The grand French-style motet, rediscovered thanks to the Baroque revival of the 1980s, has remained, in the popular imagination, as the main charge of the sub-masters of the Royal Chapel of Versailles: Campra, or even Lalande.
But the contribution of Roy's superintendent of music, Lully himself, to this emblematic genre of our history has largely remained in the shadow of his lyrical work (with the exception of his
Te Deum
).
However, the composer will have bequeathed to the genre much more than this single work of circumstance, which indirectly cost him his life when it was revived ten years after its creation.
Unveiling, over the ten books he wrote between 1660 and 1685, a completely different face of the musician.
Far from the theatrical splendor of its lyrical tragedies.
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The Royal Chapel of Versailles as you've never seen it
It is to unveil this face imbued with piety, behind the mask of the man of the theater, that Stéphane Fuget, conductor of the young ensemble Les Épopées (in which we will recognize a few familiar voices such as
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