Jean-Baptiste Lully (1632-1687)
Plaude laetare Gallia (LWV 37)
Henri du Mont (1610-1684)
Magnificat
Jean-Baptiste Lully
Benedictus (LWV 64/ii)
Domine salvum fac regem (LWV 77/xiv)
Notus in Judaea Deus (LWV 77/xvii)
Les Épopées/Stéphane Fuget
rec. 2022, Chapelle Royale, Versailles, France
Texts and translations included
Reviewed as a stereo 24/96 download with pdf booklet from Outhere
Château de Versailles Spectacles CVS087 [72]

The grand motet – a piece for solo voices, choir and orchestra – was the main genre of sacred music in France from the mid-17th century to the end of the 18th century. The first composers of such works were Henri du Mont and Pierre Robert. These motets were performed during the daily mass at the court, from 1682 onwards at the Chapelle Royale in Versailles. However, such works could also be written for special occasions, and that is the case with the motets performed on the disc under review here. The central figure is Jean-Baptiste Lully, who also contributed to the genre, and whose position as surintendant de la Musique de la Chambre made him responsible for the music at the extraordinary ceremonies at the court. The motets he composed for such occasions had a lasting effect on the development of the genre, as for the performance of these occasional motets the two main ensembles, the Musique de la Chapelle and the Musique de la Chambre, were brought together. “Little by little, this ceremonial motet became a model that Louis XIV never ceased to try to transpose to the ordinary, for his daily mass”, Thomas Leconte states in his liner-notes.

The programme opens with Plaude laetare Gallia – “O Gaul (France), rejoice and sing”. This motet was performed at the occasion of the christening of Louis XIV’s eldest son on 24 March 1668. As the chapel was too small for the number of people attending the occasion, it took place in the inner courtyard of the old castle, that is in open air. As one may expect, the motet reflects the importance of the occasion and the status of the King. However, the heart of the piece is the third section, which is an invocation of Jesus – “O Jesu, life to those who pray. O Jesu, life to those who believe” – and has a solemn character. This is then followed by a prayer for a long life and reign of the Prince.

The second work is from the pen of Henri du Mont. He was also invited to write motets for special occasions, such as the visit of the papal legate to France in 1664. The motet he wrote for this event has not been preserved, and it was decided to perform a setting of the Magnificat instead. The character of this piece, written between 1663 and 1666, may well be comparable to that of Du Mont’s occasional motets from this time. It is brilliant work which includes many contrasts in the way the various verses are set. Most of the work has a festive character, but ‘Et misericordia’ is notable for its intimacy.

Next follows Lully’s setting of the Benedictus, the canticle of Zechariah. The date of composition is not known; it may have been written between 1665 and 1675. The whole work is in five parts: five solo voices, a five-part petit choeur and a five-part grand choeur, with an orchestra which is also divided into five parts. Features of this motet are the frequent dialogues of the two choirs, movements that are based on a passacaglia and the recurring motifs of a rising and a descending fourth. Lully also makes use of chromaticism.

Domine salvum fac regem – “O Lord, save the King” – was a fixed part of each religious ceremony, not only at the court, but across the country. After all, Louis was not only the king of France, but also pretended to be the head of the church in France. The setting of this text by Lully consists of two sections. The first opens with a long symphonie, and again the three main ensembles – the two choirs and the orchestra – get involved in a dialogue. One of the features of the first section are suspensions.

The last work is a motet which may have political connotations. Psalm 75 (76), Notus in Judaea Deus, opens with a verse which sets the tone: “In Judah God is known; his name is great in Israel. His tent is in Salem, his dwelling place in Zion.” It is a song of praise which proclaims God’s power who “broke the flashing arrows, the shields and the swords, the weapons of war.” The work was probably written around 1684/85, when France was facing religious unrest, which resulted in the revocation of the Edict of Nantes. According to Thomas Leconte Judea represents the church and the enemies are the Protestants, enemies of Catholic France. This psalm has a belligerent character, and Lully does not fail to explore these traces. Notable is the fifth verse: “[Valiant men] (…) sleep their last sleep; not one of the warriors can lift his hands.” This is set in the way of a sommeil, which is often part of Lully’s operas. It opens with a long instrumental episode, which takes about half the time of this section. Another graphic section is the setting of the eighth verse: “Thou hast caused judgment to be heard from heaven: the earth trembled and was still”. In this motet Lully’s operatic skills come clearly to the fore.

Given the importance of the grand motet in France in the baroque period, it cannot be appreciated enough that a few years ago Château de Versailles Spectacles started a series of recordings of this repertoire. Obviously an important part of this project is devoted to Lully, who was one of the main personalities in French music life in the second half of the 17th century. This disc is the third with motets from his pen. He has left twelve such works; the three discs released so far comprise eleven of them. That leaves Exaudiat te Dominus; I assume this will be part of another disc, maybe in combination with motets by other composers. All the motets were performed by the ensemble Les Épopées, and that is a matter of good luck. The performances are excellent; the line-up is exactly as was common at the time: two ‘choirs’ whose members take care of the solo episodes. They are fully integrated in the ensemble, and that is especially important as the solo episodes are not formally separated from the tutti. Often only a few lines are set for solo voice(s). The ensemble may not be as large as was the case at the time of the first performances, but it is powerful enough to give a good idea of their splendour. This disc is an impressive testimony of Lully’s skills as a composer of sacred music.

Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen

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