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SATURDAY, AUGUST 1st

Ensemble Correspondances ©Louise Denos - VU'.jpg

8:30 PM: CONCERT

Weimar Cantatas

We must imagine Bach happy…

 

Correspondences Set

Sébastien Daucé, director


With the Young Choir of the Pays d'Auge and the Grand Participatory Choir

 

 

 

See event details

 

©Louise Desnos, VU'

description

in detail

Following last season’s early cantatas, the Ensemble Correspondances now moves on to Weimar in 1714. Bach feels at home there; he is better paid than in his previous post, and he and his wife Maria Barbara have their first children. Above all, the ducal library was rich in scores from Italy and France; Bach developed all manner of secular and sacred music, innovating and experimenting. Undoubtedly, one should focus less on the great affliction, the weeping and wailing of the texts, and more on the fervour in which trumpets and timpani sound, and oboes and violins resound. Admittedly, the task of a church and court composer is superhuman, but his music makes it clear that we must imagine Bach as a happy man.

Jean-Sébastien Bach, Cantates n°21, 172 et 12

 

Correspondances is in residence at the Théâtre de Caen.

It receives creative residency support from La Vie Brève – Théâtre de l’Aquarium. 

Correspondances is supported by the Ministry of Culture – DRAC Normandy, the Normandy Region, the Department of Calvados, the City of Caen and the Théâtre de Caen. 

The ensemble is supported by the Fondation Correspondances, which brings together music lovers actively involved in supporting research, publishing and the performance of 17th-century music.

It receives regular support from the Institut Français, ODIA Normandy and the Centre National de la Musique for its concert, international touring and recording activities.

The Ensemble Correspondances is a member of Arviva – Arts vivants, Arts durables, and is committed to the environmental transition of the performing arts. The ensemble is a member of FEVIS, Scène Ensemble and the European Early Music Network.

The Correspondances ensemble is the 2024 winner of the Liliane Bettencourt Prize for Choral Singing awarded by the Bettencourt Schueller Foundation. 

The Société Générale Corporate Foundation is the principal patron of the Correspondances ensemble. 

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Lieu : Abbatiale de Saint-Pierre-sur-Dives - plus de détails sur le lieu

Tarif plein : 40€

Etudiants et demandeurs d'emploi : 20€

Jeunes - 18 ans : 5€

PASS Jean Rondeau + Ensemble Correspondances : 60€ / 30€ / 10€

Quand : Samedi 1er août à 20h30

Durée : 1h20

Vous souhaitez chanter avec nous un extrait du programme ?
Rejoignez le Grand choeur participatif !
Répétitions :

  • Vendredi 31 juillet de 16h à 17h

  • Samedi 1er août de 16h à 17h puis de 19h à 20h

à l’Abbaye de Saint-Pierre-sur-Dives.

Ouvert à tous, sur inscription lors de l’achat de votre billet de concert : + 5€ sur le billet du concert.

vidéo

Also to be seen on the same day

11 AM: INATTENDU - "BRUSH BLASTS IN LISIEUX"

With their brassy sounds and harmonious arpeggios, the trumpets of Ensemble Correspondances will be playing in the open air at the Lisieux market!

 

11 AM: PETITE PROMENADE - "A PEAU D'ANE"

Rediscover Perrault's famous tale through an intimate and poetic adaptation that blends the magic of shadow theatre and music.

 

4 PM: CONCERT - "JEAN RONDEAU HARPSICHORD RECITAL"

Let yourself be captivated by the virtuosity and poetry of the prodigy Jean Rondeau during a masterful and timeless harpsichord recital.

THE GRAND PARTICIPATORY CHOIR

Would you like to sing an excerpt from the program with us?
Join the Grand Participatory Choir!

 

10 PM: CONCERT - "BERLIN IN THE LIGHT"

Immerse yourself in the vibrant atmosphere of 1920s Berlin, between cheeky cabaret songs and captivating melodies of the interwar period.

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Lieu

Welcome to the Abbey of Saint-Pierre-sur-Dives

The Benedictine Abbey of Saint-Pierre-sur-Dives was founded in the 11th century. A thousand years later, its abbey church, adjoining conventual buildings, cloister courtyard, and magnificent chapter house make it one of the most complete examples of monastic architecture in Normandy. The first abbey church dates from the 11th century. In 1011, upon the death of her husband, the Count of Eu, Countess Lesceline transformed her recently built castle into a monastery and established a community of nuns there. Thirty years later, facing harassment, they were transferred to Saint-Désir-de-Lisieux and replaced by Benedictine monks from Rouen. The Countess then entrusted the future of her abbey to Abbot Ainard, who expanded the monastery and built the first abbey church. The consecration in 1067, in the presence of William, Duke of Normandy and King of England, the Countess's great-nephew, marked the end of construction. The abbey, under his patronage, was dedicated to the Virgin Mary. Virtually nothing remained of the original Romanesque church, destroyed in 1106 by fire set by Henry I Beauclerc, except for a few elements at the crossing. The church was rebuilt in 1108. It closely resembled the proportions and location of the original building. The construction of this new Gothic edifice lasted over a century. The nave and choir rise in three levels: the large, slightly pointed arches, surmounted by a triforium and then by clerestory windows. The balance of volumes between horizontality and verticality is achieved through engaged columns that rise from their capitals to the springing of the vaults, to which the stringcourses corresponding perpendicularly mark the different levels. Initially covered with an exposed timber frame, the nave features ribbed vaults dating from the 13th century. At the crossing, the lantern tower is a characteristic feature of Norman Gothic architecture. It acts as a light well in the area where Mass was sung. Originally taller, it now has only two stories and was reinforced at the corners in the 18th century. The interplay of light and shadow in the sanctuary enhances the spatial unity of the building. The five beautiful arcades of the apse and their opening onto the ambulatory with radiating chapels accentuate its depth. During the Hundred Years' War, the abbey resumed its role as a military fortress and was subsequently heavily damaged. In 1459, it fell under the commendatory system and descended into a period of great moral disarray. During the Wars of Religion, Protestants ransacked the abbey church, burned the charters, the relics of Saint Wambert, and desecrated the tomb of Lesceline. During this turbulent period, a commendatory abbot, Jacques de Silly, rebuilt the ravaged structure. He undertook major works from 1509 to 1527: raising the clerestory windows and the nave vaults, where his coat of arms can be seen, reinforcing the exterior walls with flying buttresses, and consolidating the lantern tower. The restoration of the church preserved the architectural harmony of the 13th century. In the 15th and 16th centuries, the radiating chapels were remodeled. In 1666, Georges Dunot was appointed commendatory abbot. To revive the abbey, he called upon the monks of the Saint-Maur Reform from the Abbey of Saint-Étienne in Caen. The Maurists reinstated religious observance and restored the conventual buildings. In the church, the choir was repaved and a new altar was installed. Bells were recast. In 1691, the vaults, which were in danger of collapsing, were also restored. Individual cells were created in the south wing of the conventual buildings for the monks who had previously slept in a dormitory. A new refectory was also built. From then on, the abbey church remained virtually unchanged, except after the conventual buildings were divided into lots and sold as national property, and its transformation into a parish church following the French Revolution. By gradually buying back the various lots from private individuals since the end of the 20th century, the town has undertaken a plan to restore the convent buildings, so that the former abbey can once again participate in the development of Saint-Pierre-sur-Dives.

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artistes

find out more about the artist!

Founded in 2009, Correspondances, under the direction of harpsichordist and organist Sébastien Daucé, brings together a group of singers and instrumentalists, all specialists in the music of the Grand Siècle (the 17th century). Having become a leading ensemble in the repertoire of 17th-century French music in just a few years, Correspondances presents music with sounds that resonate deeply with today's listeners. The rediscovery of previously unreleased works and the expression of a playing style as close as possible to that of the 17th century are at the heart of the ensemble's mission. Its long-term research programs have yielded moving results, such as the monumental reconstruction of the Coronation of Louis XIV, and the reconstruction of the score of the Ballet Royal de la Nuit, thus allowing us to rediscover a major musical moment of the 17th century that inaugurated the reign of the Sun King. The ensemble's commitment to reviving the works of established composers and rediscovering forgotten musicians has resulted in 21 recordings with the Harmonia Mundi label, acclaimed by French and international critics. These include: the Litanies of the Virgin (2013), the Christmas Pastorale (2016), Sacred Stories (2019), and Midnight Mass (2023) by the ensemble's favorite composer, Marc-Antoine Charpentier; the grand motets of Henry du Mont (2016) and Michel-Richard de Lalande (2022); Perpetual Night (2018); and Northern Light (2025) with soloist Lucile Richardot, winner of the 2025 Diapason d'Or award. or Buxtehude’s Membra Jesu Nostri (2021), Matthew Locke’s Psyche (2022), André Campra’s Requiem Mass & The Masters of Notre-Dame de Paris (2024), Northern Light (2025) with soloist Lucile Richardot, and J.S. Bach’s Christ lag in Todesbanden (2025). In 2017, Le Ballet royal de la Nuit premiered at the Théâtre de Caen, a grand and enchanting work conceived for the 21st century by choreographer Francesca Lattuada. The company continues its exploration of the experimental formats that marked the Grand Siècle with the performance Songs, directed by Samuel Achache for the voice of Lucile Richardot, and the English mask piece Cupid & Death, created in 2021 at the Théâtre de Caen, an eccentric entertainment set in an upside-down world, created by Jos Houben and Emily Wilson. Also in 2021, Correspondances performed for the first time at the Aix-en-Provence Festival with Combattimento, la théorie du cygne noir (Combatmento, the Theory of the Black Swan), a utopian composition about the reconstruction of the ideal city based on the works of Monteverdi and his early 17th-century Italian contemporaries, conceived by Silvia Costa. In 2023, Correspondances premiered David et Jonathan at the Théâtre de Caen in a production directed by Jean Bellorini, returning to its hybrid form where opera and theater were intimately intertwined. That same year, the ensemble honored its favorite composer, Marc-Antoine Charpentier, with the inaugural Heures Musicales de la Sainte-Chapelle (Musical Hours of the Sainte-Chapelle), which returned for a second edition in October 2024. In 2025, Correspondances returned to the Aix-en-Provence Festival with a production of Cavalli's La Calisto, directed by Jetske Mijnssen. Also in 2025, the ensemble will revive the Coronation of Louis XIV in a grand staging conceived by Rosabel Huguet in the Pierre Boulez Hall of the Philharmonie de Paris, accompanied by the children of the Philharmonie's EVE choir, the Caen Choir School, and the Scuola de Caen. Off the beaten path, Correspondances brings polyphony and opera to unexpected places. Since 2020, the ensemble has been cycling through the countryside each summer, bringing 17th-century music to the heart of Norman villages and rural areas. A musical and sporting adventure for all ages. Correspondances is the 2024 recipient of the Liliane Bettencourt Prize for Choral Singing, awarded by the Bettencourt Schueller Foundation, in partnership with the Academy of Fine Arts.

Sébastien Daucé Organist and harpsichordist, Sébastien Daucé is driven by a desire to bring to life a rich and still little-known repertoire: that of 17th-century French music. It was during his studies at the Lyon Conservatory that he met the future members of Correspondances. There, he benefited from the teaching of Françoise Lengellé and Yves Rechsteiner. Initially sought after as a continuo player and vocal coach (Ensemble Pygmalion, Aix-en-Provence Festival, Radio France Choir School & Philharmonic Orchestra, etc.), he founded the ensemble Correspondances in Lyon in 2009, bringing together singers and instrumentalists passionate about the sacred French repertoire of the Grand Siècle. With the ensemble, which he conducts from the harpsichord or organ, he tours France and the world, and frequently records for radio. Sébastien Daucé and the ensemble Correspondances are in residence at the Théâtre de Caen, where they are developing their first stage projects (Three Women, directed by Vincent Huguet in 2016, followed by The Royal Ballet of the Night, the legendary court ballet that gave birth to the myth of the Sun King, directed by Francesca Lattuada in November 2017). Atypical in its stage productions, the adventure continues with the English masked performance Cupid & Death in 2020, a revival of The Coronation of Louis XIV in 2021, and Charpentier's David & Jonathan in 2023. Japan, Colombia, the United States, and China mark significant milestones in the ensemble's career, alongside regular collaborations in Europe (England, Germany, Benelux, the Netherlands, Italy, and Poland). Their exploration of a rarely performed, often unreleased repertoire, with the support of the label harmonia mundi, a pioneer in many respects in the Baroque repertoire, has resulted in a discography of 21 critically acclaimed recordings: Diapason d’or of the year, ffff Télérama, Gramophone Editor’s Choice, Classica’s Chocs of the year, German Record Critics’ Prize, Belgian Critics’ Prize… The ensemble enjoys international recognition: in 2016, they were awarded prizes at the Echo Preis ceremony at the Konzerthaus Berlin in the categories of Best World Premiere for Le Concert Royal de la Nuit and Best Young Conductor of the Year; the Australian magazine Limelight awarded them the prize for best opera of 2016 for their Concert Royal de la Nuit. Alongside his activities as a musician, Sébastien Daucé collaborates with leading 17th-century specialists, regularly publishing articles and participating in major performance-practice projects. Passionate about musical style, he edits the music that makes up the ensemble's repertoire, even undertaking complete recompositions when necessary, as was the case for Le Ballet Royal de la Nuit. He taught at the Pôle Supérieur de Paris from 2012 to 2018. In 2018, he was guest artistic director of the London Festival of Baroque Music. In 2023, he became artistic director of the Promenades musicales du Pays d’Auge. In 2023-2024, he was guest conductor of the Maîtrise du Centre de musique baroque de Versailles.

Contact

Les Promenades musicales du Pays d'Auge

Filature des Possibles

11 rue d'Orival, 14100 LISIEUX

06 59 15 25 86 

contact@pmpa.fr

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