MICHEL-RICHARD DELALANDE'S "LAUDA JERUSALEM": A STYLE-STUDY OF THE THREE VERSIONS (FRANCE)
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University Microfilms International 300 N. Zeeb Road Ann Arbor, Ml 48106
1320933
WATSON, JAMES DAVID
MICHEL-RICHARD DELALANDE'S "LAUDA JERUSALEM": A STYLE-STUDY OF THE THREE VERSIONS
THE UNIVERSITY OF ARIZONA M.M. 1983
University Microfilms International 300 N. Zeeb Road, Ann Arbor, MI 48106
Copyright 1933 by
WATSON, JAMES DAVID All Rights Reserved
MICHEL-RICHARD DELALANDE1S LAUDA JERUSALEM:
A STYLE-STUDY OF THE THREE VERSIONS
by
James David Watson
A Thesis Submitted to the Faculty of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of
MASTER OF MUSIC WITH A MAJOR IN MUSICOLOGY
In the Graduate College
THE UNIVERSITY OF ARIZONA
19 8 3
Copyright 1983 James David Watson STATEMENT BY AUTHOR
This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.
SIGNED
APPROVAL BY THESIS DIRECTOR
This thesis has been approved on the date shown below:
James R. Anthony Professor of Music ACKNOWLEDGMENTS
I would like to extend my sincerest thanks to Professor James
Anthony for all his help and patience during the preparation of this paper. I would also like to thank Professors John Boe and Edward
Murphy for checking the typescript for any theoretical, historical, or liturgical oversights or errors.
For the musical sources, I thank the Bibliotheque Municipale de
Versailles and the Bibliotheque Nationale, and music librarians Dorman
Smith (University of Arizona) and John Emerson (University of California at Berkeley).
Finally, I would like to thank Melissa Cox and Lionel Sawkins for sharing some of their findings, the Campus Christian Center for the use of the typewriter, Jill Amen for her help in the preparation of the typescript, my family and friends for their financial and moral support, and all of my former teachers who contributed to my knowledge and love of music.
iii TABLE OF CONTENTS
Page
LIST OF ILLUSTRATIONS vi
LIST OF TABLES vii
ABSTRACT viii
I. INTRODUCTION 1
Nature of Study 4 Sources 5 Lauda Jerusalem, Source 1 5 Lauda Jerusalem, Source 2 10 Laudia Jerusalem, Source 3 12 Other Sources of Delalande's Grands Motets .... 15
II. DELALANDE AND THE GRAND MOTET 17
Delalande: A Biography 17 History of the Grand Motet 20 The Grand Motet before Delalande 20 The Grands Motets of Delalande 22 Lauda Jerusalem 24 Text Source 24 Performance History 25 Editorial Policy 27
III. ANALYSIS OF THE TWO VERSIONS OF LAUDA JERUSALEM 32 Lauda Jerusalem, First Version 34 Section I 34 Section II 35 Section III 38 Section IV 39 Section V 41 Section VI ...... 43 Section VII . . 44 Section VIII 46 Section IX . 47 Section X ...... 48 Lauda Jerusalem, Second Version 49 Section I T ...... 50 Section II ...... 55
iv V
TABLE OF CONTENTS—Continued
Page
Section III 57 Section IV 59 Section V 61 Section VI 64 Section VII 66 Section VIII 67
IV. STYLISTIC COMPARISON OF THE TWO VERSIONS OF LAUDA JERUSALEM 70
Nature of Changes 70 Reasons for Changes 75 Summary 77
APPENDIX A: DELALANDE'S GRANDS MOTETS IN MORE THAN ONE VERSION 79
APPENDIX B: PSALM 147: TEXT AND TRANSLATION 81
APPENDIX C: COMPARISON OF LAUDA JERUSALEM IN PM AND HE/CM 83
BIBLIOGRAPHY 86
LAUDA JERUSALEM: SCORE OF THE PM VERSION 91
LAUDA JERUSALEM: SCORE OF THE HE/CM VERSION 236 LIST OF ILLUSTRATIONS
Figure Page
1. Facsimile of a page from PM 6
2. Two-Piece G-Clef 7
3. Facsimile of a page from HE 11
4. Facsimile of a page from CM 14
5. Realization of A 29
6. Arch-form in Lauda Jerusalem, PM version 33
7. First half of "Qui dat nivem" 42
8. Comparison of the end of the first half of "Lauda Jerusalem" 52
9. Descriptive writing in "Velociter currit" . . 58
10. Motives used for "Nebulam sicut cinerem" and "spargit" . . 60
11. Extended hemiola-like figure during a simphonie 68
12. Choral accompaniment procedures in HE/CM 73
vi LIST OF TABLES
Table Page
1. Performances of Laudia Jerusalem 26
vii ABSTRACT
Lauda Jerusalem is a grand motet by Michel-Richard Delalande
(1657-1726). It exists in three different versions: a 1690 copy from the atelier of Andre-Danican Philidor; an engraved edition by Hue* dating from 1729; and a manuscript copy by or for Gaspard Alexis
Cauvin (after 1743). The Cauvin and print are virtually the same although the former provides the inner instrumental parties lacking in the latter. The Philidor, an earlier version, is substantially different from the print.
This study explains the above changes and attempts to determine why they were made. A formal analysis of each movement of the motet is provided. A full score of the Philidor version and of the print (con flated with the Cauvin) are included.
viii CHAPTER I
INTRODUCTION
I waited for the aria . . . The dancers appeared: I thought the act was over, not an aria. I spoke of this to my neighbor who scoffed at me and assured me that there had been six arias in the different scenes which I had just heard. How could this be? I am not deaf; the voice was always accompa- ^ nied by instruments . . . but I assumed it was all recitative.
. . . The score is built without conventional arias in the Italian manner: it flows from recitative into simple arioso and back into recitative. Special use is made of tiny two- part songs . . . Lovely fragments of music are hgard as "simphonies" and introductions, never to return.
Neither of these quotations describing opera in pre-revolu-
lutionary France comes from Francois Raguenet's Paralele des italiens et
des franpois, en ce qui regarde la musique et les opera, a treatise
which attacks the operatic practices of Jean-Baptiste Lully. Both
could easily have come from the eighteenth century; the first statement
is indeed from then, but the second was written in 1981. This need to
explain many of the commonplace practices of this particular style when
the music is performed today displays the degree of obscurity into
1. Carlo Goldoni, Memoires de M. Goldoni, v. Ill, p. 38, as quoted in James Anthony, French Baroque Music, rev. ed. (New York: W. W. Norton & Co., 1978, paperback ed., 1981), p. 84.
2. Nicholas Kenyon, "Musical Events:- Revivals," The New Yorker, 23 February, 1981, p. 118. The Score in question is Jean- Marie Leclair's Scylla et Glaucus.
1 which French music of the seventeenth and eighteenth centuries has fallen. 3 Michel-Richard Delalande and his music are even more unfa
miliar to the public at large. In the more commonly used English-
language texts, he receives scant mention. All that Donald Grout has
to say about one of the most widely acclaimed composers in France at
the time is: "The favorite church composer of the early eighteenth
century at Paris was Michel-Richard Delalande or de Lalande (1657-
1726), some of whose motets for chorus and orchestra are worthy exam- 4 pies of the grand style in ecclesiastical music of this period."
Manfred F. Bukofzer writes approximately the same amount, adding that
Delalande's sacred works "... afford the most conservative aspects 5 of the period." Although this is a correct observation regarding the
motets compiled by Philidor in the 1689-1690 collection, it is far from the truth relative to the later motets or later versions of
3. Concerning the composer's name, see Norbert Dufourcq et al., Notes et references pour servir & une histoire de Michel-Richard Delalande (Paris: A. £ J. Picard, 1957), p. 9. "Delalande" is the only form used by the composer and his family; some of the forms his contemporaries used are "Delalande," "Lalande," and "La Lande." Yet see Lionel Sawkins, "An Encore to the Lexicographer's Dilemma, or de Lalande et du Bon Sens," Fontes Artis Musicae 28/4 (October-December 1981): 319-323.
4. Donald Jay Grout, A History of Western Music, 3d ed. (New York: W. W. Norton £ Co., 1980), p. 362. The statement is misleading in that it implies that Delalande was employed as a composer of sacred music in Paris; his position in this capacity was at Versailles.
5. Manfred F. Bukofzer, Music in the Baroque Era (New York: W. W. Norton £ Co., 1947), p 259. 3
g earlier motets. In his second edition of Baroque Music, Claude
Palisca makes some concessions to French music of the era by adding a chapter on French lute and harpsichord music, but continues to ignore the sacred music of France (and England, also). More space is devoted to the importance of the composer in Paul Henry Lang's Music in West ern Civilization; he writes two paragraphs about Delalande, concluding with
. . . Lalande had many disciples and followers, and church music flourished throughout the country; but the compositions are dispersed in the manuscript collections of libraries, and
the whole question represents one of7those blank spots on the map of musical and cultural history.
None of these sources mentions that in addition to his achievements as a sacred composer, Delalande was also quite well-known for his ballets and other secular compositions.
At the present, however, some progress is being made towards making Delalande and his grands motets (not to mention his secular works) more than a mere passing mention in history texts. Some of his
6. Claude V. Palisca, Baroque Music, 2d ed. (Englewood Cliffs: Prentice-Hall, 1981).
7. Paul Henry Lang, Music in Western Civilization (New York: W. W. Norton & Co., 1941), p. 540. 4
8 motets now exist in modern editions, and he and his music are the
9 subjects of dissertations completed or in progress.
Nature of Study
This study is based on the three extant versions of Lauda Je rusalem, one of Delalande's forgotten grands motets: these are in the Philidor manuscript (1689-1690), the Hue' engraving (1729), and the
8. Editions Costallat (Paris) has the following motets avail able: De profundis, Exaltabo te, Nisi Dominus, Regina coeli, and Te Deum, all edited by Laurence Boulay, and Usquequo Domine, edited by Franpoise Gervais; unfortunately, the orchestral parts and some of the choral parts are available only en location. James R. Anthony's edition of De profundis (Chapel Hill: The University of North Caro lina Press, 1980) is presently available in full score only; it in cludes performance suggestions and much background information. Another recent edition is Marcel Courand, Quare fremuerunt (Champaign: Fostco Music Press, 1979), the details of which are unknown to this writer. Lionel Sawkins has edited but not yet published the following motets: Beati omnes, Beati quorum, Cantate Domino Psalm 97 (98), De profundis, Dominus regnavit, Exaltabo te, Exultate justi, and Te Deum. Confitebor tibi and Super flumina Babylonis are currently in progress at Novello, edited by Philippe Oboussier. Ten motets are found only in score in James E. Richards's Ph.D. dissertation, "The 'Grand Motet' of the Late Baroque in France as Exemplified by Michel-Richard de Lalande" (University of Southern California, 1950). In addition, Editions Salabert has also published some of the motets, but many of these are transposed from their original, keys and reduced from orches tral accompaniment to piano accompaniment. For a list of published motets, see The New Grove Dictionary of Music and Musicians, s.v. "Lalande, Michel-Richard de," by James R. Anthony.
9. Richards, '"Grand Motet;'" Lionel Sawkins, "The Sacred Music of Michel-Richard de Lalande" (University of London, in pro gress); Ines Groh, "Die Motetten von Michel-Richard Delalande" (Uni versity of Freiburg, in progress); and Barbara Coeyman, "The Stage Music of Michel-Richard Delalande: (City University of New York, in progress). 10 Cauvin manuscript (after 1740). The thesis is divided into two
parts: part I includes background information and a study of the two
versions—comprised of analyses, stylistic comparisons, and con
jectures as to why the versions differ; part IX includes two scores, one
of each version.
11 Sources
Seven main sources for Delalande's grands motets exist. Of
these seven, three contain Lauda Jerusalem.
Lauda Jerusalem, Source 1
The oldest collection containing Lauda Jerusalem includes twenty-six other motets, all in folio manuscript dating from 1689-1690.
This set comes from the Philidor atelier; the volume including Lauda
Jerusalem bears the title, Motets / de / M_. Delalande / Sur-Intendant
de la musique de la / Chambre / Et Maistre de la Chapelle / Du Roy /
Recueillis par Philidor Laisnee [sic] / En 1690 /. This collection is
now at the Bibliotheque Municipale de Versailles (M.M. 8-17; the volume
containing Lauda Jerusalem is the last). Figure 1 shows a sample page from this source in facsimile.
10. These sources will be designated PM, HE, and CM respec tively for the remainder of this study.
11. Unless otherwise noted, the information concerning the sources of the motets is drawn from Anthony, De profundis, pp. 6-12. Xaudcu 3a tisaUm,
s fit 7T tlL*J .
trr —i —*-T * rrvwiil * \ - t?'*
rr/- « 'ft'jtut O VAv# r ter cttrnt Jt'tino{tn»i • ht
mo l - - utj,n-'** \Jerms v * » O'd/iV/ t
*7'tlecittr ctt»yirJ,£*'*w L nw 7v/v * i ~ ' " rf Figure 1. Facsimile of a page from PM 7 Andre Danican Philidor 1'a^ne (c. 1647-1730) is principally remembered today as a copyist and librarian of music (his full title was ordinaire de la musique du roy et garde de tous les livres de sa bibliotheque de musique) for Louis XIV, although he was also an instru mentalist and composer as well. He and Franpois Fossard shared respon sibilities for copying the king's music; when they were needed, other copyists were contracted. For example, nine copyists are mentioned on the royal payroll for having assisted in the preparation of the pas- X 2 torale by Andrl Cardinal Destouches, Isse. Three hands appear in the manuscript of Delalande motets: Philidor1s, Fossard's, and one other hand as yet unidentified. Fossard seems to be the copyist who was 13 assigned Lauda Jerusalem and several other motets. Oblique references to his death suggest that he died around the turn of the 14 century; this is the same time which the unique two-piece G-clef seems to disappear (see Figure 2). Figure 2. Two-Piece G-Clef 12. Marcelle Benoit, Musiques de cour; chapelle, chambre, ecurie, 1661-1733 (Paris: A. £ J. Picard, 1971), p. 155. 13. Lionel Sawkins during a conversation with the author which took place in November, 1980. 14. Andre Tessier, "Un fonds musical de la bibliotheque de Louis XIV: la collection Philidor," La Revue musicale 114 (1931): 295-302; arid Benoit, p. 163. This latter reference is the last date Fossard is mentioned (1698). 8 These manuscripts are not always perfect, however. For example, on page 74, the center system has one flat added to each key signature except for the basse-continue; this occurs during the course of a move ment (see Figure 1). A similar problem appears on page 79: all parts have one flat added to their key signatures during a movement; the er ror is compounded by conflicting accidentals. Page 77 has another kind of mistake: the instrumental clefs duplicate the vocal clefs in the top system. Sometimes, the errors involve missing music. A good ex ample of this is De profundis (M.M. 13), pages 46 and 47. One section ends abruptly on 46, followed by a new section which lacks its begin ning on 47. Pagination for the motet is correct, so there is no indi cation of the removal of leaves from the manuscript. It is possible that the missing music is found at the end of the volume or contained in another volume. The scoring for the Philidor version is the standard French five-part texture. In the orchestra, the parts include dessus de violon in French violin clef which occasionally divides into two parts, haute-contre de violon in soprano clef, taille de violon in mezzo-soprano clef, quinte de violon in alto clef, and basse-continue in bass clef, occasionally ascending into alto clef when the range de mands. These parts correspond to violin (I and II when the part splits), first, second, and third viola, and basso continuo, respec tively. The haute-contre de violon, although it often lies in the 9 15 violin range, more properly belongs to the viola. The lowest part was performed by the basse de violon, which was more like the cello than the double-bass. Two instruments were known as the basse de violon: one was slightly larger than the cello and tuned a whole-tone lower; the other was a smaller instrument with five strings tuned 16 C G d a d1. Instruments used to "realize" the continuo part were 17 the organ, harpsichord, and perhaps the theorbo. However, the harp sichord was most likely restricted to the recits, where the bass viol doubled the bass-line. Oboes, flutes, and bassoons were also used; it was customary to use woodwinds to double the outer voices during choral movements. Sometimes they would be specified for a given move ment. Later in the eighteenth century, clarinets also were used as ancillaries to the violins. Five-part texture also serves for the chorus: the dessus in treble clef which, like the dessus de violon, also occasionally splits, the haute-contre in alto clef, the taille in tenor clef, the basse- taille in baritone clef, and the basse in bass clef; these parts 15. See Kenneth Cooper and Julian Zsakos "Georg Muffat's Ob servations on the Lully Style of Performance," The Musical Quarterly 53 (April 1967): 223; this is a translation of the introduction to Muffat's Florileguim secundum (1698). 16. Jurgen Eppelsheim, Das Orchester in den Werken Jean-Bap- tiste Lullys (Tutzing: Hans Schneider Verlag, 1961), appendix, p. 41. 17. Sebastien de Brossard, "Catalogue des livres de musique theorique et pratique . . g qui sont dans le cabinet du sieur Seb. de Brossard," 1724, MS Res Vm 21, Bibliotheque Nationale, Paris, p. 160. 18 correspond to soprano (I and II), countertenor, tenor, baritone, and bass. Lauda Jerusalem, Source 2 The second source for Psalm 147 is the posthumous engraving from 1729. In this folio collection are forty motets in twenty volumes; the one including Lauda Jerusalem bears the title, Motets / De Feu M . / De Lalande / Chevalier de 1'Ordre de S^. Michel / Sur-Intendant de la Musique du / Roy, Ma^tre de Musique et Com- / positeur Ordinaire de la Chapelle / et de la Chambre de sa Majeste / IV Livre / . . . Grave 1? 1/ t par L. Hue / A Paris / Se vend Chez Le S . Boivin Marchand rue S . / Honore a la Regie d'Or. / Avec Privilege du Roy. 1729 /. The first volume includes a brief biography and discourse on the composer's works. A sample facsimile page is found at Figure 3. The edition was supervised by Marie-Louise de Cury, Delalande's widow, and Colin de Blamont, his student. Several copies are found 19 throughout Europe and the United States; the collection which 18. The haute-contre is a voice in the highest male full-voice range; it is not like the English falsettist countertenor of today. See Anthony, De profundis, p. 9; Neal Zaslaw, "The Enigma of the Haute- Contre," Musical Times 115 (November 1974): 939-941; James R. Anthony, "Letter to the Editor," Musical Times 116 (March 1975): 237; and Mary Cyr, "On Performing 18th Century Haute-Contre Roles," Musical Times 118 (April 1977): 291-295. 19. See Repertoire International des Sources Musicales, ser. A, vol. I, Einzeldrucke vor 1800, part 5, pp. 203-205 and 380-382. The complete collection is housed at the fifteen following libraries (RISM sigla): A (Wn), B (Be, Bd), D-brd (Kl), F (AlXmc, C, LYm, P, Pn, V), GB(Cfm, Lbm, T), US (AA, NH). 11 Hf 1'j4i • —1 1 • 1 —1-0 * -iWlPlT. . ,|,TTSL BjP j. ,1-1 1/•/: rI'M Qui annuntLafrva4tori-Juum&a,.[II nij=jetfc . j ii 1 Ld rfJL-2-# if Tlfrr iM rff1 j|II? r J|H -J Jii "H rf jn • i r L f «=£ Zhmm i-r f-rfi p * i o-0 fn rirllrffrrlf•Trrfir f i- P-Cif 1 1 II 1 H h|, . I . |:— -rVfl* f'> r Hf r - ^2 l '-M —'J'mII i i l/J ^ 1'lM • Cut ^ &iuh - Hcu etpuL . cia-i/iuv c 9j .mi/ i£' _ rcu «• . M ' 7 * y m ..TL'j'P * MWr%riiffflri m i-^Jij-tii'ir r r ii'Tr • el ^ g Qu£ akiumhalrvtriun^uum.r 3a, - . coi 6 9 m - i U - ^ '• 'f _ j3 - ¥ J7 mm £ pm Utt'ggfrtfMjPiii' • i"f Jv'tMaj (O-Jtuhita.Ijtu/tUa, .fu-^JjrtuJ./k>a-Jjme/ • Jbrael-iXrrael tXunskA •Rr** £_, . — _,—L„.rv j *« JSL Figure 3. Facsimile of a page from HE furnished the score for this study is at the Bibliotheque Municipale de Versailles (MSB In f° 17-27, Lauda Jerusalem is in MSB In f° 19). Five-part choral scoring is included, but instrumental parts include only premier and deuxieme dessus de violon and basse-continue. Whether this was done by the composer's design or by the engraver's desire to economize is not clear. The parties de remplissage (literal ly, "filler parts"), or parties, as they were commonly known, were often omitted from printed scores during this period in France. How ever, existing manuscript scores and parties separees of the Delalande motets often omit the parties de remplissage, suggesting that perfor- 20 mances were sanctioned with the trio-texture accompaniment. The practice of doubling the outer string parts (in this case, the orches tral parts as printed) would make the parties difficult to hear, and consequently, more expendable than the three parts appearing in this source. Lauda Jerusalem, Source 3 The last source for this motet is the manuscript collection in twenty-one folio volumes commonly referred to as the "Cauvin manu script." The title page of the volume with Lauda Jerusalem in it reads, Motets / De M_. De La Lande / M_. de Musique / Et Compositeur de La / Chambre et de la Chapelle / Tom. XXI. /. The first twenty volumes of this collection reside at the Bibliotheque Municipale de Versailles, and the last, at the Bibliotheque Nationale in Paris (M.M. 216-235 and 20. See Anthony, De profundis, p. 13. 1- Vm Ms 16 respectively; Lauda Jerusalem is in the Paris volume). Fig- 21 ure 4 is a sample facsimile page from this source. Who Gaspard Alexis Cauvin was, whether owner, copyist, or both, is presently unknown; nevertheless, his name, along with the titles of the motets found within, are embossed in gold on the calfskin covers of each volume. All of the motets contained in HE are included, but in a different order, with one motet, Exaudi Deus, added. The scores in this manuscript are much like the engraving, but the parties (the haute-contre and taille de violon, and occasionally, the quinte de violon) are present. According to the watermarks, the paper dates from 22 1742. Motets found in both HE and CM are parallel versions, with a few exceptions. The most visible exceptions are the inclusion of the parties in CM, and the absence of chiffrage (figured bass) in CM during grand choeur and petit choeur movements. However, in some cases, Dominus regnavit, for example (Volume V in CM, and Volume VIII in HE), differences include part-writing. When this occurs, the CM version resembles versions of motets copied around the turn of the century, such as those found in the Philidor-Toulouse collection (see below). These departures and the fact that the order of motets differ in CM and 21. Marie Bert in "Oeuvre religieuse," in Dufourcq et al., Notes et references, pp. 227-228, was unaware of Volume XXI. 22. The watermarks were identified by Lionel Sawkins. See Philippe Oboussier, "Lalande's Grands Motets," Musical Times 117 (June 1976): 486. 14 /3 3=^ ' f~ JtlMfie/hu - • • • • • - - f«twiwwv 1-u.A.Vttu.A.4utrO 2> (, • 11 p ^ (Vti n" i du_| °| 1 PotifrUvit- CtufriUJi't Zt/JLJ fttitAlunV irtctWunu V ' 11 -jV ?b>ifatl-tLih't- tu t V« no n°i *> fan far AO it /uttO /tjtA.ifib &n/n!tn.iH t JtiAJ faltA* • • - - turfum?. 3 f * ^ b-^-y-R- 1 J 1 ) q i <\ l.i"Ti~tij"j p: * ^ ^ i J I fi J J l j J ] Ejgz j J fflfrftfjiftlfrp 11 ft l - y > Figure 4. Facsimile of a page from CM HE, with CM containing an additional motet, Exaudi Deus, leads to spec ulations concerning the possibility of motets having been revised or composed, but now lost, probably around the turn of the century. These differences also suggest that HE is not the source for some (or 23 any) of the motets found in CM. Other Sources of Delalande's Grands Motets Remaining important sources include: 1. the Toulouse-Philidor collection: eleven motets copied for the Count of Toulouse by Philidor and his atelier—full scores, parties separees, and part-books from the beginning of the eighteenth century in the Bibliotheque Nationale (MS Res. F. 1694, 1-6; MS Res. F. 1695; MS Res. F. 1696, 1-2; and MS 24 \ Res. F. 1697); 2. four separate motets at the Bibliotheque Munici- pale de Versailles, three of which are in Philidor's hand, two of which are dated at the turn of the century (M.M. 5 and M.M. 24-26); 3. four manuscript copies in the private collection of Robert Lutz of Stras- 25 bourg; 4. the undated manuscript at the Museum Calvet in Avignon, 23. See Anthony, De profundis, p. 12. 24. See Catherine Massip, "La collection musicale Toulouse- Philidor a la Bibliotheque Nationale," Bulletin de la Bibliotheque Na tionale 4 (December 1979): 147-157. The collection was formerly at Saint Michael's College at Tenbury until it was sold to Pierre Beres, a Paris bookseller. Much of the collection, of which the Delalande motets are only a part, was subsequently purchased by the Bibliotheque Nationale; they did indeed acquire all of the Delalande motets in this collection. 25. See Laurence Boulay, "Notes sur quatre motets inldits de Michel-Richard Delalande," Recherches 1 (1960): 77-86. 16 which includes three motets and a list of dates for the printed grands motets, a list which agrees most of the time with the one in HE, and a 26 list of unprinted jgrands motets, some of which are lost (Ms 5 840). Scores and parts in manuscript, presumably of less importance, also exist; most of these are based on HE. These range from the early eighteenth through the early nineteenth centuries. They are found in such diverse places as the Paris Conservatory (the "Musique du Roi" collection), the Bibliotheque Mejanes at Aix-en-Provence, the Biblio theque de Carpentras, the Bibliotheque Municipale de Lyon, and the Music Library of the University of California at Berkeley. 26. Marie Bert, "Oeuvre religieuse," in Dufourcq et al., Notes et references, p. 228. CHAPTER II DELALANDE AND THE GRAND MOTET 1 Delalande: A Biography Michel-Richard Delalande was the fifteenth child of Michel De lalande and Claude Dumortiers, born on December 15, 1657 in Paris. Early in life, he began his association with music, joining the choir of the royal church of Saint-Germain l'Auxerrois in Paris around 1666, re- 2 maining there until his voice changed, around 1672. According to "T." in the preface of HE, the boy had a very good voice. He learned to play several instruments and to compose, having an unusually keen inter est in music at such an early age. After leaving the choir, Delalande lived with his brother-in- law, who nurtured the composer's talents by holding concerts of his music twice a week. The instruments that Delalande particularly culti vated were harpsichord, organ, and violin. However, after auditioning and being rejected from Lully's opera orchestra, he reportedly renounced 1. Unless otherwise noted, biographical information is derived from New Grove, s.v. "Lalande," by Anthony. 2. According to Titon du Tillet, Le Parnasse Frangois (Paris: Jean-Baptiste Coignard fils, 1732; reprint ed., Geneva: Slatkine, 1971), p. 616, T. is identified as Claude Tannevot. 17 18 the violin. Four Paris churches retained him as their organist: Saint- Louis, Petit Saint-Antoine, Saint-Gervais (where he replaced Charles Couperin after the latter's death in 1679, until his son, Franyois, be came 18 in 1686), and Saint-Germain-en-Greve. Delalande auditioned for Louis XIV at Saint-Germain-en-Laye, but he was rejected presumably be cause he was too young at the time. As a harpsichordist, he was employed by the Marechal de Noailles to teach his daughter. Through him, Delalande received employment from the king to teach two of his daughters: Louise-Franpoise, Mademoiselle de Nantes; and Franpoise-Marie, Mademoiselle de Blois. In 1683, Henry Du Mont and Pierre Robert, sous-ma^tres of the Chapelle Royale who served alternate quarters, both chose to retire. In order to replace them, the king commanded that a concours (competi tion) be held to select four new sous-mafrtres. Out of thirty-five con testants (or twenty, according to Tannevot), eight were chosen as finalists. From these, Nicolas Coupillet was chosen for the January quarter, Pascal Collasse for April, Guillaume Minoret for August, and Delalande for October. Tannevot wrote that it was Louis himself who chose Delalande to be sous-ma^tre. This was only the first of several important court appointments for the composer; at the Chapelle Royale, he was in total charge of music by 1714. When it was discovered that Coupillet was not responsible for the music which he had ostensibly composed (Henry Desmarest was the real composer), he was dismissed in September, 1693, and his quarter was given to Delalande. Through the 19 retirement of the other two sous-mafrtres, he received the two remaining quarters: that of Collasse in March 1704, and that of Minoret in Octo ber 1714. These positions he kept until 1722 when he requested of Louis XV that he be allowed to relinquish three of the quarters as well as the accompanying salary. In reply, the king reduced Delalande's responsibilities to one quarter per year and granted him a pension of 3000 livres for each remaining year of his life. Replacing the composer for the three quarters he surrendered were Andre Campra, Nicolas Ber- nier, and Charles-Hubert Gervais. His appointments extended into secular music as well. He re ceived half of a semester, Collasse having the other half, of the compositeur de la musique de la chambre position. Pierre Robert was in charge during the other semester until he died in 1700, when it was assigned to Delalande. Another vacancy, caused by Collasse's death in 1709, allowed Delalande to be the compositeur throughout the entire year. He also received two other chambre appointments: he replaced Jean-Louis de Lully as surintendant de la chambre in January 1689, sharing the year with Jean-Baptiste Boesset, and he was given the post of ma^tre de musique de la chambre in 1695. In 1684, Delalande was married to Anne Rebel in the presence of Louis XIV. She was a singer, daughter of Jean Rebel, ordinaire de la musique du roy, and half-sister to Jean-Fery Rebel, who was a violinist, director, and conductor of the Oplra. Delalande and his wife had two daughters: Marie-Anne, born in 1686, and Jeanne, born in 1687. Both became singers of skill, each being awarded a 1000 livre pension by Louis XIV in 1706. Their lives were cut short in 1711 by smallpox. Eleven years later, Delalande lost his wife on May 5, 1722. Later that year, he was made a Chevalier of the Order of Saint-Michel by Louis XV. The following year, he married Marie-Louise de Cury by whom he had a daughter, Marie-Michelle, in 1724. He died on June 18, 1726 of pneumonia, according to Tannevot. He was buried in the church of Notre-Dame de Versailles. History of the Grand Motet The history of the grand motet in the seventeenth and eighteenth centuries is for the most part a history of the form as it evolved at the Chapelle Royale. From Du Caurroy to Delalande, the process is one of gradual change from the austere Franco-Netherlands polyphonic style to the concertato elements borrowed from the Italian Baroque. 3 The Grand Motet before Delalande Eustache Du Caurroy (1549-1609), although he belongs more to the sixteenth century than the seventeenth, opened the new century with 3. Unless otherwise noted, most of the material for this sec tion is drawn from Anthony, French Baroque Music, pp. 159-183. See also Richards, '"Grand Motet,pp. 18-56; Clarence Barber, "The Liturgical Music of Marc-Antoine Charpentier (1634-1704): The Masses—Motets— Lepons de Ten^bres" (Ph.D. dissertation, Harvard University, 1955"), pp. 1-13; The New Grove Dictionary of Music and Musicians, s.v. "Motet: Baroque—France," by James R. Anthony; Denise Launay, Anthologie du motet latin polyphonique en France, 1609-1661 (Paris: Publications de la SociStfc Franjjaise de Musicologie, 1963), pp. ix-xxxv; Denise Launay, "Church Music in France (a) 1630-1660," in Opera and Church Music, 1630- 1750, ed. Anthony Lewis and Nigel Fortune, The New Oxford History of Music, vol. 5 (London: Oxford University Press, 1975), pp. 414-436; and James R. Anthony and Norbert Dufourcq, "Church Music in France (b) 1661-1750," in New Oxford, vol. 5, pp. 437-492. 21 motets composed in the high Renaissance polyphonic style. Many of his works were composed for double chorus, probably a recent importation into France at the time. His successor, Nicolas Forme (1567-1638), began the transfor mation from equal-voiced choruses to the grand and petit choeurs. These two forces correspond to the tutti and solo ensembles found in music by Italian masters of the time. Influenced by the contemporary air de cour, Forme replaced the melismatic style with the more syllabic and vertical style exploited by the French in their secular vocal works. The next stage includes the generation of Jean Veillot (died 1662) and Thomas Gobert (died 1672); these composers alternated as sous-ma^tres of the Chapelle Royale. One of the first composers to include the orchestra in his grands motets was Veillot. He added inde pendent symphonies to the motets; however, when they are included in vocal sections, the instruments are reduced to doubling the voices. Gobert was the first to describe the difference between the grand and petit choeurs in his letter to Constantijn Huygens dated October 17, 4 1646. In 1661, Louis XIV ascended the throne. During his reign, the grand motet took on greater importance because it could be used as a vehicle of praise for both god and king. Louis preferred to attend low Mass, presumably because the music and text were freed from 4. See W. J. A. Jonckbloet and J. P. N. Land, Musique et musiciens au XVir ' si^cle (Leiden: E. J. Brill, 1882), p. ccxvii. 22 liturgical restraints. Usually, the texts were taken from the book, of Psalms. Quite often, the chosen psalm favored such themes as national pride, victory in battle, and praise for the king rather than more specifically religious themes. The composers who followed Gobert and Veillot at Louis's chiapelle were Henry Du Mont (1610-1684), Pierre Robert (circa 1618- 1699), and Jean-Baptiste Lully (1632-1687). It was they who standard ized the grand motet as a form scored for single or double chorus, soloists, and orchestra, comprised of symphonies, r£cits, petits choeurs, and grands choeurs. The motets differ little one from another. Du Mont provided independent violin lines in his choruses and was one of the first composers in France to use figured bass; Robert developed the ensemble de r^cit using a wide variety of solo voices; and Lully exploited homophonic choruses with a strong rhythmic drive like those found in his operas. The texts chosen, the psalm, or occasionally an antiphon or hymn, provided the composers with natural divisions of the text which they used to determine sectional divisions. Typical motets of this kind composed by Du Mont, Robert, and Lully were printed by Ballard in 1684-1686 "... by the express order of His Majesty." 5 The Grands Motets of Delalande The grand motet after the concours of 1683 retained the pattern provided by the generation of Du Mont until after the turn of the cen tury. The early motets by Delalande found in PM are mostly psalm 5. Unless otherwise noted, the information for this section is derived from Anthony, De profundis, pp. 7-12. 23 settings with elided episodes determined by text divisions, the format which he inherited from the preceding generation. He demonstrated scoring practices similar to those of the contemporaries of Du Mont; unlike Du Mont's, Delalande's scoring for the instruments in choral sections mostly doubles the voice parts. Around 1700, he began incorporating into his motets more Ba roque stylistic elements. Characteristics of these motets are more independent sections, the appearance of aria-like r£cits, more inde pendent writing for the orchestra, and an increase of polyphonic choruses. Yet, the Versailles style is still present under this veneer of Italianisms, a juxtaposition of styles akin to Couperin's gouts reunis. Delalande himself left no documents about the style change; possibly the rising popularity of Italian musical styles among some of the French and his inheritance of several Italian motets and cantatas from the cure of Saint-Andr£-des-Arts led to this change.6 Delalande apparently favored his new style for his motets. He began revising many of his motets from the pure French mode (see above) to the Franco-Italian fusion of styles until, according to Tannevot, he was commanded by Louis XIV to cease his revisions and write new motets. How many motets he had revised before this order we do not know; he probably resumed reworking his motets after the king died in 7 1715. 6. Anthony, French Baroque Music, p. 185. 7. For a list of motets in more than one version, see Appendix A. 24 This style of grand motet developed by Delalande became the new standard after which his successors patterned their motets. After Delalande, the form suffered a decline under the hands of composers less capable than he up until the Revolution, when the form died out completely. After he died, the motets of Delalande enjoyed a period of popularity at the Concert Spirituel. Copies of parties separees dating from well into the nineteenth century suggest that the memory of his grands motets survived the upheavals from the Terror through the First Empire. Lauda Jerusalem The subject of this study is Lauda Jerusalem, one of the grands motets revised by Delalande. If we are to believe HE and the Avignon manuscript (see Appendix A), the composer was reworking his motets up until the end of his life. Text Source Most of Delalande's grands motets have texts drawn from the book of Psalms; the remaining texts are from hymns, canticles, an Q antiphon, and a sequence. Many of his psalm texts, like those of the preceding generation, are thinly disguised tributes for Louis XIV. Lauda Jerusalem, Psalm 147, is a psalm of praise, calling the inhabitants of Jerusalem (France, perhaps?) to praise the Lord for 8. Bert, "Oeuvre religieuse," in Dufourcq et al., Notes et references, pp. 233-235. strengthening the city, giving peace to the realm, and keeping the people well fed. The psalmist further describes the power of God by telling his listeners that Yahweh causes snow to fall and melt. The Children of Jacob (France) enjoy a special blessing from God, being his chosen people.^ Performance History The only references to any performances of the motet, Lauda Jerusalem, are most likely allusions to the later version. All of these performances occurred at the Concert Spirituel between 1725 and 1769 (see Table 1). Strict liturgical propriety for the motets per formed at these concerts was not observed; this nonobservance brings to mind a similar nonobservance at the Chapelle Royale. Psalm 147 is closely associated with the Vespers of the Virgin Mary. Many of the dates in Table 1 are Feasts fo the Blessed Virgin Mary: February 2, the Purification; March 25, the Annunciation; August 15, the Assumption; September 8, the Nativity of Mary; and December 8, the Immaculate Conception. Some of the remaining dates are connected with the Virgin Mary (December 24 and 25, Christmas Eve and Christmas); others have lit tle or no connection. Dates near March 25 may indicate years during which the Feast of the Annunciation fell in Holy Week and had to be moved. The year 1725 may be an important date for Lauda Jerusalem. This is the year given for the motet in both HE and the Avignon 9. See Appendix B: Psalm 147 and translation. 1725: 8 December 1747: 4 April (continued) 24 December 1 November 25 December 1748: 2 February 1726: 25 March 11 April 1728: 27 March 1749: 28 March 1729: 19 October 1750: 26 March 1733: 15 August 1751: 16 April 1734: 8 September 1763: 20 March 1736: 15 August 10 April Mesdemoiselles 1747: 25 March Fel and Arnould "Qui posuit" sung by Mademoiselle Riquier 1764: 26 March 29 March 1768: 20 March "Qui posuit" sung by Mademoiselle Riquier 1769: 14 May 10 Table 1. Performances of Lauda Jerusalem 10. All performance references except for 1729 are from Constant Pierre, Histoire du Concert Spirituel: 1725-1790 (Paris: Societe Franpaise de Musicologie, 1975), pp. 232-296; the 1729 date from Dufourcq et al., Notes et references, p. 171. 27 manuscript; it is also the only year to include three performances of the entire motet. In addition, 1725 is the only year that Lauda Jeru salem was performed any time in December. It is quite possible that Delalande had a recently completed or reworked motet which he or those who knew him wished to perform. Editorial Policy Two separate scores are provided in part II: the PM version and the HE/CM version. In these manuscripts, I have departed from the originals as little as possible commensurate with the maximum degree of comprehensibility ot the modern reader. In the layout of the scores, I have observed the policy described below. I have adopted a dual numbering system to aid the reader when the scores are referred to. The system works as follows: appearing at the head of each system are a Roman numeral and an Arabic numeral sep arated by a decimal point which corresponds to the section and bar numbers. Thus, VIII.7 indicates section eight, bar seven. In my conflation of HE/CM, I have treated HE as the principal source and have used CM for additional information. The two parties (haute-contre and taille de violon) from CM are added without comment. Differences between the two sources regarding pitches are resolved in favor of CM only when HE is clearly wrong. Information which is found in CM but not supplied in HE (such as ornaments or chiffrage) is brack eted. Differing information, such as a different tempo indication in CM from that found in HE, is footnoted. Original clefs are indicated at the beginning of each movement if they differ from those which are currently used. Vocal clefs which are changed are the lato clef in the hiaute-contre, the tenor clef in the tiaille, and baritone clef in the bassie-taille; these I have re placed with treble, transposing treble, and bass clefs, respectively. Orchestral transpositions include the change from French violin clef (and the occasional descent into soprano clef) used by the dessus de violon to treble clef and the standardization of the remaining use of C-clefs to alto clef. Accidentals are added wherever necessary, and redundant acci dentals are omitted, both without comment. Archaic usage for a sharp to indicate a note raised a semitone is modernized to the natural sign where applicable. Apparent cross-relations are few, and these have been carefully checked and resolved in the most probable fashion. In some cases, I have supplied conjectural accidentals above the staff. All symbols in the chiffrage have been retained except for the X which has been replaced with the sharp. All original figures appear below the staff; all figures which appear above the staff are editorial or cautionary. Key signatures used in Lauda Jerusalem are B Major and G mi nor; the latter is a dorian key signature which I have retained. The most notable problem associated with key signatures, chif frage, and accidentals appears on the last page of the "Ante faciem" section in PM. The section is in G minor, but the scribe has added a flat to the key signature and compounded the problem with conflicting 29 accidentals. I have resolved this by removing the E from the key sig nature and favoring a C minor tonality at the point of conflict. I have retained all ornament signs: the X and the diminutive note graces in PM, and the +, A, (trill), (tremolo), and the diminutive note graces found in HE (CM has only the + where HE some times gives other signs for the trill but has the tremolo, which looks like a slur, and the diminutive note graces). The execution of the A is especially problematic. From its context and its use in conjunction with the +, it appears to be a kind of trill. This is supported by Franpois David, who used the sign to indicate a single-oscillation 11 trill (see Figure 5). The use of the + and the *** together in the /N r—4 -i O^L_ 1—: T~ 3 n • in -rr A F±#f=1M Trr- gj•4 Pi** • i-w Fieure 5. Realization of /\ 11. Franpois David, Methode nouvelle ou principes generaux pour apprendre faciliemfent La musique et 1'art' die chianter (Paris, 1737), pp. 131 and 134. Frederick Neumann inexplicably altered the A to + and omitted the secondary slur and the w in his Orhamientation in Baroque and Post-Biaroquie Music (Princeton: Princeton University Press, 1978), p. 271. He also uses only the first half of the example. 30 oboe part in the HE version of "Qui posuit" probably indicates an op tion of slightly differing trills. In my transcriptions, I have placed the ornament signs above the staff except for the lower voice of a split part, where the ornament appears below its associated note; also, the appears below the staff of the oboe part in the movement men tioned above. Spelling, Latin or French, is retained from the sources. Syllabic divisions conform to modern practice. Capitalization occurs at the bebinning of each line of the psalm souplet; the only exception is found at points where a section of the choir introduces a new line of the text and the rest of the choir immediately repeats the phrase. Punctuation is taken from the Vulgate version of the psalm, and is used only immediately preceding a new text-line; otherwise, a comma is used after repeated words or phrases. Archaic spellings for tempo, dynamic, and instrumentation indications are retained. Omissions from the consistent alternation of doux and fort are restored without comment. All abbreviations are spelled out. The redundant use of instrumental indications durnig the course of a movement or section has been deleted except where its use adds clarity; when necessary, such indications are repositioned to the beginning of a section. Beaming and stemming conform to modern practice. All slurs have been retained except alternate or conflicting slurs in HE and CM; I have chosen the reading from HE in such places. Rhythmic ambigu ities, such as the incomplete and uncompensated final bar of "Nebulam" 31 in HE/CM, are retained without comment. I have omitted custodes from the transcriptions. Omissions and questionable notes have been cor rected through consultation of thie custbdes; omissions restored in this manner are footnoted. CHAPTER III ANALYSIS OF THE TWO VERSIONS OF LAUDA JERUSALEM In general, the grands motets of Delalande do not fit into an overall design, such as arch-forms or movement-set-forms, as do many of Bach's cantatas. However, the PM version of Lauda Jerusalem can be fit into a loosely applied arch-form, using the key and scoring relation ships. Whether or not the plan was a conscious effort on the part of the composer is difficult to tell. Had it been so, Delalande could have avoided setting the fourth section in G minor, in favor of B Major. This would allow four movements in B Major, followed by three I. in G minor, followed in turn by four once more in B Major, instead of the existing three-four-four scheme (see Figure 6). Three of the movement-sets have components which are forced together. The first set, which includes a simphonie and a grand choeur, does have members which serve similar functions—the simphonie, as a prelude, and the grand choeur, as a postlude. Small ensemble to large ensemble arrangements characterize the next pair, the recit/choeur and the duo/choeur. Relating the sections in the last of these sets (the petit choeur and the recit/petit choeur) is the presence of a petit choeur in each sec tion. The remaining movement-pairs correspond quite comfortably, with a petit choeur serving as the apex. 32 Petit Choeur "Mittit crystallum", G Minor Choeur Choeur "Qui dat nivem", "Ante faciem", G Minor G Minor / \ Petit Choeur Recit/Petit Choeur "Qui emittet", "Emittet verbum suum", G Minor B*3 Maj'or / Recit Recit "Qui posuit", "Qui annuntiat", b . •J^ B Major B Major \ Recit/Choeur Duo/Choeur •Lauda Jerusalem" and "Non fecit taliter", 'Quoniam confortavit", B*5 Maj'or } «,Major • Simphonie Choeur B Maj'or "Gloria Patri", B*5 Maj'or Figure 6. Arch-form in'Lauda Jerusalem, PM version Lauda Jerusalem, First Version Section I Lauda Jerusalem opens with a binary simphonie separate from and unrelated to the recit which follows. The form is a parallel period in B Major which modulates to the dominant at bar 1.8, the end of the first phrase. From here, Delalande returns to the tonic and ends this movement after the second phrase, also eight bars long. Composed in duple meter (0) with the prevailing rhythm , the sim phonie is most likely modeled upon the opening section of the French opera ouverture. Most of the psalm settings in PM have simphonies which are / 1 thematically related to the following recit. However, there seems to have been no consistent rule concerning the presence or lack of thematic unity between the opening orchestral and vocal sections during the preceding generation. This lack of unity in Lauda Jerusalem may indi cate a motet which was one of the earliest to be composed, before Delalande was concerned with writing a unified opening complex. Is such a unity a progressive element? Possibly, because all of the psalm set tings which appear in HE, whether revised or not, open with related 2 orchestral and vocal sections. No table of dates exists in PM to sup port any speculations. PM could be a compilation of Delalande's work 1. Bert, "Oeuvre religieuse" and "Catalogue thematique,11 in Dufourcq et al., Notes et references, pp. 236 and 285-318. 2. Ibid. dating back to 1683, or it could be a collection of more recent works at the time. The only table of dates which mentions all of the motets in PM is suspect: the Avignon manuscript dates Ecce nunc benedicte 3 (Volume VI) 1696, six years after PM was completed. Section II Lauda, Jerusalem, Dominum; Praise the Lord, 0 Jerusalem; Lauda Deum tuum, Sion. Praise thy God, 0 Zion. Quoniam confortavit seras portarum For he hath strengthened the bars tuarum, of thy gates; Benedixit filiis tuis in te. He hath blessed thy children within thee. For the "Lauda Jerusalem" and "Quoniam confortavit" versets, Delalande created two large independent sections which elide: a recit followed by a chorus. Both of these sections are further divided into another level, defined by the text. "Lauda Jerusalem" is the first section, melodically identical in the recit and chorus. The second section is a setting of the following verset, "Quoniam confortavit." These two sections are further divided into two parts: "Lauda Jeru salem," tonally; and "Quoniam confortavit," tonally, textually, and motivically. The first half of the complex is a recit for haute-contre. During the first section of the r£cit which treats the first verset, the soloist is accompanied only by basse-continue, after which follows a brief ritournelle in the orchestra. The setting of the second verset then follows, in which the orchestra is found in interludes between the 3. Anthony, De profundis, p. 132. phrases sung by the hautie-cbhtre. "Lauda Jerusalem" is set in a syllabic style in triple meter (3). A parallel period of two seven-bar phrases presents the text twice, once in each phrase. Completing the section is a petite-reprise played by the strings, their first appearance in this section (bar 11.14). Syllabic treatment of the text, meter, symmetrical phrase structure, and an apparently lively tempo all combine to create a dance-like section, probably influenced by the menuet. At bar 11.17, the meter changes to 0. The character of the music also changes—the bass-line which up until here had been quite active becomes a three-bar pedal, and the dance concept is abandoned for an abstract setting of the text. In the following bar, the haute- contre, once again alone with the basse-continue, begins with the "Quoniam confortavit" text. This verset is another binary form, but the halves are unrelated and asymmetrical. The first part of the verset is treated in a syllabic manner over a bass-line which moves for the most part in whole notes. The text is presented once and sequenced once. The music proceeds from B Major to the dominant of C minor, which ca- dences to an unexpected E Major chord at bar 11.27. Delalande begins his treatment of the second half of the verset, "Benedixit filiis," at this point. He abandons the motives of the first half and changes the character of the bass to a stepwise descending pattern. Text treatment is syllabic, as it has been in all of the preceding material. "Bene dixit filiis" is presented in three phrases with string ritournelles to bar 11.39, where they join the hautie-contre in a literal petite-reprise. The harmony returns almost immediately to the tonic, where it remains throughout the remainder of the recit. This is followed by a choral setting of the preceding texts. The "Lauda Jerusalem" chorus is not particularly noteworthy, as it is merely the same music with filler parts added. The melody is scored for the dessus. All of the choral parts are doubled by the corresponding orchestral parts. Once again, Delalande presents a ritournelle at the end of the verset, but cuts it short by one bar in order to begin the following verset immediately instead of waiting a bar, as in the recit. For the first half of "Quoniam confortavit," Delalande retains nearly all of the elements from the recit except the melodic shape. Strict orchestral doubling of the inner voices changes to free doubling; in the dessus and the basse, however, the lines remain rigidly doubled. The basses provide a contrapuntal effect by singing at bar 11.61 while the rest of the chorus drops out until the next bar. The basses remain one bar ahead for the duration of this verset half. At bar 11.71, the petit choeur introduces the choral "Benedixit filiis" after the cadence to F Major. This begins an alternation with the petit choeur and the grand choeur in the manner of a response. In relation to the recit, this "Benedixit filiis" is expanded through the repetition of "benedi xit" and the use of an extra sequence. Having already used two slightly different rhythmic motives for the first two syllables of "benedixit" in the recit, Delalande uses the J J instead of the J»l*in his chorus. The harmony is also treated differently: in addition to the change at the formal cadence, Delalande adds cadences at bars 11.77 (C minor), 11.79 (B Major), and 11.82 (G minor), before proceeding back to the tonic. Doubling procedures in this half are similar to those in the first half. An interesting point is that when a petit choeur section occurs, the four lower orchestral parts double the haute-contre while the dessus de violon drops out. A similar procedure is found in "Non fecit taliter," the final verset of this psalm, except the dessus de violon splits and doubles the dessus, which is also split. This indi cates that while the voices in the petit choeur are to be three solo ists, the instruments are not to be cut down to one on a part. However this practice renders a disproportionate accompaniment. Ending the movement is a paraphrased, or non-literal, petite-reprise. This recit/grand choeur complex is the only movement which is devoted to two versets of the text in this motet. Delalande tends to set one paired verset per movement in his psalm settings. Occasionally more than one are combined into a movement, as in the present example. Sometimes, versets are divided in half and set separately, as in the "Mittit crystallum" and "Ante faciem" verset halves. Section III Qui posuit fines tuos pacem, He maketh peace in thy borders, Et adipe frumenti satiet te. And filleth thee with the finest of the wheat. • "Qui posuit" is a recit for haute-contre divided into two sec tions by meter, text, motive, and key. The accompaniment is a trio of two diessus die violon and bassie-cohtiftue. During the first half of the verset, the meter is 3. Delalande treats the first half of the text in this section in a syllabic manner, using the same motive in all parts. 39 L From the tonic key of B Major, the music modulates at the end of the first half to the dominant (III.30). The texture is usually two-part counterpoint; the violins proceed in parallel thirds after two bars following an entrance of the lower part. Thp air is a "double-continuo air," that is, an air in which the singer's line is doubled by the basse-continue.^ Following a fifteen-bar ritournelle divided into two phrases, the haute-contre enters and presents the first half of the verset in three phrases. At bar III.31, the meter changes to 0, and the second half be gins with the treatment of the "Et adipe frumenti" portion of the text. The motivic material changes, but Delalande retains the syllabic style except for the word, "frumenti." The second half of this movement is expanded harmonically: from F Major, the key changes to G minor (bar III.39), F Major (bar III.50), and back to B Major. Imitative en trances between the haute-contre and the premier dessus de violon at the half-bar where the phrases begin serve to unify this half. Section IV Qui emittet eloquium suum terrae, He sendeth forth his commandment upon earth: Velociter currit sermo ejus. His word runneth very swiftly. A petit-choieur follows, scored for two dessus, basse-taille, two dessus de violon, and bassie-continue. Delalande treats the entire text in each half of this binary movement, using a different meter 4. Bukofzer was the first to describe the procedure. See his Music' in the Baroque' Era, p. 158. and melodic idea for each half of the text. The movement begins in duple meter (0) with a three-bar prelude in the basse-continue; the two dessus then enter and present "Qui emittet" in parallel thirds, doubled by the violins and accompanied by a bassline entirely indepen dent of the upper voices melodically and rhythmically. They proceed from the tonic G minor to a half-cadence in bar IV.9, where the meter changes from 0 to 3. The presentation of the first half of the text ends temporarily, and the basse-taille enters with "Velociter currit." During this section, the two dessus drop out. Doubled by the basse- continue while the dessus de violon play in parallel thirds independent of the melody, the basse-taille presents the second half of the text, and the harmony changes to the dominant with the cadence at bar IV.17. Here begins the second half of the section with the return to the ori ginal meter and the first portion of the text. Vocal roles are switched as the basse-taille is given the first half of the text, accom panied only by the independent bass line from the beginning of the movement. At bar IV.23, the second half of the text reappears in a man ner similar to its first presentation with a change in meter and vocal scoring. The two dessus, doubled by the violins and accompanied by the basse-continue, are given a slightly different melodic shape and cadence to B*3 Major at IV.27. Here, the vocal dessus drop out while the basse- taille enters once again, doubled by the basse-continue and accompanied by the dessus de violon. This phrase cadences to D Major at IV. 31, where the dessus reenter, again in parallel thirds, followed a bar later by the basse-taille. Except where the voices line up at cadence points, they retain this texture for the remainder of the movement. From this phrase onwards, the instrumental lines serve only to double the vocal parts, until the cadence at bar IV.48 after which the voices drop out and the instruments present a literal petite-rieprise. Delalande com pletes the movement in G minor after having modulated briefly to C minor (cadence at bar IV.39). The setting for both halves of the text is basically syllabic, with the exception of the word "currit," which is set to a brief melisma each time it appears. Section V Qui dat nivem sicut lanam, He giveth snow like wool: Nebulam sicut cinerem spargit. He scattereth the hoar frost like ashes. Delalande sets this movement in a binary form, divided by text and text treatment. Opening in 0, the movement presents the first half of the verset in a basically descending stepwise motion in quarter-note values. After three bars of orchestral prelude, the dessus enter with the same motive previously stated in the violins. At V.6, the basses lead the choir in a brief imitative exposition of eight bars using the same motive, followed in turn by the orchestra alone in a nonliteral petite-reprise. The music opens in G minor, and never leaves the key for the duration of this half of the verset. "Qui dat nivem" is re markable for being the finest example in the entire motet of consistent descriptive writing as it portrays a snowfall with melodic lines that drift slowly downward (see Figure 7). 42 ttinctiit'icui /a - ^ ^ , (J"' at Pat tiuuni I U atntmm« ft flit I A • tHttn 'r -Wbftlr'. ' II1HI1" t °e MS Si o'kM H'tuem «Tr«r /ii/iam, Zr» * ' /m»m ' — athtfrt (iiii.tttmiient » IA t - lt% vi * ttuttL f nam V' «=-- -- O'ifLlerw, Figure 7. First half of "Qui dat nivem" 43 At bar V.18, Delalande departs completely from the preceding style, abandoning it for three homophonic phrases. After each five-bar comes a two-bar ritournelle, scored in parallel thirds for split dessus de violon, accompanied by basse-continue. "Nebulam sicut cinerem" be- gins with a direct modulation to B Major, and changes key at the end .of each phrase: the first phrase ends in G minor, the second, in F Ma- jor, and the last, in B Major, which is rounded out by a three-bar ca- dential ritournelle in G minor. Most of the entire movement is in 0, the only exception being the switch to s! for each appearance of the word, "nebulam." Possibly inherited from the opera technique of Lully, the meter change serves to set the word apart as a salient item, instead of the use of a melisma, like the one to which "spargit" is set. Otherwise, Delalande makes no use of descriptive musical devices in the latter portion of the section For most of the movement, the text is set syllabically, and the orches tra doubles choral lines. Section VI Mittit crystallum suam sicut buc- He casteth forth his ice like mor- cellas: sels: Ante faciem frigoris ejus quis Who can stand before his cold? sustinebit? "Mittit crystallum" follows the final ritournelle of the previ ous movement; the new section begins with an abrupt meter change to ill. This verset is set as another binary form with the two halves disparate in text, meter, performance forces, and key. The first half is set for split dessus de violon and basse-continue, and petit choeur: two 44 dessus and haute-contre. A six-bar phrase in the violins opens this section of the motet; the petit choeur then joins the orchestra and nearly duplicates these six bars in a single statement of "Mittit cry- stallum." From the initial key of G minor, the harmony modulates to the dominant by way of a Phrygian half-cadence during this first half. At bar VI.12, the meter changes from § to 0, and the orchestra, restored in PM to full five-part scoring, begins the setting of "Ante faciem" with a three-bar ritournelle, after which the grand choeur en ters. Almost immediately, the harmony is in the tonic once more. At the end of the first phrase, the key has moved to C minor. From there, it returns again in the second and final phrase to the tonic. Textual treatment of both halves is syllabic. Orchestral writ ing is again restricted to vocal doublings. The metrical device used in the preceding section is used once more in this grand choeur. This shift to $ in a passage where the prevailing meter is 0 occurs at bars VI.21, VI.23-24, VI.26, and VI.31. Section VII Emittet verbum suum, et liquefa- He sendeth out his word, and ciet ea; melteth them: Flabit spiritus ejus, et fluent He causeth his wind to blow, and aquae. the waters flow. Once again, Delalande elides his movements by the use of a pre lude-like section which follows the previous movement without pause. "Emittet verbum suum" is a movement complex comprised of two binary sections. The first binary portion is a recit for haute-contre with five-part orchestral accompaniment; the second is a petit choieur in which the haute-contre is joined by twb diessus with standard trio- texture in the orchestra serving to double the voices. For this verset, Delalande uses duple meter (0). The recit is preceded by a seven-bar motto prelude. The first half of the text appears in the first half of the recit. From the opening key of B Major, the harmony modulates to the dominant by bar VII.12. During the remainder of the recit, Delalande never returns to the first half of the verset, choosing instead to devote the rest of the music to the second half, "Flabit spiritus ejus." The words he singles out by the use of melismas in a predominately syllabic setting are "flabit" and "fluent," the two verbs in the second half of the ver set. Voice and basse-continue are the main participants during the recit; strings reenter to echo the haute-contre during brief ritour- nelles. In the second half of the recit, Delalande modulates from F b b Major to E Major (bar VII.18) to C minor (VII.25), and back to B (bar VII.35). The haute-contre is joined by two dessus and the two dessus de violon which double them at VII.43. During the petit choeur passages, the haute-contre is doubled by the basse-continue; otherwise, the basse-continue provides counterpoint for the soloist. Once again, the first half of the verset is disproportionately brief, modulating five bars after the beginning of the dessus to the dominant. The petit choieur serves the same function as the strings did in the recit: to repeat or develop the soloist's line. However, the role of the soloist 46 is reduced while the role of the ensemble is expanded. Although length is not increased, harmonic interest is. In bar VII.64, Delalande cadences to G minor, and begins moving almost immediately to F Major, where he cadences at bar VII.70. As before, Delalande avoids strict homophony by not synchronizing his lowest voice with the upper voices in the latter half of this petit choeur. Section VIII Qui annunciat verbum suum Jacob, He showeth his word unto Jacob, Justitias et judicia sua Israel. His statutes and his judgments un to Israel. Set for haute-contre and five-part orchestral accompaniment, "Qui annunciat" is a set of two binary sections, the first, a twelve- bar prelude, and the second, the recit proper. Like the opening sim- phonie of the motet, this simphonie appears to be modeled upon the French opera ouverture opening section, with copious dotted rhythms and a duple meter (0). Unlike the opening simphonie, this one is integrated motivically to the portion which follows. Beginning in B*3 Major, the simphonie cadences to G minor at bar VIII.9, but quickly returns to the tonic, cadencing to B at bar VIII.13, where the haute-contre enters. The entire verset is set in the first half of the recit which modulates to the dominant at bar VIII.22. The second half resembles the first except that the key proceeds from F Major to C minor (bar VIII.34). After each of these phrases, there is a brief cadential interlude which confirms the new keys. Delalande avoids the home key until the very end of the recit. Section IX Non fecit taliter omni nationi, He hath not dealt so with any nation: Et judicia sua non manifestavit And as for his judgments, they eis. have not known them. Another set of two binary sections follows: a duet for basse- taille and hautie-cbhtre accompanied by solo violin and basse-continue; this is coupled to a grand choeur. After the elision from the previous movement, the basse-continue, still in the same meter (0), provides a three-bar prelude which also functions as a ritournelle. The presen tation of the text is syllabic. It opens with the first half of the verset, repeats it, and continues on with the second half, modulating from the home key of B Major to the dominant at the end of these three text phrases (bar IX.16). A three-bar ritournelle in the basse-con tinue leads into the second vocal section which presents the entire text without repetitions, and this episode ends with a modulation to C minor (bar IX.27). Once more, a ritournelle in the basse-continue leads into the final vocal portion, using only the second half of the verset for its text, and this time, the harmony returns to (bar IX.35). This section is basically homophonic except for the independent violin line. The two voices move in the same rhythm in two-part coun terpoint, the lower being doubled by the basse-continue. The following choral section which begins at bar IX.35 is an expansion upon the material from the preceding duo. The harmony begins in B Major, and the formal division is marked by the cadence to C minor at bar IX.59. Throughout the choral section, the orchestra doubles the vocal parts. The dessus de violon split during pietit choeur sections 48 and double the two vocal dessus, while all four lower parts double the lowest voice, except for bars IX.73-76. These bars have an atypical scoring for the petit choeur: dessus, haute-contre, and ta^lle.t Or- chestral scoring at this point is dessus de violon and basse-continue; they double the two outer lines. The text is presented in concertato- style alternations between the petit choeur and the grand choeur. Ritournelles are used again; in this choral section, they appear only at the textual midpoint except at IX.72-73, where the voices proceed without any interlude. Section X Gloria Patri, et Filio, et Spiritui Glory be to the Father, and to the Sancto. Sicut erat in principio, Son, and to the Holy Ghost. As it et nunc, et semper, et in saecula was in the beginning, is now, and saeculorum. Amen. ever shall be, world without end. Amen. The "Gloria Patri," the final movement, is once more a binary section and still in 0. These sections are subdivided into two sub sections. The first half ends at X.18 where the texture changes from full choir to duet and the key changes from the original B*5 Major to the dominant. This half is further divided into two sections by the two separate fugal expositions: the salutation to the Father and Son, and the salutation to the Holy Ghost. Also marking the division point dur ing the first half is the bass line, which is a descending B*5 Major scale in the first half and then becomes an ascending B scale for the second half. At the formal division point (bar X.18), all of the parts drop out except for the' basses-tailles, tailles, and the basse-con- tinue. The basse-cohtinue provides counterpoint to the two vocal parts which proceed mostly in parallel thirds. This scoring practice is con trary to the previous procedure in this movement, which is primarily one of doubled choral parts, except for this section. At bar X.26, the dessus once more begin a polyphonic setting of the remainder of the text, beginning with "et in saecula." The orchestra is restored at this point, where it serves again to double the vocal parts. The subdivision of the second half of the movement is also indicated by the cadence to C minor at X.25, from where the harmony returns to the tonic, and the motet ends with a final "Amen," sung by the entire chorus. Lauda Jerusalem, Second Version As early as 1690, Delalande was revising his grands motets. Evidence of this practice is documented through the inclusion of two versions of the motet, Audite coeli, in PM (M.M. 12). However, motets demonstrating the change of style from the pure French to the Franco- Italian style-fusion date from the opening of the eighteenth century. One of the motets demonstrating this change is Quam dilecta (M.M. 9 in PM). A version dated 1701 in Philidor's hand can be found at the Bib- liotheque Municipale de Versailles (M.M. 25). The revisions found in HE and CM agree for the most part. Occasionally, one source has information which the other lacks. Differ ences are as. salient as the lack of parties de remplissage in HE and their inclusion in CM, or as insignificant as the upper octave B*5 found 50 invariably in the bass clef key signatures only in CM. Section I Lauda, Jerusalem, Dominum; Praise the Lord, 0 Jerusalem; Lauda Deum tuum, Sion. Praise thy God, 0 Zion. Quoniam confortavit seras portarum For he hath strengthened the bars tuarum, of thy gates; Benedixit filiis tuis in te. He hath blessed thy children within thee. Delalande began his later version of Lauda Jerusalem with a movement complex made of three connected subsections: an opening simphonie followed by a recit for hiautie-contre and a grand choeur. In relation to the PM version, the HE/CM version is more integrated through thematic unities among the three subsections. The simphonie is marked leger et gracieux and opens the motet in 3 time. This motto prelude is a binary form in sixteen bars, modulating from the tonic key of B*5 to the dominant at bar 1.11 and back to the tonic at the end of the section. Scoring is for dessus de violon and basse-continue in HE; this is supported by the haute-contre and taille de violon in CM. CM also adds the indication, tous. This simphonie is derived from the recit, "Lauda Jerusalem," which differs from the PM simphonie, as it has no relation to anything which follows it. A notational feature worthy of comment is found at 1.4 and 1.11 in the dessus de violon. These bars contain dotted rhythms in an other wise prevailing rhythm of even eighth-notes. Such an inconsistency appears to be a strong invitation to use notes inegales. At bar 1.16, the simphonie ends, and the recit ensues in the following bar. Much has been preserved from the PM version of the recit: most of the melodic material, form, and meter. Many expansions or additions to the older version are found in the HE/CM version. Ac companiment has been expanded to dessus, haute-fcontre, and taille de violon, and basse-continue throughout the entire recit instead of the varying textures found in PM. Ritournelles and more repetitions of vocal material cause a longer recit in HE/CM. "Lauda Jerusalem" is basically the same binary form as its model in PM. The formal cadence to the dominant is at 1.25; the harmony re- turns to the home key of B during the second half at 1.35. This ca dence is followed by a brief coda which ends at 1.38. The haute-contre is supported by the diessus de violon and bassie-cofttinue; during instru mental ritournelles, these two parts are joined by the parties de remplissage. Dynamic indications appear: doux during vocal accompani ments, and fort during purely instrumental passages. While the simple syllabic vocal melody is much the same in both versions, the basse- continue is given a busier rhythm and a larger range. An increase of length is effected by the insertion of "lauda, lauda" between the halves of the verset. Also added is a ritournelle at I.25-1.26. The dessus line here is the same as the one found between the halves of the verset; it is the basse-continue line which deserves mention, as the eighth-note pattern found at 1.26 separates the two halves of the recit. This same line joins the two halves in PM (see Figure 8). After the coda (bar I.35-1.38), the r£cit proceeds into the next section without pause, as it does in PM. The meter changes to 0 as be fore, but the relation to the PM version ends here for the first half of 52 b. pas £siJ-on. mm Figure 8. Comparison of the end of the first half of "Lauda Jerusalem" a. HE/CM b. PM the section, "Quoniam confortavit." Scored for basse-continue and haute-contre, this portion of the fecit presents the text using the same rhythmic motives inherited from PM. The baSse-continue has much more melodic interest in HE/CM and participates in a duet with the voice in stead of functioning as mere accompaniment in whole-notes as found in PM. The presentation of the text follows a five-bar prelude. Its be ginning is shifted from the beginning of the bar to the half-bar. "Confortavit" is set to a triadic motive at first, and then a motive involving the leap of a third; this is in contrast to the stepwise mo tive in PM. The basse-continue and the haute-contre both share the "confortavit" motive. Harmony changes from the tonic B Major to the supertonic, cadencing at 1.56. This cadence is followed by a ritour- nelle which ends this half at 1.60. In relation to PM, this section is expanded by the inclusion of the opening and closing ritburnelles and an extra repetition of "confortavit seras portarum tuarum." Marked legere- ment et marque, this section leaves little doubt that notes inegales are to be avoided. 53 At 1.60, the music is marked gracieusement, and the presentation of "Benedixit filiis" begins. PM's melody is restored, along with its orchestral accompaniment, with the scoring modified to that found in the HE/CM "Lauda Jerusalem." The bassie-continue pattern returns, but in stead of the solid I J. J U-JI rhythm found in PM, HE/CM uses the broken rhythm. The dessus de viblon shares in this mo- tive when it is present in the basse-continue; otherwise, the dessus shares vocal motives with the haute-contre. When the haute-contre is singing, only the dessus and basse-continue accompany him, and the in strumental parts are marked doux. During ritournelles, the two parties de remplissage join the dessus and the basse-continue; the orchestral parts are marked fort during these interludes which echo the melody from the haute-contre. Harmony is unstable, cadencing to B (bar 1.63), F (bar 1.68), and back to the supertonic (barl.81). From here, it returns to B Major, where it remains through the end of the section. This later version of the "Benedixit filiis" is expanded by the insertion of the C minor area during bars 1.70 through 1.82; other than this, the phrase structure resembles the one found in PM. When he revised the motet, Delalande standardized the dotted motive for each statement of "benedixit;" in PM, the final phrase has an even rhythm for "benedixit" (PM, bars 11.37 and 11.40). Immediately following the final cadence of the recit, the grand choeur begins its presentation of the first two versets of Psalm 147. Scoring is for full five-part chorus and orchestra. The "Lauda Jerusa lem" section is essentially the same as the one found in PM, but it 54 incorporates the changes which were made in the HE/CM rfecit. Once again, "Lauda Jerusalem" is a binary form, two complete statements of the verset in B Major with the formal division at 1.102 after the ca dence to the dominant. Instead of the strict doubling procedures found in PM, HE/CM provides strict doublings in thfe premier dessus die violon and basse-continue only, while the three other orchestral parts exhibit free doubling or independent writing. Completing this section is a coda which, with its pre-cadential and cadential trill formulas, presents a more elaborate ending than the one in PM. In PM, the first half of the "Quoniam confortavit" verset is un related to the recit; this is not the case in the later version. Marked vivement, the "Quoniam confortavit" verset is another binary form which cadences to the dominant (bar 1.148), shifting from the tonic B*5 Major to the supertonic and back to B on the way. The first half of the verset is presented in restrained counterpoint, with motives derived from the recit. The orchestra participates in the musical fabric through migrant doublings and heterophony. At 1.148, the music is marked gracieusement and the petit choeur introduces the second half of the verset, "Benedixit filiis." This sec tion also is derived from the recit, like its model in PM. The text is dialogued between the petit and grand chbeurs, with markings in the score where each force is to begin. From F Major, the harmony briefly returns to the tonic and proceeds to a C minor passage before returning to B . This version is much like the one found in PM, but it includes an expansion of eight bars due to the greater use of the entire phrase 55 in favor of the repeated single word, "benedixit." This later version of the opening simphonie/recit/choeur repre sents a conscious effort to organize in a more unified fashion the parts of the complex, an effort which is absent in PM. The complete revision of the opening simphonie which foreshadows "Lauda Jerusalem," the new version of "Quoniam confortavit" which is used in the recit and the choeur, and the single rhythmic motive.which is used for each appearance of "benedixit" all serve to bind more closely the three subsections. Section II Qui posuit fines tuos pacem, He maketh peace in thy borders, Et adipe frumenti satiat te. And filleth thee with the finest of the wheat. Nothing survives from the PM version of this section but the bare structural elements: key, metrical plan for the two halves of the text, binary form, and the vocal solo. Formerly a r€cit for haute- contre in the air de cour style, the new version is more like an Italian aria for dessus, obbligato oboe, and basse-continue. No longer does the metrical shift between the two verset-halves define the binary plan of the movement; the two unrelated sections are combined into one half of the movement, and the second half of the movement is defined by the formal modulation and the return of the first half of the text. This movement begins with a duet for dessus and oboe in triple meter (3), marked doucement et gracieusement. Text treatment for the first half of the verset is subdued melismatic writing. Presentation of the first half of the verset is in three phrases: the first, scored for oboe and basse-continue, the second, for diessus and biasse-continue, and the third, for all three. The oboe and the dessus share melodic material during this section, while the basse-continue provides inde pendent counterpoint. At the end of this presentation of the first half of the text (bar 11.21), the meter changes to 0 and the tempo indication to legerement et gracieusiement. This section, which treats the second half of the text, is much more melismatic than the opening section. The words, "frumenti" and "satiat," are especially prominent in this regard. All three parts have music in this section which is derived from the melody. This portion of the movement opens with the basse- continue foreshadowing the melody, which is presented by the dessus two bars later, beginning at 11.23. The oboe makes its first entrance in this portion of the movement during a brief instrumental ritournelle at 11.27; the dessus enters again at 11.29, and all three parts proceed to a modulation from the home key of B Major to the submediant, which cadences at bar 11.40. This section ends with a duet for oboe and basse-continue. At 11.44, the second half of the recit begins with a return to the original meter, the first half of the text, and the original tempo, this time simply marked doucement. This new setting of "Qui posuit" is presented in one phrase instead of the original three, with all three parts performing. The phrase ends at 11.52, where the second half of the text returns with a change in meter to 0 and the tempo change to legerement et gracieusemient. This setting of "Et adipe frumenti" has a presentation nearly twice as long as the first due to text repetitions and extended melismae. Harmony in this section vacillates between F b b Major and B Major, before finally settling on B during the phrase beginning at 11.69 Section III Qui emittet eloquium suum terrae, He sendeth forth his commandment upon earth: Velociter currit sermo ejus. His word runneth very swiftly. Like the previous movement, the HE/CM version of "Qui emittet" bears a rather tenuous relationship to its counterpart in PM. However, the two versions of this section are more closely linked in that not only are the meters, key and the concept of two disparate settings for either half of the text carried over into the new version, but the scoring and the architectural elements comprising the form—each half of the binary movement being defined by a presentation of both halves of the text in different meters—are the same in both versions. The movement is scored for two dessus, basse-taille, two dessus de violon, and basse-continue. From the beginning in G minor, the movement treats the text in its entirety during each half. Both sec tions are built of a one-phrase syllabic treatment of "Qui emittet" except for the word "terrae," which is followed by a multiple-phrase melismatic treatment of "velociter currit." The first half of the text setting is in duple meter (0) and marked gravement. At the end of this portion, the meter changes to 3 and the marking changes to vivement, which begins the setting of the second half of the text. The first half of the movement ends at III.34 after a modulation to B Major; the second half begins in the following bar with an area in G minor which proceeds to other key areas in Major, F Major, D minor, and back to the home key of G minor. The original meter returns at III.114, four bars before the end. The scoring devices which Delalande used when he revised this movement are typical of the pietit choeur movements in this motet: the two upper voices for the most part are scored in parallel thirds, while the lowest voice is slightly ahead or behind except at cadences. When they accompany the voices, the instruments double the vocal parts most of the time. In this movement, the instruments have independent writ- * ing only during the sixteenth note passages which serve as ritournelles in the "Velociter currit" sections. Descriptive writing is found during the "Velociter currit" sections. The ritournelles, melismas on "velociter" and melismas on "currit" all suggest speed and running (see Figure 9). 0 k f p inrr'r&g P m CI -ref cur - r'iiJ ve-10 —7 ~ + i r r"r;irr a Mi Figure 9. Descriptive writing in "Velociter currit' A common non-grammatical notational device is found in the "Velociter currit" sections of the movement; this happens at III.29, III.81, and III.113. Three half notes appear in each of these bars, where the meter allows for half of the value which is presented per bar. These are undoubtedly hemiola patterns at cadence points which are used to suspend the beat temporarily. Section IV Qui dat nivem sicut lanam, He giveth snow like wool: Nebulam sicut cinerem spargit. He scattereth the hoar frost like ashes. Delalande retained his descriptive setting of the first half of this verset but totally replaced the second half with a long polyphon ic section. This movement is a binary form scored for five-part orchestra and chorus. The two halves are defined by the end of the presentation of the first half of the text in 0 time, and the beginning of the presentation of the second half of the text in 2. Markings at the beginning of the movement include the tempo indication doucement sans lenteur and the instruction nottes inegales. The general layout of the first section is altered from the PM version by the deletion of the concluding ritournelle. The exposition of the first half of the verset ends on a rest which is lengthened by the instruction repos in HE and a fermata in CM. This dead halt intensi fies the moment, rather than fulfilling it as the PM version does. This sense of expectation is heightened by the half cadence at IV.13. The polyphonic exposition is different from the PM version; Delalande has increased polyphonic interest from the start of the move ment. The two dessus de violon parts begin the section in G minor, followed by the rest of the orchestra a half-bar later. Thie dessus enter by themselves, stating the first half of the text. Following them are the basses who begin the choral exposition in earnest. However, unlike PM, subsequent entrances of choral parts follow at the half-bar with the exception of the reentry of the dessus; this incon sistency is disguised by the repetition of "qui dat" in the hautes— contres. The orchestra is not restricted to choral doublings as much as it is in PM. At IV.13, the first half of the movement ends with a half-cadence, still in the key of G minor. The version of "Nebulam sicut cinerem" from PM is completely discarded. No more is there a homophonic and sectional presentation of the text; this is replaced by a through-composed fugal setting with sections defined by harmonic areas. Marked lentement in HE and legere- ment in CM, "Nebulam sicut cinerem" begins in the tonic G minor, modu- lating through areas in C minor, G minor, D minor, B Major, and back to the tonic. The orchestra participates in the fabric by providing free doubling or independent counterpoint. Delalande created a movement with two opposing sections of the text, "Nebulam sicut cinerem" and "spargit." He used a rather consis tent rhythmic motive for the first text; "spargit" he usually gave a melismatic treatment (see Figure 10). "Nebulam sicut cinerem" Ib-Mu J fif J' J pipfT'iP • iVe-iu-fo'" si-tui c.bnt-re.i* spar 3*~aii Figure 10. Motives used for "Nebulam sicut cinerem" and "spargit1 61 begins this section of the movement, but "spargit" quickly tries to assert itself as the dominant text. The first motive never establishes itself in all five parts, but there are sections where it is found in a four to one ratio over "spargit." The latter text is the only one I heard by IV.32, being sung in all voices except the halite-contre which is resting. This dominance is short-lived: at IV.37, the four lower voices are singing "Nebulam sicut cinerem" while only the dessus has "spargit." This text alternation continues until IV.97, when "spargit" finally "scatters" the remainder of the text, which is heard no more. In both HE and CM, the final bar contains only one quarter note. Nothing compensates the other three beats at the beginning of the move ment. This is probably an indication not to hold the last chord very long and to proceed directly into the following movement. In PM, there is no question that the music continues; perhaps Delalande wished to have a continuous section here as well. This decision could easily be linked to the fact that the subject of this and the following verset is the same: God causing the various manifestations of cold weather. Section V Mittit crystallum suam sicut buc- He casteth forth his ice like mor- cellas: sels: Ante faciem frigoris ejus quis Who can stand before his cold? sustinebit? The setting of this verset is yet another example of the com poser discarding almost all of the elements from the PM version except form, key, and meter. Two semi-autonomous binary movements comprise this section: a petit choeur scored for two dessus, haute-contre, two dessus de violon, and basse-faontinue; and a griand choeur scored for five-part orchestra and chorus. Only HE carries the instruction gracieusement at the beginning of the setting of the first half of the text. The triple meter is re tained from the PM version, but it is changed from $ to 3. The form is binary, defined by the modulation from the tonic G minor to B*5 Major; the formal cadence is at V.17. Each of these halves includes one con tinuous petit choeur section which is preceded and followed by ritour- nelles. "Mittit crystallum" cadences to D Major, the dominant of the original key, in the final bar, which has changed meters from 3 to 0. This links the settings of "Mittit crystallum" and "Ante faciem" with out pause. CM leaves no doubt that this is the intention at this point by adding tournez au choeur. Scoring is quite similar to "Qui emittet." The two dessus sing in parallel thirds most of the time, while the haute-contre sings one bar ahead of them except at cadence points. These three vocal parts are doubled by the three instrumental parts; when the singers are silent, the instruments provide ritournelles related to the vocal material. Text treatment is predominantly restrained melismatic writing. The style is dance-like; the music programmatically depicts delicate frost and ice patterns with a gentle and lilting melody. After the meter change, the setting of "Ante faciem" begins. This setting of the second half of the verset is another binary form, divided at V.54 after a modulation from G minor to C minor. Tension is introduced from the start, with a beginning on a diminished 63 seventh-chord. String tremolos are present throughout the movement except at cadence points; this device is reminiscent of the well-known "shivering chorus" in Lully's Isis (Act IV, Scene 1). Other devices along with the tremolos and a dissonant opening combine to create a new version of this movement which is much more descriptive and compelling than the one found in PM. The tempo mark ing is gravement; not only does this mean a slow pace, because the literal translation denotes a somber mood. Text treatment is quite descriptive: the affective interval of the rising minor sixth on "Ante faciem" and the repeated suspensions on the word "quis" help to convey the general feeling of disquiet. Dissonances prevail throughout the movement; a quick glance through the chiffrage reveals ninths, sevenths, and diminished fifths. Even the two important cadences are not exempt: the final "sustinebit" in both sections contains a major seventh. The first occurs between the tailles and the dessus (bar V.53), and the second, between the basses-tailles and the dessus (bar V.70). Writing for the instrumental parts is either free doubling of the choral lines or independent writing. Vocal,entrances on "Ante faciem" are doubled by one or the other of the two dessus de violon parts except for the basses; only the first of these is doubled by the basse-continue. Text setting in this section is syllabic. Instead of the homophonic texture used in the PM version of this section, the HE/CM version is set in a fugal style. Remnants of the PM setting of this verset include two disparate settings, one for each half of the verset. These halves in the new 64 version retain from the old their scoring, key, and change of meter from triple during the first to duple during the second. One inheritance from PM is quite subtle: the rising minor sixth during "Ante faciem." This motive is used only twice in PM; it is found in the dessus de vio- lon (PM, bars VI.13-14), and in thie basses and basse-continue (PM, bars VI.16-17). This motive becomes an important, although not exclusive, feature during the entrances of the words "Ante faciem" in HE/CM. Section VI Emittet verbum suum, et liquefa- He sendeth out his word, and ciet ea; melteth them: Flabit spiritus ejus, et fluent He causeth his wind to blow, and aquae. the waters flow. Delalande reworked the HE/CM version of this verset setting so that it is not connected to the previous one, as is the case with the PM version at this point. This section retains much that the PM ver sion presents. Once more, melody is retained, along with form, key, and meter. This is the final movement in this motet which derives its melodic material from PM. Like the PM version, the HE/CM version of "Emittet verbum suum" is a set of two binary sections, the first of which is a r^cit for haute-contre, the second, a petit choeur which adds two dessus. Scoring in the orchestra is for dessus, hautie-contre, and taille de violon, and basse-continue during the recit; deuxieme dessus de violon is added during the pietit choeur. 65 The structure of this set of movements is defined by the text and the key. From B*5 Major, the harmony of the recit modulates to the dominant at VI.10, where the setting of the first half of the text ends and the setting of the second half begins. During the second half of the recit, the harmony returns to the tonic. When the petit choeur enters at VI.40, the process is repeated: the first half of the text is presented up to VI.45, where the cadence to the dominant marks the end of the section and the setting of the second half of the verset begins. The recit begins with the indication legerement et gracieusement and has an opening simphonie like the PM version; however, this new simphonie is shorter. Both versions of the recit are about the same length. The new version gives the instruments a more active role: where formerly only the basse-continue supported the voice, this version has the haute-contre accompanied by the other instrumental parts as well. Most of the time, the instruments have independent parts; from time to time, the writing for them is related to the vocal part. Text setting is syllabic except for "liquefaciet," "flabit," and "fluent." A new motive is introduced at bar VI.19 in the revision: the descending eighth notes on "fluent,fluent." Between the vocal phrases, the orches tra has ritournelles related to the haute-contre line. The petit choeur behaves as it does in PM: it provides inter ludes between the phrases sung by the soloist, akin to the function of the orchestral ritburnelles during the recit. Once more, the two upper voices proceed for the most part in parallel thirds, with the lowest 66 voice not synchronized with them except at cadence points. Instrumental scoring is different than usual during this petit choeur movement be cause the two parties de remplissage are added to the standard trio texture; however, this parties usually double the basse-continue. The writing for this petit choeur is more heterophonic than it has been in other petit choeur movements from this motet. Scoring for the voices in HE and CM raises a few questions about performance practice. At the head of the movement in HE, Recit et Petit Choieur appears, and when the petit choeur enters at VI.40 in HE, it is also indicated above the staff. Subsequent entrances are indicated merely by Choeur. This is probably a shorthand indication for the petit choeur instead of an invitation for entire choral sec tions to begin singing. In CM, petit choeur is clearly the desired force, but the vocal parts include four staves, two dessus and two hautes-contres, indicating that there are to be two hautes-contres, one singing during the solo sections, and the other during the petit choeur sections. Section VII Qui annunciat verbum suum Jacob, He showeth his word unto Jacob, Justitias et judicia sua Israel. His statutes and his judgments un to Israel. "Qui annunciat" is a recit scored for dessus, dessus de violon, and basse-continue. Except for meter, key, and the recit concept, the HE/CM setting of this verset is totally new. In duple meter (0), the movement is a binary form defined by a modulation from B Major to the dominant. The entire verset is treated in both halves of the movement. At VII.28, a reprise is indicated, which is optional in HE (si^ on veut) and mandatory in CM (on reprend). From the tonic key of B Major, the harmony modulates to the dominant at VII.18; during the second half of the movement, the harmony returns to B^ Major. The music is marked doucemient et graciieustement. Opening the movement is a four-bar prelude for violon and biasse-continue. The dessus enters at VII.5, singing the melody foreshadowed by the violon line. Text setting during this movement is syllabic for the most part. Accompaniment provided by thie violon while the dessus is singing is related most of the time to the vocal part, while the biasse-continue proceeds with an independent part. During ritournelles, the violon line becomes more independent from the vocal part. Section VIII Non fecit taliter omni nationi, He hath not dealt so with any nation: Et judicia sua non manifestavit And as for his judgments, they eis. have not known them. When Delalande revised Lauda Jerusalem, he discarded everything in his first setting of "Non fecit taliter" except the key and the five-part choral and orchestral scoring. He also discarded the "Gloria Patri", possibly because the HE/CM version was intended to be performed during secular concerts at the Concert Spirituel. The HE/CM version of "Non fecit taliter" is scored for full chorus and orchestra, with no pet'if fchoieur sections, as is the case with the PM version. Delalande chose a modified rondeau form for the 68 closing movement of this motet. The arrangement of the sections is ABACAD, with no final return to A as in the classical French rondeau. Marked legerement, the movement is in triple meter (3) and in the key b . of B Major. Sections are defined by the verset halves; all of the A sections are settings of "Non fecit taliter," and the remaining sections are settings of "Et judicia sua." The A sections begin in B , but the sec ond and third modulate to C minor (bar VIII.64, although the confirming cadence comes a few bars later) and F Maj'or (bar VIII.100), respective ly. The B section ends in G minor (bar VIII.54), the C section in C minor (bar VIII.93), and the concluding D section progresses from the dominant back to B . This D section ends with a reprise back to VIII.115; the reprise completes the motet. Each of the "Et judicia sua" sections is balanced one to another regarding length. However, the "Non fecit taliter" sections become progressively shorter, with dura tions of twenty-six, ten, and seven bars. Text setting is basically syllabic homophony during the A sections. During the sections in which "Et judicia sua" is set, the texture is polyphonic. if ,i f f?f if rlr r*r r nr Nb# Figure 11. Extended hemiola-like figure during a simphonie 69 Orchestral writing during vocal sections includes free doubling, heterophony, and independent writing. The orchestral simphbiiies be tween vocal sections are quite remarkable due to the extended hemiola- like figures (see Figure 11). These simphonies occur at VIII.22-26, VIII.41-44, and VIII.80-83. CHAPTER IV STYLISTIC COMPARISON OF THE TWO VERSIONS OF LAUDA JERUSALEM Lauda Jerusalem in PM differs enough from Lauda Jerusalem in HE/CM that the two should be considered separate works. The PM motet is in the style of Delalande's predecessors. Using this earlier version as a point of departure, he composed the revision with borrowings ranging from complete sections to isolated motives. Discrepancies between HE and CM are not significant enough to warrant consideration as two different works; however, the presence of parties de remplissage in CM and the absence of the parties in HE offer two performance options for the later motet. These discrepancies may suggest that HE was not the source from which CM's Lauda Jerusalem was copied, but the evidence from Lauda Jerusalem alone is too scanty to support this speculation. Nature of Changes Professor James Anthony sums up the differences between the De- lalande motets composed before the completion of PM and the later re visions as follows: 1. See Appendix C for a comparison of the two versions of Lauda Jerusalem. 70 71 In general the changes take the following forms: 1. Crea tion of elaborate concert arias or duos out of simple recits ... 2. Change of a predominately homophonic chorus into one that is more polyphonic ... 3. Change from an orchestra that is used primarily to double the voices of a chorus to one that is genuinely independent of the voices ... 4. Greater econ omy in |;he use of some material while other material is ex panded. The first of these points is illustrated by "Qui posuit" and "Qui annunciat." Both of these recits are in an air de cour style in PM; in HE/CM, they are in a style borrowed from the Italian aria. In both recits, accompaniment by an ensemble is replaced by accompaniment by obbligato instrument and basse-continue. Both also discard influence of the dance in their revised versions. Instead, the settings of these two versets include Italian traits such as melodic interplay between the vocal solo and the obbligato instrument and more elaborate melismas. Neither recit, however, discards all of its French characteristics. For example, both still retain the binary form popular among French composers of the time instead of displaying the Italian da capo form. "Non fecit taliter," "Nebulam sicut cinerem," and "Ante faciem" all illustrate the second point (homophonic choruses which become poly phonic). To a lesser degree, this is true also of the petit choeur section, "Mittit crystallum." The strict homophony which is found in the PM version of this section is replaced by the counterpoint between 2. Anthony, French Baroque Music, p. 200. 3. For a brief summary of differences between French and Ital ian solo vocal styles, see David Tunley, "Stylistic Traits in French and Italian Vocal Music of the Baroque Era," The Eighteenth-Century French Cantata (London: Dennis Dobson, 1974), pp. 35-49. the haute-contre and the two dessus. Except for the fragment in "Ante faciem," all melodic material is discarded along with the homophonic settings in the revisions of these sections. Illustrating the third point (the change from an orchestra which doubles vocal parts during choral movements to an orchestra with independent writing) are "Quoniam confortavit," "Nebulam sicut cine- rem," "Ante faciem," and "Non fecit taliter." Although instrumental parts in PM double vocal parts most of the time, occasionally they trade among themselves the parts they double. This migrant doubling becomes more common in HE/CM, along with heterophony and independent writing (see Figure 12). Finally, the fourth point (greater economy of some material and the expansion of other material) is demonstrated by "Qui dat nivem," "Emittet verbum suum," and especially the opening simphonie/recit/choeur complex. In this section, Delalande took certain melodic inconsisten cies in his PM motet and discarded them when he revised Lauda Jerusalem. The independent simphonie in the PM version has a melody in the HE/CM version which foreshadows "Lauda Jerusalem." The recit and choeur mo tives for "Quoniam confortavit" and "benedixit" show a unity in the revision which is not in the PM motet. Expansions in this complex are found in the "lauda" interpolations in "Lauda Jerusalem" and phrase repetitions in "Benedixit filiis." In addition to the observations made by Professor Anthony, fur ther changes are evident in Lauda Jerusalem. In the revision, descrip tive writing is more evident. Running sixteenth-note patterns in the 73 a. CA®«7* •tr • r r-^== fm f 11 r 1 1 ii 1 _ Tin- •<«. 1 1 H, ' 1 •! TLn'it ^ el-em 1 4ri<—— "1, p B r fry ' r' cr III b» 1 i*~CL*tn iw #>Tij g,ut* Jtt -j/t- •*•!* • yln-it & —'el-em if > • 1 L i : ii i rr i—r= =fa= PP^HPHlT~,J If f r '' 1 U1 l ''11 f 1 U 1 1 Mill ==1= 1 1 £-3- 1 v^v» -WW ~r f f i ffr> rr — r r m* m ' 1 LJM 'MM M M I.TlTl 1 1 1 1 l I i i =t= r f f b. COn-por-fa - vVf ta-vif, con-for- (to-Vit) Figure 12. Choral accompaniment procedures in HE/CM a. Migrant doubling and independent orchestral writing b. Heterophony (dessus and dessus de violon) 74 violon parts of "Qui emittet" are descriptive of the terms "currit" and "velociter" (runneth and swiftly). The setting of the HE/CM version of the "Mittit crystallum" verset is a vivid example of text-painting. The petit choieui? with its graceful character expresses the delicacy of frost traceries. An entirely different mood during the following grand choeur section is set by the frequent use of the affective minor sixths and the "shivering" tremolos. In the revisions of three recits, the accompaniment is expanded. The PM versions of "Lauda Jerusalem," "Benedixit filiis," and "Emittet verbum suum" are accompanied for the most part only by the basse- continue, with the other instrumental parts contributing ritournelles while the singer rests. In the revisions of these sections, the remain der of the orchestra joins the basse-continue in supporting the voice, as well as performing ritournelles. Greater autonomy of sections is evident in the revision. Where several sections elide in PM, the sections are clearly separated in HE/CM. From "Qui dat nivem" to the end of "Emittet verbum suum" in PM, there is no clear stopping point. In the revision of these sections, stopping points from verset to verset are added; dramatic pauses also appear between the verset-halves of "Qui dat nivem" and "Mittit crystallum." Markings in the score are more evident in HE/CM. No tempos, vocal force indications, of dynamics appear in PM; in HE/CM, they are quite common. Ornaments and chiffriage are also more prevalent in the revision. 75 The revision of Lauda Jerusulem includes no "Gloria Patri." It is not known why this section was omitted from the later version. Several motets in HE/CM lack a "Gloria Patri;" one exception is Credidi propter (Volume XIII in both HE and CM), which does indeed include a "Gloria Patri." Reason's' for Changes In the Preface to HE, Tannevot wrote the following: "Les pre miers Ouvrages de M. De la Lande ne sont pas, a beaucoup pres, si tra- vaillez que les derniers; ils sont plus agreables que profonds, et moins 4 les fruits de l'Art que ceux de la Nature" (The first works of M. De la Lande are not nearly as well worked as the later; they are more pleasant than profound, and less the fruits of Art than those of Nature). If "Art" may be interpreted as the presence of Baroque elements such as arias, fugal choruses, and descriptive writing, and "Nature" as the presence of French Classical elements such as the air de cour, homo- phonic choruses, and dance influences, then Tannevot's statement is true of Lauda Jerusalem. Why did Delalande revise this motet? There are no facts other than the fact that he did revise them; the reasons presented here are only speculations. Perhaps growing maturity as a composer led Dela lande to make some of his changes. For example, compare the two 4. Cited by Odile Vivier in "Sources Imprimees," in Dufourcq et al., Notes et references, p. 149. 76 versions of "Benedixit filiis;" a more judicious use of rests may be seen in the HE/CM version. The two versions of thie pietif choeur "Mit- tit crystallum" present two different treatments, the first, a hurried presentation of the text, the second, a more complete unfolding of the text. However, this example may show not a growth of maturity as much as reflect time limits during Louis XIV's Mass. The same may be true of "Nebulam sicut cinerem," which is much longer in the revision. A change in performance practices may account for other changes such as dynamic indications or ornaments. Again, this change, the in crease of markings throughout the scores in HE and CM may come from another need: the need to show performers other than those familiar with the king's music how the motets should be played. Growing popularity of Italian music in France no doubt led to other changes in Delalande's motets which date from the turn of the century. Adoption of the aria style, increase of text-painting, use of more autonomous movements, all of these may date from the time the composer inherited part of the collection of Italian motets and canta- / . 5 tas owned formerly by Abbe Mathieu. 5. Anthony, French Barbque Music, p. 110. 77 Summary French music of the seventeenth and eighteenth centuries has suffered in obscurity, eclipsed by German, Italian, or English music from the same time. Italian opera has been the standard against which French opera was then and is now compared; it would then follow that French opera would be found wanting. The same observation applies to sacred music: one national style cannot serve as a universal standard to judge the value of another national style. This prejudice born of an ignorance of just what it is that makes French Baroque music different has plagued the present writer during the preparation of this paper. A cusory glance at Lauda Jerusa lem in PM reveals homophonic choruses which are "dull;" the recits are "uninteresting" when compared to the aria-like recits in HE/CM. The absence of consistent subjects in fugal sections such as "Nebulam sicut cinerem" and "Ante faciem" (HE/CM) causes the author to accuse Delalande of being incapable of true fugal writing, and therefore, inferior. The simple truth is that Delalande was neither a Scarlatti nor a Bach; his music must be examined for what it is, not as music of other com posers who obey rules of other national styles. More research and performances are yet needed. Dufourcq's Notes et references is still the only work in any language which has as its main premise biography and source study of Delalande, and it was written more than twenty years ago. The only dissertation to date on the motets of this composer treats them in conjunction with other motets by composers who both preceded and followed him. Furthermore, Richards (the author of the dissertation) seems to have been unaware of the motets in PM; this unawareness complements Bukofzer's apparent unaware- ness of the motets in HE/CM. Also, performances and recordings are needed to make the music of Delalande more than just a toy for scholars. The music is beginning to be heard; perhaps an increase of modern editions will inspire groups to perform or record these motets. If not entire motets, extracts could be published in choral octavo editions. For example, the HE/CM version of "Qui dat nivem" would make a worthy addition to a college or church choir's repertoire. There is yet to be any complete modern edition printed of Dela lande's music. His grands motets, unlike the cantatas of Bach, have not been explored through systematic transcription and study. As it was mentioned in the introduction, this bleak picture is beginning to change with the researches in progress. This paper is a modest contribution to add to the growing interest in Delalande; perhaps it and projects like it will restore to his proper place a composer to whom history has accorded an unjust anonimity. APPENDIX A DELALANDE'S GRANDS MOTETS IN MORE THAN ONE VERSION Grands motets in more than one version come from PM, HE, CM, the Philidor-Toulouse collection (referred to in this list as PT), and the separate manuscript copies at the Bibliotheque Municipale de Versailles (referred to in this list as VM). All dates come from the Avignon manuscript. Dates for motets from PM are known to be 1690 or before; dates for motets from the other four sources are probably around 1700 or afterward. Sources are presented in chronological order; volume numbers for PM, HE, and CM are indicated in parentheses. Title Psalm Number Date Source or Text Source Audite coeli Canticle of 1689 PM(5, two versions) Moses Confitebimur tibi Deus 74 1701 PT, HE(9), CM(3) Confitebor tibi Domine 110 1699 PT, HE(1), CM(4) in consilio Confitemini Domino 104 1705 PT, HE(7), CM(6) De profundis 129 1689 PM(6), HE(9), CM(2) Domine in virtutie tua 20 1689 PM(10), HE(15), CM(17) 1. This list is derived from Anthony, De profundis, pp. 131- 133. Note that Dixit Dbminus is omitted as it was totally rewritten. 79 80 Title Psalm Number Date Source or Text Source Dominus regnavit 96 1704 PT, HE(8), CM(5) Exaltabo te Domine 29 1704 PT, HE(17), CM(12) Exaudi Deus 60 1719 PM(3), CM(8) In convertendo 125 1684 PM(10), HE(13), CM(17) Lauda Jerusalem 147 1725 PM(10), HE(4), CM(21) Laudate Domitium 146 1700 VM, PT, HE(20), quoniam bonus CM(9) Miserere mei Deus 50 1687 PM(1), HE(3), CM(4) secundum Nisi quia Dominus 123 1703 PT, HE(18), CM(1) Quam dilecta 83 1689 PM(2), VM, PT Super flumina 136 1687 PM(5), PT Te Deum Hymn 1684 PM(1), PT, HE(6), CM(ll) Venite exultemus 94 1700 VM, PT, HE(12), CM(3) APPENDIX B PSALM 147: TEXT AND TRANSLATION Lauda, Jerusalem, Dominum; Praise the Lord, 0 Jerusalem; Lauda Deum tuum, Sion. Praise thy God, 0 Zion. Quoniam confortavit seras portarum For he hath strengthened the bars tuarum, of thy gates; Benedixit filiis tuis in te. He hath blessed thy children within thee. Qui posuit fines tuos pacem, He maketh peace in thy borders, Et adipe frumenti satiat te. And filleth thee with the finest of the wheat. Qui emittet eloquium suum terrae, He sendeth forth his commandment upon earth: Velociter currit sermo ejus. His word runneth very swiftly. Qui dat nivem sicut lanam, He giveth snow like wool: Nebulam sicut cinerem spargit. He scattereth the hoar frost like ashes. Mittit crystallum suam sicut buc- He casteth forth his ice like mor cellas: sels: Ante faciem frigoris ejus quis Who can stand before his cold? sustinebit? Emittet verbum suum, et liquefa- He sendeth out his word, and ciet ea; melteth them: Flabit spiritus ejus, et fluent He causeth his wind to blow, and aquae. the waters flow. Qui annunciat verbum suum Jacob, He showeth his word unto Jacob, Justitias et judicia sua Israel. His statutes and his judgments un to Israel. 81 82 Non fecit taliter omni nationi, He hath not dealt so with any nation: Et judicia sua non manifestavit And as for his judgments, they eis. have not known them. Gloria Patri, et Filio, et Spiritui Glory be to the Father, and to the Sancto. Sicut erat in principio, Son, and to the Holy Ghost. As it et nunc, et semper, et in saecula was in the beginning, is now, and saeculorum. Amen. ever shall be, world without end. Amen. APPENDIX C COMPARISON OF LAUDA JERUSALEM IN PM AND HE/CM In this chart, I have paired the corresponding movements from PM and HE/CM, with the first item in each pair being the PM movement. Asterisks indicate where substantial sections of the earlier version are reused in the revision. Meter signs separated by slashes indicate changes which affect a significant portion within a given movement; meter signs separated by hyphens indicate transitory metrical changes. I have adopted the following abbreviations: d, dessus; he, haute- contre; t, taille; bt, basse-taille; dv, dessus de violon; h, hautbois; and be, basse-continue. Movement Meter Voices Instruments Bars Simphonie 0 a5 16 Simphonie 3 a4 16 "Lauda Jerusalem"/ "Quoniam confortavit" Recit 3/0 he bc/a3 43 Choeur 3/0 a5 a5 45 *Recit 3/0 he a4 77 *Choeur 3/0 a5 a5 82 83 84 Movement Metier Voices Instruments' Bars "Qui posuit" Recit 3/0 he a3 56 Recit 3/0/3/0 d h,bc 91 "Qui emittet" Petit Choeur 0/3/0/3 2d,bt a3 54 Petit Choeur 0/3/0/3 2d,bt a3 117 "Qui dat nivem" Choeur 0/2-0 a5 a5 40 *Choeur 0/2 a5 a5 107 "Mittit crystallum" Petit Choeur 2 , 2d,he a3 12 Choeur 0-i a5 a5 19 Petit Choeur 3 2d,he a3 37 Choeur 0 a5 a5 34 "Emittet verbum suum" Recit 0 he a5 43 Petit Choeur 0 2d,he a3 43 •Recit 0 he a4 40 *Petit Choeur 0 2d,he a5 51 85 Movement Meter Voices Instruments Bars "Qui annunciat" Recit 0 t a5 43 Recit 0 d dv,bc 58 "Non fecit taliter" Duo 0 t,bt dv,bc 35 Choeur 0 a5 a5 55 Choeur 3 a5 a5 138 "Gloria Patri" Choeur 0 a5 a5 35 (deleted) BIBLIOGRAPHY Anthony, James R. Friench Baroque Music. Rev. ed. New York: W.W. 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"Structural Principles in the Grands Motets of de Lalande." Journal of the American Musicological Society 11 (1958): 119-127. . "The 'Grands Motets' of the Late Baroque in France as Exemplified by Michel-Richard de Lalande." Ph.D. dissertation, University of Southern California, 1950. Sawkins, Lionel. "An Encore to the Lexicographer's Dilemma, or de Lalande et du bon sens." Fontes Artis Musicae 28/4 (October/ December 1981): 319-323. "Lalande and the Concert Spirituel." Musical Times 116 (April 1975): 333-335. Spycket, Sylvie. "De La Lande et la noblesse interieure." L'Art sacr6e (July/August 1957): 22-28. — Tessier, Andre. "La carriere versaillaise de LaLaijde." Revue de musicologie IX (1928): 134-148. 90 ' "Un fonds musical de la bibliotheque de Louis XVI: la collection Philidor." La Revue musicale 114 (1931): 295-302. Thibault, Genevieve. "Le 'Te Deum' de Lalande." Fontes Artis Musicae 12 (1965): 162-165. Titon du Tillet. Le Parnasse Francois. Paris: Jean-Baptiste Coignard fils, 1732; reprint ed., Geneva: Slatkine, 1971. Tunley, David. Thie Eighteenth-Cientury Friench Cantata. London: Dennis Dobson, 1974"! Verchaley, Andre. "La musique religieuse franyaise de Titelouze a 1660." La Revue musicale 222 (1953-1954): 77-88. Zaslaw, Neal. "The Enigma of the Haute-Contre." Musical Times 115 (November 1974): 939-941. LAUDA JERUSALEM: SCORE OF THE PM VERSION 91 92 XJ j III k r * p r • ^ r tr p ShnjoJionle, r* p f e1 p" r 1 ^ r d^z £3a44e. 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