Sacred Repertories in Paris under Louis XIII
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Airs De Cour
Alternatim Performance
AndrA(C) Pechon manuscripts
Andre Pechon
Author_Peter Bennett
Ave Maris Stella
Bone Jesu
Category=AVLA
Category=AVLK
Chapelle Royale
Compagnie Du Saint Sacrement
De Musique
Domine Salvum
early modern French court music
Ecce Panis Angelorum
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French sacred music
Gathering 3a
Gloriosa Domina
Henri Iii
Hymn Settings
Hymn Veni Creator Spiritus
liturgical musicology
Louis XIII
Louis XIII's Reign
Louis XIII’s Reign
Meaux Cathedral
Montmartre
Ordre Du Saint Esprit
Pange Lingua
Parisian convent music
Pierre Bourdin
Psalm Tones
Regina Coeli
Royal Benedictine abbey
royal chapel repertoire
Saint-Germain-l'Auxerrois'
Salutaris Hostia
Salve Regina
seventeenth-century liturgy
Stabat Mater
Young Man
Product details
- ISBN 9780754668213
- Weight: 570g
- Dimensions: 150 x 244mm
- Publication Date: 28 Nov 2009
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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The study of sacred music under Louis XIII (r.1610-43) has advanced little in the past hundred years. Despite some important recent contributions by the late Denise Launay and others, much of our current perception of the Latin sacred music of the period is still informed by the pioneering research undertaken by Henri Quittard in the early years of the twentieth century. Even with Quittard’s work, however, the almost complete absence of surviving sources has severely limited our understanding of this era. But by re-examining one of the seventeenth-century ’treasures’ of the Bibliothèque nationale (MS Vma rés. 571), Sacred Repertories in Paris under Louis XIII reveals that, far from being a transitional period in which little music of any interest was produced, the reign of Louis XIII witnessed a flowering of musical activity and the development of musical techniques normally associated with the reign of Louis XIV. Based on an exhaustive and innovative manuscript study, Sacred Repertories shows that Vma rés. 571 (a largely anonymous source of previously unknown provenance) was copied in Paris by the composer André Pechon, and that it preserves three previously unidentified repertories with connections to the court of Louis XIII. The repertoire of the musique de la chambre, until now considered a secular institution, shows it to have been an equal partner of the chapelle in the provision of sacred music at court. The repertoire of the royal parish church of Saint-Germain-l’Auxerrois, the only ’working’ liturgical repertory surviving from the century, illustrates musical practices at this important collegiate church. And the repertoire of the Royal Benedictine Abbey of Montmartre testifies to the richness of musical tradition in Parisian convents during a period when no other comparable music from France survives. Sacred Repertories thus transforms our understanding of the musical landscape of seventeenth-century France and provides a springboard fo
Peter Bennet is Assistant Professor of Music at Case Western Reserve University, USA.
