PERFORMANCE

Te Deum!
Sacred Grand Motets of Lully and Charpentier

The Resurrection of Christ by Charles de La Fosse

Sunday, March 10, 2024 at 4:00 P.M.

National Presbyterian Church
Washington, DC

Sacred Grand Motets of Jean-Baptiste Lully and Marc-Antoine Charpentier
Te Deum, H.146

Jean-Baptiste Lully:
Thesée, Marche Act 1/9, LWV 51
Notus in Judaea, LWV 77/17
O lachrymae, LWV 26
O dulcissime Domine, LWV 77/9
Thesée, “Entrance of Warriors” Act 1/10
Exaudiat te, Dominus, LWV 77/15

Marc-Antoine Charpentier:
Marche de Triomphe, H. 547
Litanies de la Vierge, H. 83
Motet pour les Trespasses: Miseremini mei, H. 311
Deuxieme Aire de Triomphe pour Trompettes, H. 547
Te Deum, H. 164

Soloists:

Margaret Carpenter Haigh

Margaret Carpenter Haigh
soprano

Margot Rood

Margot Rood
soprano

James Reese

James Reese
haute-contre

Jacob Perry, Jr.

Jacob Perry Jr.
tenor

Ian Pomerantz

Ian Pomerantz
bass

Ross Tamaccio, bass

Ross Tamaccio
bass

MORE ABOUT THE PERFORMANCE
J.S. Bach drew from the best of a variety of established European musical styles and combined them in his own unique voice. This concert will highlight influential composers of the French Baroque, featuring sacred grand motets of Jean-Baptiste Lully (1632–1687) and Marc-Antoine Charpentier (1643–1704). Charpentier’s magnificent Te Deum will head a list of exquisite works that reflect the magnificence of French courtly and ecclesiastical grandeur.

Margaret Carpenter Haigh, soprano
Margot Rood, soprano
James Reese, haute-contre
Jacob Perry Jr., tenor
Ian Pomerantz, bass
Ross Tamaccio, bass

Read the Program Notes

Running time: 150 minutes, including intermission

Join us for Talking Bach at 3 p.m. The series of free pre-concert lectures by noted Bach scholar, Michael Marissen, are presented one hour before Director’s Series performances. In this preconcert talk, Michael will explore “Bach and the French Connection,” via several spectacular musical examples, the far-reaching influence of the composer Jean-Baptiste Lully and how Bach nonetheless made the French baroque style into something entirely his own. Learn More»

Helen H. McConnell, underwriter

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