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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
130:
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
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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,
228:- 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.
448:
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
143:"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.
79:- 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
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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.
99:; 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,
329:- 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.
435:
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."
150:
extend and elaborate upon preexisting conventions; they epitomize
Versailles style and are lengthier and more musically interesting than their forerunners. The
119:(numeros) much like choruses, arias and recitative in Italian than French baroque opera. The operatic effect was a part of the embellishment of the
383:
1977 p. 418 "Contributing to the image of brilliant majesty with which Louis XIV wished to be identified, these grands motets served to ..."
284:- produced several grands motets, but in his role as an important music theorist of the French baroque he ignored any distinction between
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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.
91:. The French motet type was also connected to, and determined by, the occasion and venue; whereas the grand motet was cultivated at
422:
1987 p150 "This extra-liturgical use of the grand motet is not anomalous, nor is it an eighteenth-century corruption of the ...
43:, although the term dates from later French usage. At the time, due to the stylistic feature of employing two alternating
370:
1977 p. 418 "The grand motet reveals
Italian influence in its use of polychoral, concertato, and recitative styles;"
17:
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162:, 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
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40:
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8:
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71:(big) in proportion calling for double choirs and massed orchestral forces, whereas the
310:- 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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252:- 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
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219:- 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.
304:- 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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44:
36:
262:- 42 grand motets, several received at the Concert spirituel
182:, were purely royal occasions. However, after the death of
213:- produced some very grand, and operatic, grands motets.
158:, is characterized by its unprecedented length (Lully's
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The first generation of grands motets, the works of
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407:French Baroque Music: from Beaujoyeulx to Rameau
394:French Baroque Music: from Beaujoyeulx to Rameau
433:Motets for one and two voices with instruments
190:and the genre, and specifically the works of
154:, which reached its apex under the talent of
59:In the context of French baroque music the
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54:
47:, the works were typically described as
186:the crown became less proprietary with
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170:composed of (at least) four soloists.
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139:music." As a grandiose genre, the
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446:Opera and church music, 1630-1750
420:Music in the seventeenth century
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87:, and the German motet style of
39:cultivated at the height of the
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1:
444:Anthony Lewis, Nigel Fortune
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240:- as many as 70 grands motets
298:- 24 surviving grands motets
7:
10:
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431:François Martin, Mary Cyr
327:Jean-Joseph de Mondonville
234:- as prolific as Delalande
83:and renaissance motets of
51:- motet for double choir.
381:A history of the oratorio
368:A history of the oratorio
238:Michel Richard Delalande
232:Marc-Antoine Charpentier
156:Michel Richard Delalande
131:Versailles style, the "
49:motet pour deux choeurs
292:motets in his writing.
260:Charles-Hubert Gervais
282:SĂ©bastien de Brossard
174:From court to concert
55:Form of a grand motet
335:- only four survive.
333:Jean-Philippe Rameau
268:- the master of the
314:have survived. His
278:- 11 grands motets.
211:Jean-Baptiste Lully
379:Howard E. Smither
366:Howard E. Smither
418:Lorenzo Bianconi
405:James R. Anthony
392:James R. Anthony
276:Antoine Blanchard
266:François Couperin
256:, which are lost.
254:Nicolas Goupillet
196:Concert spirituel
194:, moved into the
152:motet Versaillais
35:) was a genre of
16:(Redirected from
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250:Henri Desmarets
244:Pascal Collasse
221:Chapelle royale
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97:Chapelle royale
67:form was truly
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137:French Baroque
123:'s splendour.
77:basso continuo
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246:- mainly lost
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226:Pierre Robert
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217:Henry Du Mont
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202:The composers
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188:grands motets
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180:Henry Du Mont
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133:ne plus ultra
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302:André Campra
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168:petit choeur
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164:grand choeur
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148:grand motets
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111:, while the
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296:Jean Gilles
141:grand motet
128:grand motet
113:petit motet
103:, Biblical
61:grand motet
29:grand motet
340:References
323:Delalande.
93:Versailles
89:J. S. Bach
449:1740s..."
409:1997 p217
192:Delalande
184:Louis XIV
109:Dies irae
460:Category
396:1997 p25
121:Sun King
105:cantique
31:(plural
320:Te Deum
166:with a
160:Te Deum
290:petits
286:grands
146:These
95:, the
85:Lassus
45:choirs
270:petit
101:hymne
81:Dufay
73:petit
69:grand
65:grand
37:motet
357:..."
318:and
288:and
27:The
135:of
107:or
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20:)
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