Purcell, or even the elder Scarlatti, could probably have found more inventive musical imagery for some of these texts, but Lalande produces an effective pictorial treatment for "non movebor" in S66 (as also, less strikingly, for the analogous "non commovebitur" in S54). Although he relies rather too much on the superficial appeal of dance-like triple metres, he does achieve lively rhythmic variety in the numerous passages of plain chordal writing for the full ensemble.

Such music requires a strong sense of French Baroque style, and Martin Gester's ensemble acquits itself well on the whole. The Maîtrise de Bretagne sings with gusto, though the finest English or German choir might achieve greater precision.

The soloists give very good value, especially Stephan van Dyck (a true high tenor, not "countertenor" as mistakenly rendered in one place in the booklet) and the baritone Alain Buet. The soprano Stéphanie Révidat meets the subtle challenge of matching the youthful treble voices of the Maîtrise, while bringing adult judgement and taste to her solo passages. Only the tenor Thomas van Essen sounds uncomfortable at times.

Organ enthusiasts will wish that Opus 111 had published some details about the organ of St-Michel en-Thiérache. Aline Zylberajch-Gester gracefully deploys several of the instrument's attractive colours in the Suite du premier ton by Du Mage.

Lalande's music is always competent and often appealing, and such characteristic features as his use of da capo forms and his valiant (if sometimes inelegant) attempts at complex counterpoint help us to understand the conflicting aesthetic crosscurrents in French music of the generation before Rameau and Couperin le Grand.
ERIC VAN TASSEL

Grands motets
MICHEL RICHARD DE LALANDE
Martin Gester
Le Parlement de Musique , La Maîtrise de Bretagne
Stephan Van Dyck, Alain Buet
Opus 111 OP 30217
2001 - 59:57 min.