Henry Du Mont: Cantica Sacra

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DU MONT Cantica Sacra • Namur CCh; Les Soloistes • RICERCAR RIC 293 (72: 52 Text and Translation)


Although relatively little known, and with correspondingly few recordings of his music available, Henry Du Mont (1610–84) was a figure of pivotal importance in the music of the French Baroque. Of Belgian origins, born near Liège, he received his initial musical training in Maastricht in the Netherlands, returned to Liège, and then relocated to Paris in 1640, where he became organist at the Church of Saint-Paul. Rising rapidly in prominence, he then became harpsichordist to the Duc d’Anjou in 1652 and to the Queen in 1660, a sous-maître (one of four) of the Chapelle Royale at Versailles in 1663, sous-maître de la musique du Roy in 1672 (along with Pierre Robert), and finally Master of the Queen’s Music in 1673. He resigned his last position in 1683 and died the next year. His compositional output includes several masses and nearly one hundred petits motets.


The Cantica sacra , published in 1652, broke decisively from the polyphonic tradition previously dominant in France. Introducing novel stylistic techniques pioneered by Monteverdi and his contemporaries in Italy, it was the first musical publication in France to present motets for two voices rather than four, and only the second to have an independent basso continuo part. The use of only two voices also entailed employment of a more declamatory vocal style and the use of agréments , ornaments such as the trill and mordent placed above notes for vocal embellishment and added expressivity. The collection also includes the first published solo motet in the French repertoire, In lectulo meo ; borrowing yet another Italian device, in this piece Du Mont reduces the second voice to only an echo of certain phrases sung by the first voice. The larger-scale pieces that call for several groups of singers would later be developed by Du Mont into another of his innovations, the grand motet français . His published directions provided for the works to be performed by either high or low voices, allowed for alternatives in the type of stringed instruments to be employed, and indicated organ improvisations at specified parts of the services. Finally, the volume also includes purely instrumental pieces, four of which are featured on the present disc.


This is an exemplary production. The vocal and instrumental performances are exceptionally polished; the recorded sound is excellent; the booklet essay is unusually detailed and informative without being pedantic; the vocal texts are presented in Latin, English, French, and German; specifications are even given for the organ (built in 1742). At present there is only one other CD in print with music from this collection, also on the Ricercar label and performed by the eponymous Ricercar Consort, half of a two-disc set that also includes a Requiem by Gilles Hayne. Despite an extensive Internet search, I have not been able to ascertain the specific contents of that set, or if that CD is the same as a now deleted 1992 issue, Ricercar 120109 (still listed as an MP3 download from a few sites). In any case, this item fills a major gap in the early Baroque repertoire. Highly recommended.


FANFARE: James A. Altena


Product Description:

  • Release Date: April 13, 2010


  • Catalog Number: RIC293


  • UPC: 5400439002937


  • Label: Ricercar


  • Number of Discs: 1


  • Composer: Henri Du Mont


  • Performer: Bruno Boterf, Caroline Weynants, Freddy Eichelberger, Lieve Van Lancker, Nathalie Marec, Philippe Favette, Stéphanie de Failly, Thibaut Lenaerts