Orchestre Du Roi

Le Concert des Nations, Jordi Savall

De jaren 1670 tot 1673 markeren een van die keerpunten waarop de geschiedenis in het algemeen, en de kunstgeschiedenis in het bijzonder, wijselijk precies de juiste combinatie van mensen, gebeurtenissen en zelfs instrumenten samenbracht. De gebeurtenissen in de bovengenoemde periode zouden namelijk een aanzienlijke invloed hebben, niet alleen op de toekomst van de Franse muziek, maar tot op zekere hoogte ook op de muziek van de westerse wereld als geheel.

Lully:
 Alceste LWV 50
 Chaconne de l'amour Médecin, LWV 29 (1665)
 Le Bourgeois Gentilhomme
 Le Divertissement Royal LWV 38

"Le Concert des Nations offers here a compendium of Lully's music from the heyday of the court of Louis XIV (widely assumed to have been at Versailles, but in fact from before the move from Paris). The pieces, drawn from a variety of Lullian sources to make up three entertainments (or divertissements), provide Savall with opportunities to present his musicians in Lully's spectrum of ensemble textures. The players respond to the rhythmic vitality of the music, adding ornamentation with tremendous precision and flair, but the secret of the obvious success of this recording is the rightness of the tempos, whether for a dance, a battle, a gust of wind or a funeral. Those who saw the film Tousles matins du monde will be familiar with Lully's 'March pour la Cérémonie turque' and will immediately hear the difference even a few years has made to Savall: the playing on this new recording more effectively captures the military character without caricaturing the janissary element. The real stars of the recording, however, are the percussion players, Michèle Claude and Pedro Estevan, whose command of the possibilities for accompanying this repertory would have impressed even Lully. Whole evenings of Lully are still an acquired taste, but a recording of highlights as good as this is something anyone who enjoys Baroque music would wish to own.
Gramophone - Classical Music Guide 2010