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The grand motet also had a set of stylistic conventions, even if some of the distinctive musical conventions of the grand motet - such as entrusting the initial intonation to a soloist - were not new. The grand motet also had operatic contrast, so a grand motet was a sequence of autonomous numbers
119:
was distinct from the early 13th-century motet, bar the use of Latin text, they too combine elements of secular and sacred nature. By incorporating theatrical elements of French spectacle and concerto elements inherited from
Italian music, the French grand motet became the archetypal genre of the
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were still in the repertoire at the
Concert spirituel until the last concert in May 1790, and the French Revolution. His motets feature the five-part chorus doubled by the orchestra, and are harmonically more conservative than those of Charpentier and
345:
2005 p55 "Another characteristic of the grand motet - the initial intonation entrusted to a soloist - already existed in motets by
Etienne Moulinié. Thus, the grand motet would consist of the accumulation of new and different elements (chorus,
217:- not as prolific as Du Mont or later Delalande, but 24 grand motets of Robert were printed by order of the king, in folio with those of Du Mont and some of Lully, in 1684, the year of Robert and Du Mont's retirement.
437:
1975 "The twelve grands motets of Jean- Joseph
Mondonville (1711-72) make an apt end to the history of the grand motet in France. They were extravagantly praised when first heard at the Concert Spirituel in the
132:"took on the aspects of a sacred concert right from its inception," lacking the liturgical significance of the first motets, serving to signify the grandeur associated with the monarchy.
68:- the basso continuo typically provided by the harpsichord at home or organ in a smaller church. These two French baroque motet types are also very distinct from the medieval motets of
195:
Virtually all major, and some minor, composers of the French baroque tried their hand at the genre, but only performance at court or, later, the
Concert spirituel conferred approval.
88:; the petit motet - unless accompanying a larger event, could also be for private often domestic devotions. The texts varied also; a grand motet was generally a Latin psalm,
318:- the favourite of the Concert spirituel in the years after Delalande, but after the 1740s the interest of the Concert spirituel began to turn to the works of Haydn.
424:
1988 viii
Historical Background "After the death of Louis XIV, the solemn magnificence of Lalande's large choral grands motets yielded to a gradual secularization."
139:
extend and elaborate upon preexisting conventions; they epitomize
Versailles style and are lengthier and more musically interesting than their forerunners. The
108:(numeros) much like choruses, arias and recitative in Italian than French baroque opera. The operatic effect was a part of the embellishment of the
372:
1977 p. 418 "Contributing to the image of brilliant majesty with which Louis XIV wished to be identified, these grands motets served to ..."
273:- produced several grands motets, but in his role as an important music theorist of the French baroque he ignored any distinction between
187:
from the first concert on 18 March 1725. Composers who may not have often been heard at court wrote grands motets for a new audience.
80:. The French motet type was also connected to, and determined by, the occasion and venue; whereas the grand motet was cultivated at
411:
1987 p150 "This extra-liturgical use of the grand motet is not anomalous, nor is it an eighteenth-century corruption of the ...
32:, although the term dates from later French usage. At the time, due to the stylistic feature of employing two alternating
359:
1977 p. 418 "The grand motet reveals
Italian influence in its use of polychoral, concertato, and recitative styles;"
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151:, for instance, has over 1200 bars) and a sectional structure that incorporates the alternation of a
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primarily contrasted with the petit motet. The first distinction is evident in the name; the
321:
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29:
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8:
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60:(big) in proportion calling for double choirs and massed orchestral forces, whereas the
299:- 36 motets "pour l'usage de la Chapelle du Roy" are recorded in his will, but only 11
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form was a chamber genre for one or two solo voices, one or two solo instruments, and
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genre, Couperin also composed as many as 12 grands motets, all of which are lost.
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125:
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241:- under his own name which survive, and also some, more scandalously, for
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Juan JosĂ© Carreras LĂłpez, Bernardo JosĂ© GarcĂa GarcĂa, Tess
Knighton
172:
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208:- the composer who established the conventions of the genre at the
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could be shorter Latin verses from a variety of religious sources.
293:- five published grand motets, one with a marked Italian influence
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The Royal Chapel in the time of the
Habsburgs: music and ceremony
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33:
25:
251:- 42 grand motets, several received at the Concert spirituel
171:, were purely royal occasions. However, after the death of
202:- produced some very grand, and operatic, grands motets.
147:, is characterized by its unprecedented length (Lully's
167:
The first generation of grands motets, the works of
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396:French Baroque Music: from Beaujoyeulx to Rameau
383:French Baroque Music: from Beaujoyeulx to Rameau
422:Motets for one and two voices with instruments
179:and the genre, and specifically the works of
143:, which reached its apex under the talent of
48:In the context of French baroque music the
162:
43:
36:, the works were typically described as
175:the crown became less proprietary with
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159:composed of (at least) four soloists.
13:
128:music." As a grandiose genre, the
14:
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435:Opera and church music, 1630-1750
409:Music in the seventeenth century
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76:, and the German motet style of
28:cultivated at the height of the
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388:
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1:
433:Anthony Lewis, Nigel Fortune
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229:- as many as 70 grands motets
287:- 24 surviving grands motets
7:
10:
471:
420:François Martin, Mary Cyr
316:Jean-Joseph de Mondonville
223:- as prolific as Delalande
72:and renaissance motets of
40:- motet for double choir.
370:A history of the oratorio
357:A history of the oratorio
227:Michel Richard Delalande
221:Marc-Antoine Charpentier
145:Michel Richard Delalande
120:Versailles style, the "
38:motet pour deux choeurs
281:motets in his writing.
249:Charles-Hubert Gervais
271:SĂ©bastien de Brossard
163:From court to concert
44:Form of a grand motet
324:- only four survive.
322:Jean-Philippe Rameau
257:- the master of the
303:have survived. His
267:- 11 grands motets.
200:Jean-Baptiste Lully
368:Howard E. Smither
355:Howard E. Smither
407:Lorenzo Bianconi
394:James R. Anthony
381:James R. Anthony
265:Antoine Blanchard
255:François Couperin
245:, which are lost.
243:Nicolas Goupillet
185:Concert spirituel
183:, moved into the
141:motet Versaillais
24:) was a genre of
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297:Nicolas Bernier
239:Henri Desmarets
233:Pascal Collasse
210:Chapelle royale
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86:Chapelle royale
56:form was truly
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126:French Baroque
112:'s splendour.
66:basso continuo
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30:French baroque
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455:Baroque music
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235:- mainly lost
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215:Pierre Robert
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206:Henry Du Mont
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191:The composers
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177:grands motets
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169:Henry Du Mont
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122:ne plus ultra
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115:Although the
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291:André Campra
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157:petit choeur
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153:grand choeur
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137:grand motets
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100:, while the
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285:Jean Gilles
130:grand motet
117:grand motet
102:petit motet
92:, Biblical
50:grand motet
18:grand motet
329:References
312:Delalande.
82:Versailles
78:J. S. Bach
438:1740s..."
398:1997 p217
181:Delalande
173:Louis XIV
98:Dies irae
449:Category
385:1997 p25
110:Sun King
94:cantique
20:(plural
309:Te Deum
155:with a
149:Te Deum
279:petits
275:grands
135:These
84:, the
74:Lassus
34:choirs
259:petit
90:hymne
70:Dufay
62:petit
58:grand
54:grand
26:motet
346:..."
307:and
277:and
16:The
124:of
96:or
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