Tircis et Climene

Cantata for soprano, bass, violin/flute and continuo

Michel Pignolet de Montéclair though not prolific, is regarded as one of the great composers of French Cantata, along with Bernier, Campra, Clérambault and Rameau. According to Anthony, his ‘twenty French and four Italian cantatas..... published in three books (ca. 1709, ca. 1717, 1728) …constitute “a repository of neglected masterpieces”.’ Tircis et Climene is the sixth cantata in the third volume which is titled CANTATES/ A UNE ET DEUX VOIX/ AVEC SIMPHONIE./ Composées/ Par MR . Monteclair./ TROISIEME LIVRE/ qui contient huit Cantates Francoises,/ et une Cantate Italienne./ etc.

Of the cantatas in this volume, five are set with obbligato instruments, and most contain solo passages for the viol. Tircis et Climene is a simple pastoral piece, and contains none of the obvious dramatic or operatic effects that other works in this volume show; or example the sommeil in La Bergere, or the descent of Jupiter in Europpe. According to the contents page, the two duets and the Air Languissantes flammes are accompanied by a flute or violin; a violin is specified for the Airs Icy le soleil, and La sombre tristesse, but these are equally playable on the flute.

The shepherd and the shepherdess sing of the simple arcadian life they lead, but Tircis is troubled by love, which makes him sad and languorous. Climene on the other hand is cheerful and laughs alot; she upbraids Tircis, who promises to love more as she wishes. Together, they bid imaginary cares depart, and welcome the pleasures of love.

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Ariane et Bachus

Cantata for soprano, flute/violin and continuo

Like the cantata Tircis et Climene, Ariane et Bachus is set “ avec une Flute ou un Violon”; in practice each instrument is assigned two of the airs. After an introductory recitative, Ariadne’s lament ‘Plus cruel que le Minotaure’ follows. A little symphony for solo viol and keyboard introduces an ariette accompanied by the viol. This leads into the air ‘Sur ces bords écartés’, which heralds the descent of Bacchus. This is set without continuo, with the flute as the obbligato instrument, while the violin doubles the voice. Bacchus offers Ariadne elevation to immortal status as a recompense for the loss of her faithless lover.
The cantata finishes with an air, in which, in effect, ladies disappointed in love are exhorted, with help from Bacchus, to drown their sorrows.

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