Amour, viens animer ma voix ! Amour, viens animer ma voix !

Throughout the first half of the 18th century many French composers ventured into the composition of Cantatas, creating a vast repertoire of approximately eight hundred works in this particular genre. Unfortunately, even though this extraordinary group of compositions includes many excellent pieces, and even some masterpieces, it hasn’t as yet attracted enough attention from either musicologists or performers. Modern performance editions and representative recordings are rare, and the majority of the repertoire remains totally unknown to the public nowadays. If Nicolas Bernier was the most prolific, having forty cantatas published, and Jean-Philippe Rameau the most famous – at least nowadays – the best composers of French Cantatas are without any doubt the ones represented on this recording.

Hugo Oliveira   HUGO OLIVEIRA studied at Lisbon's Escola Superior de Música with Helena Pina Manique and Luís Madureira, and at the Royal Conservatory in The Hague with Jill Feldman, Barbara Pearson, and Michael Chance, supported by a scholarship from the Calouste Gulbenkian Foundation. In 2009, he won first prize in the third Competition of the Portuguese Rotary Foundation, and was also a finalist in the London Bach Society Competition. Although specialized in Early Music, his repertoire also encompasses many later works from the 19th and 20th centuries, including premières of contemporary compositions. Hugo Oliveira has performed in some of the most important opera houses and concert halls of Europe, e.g. in London, Amsterdam, Paris, Madrid and Barcelona. He appeared with many of today's leading earlymusic ensembles, including Le Concert des Nations, Hilliard Ensemble, Il Fondamento, L'Arpeggiata, Ricercar Consort, Les Inventions, Divino Sospiro and the Wallfisch Band, and has worked with renowned modern ensembles, as the London Symphony Orchestra, Düsseldorf Symphony Orchestra, Radio Philharmonic Orchestra of The Netherlands, Gulbenkian Symphony Orchestra, Schönberg Ensemble, Amsterdam Sinfonietta, Ebony Band and Remix Ensemble.

Ludovice Ensemble  LUDOVICE ENSEMBLE is based in Lisbon focussing on research into, and historical performance of, Baroque chamber music on original instruments. Fernando Miguel Jalôto and Joana Amorim founded Ludovice Ensemble in 2004, and the group has since become a point of reference within the Portuguese Early-Music scene. Ludovice Ensemble is known for the high quality of its performances, the coherence of its artistic projects and the novelty of its programming and proposals, which combine creativity, a passionate approach to the repertoire and an historically informed interpretation. The ensemble's presentations are inspired by a Mediterranean sense of drama and rhetorical delivery, appropriate to the Baroque cultural inheritance it is reviving. Their repertoire comprises mainly French and German 17th and 18th-century works, but often features Italian, Portuguese and English Baroque works as well. The group gathers together some of the best Portuguese performers specialized in early music, in collaboration with foreign artists of exceptional quality – not just musicians, but also dancers, actors and mime-artists. Ludovice Ensemble has been recorded live by the Portuguese Broadcast Company Antena 2, as well as by the German Deutschlandfunk, and recordings of its concerts have been broadcast by the European Broadcasting Union.

Joana Amorim, flûte traversière
Bojan Cicic, dessus de violon
Thibaud Robinne, trompette
Nicholas Milne, basse de viole
Miguel Henry, théorbe et guitare
Fernando Miguel Jaloto, clavecin et direction

Miguel Jaloto  FERNANDO MIGUEL JALOTO studied with Jacques Ogg at the Royal Conservatory in The Hague where he was awarded Master of Music. He also attended master-classes with Gustav Leonhardt, Olivier Baumont, Ilton Wjuniski and Ketil Haugsand, studying Baroque organ and clavichord as well. He received a further Master of Music from the University of Aveiro (Portugal) with a dissertation focussing on Portuguese Baroque Chamber Music. Miguel is the regular basso-continuo player on harpsichord, organ and fortepiano at the Lisbon-based Baroque orchestra Divino Sospiro (Enrico Onofri), and guest harpsichordist at the Orquestra Barroca Casa da Música in Oporto (Laurence Cummings). He often performs, both as soloist and continuo player, in Portugal, Spain, France, Belgium, the Netherlands, the United Kingdom, Austria, Poland, Bulgaria and Japan. Miguel co-founded Ludovice Ensemble in 2004 to perform 17th and 18th-century chamber music. He currently teaches Historical Performance Practice at Évora's University (Portugal).

Louis-Antoine Dornel 1. Prelude
Ve Concert 2. Fugue. Gay
  3. 1ére & 2éme Gavotte  
  4. Gigue  
André Campra 5. Symphonie. Gracieusement  
Le Jaloux 6. [Récitatif] Taisez vous, taisez vous
  7. Air Est ce la le prix, que devoit attendre
  8. Récitatif O soupirs : O transports entre nous confondus !
  9. Air Goutons, goutons la Vengeance
  10. Récitatif Non, vengés moi grands Dieux !  
  11. Air Triste depit, foible secours
  12. Récitatif Pour bannir de mon coeur son importune image  
  13. [Air] Someil, vien, soulage les maux que je sens
  14. [Récitatif] Ou suis-je ! O reveil effroyable !  
Louis-Antoine Dornel 15. Prelude
VIe Concert 16. Allemande. Gay  
  17. Reflexion. Lentement  
  18. 1ere & 2eme Gavotte  
  19. Sarabande en Rondeau  
  20. Gigue  
Louis-Nicolas Clérambault 21. Récitatif Pigmalion paya cher l'avantage
Pigmalion 22. Air Amour, quelle cruelle flâme
  23. Récitatif Je ne puis jamais être aimé  
  24. Air Reine de l'amoureux empire
  25. Récitatif Pigmalion obtient par sa plainte touchante  
  26. Air Vous, qu'une maitresse insensible
Louis-Antoine Dornel 27. Vivement
IIe Concert 28. Lentement  
  29. Vivement. Fugue Gaye  
Philippe Courbois 30. [Récitatif] O Ciel ! disoit Orphée
Orphée 31. Lentement Je voy déja le terrible rivage  
  32. [Air] Dieu redouté qui régnés sur les ombres
  33. Récitatif A Ces accords mélodieux  
  34. Air Peut on refuser la victoire
  35. Récitatif Déja loin des forêts du paisible Elisée  
  36. Air Ah ! doit on d'un feu trop tendre