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Music at the Maison Royale de Saint-Louis at Saint-Cyr

Author: Deborah Kauffman
Publisher: Milton : Routledge, 2018.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
The history of music at the Maison royale de Saint-Louis at Saint-Cyr -- the famous convent school founded by Madame de Maintenon and established by Louis XIV in 1686 as a royal foundation -- is both rich and intriguing; its large repertory of music was composed expressly for young female voices by important composers working within significant contemporary musical genres: liturgical chant, sacred motets, theatrical  Read more...
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Genre/Form: Criticism, interpretation, etc
Electronic books
Additional Physical Format: Print version:
Kauffman, Deborah.
Music at the Maison Royale de Saint-Louis at Saint-Cyr.
Milton : Routledge, ©2018
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Deborah Kauffman
ISBN: 9781317092100 1317092104
OCLC Number: 1048921604
Description: 1 online resource (359 pages)
Contents: Cover; Half Title; Title Page; Copyright Page; Dedication; Contents; List of figures; List of tables; List of musical examples; Acknowledgments; Introduction; 1 The Maison royale de Saint-Louis at Saint-Cyr; Madame de Maintenon, founder; The life of Françoise d'Aubigné; Establishment of the institution; Foundation years; The crisis of Esther; Athalie; Regularization; Quietism; After the deaths of Louis XIV and Madame de Maintenon; Final years; 2 The Maison royale as an educational institution for women; Educational goals: intention and reality; An innovative house of education The role of music in educationPedagogical matters: how was music taught?; 3 The musical lives of the Dames and Demoiselles at Saint-Cyr; Music in daily life; Cantiques spirituels; Music for the stage; Liturgical chant; Petits motets; Other para-liturgical celebrations; 4 Saint-Cyr's composers and music masters; Guillaume-Gabriel Nivers; Jean-Baptiste Moreau; Nicolas Clérambault; Clérambault's Sons; Jean-Baptiste-Louis Thomelin; 5 Cantiques spirituels in the life of the institution; The cantique spirituel; The development of a repertory; Cantiques spirituels at Saint-Cyr; Didactic cantiques "Erudite" cantiques spirituels: parodiesOriginal "Erudite" cantiques spirtuels; Anonymous cantiques; Performance issues; 6 Music for a Théatre des Desmoiselles; Dramatics at Saint-Cyr; Jean Racine and Jean-Baptiste Moreau's Esther and Athalie; Esther; Athalie; Other tragédies; Jephté; Jonathas; Patronage and continuity: idylles in celebration of the royal family; 7 Chanter les louanges de Dieu: Liturgical chant at Saint-Cyr; The development of the liturgy; Establishing the Maison's liturgy: Offices divins (1686); Supplément des Offices divins: transitions during 1691-1702 The liturgy in its final form: manuscripts from 1702-1708The finalized repertory in print: Chants et motets (1733); The Liturgy after 1733; Special liturgical ceremonies; Ceremonies in a nun's life: investiture and profession; Funeral ceremonies; The consecration of a bishop; Saint-Cyr's musical repertory of plainchant; Ornamentation; Aspects of liturgical practice; Celebrating the mass; Who sang the liturgy, and when; 8 Petits motets: Composers and styles; The role of Petits motets within the liturgy; The motet repertory; Motet sources; Motets in the earliest sources Motets in sources from ca. 1702 to ca. 1714Motets in sources from ca. 1714 to 1750; Sources from after 1750 until 1793; Revisions to motets across the repertory; Plain-chant musical motets, from 1 voice to 2 voices; From plain-chant musical to musique; From one voice to two voices; Motets for two voices; Revisions to Clérambault's motets; Performance practices; Conclusion; Inventory of manuscripts containing music in the repertory at Saint-Cyr; Selected Bibliography; Index

Abstract:

The history of music at the Maison royale de Saint-Louis at Saint-Cyr -- the famous convent school founded by Madame de Maintenon and established by Louis XIV in 1686 as a royal foundation -- is both rich and intriguing; its large repertory of music was composed expressly for young female voices by important composers working within significant contemporary musical genres: liturgical chant, sacred motets, theatrical music, and cantiques spirituels. While these genres reflect contemporary styles and trends, at the same time the works themselves were made to conform to the sensibilities and abilities of their intended performers. Even as Jean-Baptiste Moreau's music for Jean Racine's biblical tragedies Esther and Athalie shows a number of similarities to contemporary tragédies lyriques, it departs from that more public genre in its brevity, generally simpler solo writing, and the integral use of the chorus. The musical style of the choral numbers closely parallels that of other choral music in the repertory at Saint-Cyr. The liturgical chant sung in the church was composed by Guillaume-Gabriel Nivers, and is an example of plain-chant musical, a type of new ecclesiastical composition written during the seventeenth and eighteenth centuries, primarily for female religious communities in France. The large repertory of petits motets (short sacred Latin pieces for solo voice), mostly composed by Nivers and Louis-Nicolas Clérambault, are simpler and more restrained than works by their contemporaries. A close study of the motets reveals much about changes to musical style and performance practices at Saint-Cyr during the eighteenth century. The cantique spirituel, a song with a spiritual text in the vernacular French language, played a significant role in both the education and recreation of the girls at Saint-Cyr. Cantiques composed for the girls vary widely in terms of their style and difficulty, ranging from simple strophic melodies to more sophisticated works in the style of contemporary airs. In all cases, the stylistic features of the music for Saint-Cyr reflect a careful consideration of the needs and capabilities of the young singers of the school, as well as an awareness of the rigorous requirements of Madame de Maintenon, who kept a close watch over the propriety of all things relating to the piety, behavior, and image of her charges.

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