paolo Cherici plays a theorbo, close relative of the lute, and often used in place of it in that era.« less
Benigne de Bacilly (1625-1690) was a talented poet, composer, and singer who excelled in all types of airs. Between 1661 and 1688 he published secular and religious airs for solo voice and basso continuo. He devoted his whole life to reforming French song and his treatise "L'art de bien chanter" (1668) is his major manifesto, laying down a theory of French pronunciation. The present recording is an anthology of secular and religious airs, each of which is preceded by a piece for lute by Charles Mouton, a lutenist and contemporary of Bacilly's. Mouton's stylized dances are well suited to Bacilly's airs, since both have a number of points in common (including sources) and because of the decisive influence of dance rhythms on most French vocal works. Paolo Cherici plays a theorbo, close relative of the lute, and often used in place of it in that era.