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MICHEL-RICHARD DELALANDE'S "LAUDA JERUSALEM": A STYLE-STUDY OF THE THREE VERSIONS (FRANCE) Item Type text; Thesis-Reproduction (electronic) Authors Watson, J. D. (James David) Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 17:54:57 Link to Item http://hdl.handle.net/10150/291324 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. 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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.

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