Two rival yet similar works, an illustration of a "Quarrel of the Te Deums", a true war of mottled violin scores, a frivolous echo of Louis XV's final victories. It is also the rediscovery of two of the most talented amongst Rameau's contemporaries, François Colin de Blamont and Esprit Joseph Antoine Blanchard. Daniel Cuiller appropriates this music with the voracity which led him to revive a previous Te Deum, on that occasion by Henri Madin, and which was covered with praise. Add to this the brilliant singers of the Marguerite Louise Choir which is directed by Gaétan Jarry and the virtuoso musicians of Stradivaria, Daniel replied with enthusiasm to this "commission" for the Royal Chapel of Versailles.

Three contrasting versions of the 'Stabat Mater', all most attractive and all composed within 20 years, in the second half of the 18th century. These excellent performances under Daniel Cuiller's direction are also all first recordings - and for Abos and Gasparini, first entries in the CD catalogue. An enterprising release, of great interest.

When Henry Madin’s Te Deum for the victories of Louis XV was performed in the Chapelle Royale at Versailles in 2015, it was the first time it had been performed since its premiere in the eighteenth century. Reviving this work for the modern day is Stradivaria, the Baroque ensemble of Nantes, and Les Cris de Paris, the latter two conducted by Daniel Cuiller and Geoffroy Jourdain, respectively. Along with Te Deum, this album also features Madin’s Diligam te, Domine, a grand motet for large chorus.

Around the start of the seventeenth century musical style in Europe underwent a remarkable transformation. During the first decades of the Baroque era, instrumental music underwent a deep transformation, the violin being central in the process. Composers, who were themselves violinists, expanded the technical limits of the instrument, developing a form of virtuosity with the bow that was very swiftly followed by an improvement of left-hand technique. The music for three violins and bass selected for this recording is typical of a XVIIth Century genre which disappeared rather quickly afterwards, although some remarkable works were still to be composed during the XVIIIth century. This selection, which borrows this repertoire to many different European countries, presents some of the most delighful Sonata's, ballets, chaconnes, fantasias, sinfonias and canon written.

After discovering François Francoeur's splendid orchestral pieces, the suites de Symphonies pour le festin royal de Monseigneur le Comte d'Artois, I was prompted by curiosity to play some of his magnificent violin sonatas in concert. This confirmed me in the conviction this violinist was undoubtedly one of the most appealing and gifted composers of 18th century France. Then it occurred to me to search his operatic output for the work or works most representative of his talents as an instrumentalist and orchestrator. The collections of the Bibliotheque Nationale soon convinced me that the 'more or less perfect pearl' was right in front of us: Piramé & Thisbé, a tragedie lyrique written in collaboration with his friend and associate François Rebel, three years his junior.