Collaborations between the Musique de la Chambre and the Musique de la Chapelle at the court of Louis XIII: Nicolas Forme's Missa Aeternae Henrici Magni (1638) and the origins of the grand motet
2010; Oxford University Press; Volume: 38; Issue: 3 Linguagem: Inglês
10.1093/em/caq059
ISSN1741-7260
Autores Tópico(s)Historical Art and Culture Studies
ResumoIN recent years our understanding of sacred music at the court of Louis XIV (r.1643–1715) has increased almost immeasurably. Thanks to the survival of numerous print and manuscript sources associated with the Chapelle Royale and ample documentary evidence, we can now trace the appearance of the grand motet in the hands of the sous-maîtres Jean Veillot, Henry Du Mont, Pierre Robert and surintendant Jean-Baptiste Lully (in the late 1650s or early 1660s) and the later adoption and development of the genre (from 1683) by Michel-Richard de Lalande.1 And thanks to a pre-existing historical and critical framework (in particular Peter Burke's concept of the ‘fabrication’ of Louis XIV)2 we can also point to the role that the grand motet played in the construction of the Sun King's powerful identity—certainly, the large-scale works for two choirs, soloists, orchestra and basse-continue often comparing the earthly king to King David provide convincing grounds (certainly to most scholars) for associating the rise of the genre with Louis XIV's patronage.3
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