Royal Fanfares at Versailles: Charpentier - Philidor - Lully - Delalande - Francœur
ฝัง
- เผยแพร่เมื่อ 7 มิ.ย. 2024
- 00:00 Prelude du Te Deum (Marc-Antoine Charpentier, 1634-1704)
01:37 Marche a quatre Timbales (André Danican Philidor, 1647-1730)
04:23 Airs de Trompettes, Timbales et Hautbois (Jean-Baptiste Lully, 1632-1687):
Prélude - Menuet - Gigue - Gavotte
10:25 Symphonies pour les Soupers du Roy (Michel-Richard Delalande, 1657-1726):
Caprice No. 1: Fièrement et Détaché, Gracieusement, Un peu plus gai, Vite - Gracieusement sans lenteur, Vif - Trio: Doucement - Fièrement, Vivement
Suite No. 4 from Symphonies du Festin Royal (François Francœur, 1698-1787)
25:37 Ouverture (Jean-Philippe Rameau, 1683-1764; arr. Francœur)
28:17 Menuet Gracieux (Rameau)
30:04 Air Gracieux (Louis Grenier, 1725-1807)
31:03 Entrée de Chasseurs (Antoine Dauvergne, 1713-1797)
32:38 Rondeau I/II (Francœur)
38:02 Rondeau Gai (Francœur)
39:26 Musette (Jean Joseph Cassanea de Mondonville, 1711-1772)
40:27 Joyeaux Rondeau (Mondonville)
41:59 Menuet I (François Rebel, 1701-1775) / Menuet II (Francœur)
44:34 Chaconne (Pancrace Royer, 1705-1755)
52:18 Tambourin (Rameau)
Trumpet: Adolf Scherbaum / 2nd Trumpet: Stanislav Simek / Harpsichord: Olivier Alain
Orchestre de Chambre Paul Kuentz - Paul Kuentz, director
The music of the Royal Court of France from the time of Louis XIV up to the Revolution constitutes a repertory of a special kind that it is difficult for us to recreate today. It is a question of rediscovering a lost tradition, from both the rhythmic and stylistic points of view. There is an alternation or rather a combination of several different elements: the processional solemnity of the ouverture, the open-air and hunting music and countless rhythmic dance patterns such as the minuet, the loure and the grande chaconne, each plainly recognizable and used repeatedly in the court divertissements. The atmosphere is sometimes that of an open air fête in the royal parks; at others that of a reception in the state apartments. Out of doors there are trumpets, horns, drums and fifes; indoors we have strings with or without oboes and bassoons. Hearing the Prelude to the Te Deum of MARC-ANTOINE CHARPENTIER the listener will soon recognize the Eurovision signature tune. The very obvious differences in the rhythmic execution are easy to explain. At the time when this tune was first recorded, the music of the Louis XIV period was only just beginning to emerge from the shadows and the rediscovery of the appropriate style of performance only came about some years later. It was principally the achievement of harpsichordists and organists, for many orchestral conductors are still ignorant of the “French style”, or are afraid of upsetting the public by trying to introduce it.
Charpentier, a French musician who had studied in Rome with Carissimi, found his progress in the operatic field barred by Lully and so it was for the Church that most of his work was composed. In the 28 volumes of his “Meslanges” preserved in the Bibliothèque Nationale there are in particular four settings of the Te Deum, and it is for the fourth one (from Volume 15 of the “Meslanges”) that Charpentier, who was in charge of music at the Sainte-Chapelle in Paris, composed this Prelude, with trumpet, in D major, which appears in Volume 17.
The Marche à 4 Timbales (March for four drums, two players) of ANDRÉ DANICAN-PHILIDOR was performed in 1685 at the Carrousel of His Royal Highness the Dauphin by two members of the Philidor family, who under the old régime were a veritable musical dynasty. André (the elder) and his brother Jacques (the younger), aged 38 and 28 respectively, played one the bass and the other the tenor drums. They are a set of purely rhythmical variations on a simple and rather “square” opening theme. Syncopations, cross rhythms, echoes and rapid upbeats call for great precision from the players.
André and Jacques were sons of the oboist from the Dauphiné Michel Danican (died 1659) who was nicknamed Philidor by either Louis XIII or Louis XIV after the Italian oboist Filidori. The Grand Dauphin Louis, son of Louis XIV, was at that time 24 years old.
Whilst LULLY’s “Suites de Simphonies et trios” are in the main made up of fragments of operas, the Airs de Trompettes, timbales et hautbois are a good sample of the general repertory of the great music stable at Versailles. We no longer have today, or at least but rarely, the complete families of trumpets and oboes which in these pages of Lully extend over a wide range. To play them now we are obliged to substitute trombones and bass trombones, bassoons and double bassoons. “Composed by Mr de Luly (sic) by order of His Majesty for the Carouzel (sic) of His Royal Highness in 1686”, these pieces make up a suite in C major for 4 trumpets, 4 oboes and drums, that is a wind octet with drums: a martial prelude, a stately minuet without trio, a gigue in the style of a “canarie” and a gavotte in the military style. - เพลง
The three Caprices of MICHEL RICHARD DELALANDE come from the “Suite de Simphonies pour les soupers du Roy“. The first Caprice, in D, groups together the 9 last pieces of the 7th suite of these Symphonies. From one piece to the next binary and ternary rhythms alternate, and twice the minor key is introduced for the better realisation of “gracieusement” or “doucement”. It should be remembered that Delalande was, after Lully, the favourite musician of Louis XIV and also that this popularity lasted into the reign of Louis XV, long after the composer’s death.
A composer of skilful eclecticism, FRANÇOIS FRANCŒUR “the younger” gives us a striking example of his brilliance as an “arranger” in this “Concert François... pour le Festin Royal de Monseigneur le Comte d’Artois, Année 1773”. Charles-Philippe, Comte d’Artois, grandson of Louis XV, is none other than the future King Charles X. He was then aged 16. For the celebration of his marriage to Marie-Thérèse of Savoy, Francœur arranged the “4 Suites du Festin Royal” and himself published them in Paris that year.
In the 4th Suite (for the most part in D major) we see both the composer and the arranger at work. To the composer belong the spectacular and difficult “Ouverture” with piccolos, oboes, bassoons and horns, a pair of “Rondeaux”, one very expressive, in the minor, for strings, the other martial in spirit with trumpets and in the major, as well as a “Rondeau gay” in folk style with hunting horns.
The choice of musicians that Francœur associates with this Fête is interesting. Rameau, who had died 9 years before, is the most honoured: “Menuet gracieux” written for the open air, and “Tambourin”, where, in spite of the modifications and the episode added by Francœur (not to mention the change of key from A to D), we easily recognize the Tambourins which ended the third Suite of Rameau’s “Pièces en concert”.
From Mondonville, who had died a year earlier at the age of 61, and whose concert success had been equal to Rameau’s, there are two characteristic pieces: “Musette” and “Joyeux Rondeau” which gives the violins plenty of work. There still remain four composers who today are less well known. About Grenier, who is not mentioned in the dictionaries, we find only that he collaborated with Berton and Trial in “Théonoé”, given its first performance at the Opéra on 11 October 1767. He is represented here by an “Air gracieux”, rhythmic and pastoral in feeling. To the fanfare-like minuet with trumpet of his great friend and collaborator François Rebel (1701-1775) Francœur does not hesitate to add an “alternativo” of his own, constructed on the same rhythmic pattern. Antoine Dauvergne (1713-1797), who was several times Director of the Opéra, contributes to this Fête a very stirring “Entrée de Chasseurs”. Jean-Nicolas-Pancrace Royer (1705-1755), of Savoyard origins, is the composer chosen by Francœur for the most important piece of this Suite: his beautiful “Chaconne” reveals in its many variations the impressive gifts of the former Director of the Concert Spirituel de Paris.
Olivier Alain (1969)
Love the Delalande Symphonies…. I packed away my cd but here it is! Thank you!
Spectacular music from a very charm age. I love it !
Interrupting beautiful music for ads is very wrong. Put them before or afterwards, not during a performance.
Someone needs to take TH-cam to task on their policy regarding ad blockers.
TH-cam se está poniendo insoportable. Sé de gente que ha dejado de utilizarlo por no soportar los anuncios absolutamente in-so-por-tab-bles. En ciertos vídeos de 5 minutos te interrumpen cada minuto o incluso menos.
Monarchy had it's pluses!
*has its pluses
Herrlich!! ❤
There was no radio in this time, the orchestra was following the King everywhere i was going...
Child of the most high, do not forget. Christ is king!👑
@@jpraise6771 But the king is his representative on Earth, and he holds the throne by Divide Right.
C'était avant que le peuple perde la tête.@@michaelwalter3399
@@michaelwalter3399 This is not taught by Jesus ... read the Scriptures.
@@pacofgarcia5998 True, but it was the accepted dogma at the time. In the system of vassals and lords, the king was the vassal of God.
You call the palace of Versailles (1-800- EAT-CAKE) and ask to speak to His Majesty. A voice comes on saying "All of our agents are currently busy helping other starving French peasants. Please continue to hold.." And then this music comes on.
Let them eat cake, I say (no they haven't said that yet, next century1)
Come on now!! Too soon!!!
👉👍👍👍👍👍👍👍👆
j aime beaucoup l image d arrière plan
Il s'agit du Grand Trianon, anciennement Trianon de marbre, un château situé dans le domaine de Versailles, construit à la demande du roi Louis XIV, à partir de 1687, par l'architecte Jules Hardouin-Mansart à proximité du château de Versailles. Il sert et a servi de lieu de résidence ou de séjour de plusieurs figures royales françaises ou étrangères, dont Louis XIV, Pierre Ier de Russie, Marie Leszczynska, épouse de Louis XV. Il servit également de résidence au général de Gaulle, au président américain Richard Nixon et à la reine du Royaume-Uni Élisabeth II lors de leurs visites en France.
@@philippehoyez9398
J'y ai vécu aussi 😊
Lully hat den armen Charpentier niedergeschlagen
Slickomode
10:25 Bach BWV 1069?
Listen to Karl Richter s version.
Non ,De Lalande symphonie pour les soupers du roi
Lully was the best.
C'est ne pas Lully !
Viva la France católica!!!
🕊 ✝️ ❤️ 🌹
Nous pensions que le catholicisme étair mauvais, mais ce qui est arrivé est pire.