A Thematic Catalogue of the Works of

Michel-Richard de Lalande(16571726)

Portrait of Michel-Richard de Lalande by Robert Tournires (16671752)Photo: Collection archives Larbor

A Thematic Catalogue of the Works of

Michel-Richard de Lalande(16571726)LIONEL SAWKINSwith the assistance of

JOHN NIGHTINGALEsupported by

THE BRITISH ACADEMY

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Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the Universitys objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With ofces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York Lionel Sawkins 2005 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2005 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Text and music examples processed by the author and John Nightingale Printed in Great Britain on acid-free paper by Antony Rowe Ltd, Chippenham ISBN 0198163606 9780198163602

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FOREWORDI am privileged to have been asked by Lionel Sawkins to write a preface to his Thematic Catalogue of the Works of Michel-Richard de Lalande. The appearance of this catalogue illustrates how far we have progressed in our recognition of a composer whom Paul Henry Lang hailed, in 1941, as one of Frances greatest musicians (Music in Western Civilization). That such accolades were not always forthcoming is clear from the following general survey which makes no claim to completeness. During the entire eighteenth century, the grands motets of Lalande were considered masterpieces of the genre (J.-J. Rousseau). In 1769, Nougaret wrote that Lalande always enjoys a reputation of which nothing dims the clat. In a deft rewriting of history in 1780, Laborde viewed Lalande as the creator of a new genre of church music [the grand motet]. Lalandes motets were fixed as the model against which all subsequent motets were to be judged. They remained in the repertory of the Concert spirituel at least until 1770 with more than 600 performances being logged by the Mercure. As late as 1792, with France in full revolution, fourteen of Lalandes motets were listed in the repertory of the Chapelle royale between January and June. The whims of indifferent history, however, caused Lalande to suffer the same fate as did Schtz and Vivaldi in the nineteenth century, and his eloquent motets were silenced. There was no one to do for the motets of Lalande what Brahms did for the pices de clavecin of Franois Couperin. Most music encyclopdias and dictionaries were content to paraphrase Ftis observation that Lalande fut le plus habile compositeur franais de son temps pour la musique dglise. Not until 1899 did the journey back to recognition commence with the astute observations of Brenet (La musique sacre sous Louis XIV), followed by those of Quittard three years later in his Notes sur MichelRichard de Lalande. Jules Combarieu essayed a perceptive style study of the motets in his 1913 Histoire de la musique. He was the first to call attention to Lalandes use of airs concerts and to observe the affinity between this Latin Lully and Handel. In 1925, in the pages devoted to Lalande in the Lavignac Encyclopdie, La Laurencie mentioned the astonishing freedom of Lalandes double choruses and his harmonic audacities. Andr Tessier, in La carrire versaillaise de Lalande (Revue de musicologie, 1928), brought to the composers biography the happy results of years of archival research. From 1944 to 1958, thanks to the publishers Costallat, Heugel, the Procure du Clerg, Salabert and the Schola Cantorum, more than 25 grands motets by Lalande were published, edited by Boulay, Cellier, Gennaro, Letocart, Pagot, Raugel, Roussel and Spycket. One must not underestimate the importance of these publications in acquainting French musicians with the sacred music of one of their greatest composers. These editions chief disadvantage lay in the fact that most were conceived as rductions pour chant et piano and, in some instances, were transposed down a whole tone to conform more closely to the perceived pitch at the Chapelle royale during Lalandes tenure there (1683-1726). Such transpositions create many problems for wind and string players. A major breakthrough in Lalande studies occurred in 1957, the tercentenary of the composers birth. This was the publication of Notes et rfrences pour servir une histoire de Michel-Richard Delalande as a part of the series, La Vie musicale en France sous les Rois Bourbons (A. & J. Picard). This important source book was prepared by four members of a musicology seminar at the Paris Conservatoire (Marcelle Benoit, Marie Bert, Sylvie Spycket and Odile Vivier) under the direction of Norbert Dufourcq. Based, in the main, on the manuscript notes of Andr Tessier (d 1931), it combs the archives, the pages of periodicals and other printed matter to give as complete a documentation as possible of the life and works of Lalande. Its work list and thematic catalogue have been the starting point for all subsequent Lalande research. Until the mid-twentieth century and even beyond, most non-French scholars were preoccupied with German and Italian Baroque music. For them, Lalande seems to have scarcely existed. Exceptional is the extended treatment of Lalandes religious music by J.A. Fuller-Maitland, whose comments (sustained beauty, massive structures boldness of harmonic invention) in volume iv of the Oxford History of Music (1931) reveal a familiarity with the scores themselves. More typical is the case of Bukofzer who, in characterizing Lalandes motets as representing the most conservative spirit of the period in Music in the

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Avant-propos Baroque Era (1947), must have been unaware of those ingenious disparities and those graceful melodies serving as contrasting episodes to the most complex choral sections described by Lalandes student, Collin de Blamont, in the avertissement to the posthumous, engraved edition of forty motets. Edith Borroff allotted one sentence to Lalande in her book, The Music of the Baroque (1970), and, incredibly, his name did not appear in the index of Claude Paliscas Baroque Music until its third edition of 1991. On the other hand, in the years that have passed since Notes et rfrences, there have appeared some excellent performing editions of Lalandes motets (especially those edited by Philippe Oboussier and Lionel Sawkins); there is a growing discography, and we have an important dissertation by the American scholar, Barbara Coeyman, on the stage music of Lalande (City University of New York, 1987). Much remains to be done. The Catalogue raisonn presented here will surely act as a catalyst for a new generation of scholars. With his vast knowledge of Lalandes music, Lionel Sawkins is ideally suited to this project of which one of the cornerstones was, in fact, already in place in 1984 when he pinpointed the location of all sources of Lalandes extant motets in his 400 contributions to the Catalogue thmatique des sources du grand motet (ed. Jean Mongrdien, Paris, 1984). James R. Anthony Tucson, Arizona obit 6 April 2001

AVANT-PROPOSLionel Sawkins ma fait lhonneur de me demander dcrire une prface son Thematic Catalogue of the Works of Michel-Richard de Lalande. La publication de ce catalogue dmontre combien notre connaissance de ce compositeur a progress depuis que Paul Henry Lang lavait salu en 1941 comme lun des plus grands musiciens franais (Music in Western Civilization). De telles marques dhonneur ne furent pas toujours suivies deffets comme le montre le survol gnral qui suit et qui ne prtend pas lexhaustivit. Durant tout le dix-huitime sicle, les grands motets de Lalande furent considrs comme des chefs duvre en ce genre (J.-J. Rousseau). En 1769, Nougaret crivit que Lalande jouira toujours dune rputation dont rien ne ternira lclat . Dans une habile rcriture de lhistoire en 1780, Laborde voyait en Lalande le crateur d un nouveau genre de musique dglise [le grand motet] . Les motets de Lalande devenaient un modle la lumire duquel taient valus tous les motets qui furent composs aprs. Ils demeurrent au rpertoire du Concert spirituel jusquen 1770 avec plus de 600 excutions consignes par le Mercure. Jusquen 1792, alors que la France tait en pleine rvolution, quatorze motets de Lalande furent inscrits au rpertoire de la Chapelle royale entre janvier et juin. Cependant, les caprices et lindiffrence de lhistoire entranrent Lalande connatre le mme sort que Schtz et Vivaldi au cours du XIXe sicle, et ses motets si loquents sombrrent dans loubli. Il ny eut personne pour faire aux motets de Lalande ce que Brahms fit aux pices de clavecin de Franois Couperin. La plupart des encyclopdies et des dictionnaires se contentrent de paraphraser les remarques de Ftis qui crivait que Lalande fut le plus habile compositeur franais de son temps pour la musique dglise . Ce nest quen 1899 que le retour vers une reconnaissance mergea avec les observations pertinentes de Brenet (La musique sacre sous Louis XIV), suivies de celles de Quittard trois ans plus tard dans ses Notes sur Michel-Richard de Lalande . En 1913, Jules Combarieu sessaya une tude stylistique perspicace des motets dans son Histoire de la musique. Il fut le premier attirer lattention sur lusage par Lalande des airs concerts et observer les affinits quil entretenait avec le latin Lully et Haendel. En 1925, La Laurencie, dans les pages quil consacra Lalande au sein de lEncyclopdie de Lavignac, remarque l tonnante

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Avant-propos libert du compositeur dans ses double churs et ses audaces harmoniques. Andr Tessier, dans La carrire versaillaise de Lalande (Revue de musicologie, 1928) enrichit la biographie du compositeur grce aux heureux rsultats dannes de recherche dans les archives. De 1944 1958, les efforts des ditions Costallat, Heugel, la Procure du Clerg, Salabert et la Schola Cantorum, permirent la publication de plus de 25 motets par Boulay, Cellier, Gennaro, Letocart, Pagot, Raugel, Roussel et Spycket. On ne doit pas sous-estimer limportance de ces ditions qui suscitrent chez les musiciens franais des affinits avec la musique sacre de lun de leurs plus grands compositeurs. Le principal dsavantage de ces publications rside dans le fait que la plupart dentre elles furent conues sous forme de rductions pour chant et piano et que, dans plusieurs cas, elles furent transposes un ton plus bas afin dtre le plus proche possible du diapason utilis la Chapelle royale durant les annes o Lalande y officia (1683-1726). Les instrumentistes cordes et vents prouvrent de nombreuses difficults dexcutions cause de ces transpositions. Les tudes sur Lalande franchirent une tape dcisive en 1957, lors du tricentenaire de la naissance du compositeur, avec la publication des Notes et rfrences pour servir une histoire de Michel-Richard Delalande, lun des volumes de la srie dvolue La Vie musicale en France sous les Rois Bourbons (A. & J. Picard). Cet important volume de sources avait t prpar par quatre membres du sminaire de musicologie qui se droulait au Conservatoire de Paris (Marcelle Benoit, Marie Bert, Sylvie Spycket et Odile Vivier) sous la direction de Norbert Dufourcq. Fond principalement sur les notes manuscrites de Tessier (mort en 1931), ce volume explore les archives, les priodiques et toutes les sources imprimes afin doffrir une documentation aussi exhaustive que possible sur la vie et les uvres du compositeur. La liste des uvres et le catalogue thmatique marqurent le point de dpart de toutes les recherches qui furent entreprises depuis sur le compositeur. Jusquau milieu du XXe sicle, et mme au-del, la plupart des musicologues trangers ne sintressaient qu la musique baroque allemande et italienne. Pour eux, Lalande semblait avoir peine exist. Lanalyse dveloppe que J.A. Fuller-Maitland consacra dans le volume IV de lOxford History of Music (1931) fait figure dexception et ses commentaires sur la beaut soutenue, les constructions imposantes les hardiesses des inventions harmoniques dmontrent une familiarit avec les partitions. Plus rvlatrice est lattitude de Bukofzer dans son ouvrage Music in the Baroque Era (1947) qui, en dfinissant les motets de Lalande comme lesprit le plus conservateur de la priode , montre son ignorance des disparates ingnieuses et des traits de chants gracieux, aimables, qui servoient pour ainsi dire, dpisodes ses churs les plus travaillez dcrits par llve du compositeur Collin de Blamont, dans son avertissement ldition posthume grave des 40 motets. Dans son livre sur The Music of the Baroque (1970), Edith Borroff voque Lalande en une phrase, et fait encore plus incroyable, le nom du compositeur napparut dans lindex de Claude Palisca quen 1991, lors de la troisime dition de son ouvrage Baroque Music. Dun autre ct, dans les annes qui suivirent la parution des Notes et rfrences, plusieurs excellentes ditions modernes des motets de Lalande virent le jour (particulirement celles de Philippe Oboussier et Lionel Sawkins) ; la discographie augmenta et la musicologue amricaine Barbara Coeyman fit sa thse sur la musique de scne de Lalande (City University de New York, 1987). Mais il reste beaucoup faire. La publication du prsent catalogue raisonn va srement agir comme un catalyseur des recherches futures pour une nouvelle gnration de musicologues. Avec son immense connaissance de la musique de Lalande, Lionel Sawkins tait le mieux mme de mener ce projet dont lune des pierres angulaires, avait dj t pose en 1984, lorsquen tablissant la localisation de toutes les sources des grands motets du compositeur, il avait sign 400 entres du Catalogue thmatique des sources du grand motet (d. Jean Mongrdien, Paris, 1984). James R. Anthony Tucson, Arizona obit 6 April 2001

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PREFACEThe primary purpose of this Catalogue is to make Lalandes compositions more accessible, and to contribute to a wider knowledge and appreciation of his music, so much admired and performed not only in his own day but for long after his death. Alongside the compositions of his distinguished contemporaries, Lully, Charpentier, Couperin and Rameau, Lalandes uvre occupied a central position during the reigns of Louis XIV and Louis XV, most notably in the field of sacred music. Over a period of more than 45 years, from 1680 to Lalandes death aged 68 in 1726, his grands motets set a style which was emulated for the remainder of the ancien rgime. Two festivals devoted to his music at Versailles in 1990 and 2001, as well as many editions, performances and recordings worldwide give hope that Lalandes place as one of the undoubted masters of the French Baroque is now becoming more widely recognized. Whereas for some composers of the Baroque period, a large corpus of easily-authenticated autograph material has survived (as in the case of Charpentier, for example), the varied nature and wide dispersal of many of the primary sources of Lalandes music (and the almost complete loss of autograph material) means that the production of editions adequate for performance of most works is a complex task, involving detailed research in a number of different locations. Another complicating factor is the survival of many works in more than one version, as a result of the composers habit of continuous revision. Thus, this catalogue aims to facilitate production of performing editions by providing detail of all known sources, and by identifying the version of each work that each source represents. To this end, thematic incipits are provided for all themes of all movements of all works in their differing versions in as full a scoring as is known. The 3,180 music examples, all based upon primary sources, together with other information that precedes and follows them, attempt to give as realistic a view as possible of the nature and extent of the work and the resources necessary for performance. While the scoring is condensed to fewer staves than the sources, all extant parts are represented, with one general exception: in some choral movements (especially in early works), where any instrumental parts closely follow some of the vocal parts, the former have been omitted. However, where such instrumental parts are independent of the voices, they have been quoted. Occasional exceptions to this generalization are footnoted in each case. The length of individual examples has been governed by a desire to present as far as possible complete phrases, both musical and textual. The information provided includes what is known of each works origins and performance history as well as all available sources and modern editions. For the stage works, complete castings (and text summaries where the music is incomplete) are supplied, with detailed commentaries setting the context of each work and its performance history. A bilingual explanation to the information given in the music examples is provided, incorporated within Nature of the Catalogue and Catalogue Entries. The Catalogue is arranged in chronological order within each genre, the sacred works preceding the secular. Information more specific to these two principal classifications has been provided in the bilingual Introduction to Lalandes Sacred Works and Introduction to Lalandes Secular Works. Indexes are provided to assist in locating each work or movement, including a unified index of titles and text first lines and Thematic Locators (major and minor) to enable instant identification of source material with the works catalogued. The process of assembling these locators helped to identify self-borrowings and to establish cross-references (each indicated on the relevant music examples with a forward arrow). In the case of several of Lalandes stage works which only survive in excerpts incorporated in the vast collections of short symphonies, mostly dance movements, this cross-referencing is obviously essential. This Catalogue is the product of more than 30 years of the authors researches, editions and performances of Lalandes music. For more than six years, he was ably assisted in the preparation of this Catalogue by John Nightingale, through the generous support of the British Academy.

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PRFACELe premier objet de ce Catalogue est de rendre plus accessible les uvres de Lalande, et de contribuer une plus large connaissance et une meilleure apprciation de sa musique, qui si admire et joue de son vivant le fut aussi longtemps aprs son dcs. ct des uvres de ses minents contemporains comme Lully, Charpentier, Couperin ou Rameau, celles de Lalande occupent une place centrale durant les rgnes de Louis XIV et Louis XV, tout particulirement dans le domaine de la musique sacre. Au cours dune priode de plus de 45 annes allant de 1680 1726, date de la mort du compositeur lge de 68 ans, ses grands motets instaurrent un style qui fit des mules jusqu la fin de lAncien Rgime. Deux festivals uniquement dvolus sa musique en 1990 et 2001 Versailles, ainsi que de nombreuses ditions, excutions et enregistrements mondiaux laissent esprer que Lalande soit dsormais reconnu comme lun des matres incontests de la musique baroque franaise. Tandis quil subsiste un important corpus de manuscrits autographes aisment authentifis pour des compositeurs de la priode baroque (le cas de Charpentier), la nature varie de la musique de Lalande et la large dispersion de la plupart des sources principales, sans compter la perte de la quasi-totalit de ses autographes, induisent que ltablissement dditions pour la majorit des uvres du compositeur est une tche difficile, ncessitant des recherches approfondies dans des lieux diffrents. Un autre phnomne qui complique la situation provient de lexistence de nombreuses uvres dans plusieurs versions, en raison de lhabitude que le compositeur avait de les rviser continuellement. Ce catalogue est donc destin faciliter ltablissement dditions destines lexcution en fournissant de manire dtaille la liste de toutes les sources connues, et en identifiant quelle est la version de chaque uvre qui correspond la source dcrite. la fin, les incipit thmatiques sont donns pour les thmes de tous les mouvements de lensemble des uvres dans leurs diffrentes versions, dans la mesure o la partition complte existe. Les 3180 exemples, tous tablis partir de sources principales, ainsi que les donnes qui les prcdent et suivent, essayent de donner une vision aussi proche que possible de la nature et de ltendue de luvre, et des effectifs ncessaires son excution. Lorsque la partition est condense sur moins de portes que nen comportent les sources, toutes les parties existantes sont prserves, except dans un cas : lorsque les parties instrumentales, dans les mouvements de chur (notamment ceux des uvres de jeunesse) suivent de trs prs les parties chorales, celles-ci ont t omises. Cependant, quand les parties instrumentales sont indpendantes des voix, elles sont indiques. Les quelques exceptions ces principes sont signales en notes de bas de page. La longueur de chaque exemple a t dtermine par le souhait dtre aussi proche que possible des phrases compltes, tant du point de vue musical que du point de vue du texte. Les renseignements fournis comportent tout ce qui est connu sur lorigine et lhistorique des excutions ainsi que les sources et les ditions modernes disponibles. Pour les uvres thtrales, les distributions (et les sommaires des textes quand la musique est incomplte) sont donnes dans leur intgralit, avec des commentaires dtaills sur le contexte de chaque uvre et sur lhistoire des excutions. Un commentaire dtaillant les renseignements donns par les exemples musicaux se trouve dans la Prsentation du catalogue. Le Catalogue suit lordre chronologique par genre, les uvres sacres prcdant les uvres profanes. Des renseignements plus spcifiques ces deux principales sections figurent dans les deux introductions bilingues qui leur sont consacres. Les index sont destins la localisation des uvres ou des mouvements et comprennent un index unifi des titres et des incipit de textes, des index thmatiques (majeur et mineur) permettant didentifier rapidement une source avec les uvres catalogues. Le fait de runir ces index thmatiques aide identifier les autoemprunts et tablir des concordances (chacune est indique sur les exemples musicaux concerns par une flche). Dans le cas de plusieurs uvres thtrales dont il ne subsiste seulement que des extraits insrs dans les grands recueils de symphonies, principalement des mouvements de danse, ces concordances sont videmment fondamentales. Ce Catalogue est le fruit de plus de trente annes de travail rsultant des recherches de lauteur, des ditions et des excutions de la musique de Lalande. Durant plus de six annes, il a t habilement assist dans la prparation de ce Catalogue par John Nightingale, grce au soutien gnreux de la British Academy.

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ACKNOWLEDGEMENTSSo many people have assisted and encouraged my researches into French baroque music over the years that in attempting to give credit where it is due, the writer will almost certainly overlook some whose help was invaluable at a critical juncture. If so, I offer my sincere apologies. The initial encouragement to investigate Lalandes music came from the late Denis Arnold, whose ebullient enthusiasm, scholarly rigour and wise counsel were such a help to those of us on his first postgraduate course in the Interpretation and Editing of Renaissance and Baroque Music at the University of Nottingham; the course was also notable for the dedicated teaching of Stanley Boorman, and among many others who assisted and encouraged me at that time were Robert Pascall and Anne Kirwan-Mott, as well as fellow students who made possible the first modern performance of Lalandes Exaltabo te, Domine. The initiative for a complete catalogue of all of Lalandes works first came from Vincent Berthier de Lioncourt and Jean Duron of the Centre de Musique Baroque de Versailles in 1989 when the programmes for the 1990 Journes de Lalande were being discussed. Publication of the catalogue under the gis of the CMBV proved impractical, but, fortunately, the British Academy agreed to support the detailed and lengthy task of engraving the 3,180 music examples for this work to ensure its completion. Without the assistance of The British Academy, this Catalogue would never have seen the light of day. All the music examples have been skilfully and patiently executed by John Nightingale, who also assisted in many other ways, notably in the complex task of unravelling the mysteries of the various collections of Lalandes symphonies, and in the construction of many of the tables included, as well as assembling and constantly updating the thematic locators until they reached their definitive state. His musicianship, eye for detail, and fine sense of style and lucidity in written English were just a few of the qualities that contributed much to various sections of the Catalogue. Prior to the 1989 proposal of the CMBV, the present writer had already assembled a detailed catalogue of all known sources of the grands motets during his sojourn in 1982-3 as Matre de recherche for the Centre dinformation et de documentation (Recherche musicale) of the Centre National de la Recherche Scientifique, then located at the Ecole normale suprieure des Jeunes Filles, in boulevard Jourdan, Paris. This fichier, entitled Les Sources de Grands Motets de Michel-Richard de Lalande 1657-1726, later served as the basis of some 400 citations of Lalandes grands motets included in the Catalogue thmatique des sources du grand motet franais (Paris, 1984), edited by Jean Mongrdien, who in the same year also organized both the first Colloque international sur le grand motet franais (of which the Actes were published in Paris in 1986, edited by Jean Mongrdien and Yves Ferraton) and two concerts featuring grands motets by Lalande, Blanchard, and Campra. All the entries in the Catalogue thmatique des sources du grand motet franais relating to Lalandes grands motets were revised for the present catalogue. All studies of French baroque music over the last 20 or more years have benefited greatly from the comprehensive context established by the late James R. Anthony in his seminal study, French Baroque Music from Beaujoyeulx to Rameau (London, 1974/1978/Portland, 1997) translated as La Musique en France lpoque baroque, Paris, 1981/1992), and the present author is honoured that Professor Anthony graciously provided the avant-propos to this catalogue some months before his untimely death. Anthonys essays on Lalande in the New Grove Dictionary of Music and Musicians (London, 1980) and the New Grove French Baroque Masters (London, 1986) for the first time provided balanced English-language surveys of the composers output and his place in the French musical Parnassus. James Anthony was also personally encouraging at all stages of development of this catalogue and responded to numerous enquiries over the years, while his elephantine memory for detail rescued the author on many occasions. Catherine Massip has acted as a fount of wisdom on all matters appertaining to French Baroque music for all workers in the field with whom she has come in contact, both before her appointment as Directeur du Dpartement de la Musique at the Bibliothque Nationale de France and since. For more than 20 years, her profound knowledge, particularly of manuscript material (such as her prodigious memory of different musical hands) alongside her wise counsel on innumerable topics, and her grace and patience, have

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Acknowledgements sustained the present writer. At crucial points in the evolution of this catalogue, her encouragement was indispensable to the continuance of the project, and has ensured its completion. For all students of music at the courts of Louis XIV and Louis XV, the books of Marcelle Benoit are indispensable aids to study. The present author has been the frequent recipient of ready responses by Mlle Benoit to his enquiries; her unrivalled knowledge of archives is only matched by her never-failing good humour and the constant encouragement she has given to this project; her Dictionnaire de la Musique en France aux xviie et xviiie sicles came at a very useful moment and the invitation to respond with several articles for it acted as a spur to further enquiry in several areas germane to this catalogue. Any study of the music of Lalande must acknowledge a debt to those who have already done much to provide working materials and a wide view of the sources. Chief among earlier research tools are the essays of the late Andr Tessier and the study by the late Norbert Dufourcq and four of his then students, Marcelle Benoit, Marie Bert, the late Sylvie Spycket and Odile Vivier (Notes et rfrences pour servir une histoire de Michel-Richard Delalande 1657-1726, Paris, 1957). This volume has formed the working base for all who would investigate Lalandes music. Constant reference to it has been the order of the day during the preparation of this catalogue, and if more source material is now evident than was apparent in 1957, and editing and recording initiatives of more recent years have enabled us to have a wider perspective of the composer, the fact remains that Notes et rfrences still stands up well to close scrutiny almost 50 years on. In various parts of the present Catalogue, we have cross-referenced not only to the text but also to the thematic incipits which form the appendices of Notes et rfrences and which have served well two generations of researchers. Thematic excerpts from the secular music catalogue in Notes et rfrences are identified with D (for Dufourcq) numbers and a list of cross-references to the present catalogue is provided (those for the sacred works were not numbered in Notes et rfrences). In the wake of Notes et rfrences, and James R. Anthonys books and essays, the most substantial study to date of Lalandes secular music (though not, by its nature, extending to all his symphonies) is an unpublished dissertation by Barbara Coeyman, The Stage Works of Michel-Richard Delalande in the Musical-Cultural Context of the French Court, 1680-1726, (PhD, City University of New York, 1987). Coeyman has shown convincingly that the Concert dEsculape (S134) should be added to the Lalande canon, and that the Prologue sur la prise de Mons should be excluded from it and assigned to Brossard. Her dissertation also provides valuable insights into the manner and locale of performance of the 19 works she discusses (we have extended the list to 24 in this catalogue) (S131-54), and the reader will note many references along the way to her ground-breaking study; among documents she reveals for the first time is a manuscript livret for the Divertissement sur la paix of 1713 (S150) which appears to include annotations in the composers hand. Coeymans bibliography was also helpful in drawing attention to some literary citations we might otherwise have missed. It was clear that we had to produce all musical examples directly from the sources, retaining the original keys, rather than make use of Coeymans existing catalogue, which comprises unindexed excerpts transposed into C major and minor. This was necessary in order to reflect these works as they have survived, and to establish an accessible thematic catalogue for the stage works which we could integrate with that for the sacred and other secular works (including the numerous symphonies derived from the stage works and those that are independent of them). We have provided indexing of the thematic citations by constructing locators along the simple and ingenious lines devised by Bruce Gustafson for A Thematic Locator for the works of Jean-Baptiste Lully (New York, 1989). Gustafsons Locator itself has been indispensable in identifying Lullys participation in the many multi-composer recueils we have consulted, narrowing the field of unidentified compositions. Gustafson has also responded to many enquiries, and his trenchant views on the proper functions of thematic catalogues have helped us to focus on the necessity for sufficient indexes to ensure accessibility to the Catalogue. We were also fortunate that before our work on this catalogue was finalised, Denis Herlin completed his monumental Catalogue du Fonds Musical de la Bibliothque de Versailles, Paris, 1993, and his Catalogue de la Collection Hanson/Dyer, both of which include dpouillements of important recueils of Philidor and others containing substantial numbers of Lalandes symphonies. Denis Herlin has unhesitatingly put his

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Acknowledgements detailed and wide-ranging knowledge at our disposal, and enabled us to significantly correct the chronology of many of the symphonies in these collections. His investigation of the Airs italiens (Paris, 1695) collected by Fossard (Herlin 1998) and of Lalandes contribution in the form of ritournelles to six of these twelve airs also focused our attention on these works, the first of the composers secular music to be printed. Further, the author is grateful to Denis Herlin for undertaking translation of sections of the prefatory material of the catalogue. Clarification of the complexities of the differing collections of the composers symphonies was a prerequisite to cataloguing them. Here, we gratefully turned yet again to Notes et rfrences, and also to the detailed knowledge and accomplished recorded performances of Hugo Reyne, who helped towards our understanding and appreciation of these works. His recording of the 12 suites of the 1703 collection (Harmonia Mundi HMC901337-40, 1990) directing the Simphonie du Marais, and the ready access he has provided to his performing material, together with his encyclopdic knowledge of the many sources outside the three best-known collections, have all widened our understanding. In addition, Hugo Reyne has drawn our attention to several concordances of symphonies which had not come to our notice. He has also given the first complete modern performances of Lalandes Les Fontaines de Versailles, a composition which surely impressed Louis XIV in the weeks preceding the concours for the four posts of Sous-matres de la Chapelle in 1683, at which Lalandes success marked the real beginning of his career at court. Herbert Schneider has responded promptly to many enquiries, including the identification of several timbres, and his Catalogue of Lullys works (LWV) served as a constant source of reference and a model to emulate. The very existence of Schneiders Lully Catalogue has profoundly affected the course of research into French music of the 17th century. If the present catalogue results in a similar flowering of interest in Lalandes music, and the identification of other anonymes, the author will be well satisfied. No meaningful research in such an area is possible without the expert guidance and hospitality extended by librarians in charge of source material, and, principally among the very many whose libraries are listed after this preface, I would like to remember Anthea Baird, formerly of the University of London Library, and Lucien Nethsingha formerly at St. Michaels, Tenbury, the late Franois Lesure of the Bibliothque Nationale de France, Paris, and Jean-Michel Nectoux, formerly of the Bibliothque municipale de Versailles, later of the Bibliothque Nationale, and now Conseiller scientifique at the Institut national dhistoire de lart, Paris, and Geraldine Ostrove of the Library of Congress, Washington, DC. At the Bibliothque Nationale, I was also very grateful for the expertise and ready help of Simone Wallon, Bernard Bardet and the late Antoine Bloch-Michel. At the Bibliothque de Versailles, Pierre Breillat and his successors, Alice Garrigoux, Claire Caucheteux and Marie-Franoise Rose have similarly been unfailingly helpful and responsive to my requests. Among many staff of French provincial libraries, I would like to especially thank Irma Boghossian (Aix-en-Provence, Bibliothque Mjanes), Mme Bellan (Apt, Bibliothque municipale) and Emilienne Molinar (Avignon, Bibliothque Ceccano). I am also grateful to Margarita Hanson and Robert Lutz, who offered me warm hospitality and very generous access to their private libraries. Believing passionately that research of such music is of little point unless the music is worth performing and is actually performed, it gives me pleasure to acknowledge the many promoters and musicians who have given first modern performances and/or made commercial recordings of various Lalande grands motets as I prepared the editions. These have included (in chronological order) Beckenham Chorale, the English Bach Festival (Director, Lina Lalandi), Schola Cantorum of Oxford (directed by Timothy Hands), the Tokyo Pro Musica (Director, Yuske Arimura), the Choir of New College, Oxford (Director, Edward Higginbottom), lEnsemble Vocal de Nantes (Director, Paul Collaux), La Chapelle Royale, Paris (Director, Philippe Herreweghe), Capella Reial, Barcelona (Director, Jordi Savall), the BBC Singers and St. Jamess Baroque Players (conductor, Ivor Bolton), Cantus Laetus, Geneva (Director, Natache Casagrande), Uppsala Cathedral Choir (Director, Milke Falck), the Thomanerchor, Leipzig (Cantor, Georg-Christoph Biller) and Nonsuch Singers, London (Director, Graham Caldbeck), as well as some 40 other choirs and orchestras worldwide. I would also like to thank colleagues and doctoral students of the Groupe de formation doctorale (Musique et Musicologie) at the Ecole normale suprieure in Paris, for their assistance in the

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Acknowledgements preparation of the score of Lalandes Confitebimur, while I was teaching there. The Centre de Musique Baroque de Versailles organized festivals of Lalandes music in the Chapelle royale at Versailles in 1990 and again in 2001, and invited me to contribute both the musical material necessary for performance and the background material for the programme books. Much of my research has been very generously aided by financial help from the University of London Central Research Fund, the Winston Churchill Memorial Trust, the French Embassy, London, the British Council, the Centre National de la Recherche Scientifique, Paris, the British Academy and the Maison des Sciences de lHomme, Paris, as well as my employers from 1966 to 1985, Whitelands College and the Roehampton Institute. There I was also assisted with provision of study leave on several occasions, and would like particularly to remember the late Roy Knight, formerly Principal of Whitelands, for his constant help and encouragement. As well as those already mentioned I would like especially to thank J. Anne Baker, Sylvie Bouissou, Laurence Decobert, Frank Dobbins, John Emerson, Ines Groh, John Hajdu Heyer, Beate Angelika Kraus, Jrme de La Gorce, Bernadette Lespinard, Sylvette Milliot, Philippe Oboussier, David Ponsford, Gudrun Ryhming, Julie-Anne Sadie, Karlheinz Schlager, David Tunley, Nicole Wild, R. Peter Wolf and Neal Zaslaw. Among the many people who have answered questions, or provided assistance in various ways, I am grateful to the following: Louis Auld, Hilary Ballon, Antonia Banducci, Naomi Joy Barker, Maurice Barthlemy, Sandra del Pilar Bastidas Vargas, Peter Bennett, Nathalie Berton, the late Barry S. Brook, Yolande de Brossard, Michael Burden, John Buttrey, Catherine Cessac, Paula Chateauneuf, Jane Clark, Albert Cohen, Frances Cooke, Michel Daudin, the late Roger Delage, Pascal Dencheau, Martine Depagniat, Anik Devris-Lesure, Graldine Gaudefroy-Demombynes, Isabelle Desrochers, Franoise Durrance, Sbastien Gaudelus, Tula Giannini, Moira Goff, Laurent Guillo, Rebecca Harris-Warrick, H. Wiley Hitchcock, Bent Holm, the late Marc Honegger, Madeleine Inglehearn, Jacques Grimbert, Eiko Kasaba, Vladia Kunzmann, Albert La France, Flra Lszlo, Nathalie Lecomte, Thomas Leconte, Elena Lionnet, the late Jean Lionnet, Carol Marsh, John Massey Stewart, Bernard Minoret, Nicholas Mitchell, Jean-Paul Montagnier, Viviane Niaux, Kimiko Okamoto, Anne Pijus, Andrew Pinnock, John S. Powell, Jean-Pierre Rasle, the late Stanley Sadie CBE, Hans-Joachim Schulze, Jan Smaczny, the late Robert Spencer, Margaret Steinitz, Michael Talbot, Catherine Thpot, Jennifer Thorp, Jean Vigne, Jacqueline Waeber, Christel Wallbaum, Bruce Wood and Fusako Yamauchi. Alex Fuller, Mark Humphreys, Martin Lubikowski and David Sawkins all gave invaluable help with page make-up and computer expertise. In the last stages of preparation I have been greatly aided by the research and literary skills of Carole Taylor. The decision of Bruce Phillips, formerly of Oxford University Press, to recommend publication to the Delegates, and their acceptance of the project, has been the basis on which the work of these last years has been founded. Bruce Phillipss friendly encouragement often sustained the author, particularly in the early stages of the Catalogue when hopes of subvention moved from France to Britain. Also at Oxford University Press, Paul Cleal laid down parameters for page design, and responded to many questions, Helen Foster was unfailingly cheerful and supportive, as have been her successors, Jacqueline Smith and more recently Sarah L. Holmes, who have seen the Catalogue through its final stages to publication. This volume is dedicated to the memory of my wife, Maureen (obit 26 August 2005), who lived through more than 30 years of Lalande and his music, and would have been delighted and proud to see this Catalogue finally published. Lionel Sawkins Beckenham, September 2005

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CONTENTSForeword Avant-propos Preface Prface Acknowledgements Abbreviations Library Sigla List of Illustrations Introduction Introduction A Calendar of Lalandes Career and Compositions Summary List of Lalandes Works Source Codes and Descriptions Nature of the Catalogue and Catalogue Entries Prsentation du Catalogue CATALOGUE OF SACRED WORKS An Introduction to Lalandes Sacred Works Introduction aux uvres sacres de Lalande The Livres du Roy, 1703 and 1714 (L1, L2) An Alphabetical List of the Latin Psalter and Lalandes grands motets Correspondences between Principal Manuscript Sources of Lalandes grands motets Versions and Revisions of Lalandes grands motets The Sous-matres de la Chapelle in the time of Lalande The Organistes du Roy in the time of Lalande Lalandes motets at the Concert spirituel Principal Source Collections: Sacred Music (R1-13) S ACRED I II III IV V W ORKS Grands motets Elvations and petits motets Petits motets arranged from grands motets Domine salvum motets Leons de Tnbres (continued) S177 S7890 S91106 S107115 S116124 2 4 6 8 10 11 12 13 14 17 59 367 378 394 402 v vi viii ix x xvii xviii xx xxi xxiv xxvii xxix xxxii xxxix xliii

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Contents

S ACRED W ORKS (continued) VI Miscellaneous sacred works Litanies de la Sainte Vierge Messe [in plain-chant musical] Cantique sur le bonheur des justes Tandis que Babylone Intermdes de tragdies Symphonies des Nols VII Misattributed grands motets

S125 S126 S127 S128 S129 S130

411 411 412 415 416 417 424

CATALOGUE OF SECULAR WORKS An Introduction to Lalandes Secular Works Introduction aux uvres profanes de Lalande Les Symphonies de M. De La Lande of 1703 The Table Gnrale (c1715) The Symphonies Collections: a Comparison Concordances between Symphonies Collections S ECULAR W ORKS I Ballets, Concerts, Idylles, Intermdes, Opras, Pastorales, Srnades, etc. II Suites des Symphonies III Miscellaneous instrumental movements IV Ritournelles for Airs italiens V Miscellaneous vocal movements Bibliography Pre-1800 Bibliography Post-1800 Dufourcq 1957 / Sawkins Catalogue concordances Self-borrowings in Lalandes Stage works Thematic locators: an Introduction Thematic locator (major keys) Thematic locator (minor keys) Index of titles and first lines 426 434 442 444 447 447

S131154 S155172 S173 S174 S175

451 584 639 643 646 647 650 663 666 667 668 679 691

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ABBREVIATIONSB Basse Bc Basse-continue bDs bas-Dessus Bg Basse-gnrale bl. vide Bsn Basson BT Basse-Taille BTpt Basse de Trompette BVle Basse de Viole BVn Basse de Violon c circa C. Cadet(te) c. sicle (17c., 18c.) Clav Clavecin cs Partition des churs Ds Dessus Dsi Dessus instrumental DsVn Dessus de Violon f. (ff.) folio(s) Fl Flte Fl A Flte allemande Fl bec Flte bec fs Partition gnrale GCh Grand Chur Hb Hautbois HC Haute-Contre HCVn Haute-Contre de Violon HT Haute-Taille illum. enlumin ks Armature L. Lan(e) m. Mesure(s) M lle(s) Mademoiselle(s) mm. millimtres M rs Messieurs MS(S) Manuscrit(s) mvt. mouvement n. d. sans date obl. oblong p. (pp.) Page(s) parties Parties de remplissage PCh Petit Chur prov. provenance Ps. Psaume pt Partie (matriel) pt-bk Partie spare QVn Quinte de Violon r recto Rcit Rcit Rcitatif Rcitatif bass basso-continuo second soprano general bass blank bassoon baritone bass trumpet bass viol bass violin about the younger century (17c., 18c.) harpsichord choral score soprano (treble) treble instrument violin folio(s) flute transverse flute recorder full score full chorus oboe Haute-Contre first viola high tenor illuminated [MS] key signature the elder measure(s) [bar(s)] Mademoiselle(s) millimetres Messrs manuscript(s) movement no date (undated) oblong page(s) viola parts semi-chorus provenance Psalm part part-book third viola recto solo recitative R rev. rpt rs T t. TH Thb Timb tp Tpt ts TVn v v. (vv.) Vc Vle Vn vs Rimpression rvis Reprise Partition rduite Taille tome Taille-Haute Thorbe Timballes Page de titre Trompette Signe de mesure Taille de Violon verso Verset(s) Violoncelle Viole Violon Partition clavier/chant reprint revised repeat reduced score tenor volume high tenor theorbo timpani title page trumpet time signature second viola verso verse(s) cello viol violin vocal score

Bibliographical abbreviations conform to those used in The New Grove Dictionary of Music and Musicians.

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LIBRARY SIGLAAUSTRIA A-Wn BELGIUM B-Bc B-Br B-Lc CANADA C-Qmu FRANCE F-A F-AG F-AIXc F-AIXm F-AIXmc F-APT F-AR F-B F-BO F-C F-CHRa F-Dm F-Lad F-Lam F-Lm F-LM F-LYm F-Mc F-Nm F-Pa F-Pan F-Pc F-Pcm F-Pens F-Pf F-Ph F-Phanson-dyer F-Pi F-Plutz F-Pm F-Pmeyer F-Pn F-Po F-Psg F-R(m) F-Rad F-RE F-RS F-SE F-Sn F-SOI F-T Wien, sterreichische Nationalbibliothek, Musiksammlung Brussels, Conservatoire Royal de Musique Brussels, Bibliothque Royale Albert Ier Lige, Conservatoire Royal de Musique Qubec, Ursuline Convent Avignon, Bibliothque Municipale Ceccano (formerly Musum Calvet) Agen, Archives dpartementales de Lot-et-Garonne Aix-en-Provence, Conservatoire Aix-en-Provence, Bibliothque Mjanes Aix-en-Provence, Fonds de la Cathdrale (in AIXm) Apt, Bibliothque municipale Arles, Bibliothque municipale Besanon, Bibliothque municipale Bordeaux, Bibliothque municipale Carpentras, Bibliothque Inguimbertine Chartres, Archives dpartementales Dijon, Bibliothque municipale Lille, Archives dpartementales Lille, Archives municipales Lille, Bibliothque municipale Le Mans, Bibliothque municipale Lyon, Bibliothque municipale Marseilles, Conservatoire de Musique Nantes, Bibliothque municipale Paris, Bibliothque de lArsenal Paris, Archives Nationales Paris, Fonds du Conservatoire (in F-Pn) Paris, Bibliothque du Conservatoire (formerly rue Madrid) Paris, Bibliothque de lEcole Normale Suprieure Paris, Bibliothque Forney Paris, Bibliohque historique de la Ville de Paris Paris, Bibliothque Hanson-Dyer Paris, Bibliothque de lInstitut Paris, Collection Robert Lutz Paris, Bibliothque Mazarine Paris, Collection Andr Meyer Paris, Bibliothque Nationale de France Paris, Bibliothque et Muse de lOpra Paris, Bibliothque Ste-Genevive Rouen, Bibliothque municipale Rouen, Archives dpartementales Rennes, Bibliothque municipale Reims, Bibliothque municipale Sens, Bibliothque municipale Strasbourg, Bibliothque Nationale et Universitaire Soissons, Bibliothque municipale Troyes, Bibliothque municipale

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Library Sigla F-TLc F-TLm F-TO F-V F-VAL GERMANY D-B D-Dlb D-Hs D-Kl GREAT BRITAIN GB-Cfm GB-Lbl GB-Lcm GB-Lu GB-Lva GB-Lwa GB-T ITALY I-Gi I-Tn Toulouse, Fonds du Conservatoire (in F-TLm) Toulouse, Bibliothque municipale Tours, Bibliothque municipale Versailles, Bibliothque municipale Valenciennes, Bibliothque municipale Berlin, Staatsbibliothek Dresden, Schsische Landesbibliothek Hamburg, Staats- und Universittsbibliothek Kassel, Murhardsche Bibliothek und Landesbibliothek Cambridge, Fitzwilliam Museum Library London, British Library London, Royal College of Music Library London, University of London Music Library London, Victoria and Albert Museum Library London, Westminster Abbey Library Tenbury, St. Michaels College Library Genova, Conservatorio di Musica Nicolo Paganini Torino, Biblioteca Nazionale Universitaria

THE NETHERLANDS NL-DHgm The Hague, Gemeentemuseum RUSSIA RU-Mrg SWEDEN S-Sk S-Smf S-Uu USA US-AAu US-BE US-BO US-CA US-Cn US-NH US-R US-Wc Moscow, Rossiyskaya Gosudarstvennaya Biblioteka (formerly Ml, Lenin Library) Stockholm, Kungliga Biblioteket Stockholm, Stiftelsen Musikkulturens Frmjande Uppsala, Universitetsbiblioteket Ann Arbor, University of Michigan, Music Library Berkeley, University of California, Music Library Boulder, University of Colorado, Music Library Cambridge, Harvard University Music Libraries Chicago, Newberry Library New Haven, Yale University, School of Music Library Rochester, University, Sibley Music Library Washington, Library of Congress, Music Division

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LIST OF ILLUSTRATIONSPortrait of Michel-Richard de Lalande by Robert Tournires (1667-1752) Photo: Collection archives Larbor, Paris frontispiece

Ex. 1. VPh, page 16 of Quam dilecta S12/i, in the hand of Andr Danican Philidor lan, showing old and new paginations (F-V, Ms mus 9). Ex. 2. VPh, page 15, Deitatis majestatem S3, in the hand of Franois Fossard (F-V, Ms mus 14). Ex. 3. VPh, page 24, Christe redemptor S21, in a third hand, with text added by Franois Fossard (F-V , Ms mus 15). Ex. 4. TPh, printed title page of set of part-books for motets of Lalande (F-Pn, Rs. F. 1697). Ex. 5. V25, Venite exultemus Domino S58/i, in the hand Herlin Ph5 (F-V, Ms mus 25, p. 1). Ex. 6. MR, Te Deum Simple S32/iii, autograph (F-Pc, H400D[3], f. 1r). Ex. 7. MR, Te Deum Simple S32/iii; Lalandes instructions for copying of parts. (F-Pc, H400D[3], f. 27v). Ex. 8. H, Table des Motets gravs de Feu Mr. de Lalande et lAnne quil les a composs (table found in some volumes of Motets de feu M. De La Lande..., Paris, 1729-34, 20 vols. Ex. 9. H, frontispiece, engraving by S. Thomassin [after a portrait by J.-B. Santerre (1651-1717)], and title page a1 of Livre I of Motets de feu M. De La Lande..., Paris, 1729-34, 20 vols. Ex. 10. H, title page a2 found on early impressions of Livres II-V, with the same plate modified to include details of the address of Mlle Hue (b, c and d). Title page b is only found in copies of Livres II-XIII (those published by 1732), title page c is found in a few copies of Livres II, IV, V, XIV and XV, but title page d was used for all 19 Livres II-XX and so probably dates from 1734 (see Distribution of Printed Edition and Impressions, pp. 42-3). Ex. 11. H, newly-engraved title pages e and f, where La Veuve Boivin has replaced Le Sieur Boivin (after November, 1733 see text); copies are also shown as available chez le Sr. Le Clairc; title page f also shows that Mlle Hue had moved chez Mr . Blot. Title page e only appears on Livres IV, VI-VIII and XI, whereas title page f is found in Livres II-XX. Ex. 12. H (21), title pages (a) and (b) (the second a modification of the first) of Les III Leons de Tenebres et le Miserere a voix seule de feu M. De La Lande, Paris, 1730. Ex. 13. A5840, Table Des motets de feu Monsieur De la Lande qui nont point est gravez et lanne quil les a composs (the 2nd table; the 1st lists motets included in H) (F-A, Ms 5840, f. 3). Ex. 14. C, Laudate Dominum (Ps. 146) S57/ii, showing the hand responsible for all 21 volumes of the Cauvin collection (F-V, Ms mus 224, p. 5). Ex. 15.Mgr le Duc dAnjou declar par le Roy, et reconnu Roy dEspagne Versailles le 16. 9 bre . [novembre] 1700, vignette, Le Conclave des cardinaux pour llection du pape, Paris (Langlois), 1701. Photo: Giraudon/Bridgeman. See Commentary: Beati omnes S51. Ex. 16. Table Gnrale apparently describing a collection, Gh2 (TG), dating from c1715 (F-Pc, Rs. 581, t. II, pp. 273-82).

21 22 22 24 25 28 28 34 36

37

38 41 45 52

258 444

Kind permission has been given by the following libraries to reproduce illustrations: Exs. 1-3, 5 & 14 by the Bibliothque municipale, Versailles; Exs. 4, 6, 7 & 16 by the Bibliothque Nationale de France, and Ex. 13 by the Bibliothque municipale, Avignon (Livre Ceccano).

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INTRODUCTIONMichel-Richard de Lalande [De La Lande, Delalande] was born in Paris on 15 December 1657, and died on 18 June 1726, at Versailles. By the end of his life, he was Chevalier de lOrdre de St. Michel, Surintendant de la Musique du Roy, Sous-Matre de Musique et Compositeur Ordinaire de la Chapelle, Matre de Musique and Compositeur de la Musique de la Chambre, having served under two sovereigns, Louis XIV and Louis XV (see A Calendar of Lalandes Career and Compositions below). Becoming an Enfant de Choeur of St-Germain-lAuxerrois at the age of 9, at the same time as Marin Marais, Lalande was singled out by the Matre de Musique, Franois Chaperon, as his most gifted pupil. Soon after Chaperon moved to the Sainte-Chapelle in 1679, he encouraged the young Lalande by performing some of his Leons de Tnbres there. By then, Lalande was organist of both Saint-Jean-en-Grve and at St-Gervais, in the latter case acting as locum tenens during the minority of Franois Couperin. Some of Lalandes grands motets, known to have been composed before his appointment to the Chapelle royale, may also have been performed by Chaperon, or perhaps at Saint-Louis-des-Jsuites, where (according to Alexandre Tannevot) Lalande was also organist at this time (perhaps while Marc-Antoine Charpentier was matre de musique there). Tannevot also related that Lalande composed music for several tragedies for the Jesuits (now lost), in which il sen acquitta avec succs. Lalandes success as a harpsichord teacher to Mlle de Noailles led to a similar appointment to teach Mlle de Nantes and Mlle de Blois, the kings daughters by Mme de Montespan. In 1682-3, he composed four works for stage or outdoor entertainment, notably Les fontaines de Versailles. But his first important court post came with his success at the great 1683 concours when Lalande was the kings personal choice as one of the four Sous-matres de la Chapelle in succession to Henry Du Mont and Pierre Robert. The unexpected death of the Queen, Marie-Thrse, a few weeks later, and the consequent strengthening of the influence of Mme de Maintenon produced an atmosphere more conducive to a royal interest in sacred, rather than secular music, exactly matching Lalandes own inclinations. By the time he had taken up his appointment on 1 October 1683, he had composed 13 grands motets, and in little more than five years, at least another 11, as well as more stage music, notably the Ballet de la Jeunesse (1686) (which supplanted Lullys planned premire of Armide at court), and, in January 1689, Le Palais de Flore. Within days of this latter premire, he was appointed Surintendant de la Musique de la Chambre. By the end of 1689, he had composed another six grands motets, and the court copyists Franois Fossard and Andr Danican Philidor lan had almost completed their magnificent folio Recueil qui contient tous les Motets de Mr. de la Lande, made on the kings orders. This was a singular tribute to the 31-year-old composer, when one considers that his two predecessors motets were not collected and published until their retirement, and no similar collections were made of the works of his three fellow Sous-matres (Colasse, Minoret and Goupillet). This Recueil of 1689-90, today containing 27 motets, is the principal source of our knowledge of Lalandes early sacred style (F-V, Ms Mus 8-17) (VPh). Over the next 15 years, Lalande produced a steady stream of new motets and stage works, but had already begun to significantly modify his style in an increasingly Italianate manner, and to revise his earlier works (even the 1689-90 Recueil had included one such such revision). Ironically, from the moment Lully arrived in France from Italy at the age of 13, he seems to have worked assiduously throughout his career to prove he was more French than the French, while many other French composers, including Lalande, were interesting themselves in the latest ideas from Italy, and how they could best absorb them into the French style. Les gots runis was a many-faceted phenomenon, but one may note some of the incidents in Lalandes life which demonstrate his interest in and familiarity with Italian style and the way in which this interest was absorbed into his own compositions. In chronological order, these events include: (i) the appointment of Henri Du Mont as one of the two Sous-maitres de la Chapelle in 1660; Du Mont had arrived in Paris from Flanders about 1643, already well-versed in the Italian continuo style (Lalande was destined to replace him as one of the Sous-matres in 1683 and his early grands motets show Du Monts influence),

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Introduction (ii) the arrival at Versailles in 1679 of the first five Italian castrati to sing in the choir of the royal chapel, singers with whom he would shortly be working. The castrati had been brought from Italy by Paolo Lorenzani, who had himself arrived at the French court the previous year, (iii) Lalandes cooperation with Lorenzani in providing the music for Une Srnade en forme dOpra S131 at Fontainebleau in November 1682, (iv) Lalandes participation in the soires dedicated to Italian music chez the Abb Mathieu (who, according to Brossard, left his library of such music to Lalande) (v) Lalandes contribution of six of the 12 ritournelles to the book of Italian operatic airs collected by Fossard and Philidor, and published in 1695 (these reappeared in a larger manuscript collection for the comte de Toulouse in 1703) (see S174), (vi) the appearance in Paris of copies of Corellis trio sonatas as early as 1695 (see Pc533 1695). Lalande was to acknowledge his debt to Corelli by including the Christmas Concerto in the programme of the first Concert spirituel in March 1725 (the rest of the programme consisted entirely of Lalandes works). By the time the comte de Toulouse commissioned his collection from Philidor in 1703 (TPh), Lalande had composed a further 34 grands motets, as well as several lvations (petits motets), his Cantique de Racine (1695), numerous settings of Domine, salvum fac regem (S107-15), and seven major stage works. The earliest volumes of the collection of the comte de Toulouse (TPh) appear to be Les Symphonies de M. De La Lande qui se jouent ordinairement au Souper du Roy (1703) (F-Pc, Rs.582) containing 160 movements organized in 10 suites and a Concert de Trompettes (later collections of these symphonies included some 300 movements). Of the stage works of this period, the only one to survive in complete form is the pastorale, LAmour flchy par la Constance (F-LYm, Ms 133620), performed first at Fontainebleau in October 1697, and then probably repeated alongside Destouches Iss, for the wedding of the duc de Bourgogne in December at Versailles; Lalandes grand motet, Eructavit cor meum, graced the same occasion. During the remaining years of the reign of Louis XIV, Lalandes production of secular music ceased except for his Ballet de la Paix in 1713, and the rate at which he composed new grands motets also slowed down. His energies appear to have been mainly directed at extensively revising earlier motets to match the style of those few he newly composed. Outstanding among these revisions must be counted those of De profundis (sung at the funeral of Louis XIV), Miserere mei (Ps. 50), Confitebor tibi (Ps. 110) and Te Deum laudamus. But the years 1705-10 also produced eight new grands motets, and the seven that have survived show the composer at the height of his powers: Confitemini, Quare fremuerunt, Exurgat Deus, Cantate Domino (Ps. 97) (the most performed of all his motets at the Concert spirituel 1725-1770), Dixit Dominus (2nd setting), Sacris solemniis and Exultate justi. This last may have been written for the consecration of the present chapel at Versailles, on 5 June 1710 (Louis XIV had required Lalande to perform motets in the new chapel in order to judge its acoustic before he permitted the consecration to go ahead). In 1711, the smallpox epidemic which resulted in the Dauphins death moved Lalande to revise his Dies ir, originally written for the Dauphines funeral in 1690, thereby producing one of his masterpieces in the process. Like their mother, Anne Rebel, Lalandes two daughters were both outstanding singers, but they too were claimed in the same epidemic, soon after the Dauphin. Lalande only composed two more grands motets; one, Exaltabo te, Deus meus, the next year, included a soprano duet which was undoubtedly a tribute to his daughters, and the other, a new setting, in 1721 (during the Regency), of Omnes gentes. The inclusion of trumpets in this work would imply it was for a ceremonial occasion. But he continued the revision process of earlier works, including that of Veni Creator in 1722 (probably for the Coronation of Louis XV) and the Te Deum, the only one of his motets to survive in his own autograph. This score (F-Pc, H400D[3]) is a unique document, showing many revisions, cuts and alternatives, and includes timings at the end of each movement, as well as a total of une bonne demi-heure (S32/iii). Most of Lalandes shorter sacred works for which he is justly celebrated the three surviving Leons de Tnbres (he set all nine), his Miserere voix seule, and O filii & fili voix seule, (together with a Regina cli voix seule, now lost) must have been composed before 1711, since Philidor, in his 1729 Catalogue (F-A, Ms 1201) tells us they were chantez par Mesdemoiselles De la Lande ladmiration de tout Paris.

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Introduction In 1720, Lalande resumed composition of stage music with a series of ballets devised for the young Louis XV: LInconnu, Les Folies de Cardenio (both 1720) and Les Elmens (1721), this last with Destouches. The death of Lalandes wife in 1722, and the busy schedule occasioned by the return of the court to Versailles and the coronation of Louis XV were no doubt all factors that led him, early in 1723, to resign from three of his four quarters as Sous-matre de la Chapelle; Nicolas Bernier, Andr Campra and Charles-Hubert Gervais were appointed in his place. In April of the same year, he remarried, his new wife being the viol player, Marie-Louise de Cury, who was ultimately to play such a significant role in the posthumous publication of her late husbands motets. In the last year of his life, although none of his grands motets had been published (no doubt he would never have agreed to such an idea while he was still revising them), he experienced what must have been the great pleasure of having numerous works performed at the Concert spirituel which began in March 1725. His death at the age of 68 in June 1726 marked the end of a remarkable career of 43 years at court, during which he acquired even more posts in the musical establishment than had the notorious Lully. But it was also the beginning of a new life for his grands motets, flourishing as the staple diet of the Concert spirituel for the next 45 years, with 14 of them also remaining in the repertory of the Chapelle royale until the last days of that institution in 1792. A major factor in the diffusion of these works was the posthumous engraved edition (1729-34) (H) which his widow launched immediately after his death. It contained 40 grands motets in partition rduite, including almost all the works of his maturity together with some of the earlier ones in late revisions, as well as three of the Leons de Tnbres, and his Miserere voix seule. If Lalandes stage music was unpretentious and largely conformed to inherited Lullian models, the same cannot be said of his 77 grands motets (of which 65 survive in score), which mark the apoge of the genre, and served as the yardstick by which all such works composed before or after were measured. They are distinguished by a remarkably subtle response to the texts, and writing for both voices and instruments that always demands sensitivity to phrasing, and often, virtuosity. Among his generation, Lalande was the most skilled of contrapuntists, and he also exploited the extended harmonic palette inherited from Charpentier. Orchestral accompaniments employ the whole gamut of colourful effects common to sacred and secular music of the time, as the dramatic nature of the psalm texts so often demanded, and such accompaniments exhibit a new independence from the straightforward doubling of voices that contented most of Lalandes predecessors and contemporaries. Little wonder that as late as 1754, the Abb Laugier could write: La Lande offers us beauties of composition the result of great contemplation and study. One finds nothing there of the obvious, the facile, the elegant, or the graceful, but in portraying the devout, the tender, the grave, the noble, the majestic, and the terrible, he has eminently succeeded. Recognizing the importance of Lalandes library (which included works inherited from the Abb Mathieu), Sbastien de Brossard, immediately he heard of Lalandes death, approached the royal librarian, the Abb Bignon, to request that the library acquire Lalandes collection from his estate. Sadly, Bignon replied (27 June 1726, nine days after Lalandes death): With respect to the library of the late M. de La Lande, I do not quite see what use we can make of the information you have given me. We have no funds at the library to make acquisitions. You have certainly seen that for yourself. There is no indication that at some time the King would take it into his head to augment the extraordinary expenditure. On the other hand, it would not be right to acquire these curiosities without paying the heirs generously for them. (F-Pn, ms fr 22234, f. 30. [Less than 18 months later, on 20 November 1727, the royal library nevertheless found 300 livres to purchase the manuscripts of the works of Marc-Antoine Charpentier (see Hitchcock 1985).]

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INTRODUCTIONMichel-Richard de Lalande [De La Lande, Delalande] n Paris le 15 dcembre 1657, mourut le 18 juin 1726 Versailles. la fin de sa vie, il tait Chevalier de lOrdre de St. Michel, Surintendant de la Musique du Roy, Sous-Matre de Musique et Compositeur Ordinaire de la Chapelle, Matre de Musique et Compositeur de la Musique de la Chambre, et avait t au service de deux souverains, Louis XIV et Louis XV (voir plus bas la Chronologie de la carrire et des compositions). Devenu Enfant de Chur Saint-Germain-lAuxerrois lge de 9 ans, au mme moment que Marin Marais, Lalande fut choisi par le Matre de Musique, Franois Chaperon, comme tant le plus talentueux de ses lves. Peu aprs que Chaperon eut occup le poste de la Sainte-Chapelle en 1679, il encouragea le jeune Lalande y donner quelques-unes de ses Leons de Tnbres. Par la suite, Lalande devint organiste de SaintJean-en-Grve et de Saint-Gervais o dans ce dernier cas il fit office de remplaant durant la minorit de Franois Couperin. Quelques-uns des grands motets de Lalande passent pour avoir t composs avant quil nentrt la Chapelle royale et ont pu tre donns par Chaperon, ou peut-tre Saint-Louis-desJsuites, o selon Alexandre Tannevot, Lalande fut aussi organiste cette poque (peut-tre pendant que M.-A. Charpentier y fut matre de musique). Tannevot rapporte aussi que Lalande composa la musique de plusieurs tragdies (aujourdhui perdues) et qu il sen acquitta avec succs . Son succs comme professeur de clavecin auprs de Mlle de Noailles lui permit de devenir celui de Mlle de Nantes et de Mlle de Blois, les filles du roi et de Mme de Montespan. En 1682-1683, il composa quatre uvres pour le thtre ou des divertissements dextrieur, notamment Les Fontaines de Versailles. Mais Lalande remporta son premier poste important au clbre concours de 1683, lorsquil fut choisi par le roi pour devenir lun des quatre Sous-matres de la Chapelle et succder ainsi H. Du Mont et P. Robert. La mort soudaine de la reine Marie-Thrse, quelques semaines plus tard, et le renforcement qui sen suivit de linfluence de Mme de Maintenon cra une atmosphre plus propice un regain dintrt envers la musique sacre, au dtriment de la musique profane, ce qui correspondait aux propres inclinations de Lalande. Au moment mme o il prit ses fonctions le 1er octobre 1683, il avait compos 13 grands motets, et en un peu plus de cinq ans, au moins 11 autres, ainsi que beaucoup de musique thtrale, notamment le Ballet de la Jeunesse (1686) (qui supplanta la premire initialement prvue dArmide de Lully la Cour) et, en janvier 1689, Le Palais de Flore. Quelques jours aprs la premire du Palais de Flore, il fut nomm Surintendant de la Musique de la Chambre. la fin de lanne 1689, il avait compos six autres grands motets, et les copistes de la Cour Franois Fossard et Andr Danican Philidor lan avaient quasiment termin le Recueil qui contient tous les Motets de Mr. de la Lande , magnifiques volumes in-folio raliss par ordre du roi. Cest un hommage unique un compositeur g de 31 ans, si on se rfre au fait que les motets de ses deux prdcesseurs navaient t ni runis ni publis avant leur retraite, et quil nexiste aucun recueil comparable des uvres des trois Sous-matres (Colasse, Minoret et Goupillet). Ce Recueil de 16891690, runissant 27 motets, est la source principale pour notre connaissance du style des uvres sacres composes durant la jeunesse de Lalande (F-V, Ms Mus 8-17) (VPh). Durant les quinze annes qui suivirent, Lalande, tout en produisant un nombre soutenu de nouveaux motets et duvres thtrales, avait dj commenc modifier intentionnellement son style sous linfluence croissante de la manire italienne, et rviser ses premires uvres (mme le Recueil de 1689-1690 comporte des remaniements). Ironiquement, partir du moment o Lully quitta lItalie et arriva en France lge de 13 ans, celui-ci semble avoir uvr assidment au cours de sa carrire prouver quil tait plus franais que les Franais eux-mmes, tandis que nombre dautres compositeurs franais, y compris Lalande, sintressaient aux dernires ides venues dItalie, et la meilleure manire dont ils pouvaient les fondre dans le style franais. Les gots runis taient un phnomne qui recouvrait de nombreuses facettes, mais il convient de souligner les influences quils exercrent sur la vie de Lalande, dmontrant sa familiarit et son intrt pour le style italien et la faon dont il la assimil dans ses propres compositions. Ces vnements comprennent dans lordre chronologique : (i) lengagement de Henri Du Mont en tant que lun des deux Sous-matres de la Chapelle en 1660 ; Du

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Introduction (franais) Mont, originaire des Flandres, tait arriv Paris vers 1643, et tait dj bien au fait du style italien en matire de continuo (Lalande devait le remplacer en 1683 et devenir lun des Sous-matres et ses premiers grands motets tmoignent de linfluence de Du Mont), (ii) larrive Versailles en 1679 des cinq premiers castrats italiens destins chanter dans les churs de la Chapelle royale, chanteurs avec lesquels il travailla peu de temps aprs. Les castrati avaient t ramens dItalie par Paolo Lorenzani, qui tait arriv lui-mme la Cour de France lanne prcdente, (iii) la collaboration de Lalande avec Lorenzani lors de la composition de la musique dUne Srnade en forme dOpra S131 Fontainebleau en novembre 1682, (iv) la participation de Lalande des soires consacres la musique italienne chez labb Mathieu (qui, selon Brossard, laissa sa bibliothque musicale Lalande), (v) la contribution de Lalande au livre dairs dopras italiens rassembls par Fossard et Philidor et publis en 1695 pour lequel il composa six des 12 ritournelles (celles-ci furent remployes dans la grande collection manuscrite du comte de Toulouse en 1703) (voir S174), (vi) lapparition trs tt de copies des sonates en trio de Corelli Paris vers 1695 (voir Pc533 1695). Lalande manifesta sa reconnaissance envers Corelli en insrant le Concerto de Nol dans le programme du premier Concert spirituel de mars 1725 (le reste du programme tait entirement dvolu aux uvres de Lalande). Lorsque le comte de Toulouse commanda sa collection Philidor en 1703 (TPh), Lalande avait compos 34 motets supplmentaires, ainsi que plusieurs lvations (petits motets), son Cantique de Racine S127 (1695), de nombreux Domine salvum fac regem (S107-15) et sept uvres thtrales majeures. Dans les premiers volumes de la collection du comte de Toulouse (TPh) figurent Les Symphonies de M. De La Lande qui se jouent ordinairement au Souper du Roy (1703) (F-Pc, Rs.582) qui rassemblent 160 mouvements organiss en 10 suites et un Concert de Trompettes (des collections plus tardives incluront vers 300 mouvements). Des uvres thtrales de cette priode, seule subsiste en totalit la pastorale, LAmour flchy par la Constance (F-LYm, Ms 13362), donne pour la premire fois Fontainebleau en octobre 1697, et probablement rpte en mme temps quIss de Destouches, lors du mariage du duc de Bourgogne en dcembre Versailles ; le grand motet de Lalande, Eructavit cor meum, fut interprt dans les mmes circonstances. Durant les dernires annes du rgne de Louis XIV, la production de Lalande dans le domaine de la musique profane cessa, bien quil compost le Ballet de la Paix en 1713 ; le rythme auquel il crivit de nouveaux grands motets se ralentit aussi. Il employa principalement son nergie une large rvision des premiers motets afin de les rapprocher du style quil employait dans ses nouveaux motets. Parmi ses rvisions il faut signaler celles quil entreprit du De profundis (chant lors des funrailles de Louis XIV), du Miserere mei (Ps. 50), du Confitebor tibi (Ps. 110) et du Te Deum laudamus. Mais vers 1705-1710, il avait aussi compos huit grands motets, et les sept qui nous sont parvenus dmontrent que le compositeur tait alors au sommet de ses capacits : Confitemini, Quare fremuerunt, Exurgat Deus, Cantate Domino (Ps. 97) (le motet le plus jou au Concert spirituel entre 1725 et 1770), Dixit Dominus (deuxime version), Sacris solemniis et Exultate justi. Ce dernier pourrait avoir t compos pour la conscration de la Chapelle royale Versailles, le 5 juin 1710 (Louis XIV avait demand Lalande dexcuter des motets dans la nouvelle chapelle afin que le souverain pt juger de son acoustique avant quil nautorist la poursuite de sa conscration.) En 1711, lpidmie de petite vrole qui provoqua la mort du Dauphin incita Lalande rviser son Dies ir, initialement crit pour les funrailles de la Dauphine en 1690, et par la-mme produire par le biais des remaniements lun de ses chefs duvre. Chanteuses exceptionnelles comme leur mre Anne Rebel, les deux filles de Lalande furent elles aussi victimes de la mme pidmie, peu aprs le Dauphin. Lalande composa seulement deux autres grands motets ; lun lanne suivante, Exaltabo te, Deus meus, comporte un duo de sopranos qui est sans aucun doute un hommage ses deux filles, et lautre en 1721 (lors de la Rgence), une nouvelle version dOmnes gentes. La prsence des trompettes dans cette uvre signifierait quil le remania en vue dune crmonie officielle. Cependant il poursuivait le processus de rvision de ses premires uvres, et tout particulirement du Veni Creator en 1722 (probablement pour le couronnement de Louis XV) et du Te Deum, le seul de ses motets dont lautographe nous soit parvenu. Cette partition (F-Pc, H400D[3]) est un document unique, qui montre les nombreuses rvisions, coupures et versions alternatives, et qui comporte des indications de dure la fin de chaque mouvement ainsi que la dure totale de luvre une bonne demi-heure (S32/iii).

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Introduction (franais) La plupart des uvres sacres de plus petite dimension qui ont contribu juste titre sa renomme les trois Leons de tnbres qui subsistent (il en avait compos neuf en tout), son Miserere voix seule, et O filii & fili voix seule (runi avec un Regina cli voix seule, maintenant perdu) ont d tre composes avant 1711, puisque que Philidor dans son catalogue de 1729 (F-A, Ms 1201) nous dit quils avaient t chantez par Mesdemoiselles De la Lande ladmiration de tout Paris . En 1720, Lalande revint la composition duvres thtrales avec une srie de ballets destins au jeune Louis XV : LInconnu, Les Folies de Cardenio (tous deux de 1720), et Les Elmens (1721), ce dernier en collaboration avec Destouches. Le dcs de sa femme en 1722, un emploi du temps trs charg occasionn par le retour de la Cour Versailles et le couronnement de Louis XV le conduisirent sans aucun doute renoncer au dbut de 1723, trois de ses quatre quartiers de Sous-matre de la Chapelle ; Nicolas Bernier, Andr Campra et Charles-Hubert Gervais furent engags sa place. En avril de la mme anne, il se remaria avec Marie-Louise de Cury, qui jouait de la basse de viole et qui eut un rle dterminant dans la publication posthume des motets de feu son mari. Dans la dernire anne de sa vie, bien quaucun des grands motets net t publi (sans aucun doute il naurait jamais accept une telle ide, car il souhaitait toujours rvis son uvre), il prouva, ce qui a d tre un immense plaisir, davoir de nombreuses uvres donnes au Concert spirituel qui ouvrit ses portes en mars 1725. Son dcs lge de 68 ans en juin 1726 marqua avec 43 annes au service de la Cour le terme dune remarquable carrire au cours de laquelle il occupa plus de postes dans les institutions musicales que le clbre Lully. Mais ce fut aussi le dbut dune nouvelle vie pour ses grands motets, qui firent office de plat principal au Concert spirituel durant les 45 ans qui suivirent sa fondation, tandis que 14 motets restrent au rpertoire de la Chapelle royale jusquaux derniers jours de linstitution en 1792. Ldition posthume grave (1729-1734) (H) que la veuve du compositeur entreprit immdiatement aprs son dcs joua un rle dterminant dans la diffusion de ses uvres. Cette srie, qui rassembla 40 grands motets en partition rduite, comprenait aussi bien des uvres de la maturit que des uvres de jeunesse prsentes dans leur version rvise, ainsi que trois des neuf Leons de tnbres et son Miserere voix seule. Si les uvres thtrales de Lalande sont sans prtention et tout fait conformes aux modles hrits de la tradition lullyste, il nen est pas de mme de ses 77 grands motets (dont 65 subsistent en partition) ; ces derniers incarnent lapoge dun genre, et servent dtalon pour valuer toutes les uvres composes avant et aprs. Ils se distinguent par une remarquable et subtile mise en valeur des textes et une criture pour les voix et les instruments qui requiert toujours un sens du phras, et bien souvent de la virtuosit. Des compositeurs de sa gnration, Lalande, qui fut le plus talentueux des contrapuntistes, exploita une palette harmonique tendue hrite de Charpentier. Les accompagnements orchestraux utilisent toutes les ressources de la gamme avec des effets de couleur communs aux uvres musicales sacres et profanes de lpoque, effets requis par le caractre dramatique des textes issus des psaumes. De tels accompagnements instrumentaux tmoignent de cette nouvelle indpendance et de laffranchissement de la doublure systmatique des parties vocales dont se contentaient les prdcesseurs de Lalande et ses contemporains. Peu sen tonnrent, tel labb Laugier qui crivit en 1754 : La Lande nous offre des beauts de composition plus rflchies et plus tudies. On ny trouve point le grand naturel, le facile, llgant, le gracieux; mais dans le dvot, le tendre, le grave, lauguste, le majestueux, le terrible, il a russi minemment. Ds quil sut le dcs de Lalande, Sbastien de Brossard, qui connaissait limportance de la bibliothque du compositeur (celle-ci comprenait les uvres hrites de labb Mathieu), sentremit auprs de labb Bignon afin que la bibliothque royale se portt acqureur de la collection du compositeur auprs de ses hritiers. Malheureusement, Bignon rpondit le 27 juin 1726, neuf jours aprs la mort de Lalande : lgard du cabinet de feu M. de La Lande, je ne vois pas bien quel usage nous pouvons faire de lavis que vous me donns. Nous navons aucun fonds a la Bibliotheque pour faire des acquisitions. Vous lavis bien vu par vous-mme. Il ny a pas dapparence que dicy a quelque tems le Roy saviseroit daugmenter les depenses extraordinaires. Dun autre cot il ne seroit pas juste datirer ces curiosits sans les payer noblement aux hritiers. (F-Pn, ms fr 22234, f. 30). [Moins de dix-huit mois aprs, le 20 novembre 1727, la bibliothque royale trouva 300 livres pour se porter acqureur des manuscrits des uvres de Marc-Antoine Charpentier (voir Hitchcock 1985).]

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A C ALENDAR OF LALANDE S C AREER AND COMPOSITIONSYear 1657 1667 1672 1678 1679 1680 Events 15 Dec., born Paris 15 Apr., Chorister, Paris, St Germain-lAuxerrois 9 Sep., left Choir June, St Germain-en-Laye, rejected at organ concours 26 Feb., Organist, Paris, St Gervais (until 1685) Taught harpsichord to Mlles de Noailles, de Nantes, de Blois 30 May, Organist, Paris, St Jean-en-Grve (until 1691) 16 May, success at Concours for 4 Sous-matres de la Chapelle; 31 July, death of Queen Marie-Thrse; 1 Oct., Sous-Matre de la Chapelle (Oct.-Dec.) 9 July, married Anne Rebel, Paris 8 Jan, Compositeur de la musique de la Chambre (Jan.-Mar.) Daughter Marie-Anne born Daughter Jeanne born; 22 Mar., death of Lully 9 Jan, Surintendant de la Musique (Jan.-June); 1689-90: Philidor & Fossard collected 27 motets (VPh) 25 Sep, Compositeur de la musique de la Chambre (July-Dec.) Sacred Works Secular Works

Non, non, je ne croyais pas (Chanson) (by 1678) Dixit Dominus I; Leons de Tnbres (with Chaperon, Lalouette), 17-19 Apr., Ste-Chapelle Magnificat Deitatis majestatem, Intermdes for tragdies by Fleuriau (Collge de Clermont) Afferte Domino, Beati quorum, Ad te levavi, Audite cli, Ecce nunc benedicite, Jubilate Deo, Laudate Dnum Ps. 116, Omnes gentes I, Quam dilecta, Super flumina Babylonis Veni Creator, In convertendo, Te Deum laudamus Miserere Ps. 56, Deus, Deus meus Domine, Dominus noster, Laudate pueri Deus miseratur, Cantemus Domino, Miserere Ps. 50 Exaudiat te D nus, Nisi quia Dnus De profundis, Christe Redemptor, Exaudi Deus, Dne in virtute tua, Dne non est exaltatum, Pange lingua Lauda Jerusalem, Dies ir, Deus stetit in synagoga, Deus in nomine Deus in adjutorium, Cantemus virginem, D ne quid multiplicati Beatus vir, Usquequo Domine Judica me, Ltatus sum Cum invocarem, Nisi Dominus

1681 1682 1683

[Une Srnade en forme dOpra], Nov., Fontainebleau (with Paolo Lorenzani) LAmour Berger, Mar., Paris; Les Fontaines de Versailles, 5 Apr., Versailles; Concert dEsculape, May, Versailles

1684 1685 1686 1687 1688 1689

Epithalame pour les Noces de Mr le duc de Bourbon & Mlle de Nantes, 25 July, Versailles Ballet de la Jeunesse, 28 Jan., Versailles

Le Palais de Flore, 5 Jan., Versailles Ballet de M. de Lalande, ? 1690-91, ? Versailles Ballet de Saint-Louis, 25 Aug., Versailles

1690 1691 1692 1693 1694 1695 1696 1697 1698

1 Jan., Sous-Matre de la Chapelle (Jan.-Mar.) 12 Feb., Matre de Musique de Dominus regit me, Benedictus la Chambre (Jan.-June) Ps. 143, Cantique de Racine Quemadmodum Laudate Dnum Ps. 150, Confitebor Ps. 137, Credidi propter, Eructavit Beati omnes, O filii & fili, Regina cli, Cantate Ps. 95

LIdylle de Fontainebleau, ? 1695, ? Fontainebleau Mirtil ou La Srnade, by 1696, Adonis, n.d., ? Fontainebleau LAmour flchi par la Constance, Oct./Nov., Fontainebleau Intermdes pour Mirtil et Mlicerte, Oct., Fontainebleau

xxvii

A Calendar of Lalandes Career and Compositions Year 1699 1700 1701 1702 1703 1704 1705 1706 1707 1708 1709 1710 1 Apr., Sous-Matre de la Chapelle (Apr.-June) Dominus regnavit, Exaltabo te Domine, Domine salvum motets S112,113 Confitemini, Verbum supernum Quare fremuerunt, Exurgat Deus Cantate Domino Ps. 97 Dixit Dominus II 17 July, Matre de Musique de Sacris solemniis la Chambre (July-Dec.) 23 Jan., apoplexy; Exultate justi 21 Apr., Compositeur de la Nunc dimittis voix seule* musique de la Chapelle (Apr.- (see text) June); 5 June, Versailles chapel consecrated 14 Apr., death of Dauphin; (Dies ir revised) 8, 22 May, deaths of Marie9 Leons de Tnbres, Anne & Jeanne de Lalande Miserere voix seule, O filii & fili voix seule, Regina cli voix seule Exaltabo te, Deus 1 July, Sous-Matre de la Chapelle (July-Sep.); 1 Sep., death of Louis XIV (Revision of grands motets resumed after death of Louis XIV) LInconnu, 8 Feb., Paris; Les Folies de Cardenio, 30 Dec., Paris Les Elments, 31 Dec., Paris (with Destouches) Events 6 Jan., Compositeur de la musique de la Chambre (Apr.-June) Sacred works Deus noster refugium, Confitebor Ps. 110 Laudate Dominum Ps. 146, Venite exultemus, Domine salvum motets S107-111 Confitebimur, Ad Dominum cum tribularer, Magnus Dominus Benedictus C. Z., Notus in Juda, Ad te Domine clamabo, Elvations S78-86 Secular works Intermdes pour la Comdie des Fes, 24 Sep., Fontainebleau La Noce de Village, 13 Feb., Marly; LHymen Champtre, n.d., ? Marly

Symphonies de M. DeLaLande [TPh] Madrigaux, 6 Aug., Marly; Ode la louange du Roi, 24 Oct., Sceaux

1711

1712 1713 1715 1720 1721 1722 1723

Divertissement sur la paix, 19 July, Marly

Omnes gentes II 5 May, death of 1st wife; 25 Oct., Coronation of Louis XV, Reims 20 Jan., resigned as SousMatre de la Chapelle (exc. Jan.-Mar.); 23 Apr., married Marie-Louise de Cury 18 Mar., 1st Concert spirituel 18 June, died, Versailles, aged 68 (Veni Creator revised)

1725 1726

(Lauda Jerusalem revised ) dates indicated in this column are the latest possible (see text)

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SUMMARY LIST OF LALANDE S WORKSSacred WorksI Grands motets S1 Dixit Dominus I S2 Magnificat S3 Deitatis majestatem S4 Afferte Domino S5 Beati quorum S6 Ad te levavi S7 Audite cli S8 Ecce, nunc benedicite S9 Jubilate Deo S10 Laudate Dominum Ps. 116 S11 Omnes gentes I S12 Quam dilecta S13 Super flumina Babylonis S14 Veni Creator S15 Miserere Ps. 56 S16 Deus misereatur S17 Domine, Dominus noster S18 Laudate pueri S19 Lauda Jerusalem S20 Deus, Deus meus S21 Christe, redemptor S22 Cantemus Domino S23 De profundis S24 Exaudi Deus S25 In convertendo S26 Nisi quia Dominus S27 Miserere Ps. 50 S28 Domine non est exaltatum S29 Domine in virtute tua S30 Deus stetit in synagoga S31 Dies ir S32 Te Deum laudamus S33 Deus in adjutorium S34 Cantemus Virginem S35 Deus in nomine tuo S36 Exaudiat te, Dominus S37 Domine quid multiplicati sunt S38 Judica me S39 Beatus vir S40 Usquequo Domine S41 Cum invocarem S42 Nisi Dominus S43 Dominus regit me S44 Benedictus Ps. 143 S45 Quemadmodum S46 Laudate Dominum Ps. 150 S47 Ltatus sum (1st setting) (music lost) S48 S49 S50 S51 S52 S53 S54 S55 S56 S57 S58 S59 S60 S61 S62 S63 S64 S65 S66 S67 S68 S69 S70 S71 S72 S73 S74 S75 S76 S77 Confitebor Ps. 137 Credidi propter Eructavit cor meum Beati omnes O filii et fili Regina cli Deus noster refugium Cantate Domino Ps. 95 Confitebor Ps. 110 Laudate Dominum Ps. 146 Venite exultemus Confitebimur Ad Dominum cum tribularer (music lost) Magnus Dominus Benedictus Cant. Zach. Notus in Juda Ad te, Domine, clamabo Dominus regnavit Exaltabo te, Domine Pange lingua gloriosi Confitemini Domino Ps. 104 Verbum supernum (music lost) Quare fremuerunt Exurgat Deus Cantate Domino Ps. 97 Dixit Dominus II (2nd setting) Sacris solemniis Exultate justi Exaltabo te, Deus meus Omnes gentes II (2nd setting)

(1st setting)

(music lost) II Elvations and Petits motets S78 Salve caro Salvatoris S79 Jesu quem velatum S80 O salutaris hostia S81 Ave verum corpus S82 Tantum ergo sacramentum S83 Ignis vivus, dulcis flamma S84 Ad gaudia cordis S85 O bone Jesu S86 Properate multitudo Petits motets S87 Miserere voix seule S88 Nunc dimittis voix seule S89 O filii et fili S90 Regina cli

(music lost) (music lost)

(music lost) (music lost) (music lost) (music lost) (music lost) (music lost) (music lost) (music lost) (music lost)

(music lost) (music lost)

(music lost)

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Summary list of Lalandes WorksIII Petits motets drawn from grands motets S91 Panis angelicus S92 Cantemus Domino S93 Afferte Domino S94 Magnificavit Dominus S95 Exultate justi S96 Sitivit anima mea S97 Benedictus Dominus, qui non dedit S98 Confite