{"id":104705,"date":"2010-04-01T17:46:05","date_gmt":"2010-04-01T15:46:05","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=104705"},"modified":"2025-08-16T20:18:19","modified_gmt":"2025-08-16T18:18:19","slug":"jean-perrin-de-profundis-andre-charlet","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/jean-perrin-de-profundis-andre-charlet\/","title":{"rendered":"Jean Perrin: De Profundis, Op. 26 – Choeur de la Radio Suisse Romande, Andr\u00e9 Charlet, Orchestre de Chambre de Lausanne, Victor Desarzens"},"content":{"rendered":"

Jean PERRIN:<\/strong> De Profundis, Op. 26<\/h4>\n

Jean PERRIN:<\/strong> De Profundis, Op. 26: I. De profundis clamavi ad te, Domine – II. Fiant aures tuae intendentes in vocem deprecationis meae – III. Si iniquitates observaveris, Domine – IV. Quia apud te propitiatio est – V. Sustinuit anima mea in verbo ejus, speravit animea mea in Domino – VI. A custodia matutina usque ad noctem – VII. Speret Isra\u00ebl in Domino – VIII. Quia apud Dominum misericordia – IX. Et ipse redimet Isra\u00ebl es omnibus iniquitatibus ejus – X. De profundis clamavi ad te, Domine. Requiem aeternam dona eis, Domine<\/p>\n

Ch\u0153ur de la Radio Suisse Romande, Andr\u00e9 Charlet<\/strong>
\nOrchestre de Chambre de Lausanne, Victor Desarzens<\/strong><\/p>\n

https:\/\/fr.wikipedia.org\/wiki\/Jean_Perrin_(musicien)<\/a><\/p>\n

\n

Out of the depths I cry to you, Lord<\/h3>\n

The De Profundis<\/em> (Psalm 130) is one of the great texts of spirituality of all time. A cry of distress, it passes from anguish to hope. It is above all an appeal: \u201cDe profundis clamavi ad te, Domine<\/em>\u201d \u2014 out of the depths I cry to you, Lord. This appeal has never been more timely. This cry, this anguish exist within each of us. But they are also the appeal of a world delivered over to violence, to mourning, to the iniquity of humankind.<\/p>\n

I. De profundis<\/em><\/h4>\n

Entrusted solely to the choir and the orchestra, this part expresses that collective appeal, with the hammered contour of its rhythm, strongly accented on the first syllable of \u201cclamavi<\/em>,\u201d its surges that rise from pianissimo<\/em> to fortissimo<\/em>, the answers and interweavings of the orchestral and choral lines. After the climax, punctuated by the brass, everything subsides on \u201cvocem meam<\/em>.\u201d<\/p>\n

II. \u201cLet your ears be attentive\u2026\u201d<\/em><\/h4>\n

The second part follows on without interruption from the first. Over the words \u201clet your ears be attentive to my supplication,\u201d the tone becomes more intimate, though still urgent. Taking its support from a major seventh interval, which later widens to a minor ninth, the soprano solo unfolds its arabesques supported by the woodwinds, in dialogue with the choir whose brief interventions are like a calm reply.<\/p>\n

III. Si iniquitates<\/em><\/h4>\n

In the third part the music cleaves closely to the text. It bursts forth \u2014 violent, incisive, essentially rhythmic, somewhat Stravinskian in aspect \u2014 and strongly scans the words \u201cSi iniquitates observaveris, Domine, quis sustinebit<\/em>\u201d (if you take account of iniquities, who shall stand?).<\/p>\n

IV. Quia apud<\/em><\/h4>\n

At some length, this section alternates the soloists (soprano and alto) with the choir. Much of it is imbued with gentleness, with expressive chromaticism and conjunct melodic curves that underscore the words: \u201cBut with you there is forgiveness\u201d (quia apud te propitiatio est<\/em>). The tone rises into a great tutti of choir and orchestra on the words \u201cand then you are feared,\u201d then softens again. At that moment the \u201cSi iniquitates<\/em>\u201d from the previous section breaks out abruptly, this time in pianissimo<\/em>.<\/p>\n

V. \u201cSustinuit anima mea<\/em>\u201d<\/h4>\n

\u201cI hope in the Eternal; I rely on his word\u201d is treated in the manner of a Credo \u2014 an act of faith \u2014 with strongly marked phrases that fall like incantatory affirmations.<\/p>\n

VI. A custodia matutina<\/em><\/h4>\n

\u201cMy soul waits for the Lord more than a watchman for the dawn\u201d: simplicity and candor of the harmonies in the tenor and soprano solos, meditative in character \u2014 harshness of language and eddies in the orchestra in the concluding section which, as it quiets, prepares the seventh movement, Speret Israel<\/em> (\u201chope in Yahweh\u201d), a light, winged choral fugue that retains a certain spring in moments of intensity and that, on a final statement of the theme in inversion, gradually fades away like lights going out.<\/p>\n

VIII. Quia apud Dominum<\/em><\/h4>\n

The four soloists are the protagonists of the eighth part: \u201cwith Yahweh is grace; with him is plenteous redemption.\u201d The tone here is that of an expressive, individual melisma, with certain inflections that partake both of Gregorian chant and of oriental incantation. Note that one of the phrases contains one of the very few series in the score.<\/p>\n

IX. Et ipse redimet Israel<\/em><\/h4>\n

The choir and orchestra play the essential role in the ninth part, \u201cit is he who will redeem Israel,\u201d built almost entirely \u2014 except for its peroration \u2014 on a B pedal, with constant oscillations from low to high for the strongly accented choral motives, underlined by a wide deployment of timbres across the full instrumental range. A fairly extended soprano solo and a brief entry of the bass solo (\u201cwith Yahweh is grace, abundant redemption\u201d) prepare the listener for the tenth and final part, Requiem aeternam<\/em>.<\/p>\n

X. Requiem aeternam<\/em><\/h4>\n

This begins with the reprise, a semitone lower, of the music and words of the initial \u201cDe profundis clamavi<\/em>.\u201d It brightens at the entry of the words \u201cRequiem aeternam dona eis, Domine, et lux perpetua luceat eis<\/em>\u201d (Grant them eternal rest, O Lord, and let perpetual light shine upon them), and the music ends in accents of trust and light, in an utmost transparency.<\/p>\n","protected":false},"excerpt":{"rendered":"

Extraits \/ Excerpts<\/strong><\/p>\n

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