Cantates Spirituelles

René Drouard de Bousset (1703-1760)
If it weren´t for his clever contributions to uncommon genres such as the French sacred cantata or music for hurdy-gurdy, the name René Drouard de Bousset would be all but forgotten in the dusty stacks of fading manuscripts in the Bibliotheque Nationale in Paris. Yet in the early 18th century, de Bousset was the talk of the town, known as a harpsichord teacher and occasional composer, but especially popular as a virtuosic performer on the king of instruments – the organ. His reputation as an organist survived all the way into the 19th century. René is also referred to as Du Bousset and Dubousset, but most commonly as De Bousset, which is how his name is inscribed on the title pages of all his surviving published works. Psalm singing in the vernacular was a popular way of disseminating Biblical teaching, especially since Latin was not widely understood. Louis XIV himself inspired court poets to produce a large collection of religious work, including many psalm paraphrases that were “driven more by an internal spiritual and artistic need than a missionary intention,”
Michiko Takahashi
Bernhard Hansky
(Favier, Cantiques spirituels). De Bousset is the only one to have created cantates from psalm paraphrases as well as from other stories from the Bible.

“One can only be grateful that Le Tendre Amour has brought the oeuvre of de Bousset to our attention… I am happy to tell you that the performances are in every way outstanding. Michiko Takahashi has a very fine and clear voice, and shows her full mastery of the style of the French baroque. Her ornamentation is tasteful and her diction and pronunciation immaculate. The same goes for Bernhard Hansky who delivers a truly theatrical interpretation of Le Naufrage de Pharaon.” 

Johan van Veen – Musica dei donum

“Wie in ihrer letzten CD ‚All in a garden green‘, die sich mit englischer Musik des 17. Jahrhunderts beschäftigte, frappieren Virtuosität, Zusammenklang und Natürlichkeit von Le Tendre Amour. Der wieder sehr klare, frische Klang der Aufnahme passt wunderbar zu diesem offenbar sehr gut vorbereiteten, aber jederzeit spontanen, lebendigen und ungemein dynamischen Musizieren.” 

Andreas Falentin – Magazin Klassik