A Thematic Catalogue of the Works of

Michel-Richard de Lalande(16571726)

Portrait of Michel-Richard de Lalande by Robert Tournires (16671752)

Photo: Collection archives Larbor

A Thematic Catalogue of the Works of

Michel-Richardde Lalande

(16571726)

LIONEL SAWKINS

with the assistance of

JOHN NIGHTINGALE

supported by

THE BRITISH ACADEMY

1

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vFOREWORD

I am privileged to have been asked by Lionel Sawkins to write a preface to his Thematic Catalogue of theWorks of Michel-Richard de Lalande. The appearance of this catalogue illustrates how far we haveprogressed in our recognition of a composer whom Paul Henry Lang hailed, in 1941, as one of Francesgreatest musicians (Music in Western Civilization). That such accolades were not always forthcoming isclear from the following general survey which makes no claim to completeness.

During the entire eighteenth century, the grands motets of Lalande were considered masterpieces of thegenre (J.-J. Rousseau). In 1769, Nougaret wrote that Lalande always enjoys a reputation of which nothingdims the clat. In a deft rewriting of history in 1780, Laborde viewed Lalande as the creator of a new genreof church music [the grand motet]. Lalandes motets were fixed as the model against which all subsequentmotets were to be judged. They remained in the repertory of the Concert spirituel at least until 1770 withmore than 600 performances being logged by the Mercure. As late as 1792, with France in full revolution,fourteen of Lalandes motets were listed in the repertory of the Chapelle royale between January and June.

The whims of indifferent history, however, caused Lalande to suffer the same fate as did Schtz and Vivaldiin the nineteenth century, and his eloquent motets were silenced. There was no one to do for the motets ofLalande what Brahms did for the pices de clavecin of Franois Couperin. Most music encyclopdias anddictionaries were content to paraphrase Ftis observation that Lalande fut le plus habile compositeurfranais de son temps pour la musique dglise.

Not until 1899 did the journey back to recognition commence with the astute observations of Brenet (Lamusique sacre sous Louis XIV), followed by those of Quittard three years later in his Notes sur Michel-Richard de Lalande. Jules Combarieu essayed a perceptive style study of the motets in his 1913 Histoire dela musique. He was the first to call attention to Lalandes use of airs concerts and to observe the affinitybetween this Latin Lully and Handel. In 1925, in the pages devoted to Lalande in the LavignacEncyclopdie, La Laurencie mentioned the astonishing freedom of Lalandes double choruses and hisharmonic audacities. Andr Tessier, in La carrire versaillaise de Lalande (Revue de musicologie, 1928),brought to the composers biography the happy results of years of archival research.

From 1944 to 1958, thanks to the publishers Costallat, Heugel, the Procure du Clerg, Salabert and theSchola Cantorum, more than 25 grands motets by Lalande were published, edited by Boulay, Cellier,Gennaro, Letocart, Pagot, Raugel, Roussel and Spycket. One must not underestimate the importance ofthese publications in acquainting French musicians with the sacred music of one of their greatest composers.These editions chief disadvantage lay in the fact that most were conceived as rductions pour chant etpiano and, in some instances, were transposed down a whole tone to conform more closely to the perceivedpitch at the Chapelle royale during Lalandes tenure there (1683-1726). Such transpositions create manyproblems for wind and string players.

A major breakthrough in Lalande studies occurred in 1957, the tercentenary of the composers birth. Thiswas the publication of Notes et rfrences pour servir une histoire de Michel-Richard Delalande as a partof the series, La Vie musicale en France sous les Rois Bourbons (A. & J. Picard). This important sourcebook was prepared by four members of a musicology seminar at the Paris Conservatoire (Marcelle Benoit,Marie Bert, Sylvie Spycket and Odile Vivier) under the direction of Norbert Dufourcq. Based, in the main,on the manuscript notes of Andr Tessier (d 1931), it combs the archives, the pages of periodicals and otherprinted matter to give as complete a documentation as possible of the life and works of Lalande. Its worklist and thematic catalogue have been the starting point for all subsequent Lalande research.

Until the mid-twentieth century and even beyond, most non-French scholars were preoccupied withGerman and Italian Baroque music. For them, Lalande seems to have scarcely existed. Exceptional is theextended treatment of Lalandes religious music by J.A. Fuller-Maitland, whose comments (sustainedbeauty, massive structures boldness of harmonic invention) in volume iv of the Oxford History of Music(1931) reveal a familiarity with the scores themselves. More typical is the case of Bukofzer who, incharacterizing Lalandes motets as representing the most conservative spirit of the period in Music in the

Baroque Era (1947), must have been unaware of those ingenious disparities and those graceful melodiesserving as contrasting episodes to the most complex choral sections described by Lalandes student, Collinde Blamont, in the avertissement to the posthumous, engraved edition of forty motets. Edith Borroffallotted one sentence to Lalande in her book, The Music of the Baroque (1970), and, incredibly, his namedid not appear in the index of Claude Paliscas Baroque Music until its third edition of 1991.

On the other hand, in the years that have passed since Notes et rfrences, there have appeared someexcellent performing editions of Lalandes motets (especially those edited by Philippe Oboussier and LionelSawkins); there is a growing discography, and we have an important dissertation by the American scholar,Barbara Coeyman, on the stage music of Lalande (City University of New York, 1987). Much remains tobe done. The Catalogue raisonn presented here will surely act as a catalyst for a new generation of scholars.With his vast knowledge of Lalandes music, Lionel Sawkins is ideally suited to this project of which one ofthe cornerstones was, in fact, already in place in 1984 when he pinpointed the location of all sources ofLalandes extant motets in his 400 contributions to the Catalogue thmatique des sources du grand motet(ed. Jean Mongrdien, Paris, 1984).

James R. AnthonyTucson, Arizona

obit 6 April 2001

AVANT-PROPOS

Lionel Sawkins ma fait lhonneur de me demander dcrire une prface son Thematic Catalogue of theWorks of Michel-Richard de Lalande. La publication de ce catalogue dmontre combien notre connaissancede ce compositeur a progress depuis que Paul Henry Lang lavait salu en 1941 comme lun des plusgrands musiciens franais (Music in Western Civilization). De telles marques dhonneur ne furent pastoujours suivies deffets comme le montre le survol gnral qui suit et qui ne prtend pas lexhaustivit.

Durant tout le dix-huitime sicle, les grands motets de Lalande furent considrs comme des chefsduvre en ce genre (J.-J. Rousseau). En 1769, Nougaret crivit que Lalande jouira toujours dunerputation dont rien ne ternira lclat . Dans une habile rcriture de lhistoire en 1780, Laborde voyait enLalande le crateur d un nouveau genre de musique dglise [le grand motet] . Les motets de Lalandedevenaient un modle la lumire duquel taient valus tous les motets qui furent composs aprs. Ilsdemeurrent au rpertoire du Concert spirituel jusquen 1770 avec plus de 600 excutions consignes par leMercure. Jusquen 1792, alors que la France tait en pleine rvolution, quatorze motets de Lalande furentinscrits au rpertoire de la Chapelle royale entre janvier et juin.

Cependant, les caprices et lindiffrence de lhistoire entranrent Lalande connatre le mme sort queSchtz et Vivaldi au cours du XIXe sicle, et ses motets si loquents sombrrent dans loubli. Il ny eutpersonne pour faire aux motets de Lalande ce que Brahms fit aux pices de clavecin de Franois Couperin.La plupart des encyclopdies et des dictionnaires se contentrent de paraphraser les remarques de Ftis quicrivait que Lalande fut le plus habile compositeur franais de son temps pour la musique dglise .

Ce nest quen 1899 que le retour vers une reconnaissance mergea avec les observations pertinentes deBrenet (La musique sacre sous Louis XIV), suivies de celles de Quittard trois ans plus tard dans ses Notessur Michel-Richard de Lalande . En 1913, Jules Combarieu sessaya une tude stylistique perspicace desmotets dans son Histoire de la musique. Il fut le premier attirer lattention sur lusage par Lalande des airsconcerts et observer les affinits quil entretenait avec le latin Lully et Haendel. En 1925, La Laurencie,dans les pages quil consacra Lalande au sein de lEncyclopdie de Lavignac, remarque l tonnante

Avant-propos

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Avant-propos

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libert du compositeur dans ses double churs et ses audaces harmoniques. Andr Tessier, dans Lacarrire versaillaise de Lalande (Revue de musicologie, 1928) enrichit la biographie du compositeur grceaux heureux rsultats dannes de recherche dans les archives.

De 1944 1958, les efforts des ditions Costallat, Heugel, la Procure du Clerg, Salabert et la ScholaCantorum, permirent la publication de plus de 25 motets par Boulay, Cellier, Gennaro, Letocart, Pagot,Raugel, Roussel et Spycket. On ne doit pas sous-estimer limportance de ces ditions qui suscitrent chezles musiciens franais des affinits avec la musique sacre de lun de leurs plus grands compositeurs. Leprincipal dsavantage de ces publications rside dans le fait que la plupart dentre elles furent conues sousforme de rductions pour chant et piano et que, dans plusieurs cas, elles furent transposes un ton plus basafin dtre le plus proche possible du diapason utilis la Chapelle royale durant les annes o Lalande yofficia (1683-1726). Les instrumentistes cordes et vents prouvrent de nombreuses difficultsdexcutions cause de ces transpositions.

Les tudes sur Lalande franchirent une tape dcisive en 1957, lors du tricentenaire de la naissance ducompositeur, avec la publication des Notes et rfrences pour servir une histoire de Michel-RichardDelalande, lun des volumes de la srie dvolue La Vie musicale en France sous les Rois Bourbons (A. & J.Picard). Cet important volume de sources avait t prpar par quatre membres du sminaire de musicologiequi se droulait au Conservatoire de Paris (Marcelle Benoit, Marie Bert, Sylvie Spycket et Odile Vivier) sousla direction de Norbert Dufourcq. Fond principalement sur les notes manuscrites de Tessier (mort en1931), ce volume explore les archives, les priodiques et toutes les sources imprimes afin doffrir unedocumentation aussi exhaustive que possible sur la vie et les uvres du compositeur. La liste des uvres etle catalogue thmatique marqurent le point de dpart de toutes les recherches qui furent entreprises depuissur le compositeur.

Jusquau milieu du XXe sicle, et mme au-del, la plupart des musicologues trangers ne sintressaient qula musique baroque allemande et italienne. Pour eux, Lalande semblait avoir peine exist. Lanalysedveloppe que J.A. Fuller-Maitland consacra dans le volume IV de lOxford History of Music (1931) faitfigure dexception et ses commentaires sur la beaut soutenue, les constructions imposantes leshardiesses des inventions harmoniques dmontrent une familiarit avec les partitions. Plus rvlatrice estlattitude de Bukofzer dans son ouvrage Music in the Baroque Era (1947) qui, en dfinissant les motets deLalande comme lesprit le plus conservateur de la priode , montre son ignorance des disparatesingnieuses et des traits de chants gracieux, aimables, qui servoient pour ainsi dire, dpisodes seschurs les plus travaillez dcrits par llve du compositeur Collin de Blamont, dans son avertissement ldition posthume grave des 40 motets. Dans son livre sur The Music of the Baroque (1970), Edith Borroffvoque Lalande en une phrase, et fait encore plus incroyable, le nom du compositeur napparut dans lindexde Claude Palisca quen 1991, lors de la troisime dition de son ouvrage Baroque Music.

Dun autre ct, dans les annes qui suivirent la parution des Notes et rfrences, plusieurs excellentesditions modernes des motets de Lalande virent le jour (particulirement celles de Philippe Oboussier etLionel Sawkins) ; la discographie augmenta et la musicologue amricaine Barbara Coeyman fit sa thse surla musique de scne de Lalande (City University de New York, 1987). Mais il reste beaucoup faire. Lapublication du prsent catalogue raisonn va srement agir comme un catalyseur des recherches futurespour une nouvelle gnration de musicologues. Avec son immense connaissance de la musique de Lalande,Lionel Sawkins tait le mieux mme de mener ce projet dont lune des pierres angulaires, avait dj tpose en 1984, lorsquen tablissant la localisation de toutes les sources des grands motets du compositeur,il avait sign 400 entres du Catalogue thmatique des sources du grand motet (d. Jean Mongrdien, Paris,1984).

James R. AnthonyTucson, Arizona

obit 6 April 2001

PREFACE

The primary purpose of this Catalogue is to make Lalandes compositions more accessible, and tocontribute to a wider knowledge and appreciation of his music, so much admired and performed not onlyin his own day but for long after his death. Alongside the compositions of his distinguished contemporaries,Lully, Charpentier, Couperin and Rameau, Lalandes uvre occupied a central position during the reigns ofLouis XIV and Louis XV, most notably in the field of sacred music. Over a period of more than 45 years,from 1680 to Lalandes death aged 68 in 1726, his grands motets set a style which was emulated for theremainder of the ancien rgime. Two festivals devoted to his music at Versailles in 1990 and 2001, as wellas many editions, performances and recordings worldwide give hope that Lalandes place as one of theundoubted masters of the French Baroque is now becoming more widely recognized.

Whereas for some composers of the Baroque period, a large corpus of easily-authenticated autographmaterial has survived (as in the case of Charpentier, for example), the varied nature and wide dispersal ofmany of the primary sources of Lalandes music (and the almost complete loss of autograph material) meansthat the production of editions adequate for performance of most works is a complex task, involvingdetailed research in a number of different locations. Another complicating factor is the survival of manyworks in more than one version, as a result of the composers habit of continuous revision.

Thus, this catalogue aims to facilitate production of performing editions by providing detail of all knownsources, and by identifying the version of each work that each source represents. To this end, thematicincipits are provided for all themes of all movements of all works in their differing versions in as full ascoring as is known. The 3,180 music examples, all based upon primary sources, together with otherinformation that precedes and follows them, attempt to give as realistic a view as possible of the nature andextent of the work and the resources necessary for performance. While the scoring is condensed to fewerstaves than the sources, all extant parts are represented, with one general exception: in some choralmovements (especially in early works), where any instrumental parts closely follow some of the vocal parts,the former have been omitted. However, where such instrumental parts are independent of the voices, theyhave been quoted. Occasional exceptions to this generalization are footnoted in each case. The length ofindividual examples has been governed by a desire to present as far as possible complete phrases, bothmusical and textual. The information provided includes what is known of each works origins andperformance history as well as all available sources and modern editions. For the stage works, completecastings (and text summaries where the music is incomplete) are supplied, with detailed commentariessetting the context of each work and its performance history. A bilingual explanation to the informationgiven in the music examples is provided, incorporated within Nature of the Catalogue and CatalogueEntries.

The Catalogue is arranged in chronological order within each genre, the sacred works preceding the secular.Information more specific to these two principal classifications has been provided in the bilingualIntroduction to Lalandes Sacred Works and Introduction to Lalandes Secular Works.

Indexes are provided to assist in locating each work or movement, including a unified index of titles andtext first lines and Thematic Locators (major and minor) to enable instant identification of source materialwith the works catalogued. The process of assembling these locators helped to identify self-borrowings andto establish cross-references (each indicated on the relevant music examples with a forward arrow). In thecase of several of Lalandes stage works which only survive in excerpts incorporated in the vast collectionsof short symphonies, mostly dance movements, this cross-referencing is obviously essential.

This Catalogue is the product of more than 30 years of the authors researches, editions and performancesof Lalandes music. For more than six years, he was ably assisted in the preparation of this Catalogue byJohn Nightingale, through the generous support of the British Academy.

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PRFACELe premier objet de ce Catalogue est de rendre plus accessible les uvres de Lalande, et de contribuer uneplus large connaissance et une meilleure apprciation de sa musique, qui si admire et joue de son vivantle fut aussi longtemps aprs son dcs. ct des uvres de ses minents contemporains comme Lully,Charpentier, Couperin ou Rameau, celles de Lalande occupent une place centrale durant les rgnes de LouisXIV et Louis XV, tout particulirement dans le domaine de la musique sacre. Au cours dune priode deplus de 45 annes allant de 1680 1726, date de la mort du compositeur lge de 68 ans, ses grands motetsinstaurrent un style qui fit des mules jusqu la fin de lAncien Rgime. Deux festivals uniquement dvolus sa musique en 1990 et 2001 Versailles, ainsi que de nombreuses ditions, excutions et enregistrementsmondiaux laissent esprer que Lalande soit dsormais reconnu comme lun des matres incontests de lamusique baroque franaise.

Tandis quil subsiste un important corpus de manuscrits autographes aisment authentifis pour descompositeurs de la priode baroque (le cas de Charpentier), la nature varie de la musique de Lalande et lalarge dispersion de la plupart des sources principales, sans compter la perte de la quasi-totalit de sesautographes, induisent que ltablissement dditions pour la majorit des uvres du compositeur est unetche difficile, ncessitant des recherches approfondies dans des lieux diffrents. Un autre phnomne quicomplique la situation provient de lexistence de nombreuses uvres dans plusieurs versions, en raison delhabitude que le compositeur avait de les rviser continuellement.

Ce catalogue est donc destin faciliter ltablissement dditions destines lexcution en fournissant demanire dtaille la liste de toutes les sources connues, et en identifiant quelle est la version de chaque uvrequi correspond la source dcrite. la fin, les incipit thmatiques sont donns pour les thmes de tous lesmouvements de lensemble des uvres dans leurs diffrentes versions, dans la mesure o la partitioncomplte existe. Les 3180 exemples, tous tablis partir de sources principales, ainsi que les donnes qui lesprcdent et suivent, essayent de donner une vision aussi proche que possible de la nature et de ltendue deluvre, et des effectifs ncessaires son excution. Lorsque la partition est condense sur moins de portesque nen comportent les sources, toutes les parties existantes sont prserves, except dans un cas : lorsqueles parties instrumentales, dans les mouvements de chur (notamment ceux des uvres de jeunesse) suiventde trs prs les parties chorales, celles-ci ont t omises. Cependant, quand les parties instrumentales sontindpendantes des voix, elles sont indiques. Les quelques exceptions ces principes sont signales en notesde bas de page. La longueur de chaque exemple a t dtermine par le souhait dtre aussi proche quepossible des phrases compltes, tant du point de vue musical que du point de vue du texte. Lesrenseignements fournis comportent tout ce qui est connu sur lorigine et lhistorique des excutions ainsique les sources et les ditions modernes disponibles. Pour les uvres thtrales, les distributions (et lessommaires des textes quand la musique est incomplte) sont donnes dans leur intgralit, avec descommentaires dtaills sur le contexte de chaque uvre et sur lhistoire des excutions. Un commentairedtaillant les renseignements donns par les exemples musicaux se trouve dans la Prsentation du catalogue.

Le Catalogue suit lordre chronologique par genre, les uvres sacres prcdant les uvres profanes. Desrenseignements plus spcifiques ces deux principales sections figurent dans les deux introductionsbilingues qui leur sont consacres.

Les index sont destins la localisation des uvres ou des mouvements et comprennent un index unifi destitres et des incipit de textes, des index thmatiques (majeur et mineur) permettant didentifier rapidementune source avec les uvres catalogues. Le fait de runir ces index thmatiques aide identifier les auto-emprunts et tablir des concordances (chacune est indique sur les exemples musicaux concerns par uneflche). Dans le cas de plusieurs uvres thtrales dont il ne subsiste seulement que des extraits insrs dansles grands recueils de symphonies, principalement des mouvements de danse, ces concordances sontvidemment fondamentales.

Ce Catalogue est le fruit de plus de trente annes de travail rsultant des recherches de lauteur, des ditionset des excutions de la musique de Lalande. Durant plus de six annes, il a t habilement assist dans laprparation de ce Catalogue par John Nightingale, grce au soutien gnreux de la British Academy.

ACKNOWLEDGEMENTS

So many people have assisted and encouraged my researches into French baroque music over the years thatin attempting to give credit where it is due, the writer will almost certainly overlook some whose help wasinvaluable at a critical juncture. If so, I offer my sincere apologies. The initial encouragement to investigateLalandes music came from the late Denis Arnold, whose ebullient enthusiasm, scholarly rigour and wisecounsel were such a help to those of us on his first postgraduate course in the Interpretation and Editing ofRenaissance and Baroque Music at the University of Nottingham; the course was also notable for thededicated teaching of Stanley Boorman, and among many others who assisted and encouraged me at thattime were Robert Pascall and Anne Kirwan-Mott, as well as fellow students who made possible the firstmodern performance of Lalandes Exaltabo te, Domine.

The initiative for a complete catalogue of all of Lalandes works first came from Vincent Berthier deLioncourt and Jean Duron of the Centre de Musique Baroque de Versailles in 1989 when the programmesfor the 1990 Journes de Lalande were being discussed. Publication of the catalogue under the gis of theCMBV proved impractical, but, fortunately, the British Academy agreed to support the detailed and lengthytask of engraving the 3,180 music examples for this work to ensure its completion. Without the assistanceof The British Academy, this Catalogue would never have seen the light of day.

All the music examples have been skilfully and patiently executed by John Nightingale, who also assistedin many other ways, notably in the complex task of unravelling the mysteries of the various collections ofLalandes symphonies, and in the construction of many of the tables included, as well as assembling andconstantly updating the thematic locators until they reached their definitive state. His musicianship, eye fordetail, and fine sense of style and lucidity in written English were just a few of the qualities that contributedmuch to various sections of the Catalogue.

Prior to the 1989 proposal of the CMBV, the present writer had already assembled a detailed catalogue ofall known sources of the grands motets during his sojourn in 1982-3 as Matre de recherche for the Centredinformation et de documentation (Recherche musicale) of the Centre National de la RechercheScientifique, then located at the Ecole normale suprieure des Jeunes Filles, in boulevard Jourdan, Paris.This fichier, entitled Les Sources de Grands Motets de Michel-Richard de Lalande 1657-1726, later served asthe basis of some 400 citations of Lalandes grands motets included in the Catalogue thmatique des sourcesdu grand motet franais (Paris, 1984), edited by Jean Mongrdien, who in the same year also organized boththe first Colloque international sur le grand motet franais (of which the Actes were published in Paris in1986, edited by Jean Mongrdien and Yves Ferraton) and two concerts featuring grands motets by Lalande,Blanchard, and Campra. All the entries in the Catalogue thmatique des sources du grand motet franaisrelating to Lalandes grands motets were revised for the present catalogue.

All studies of French baroque music over the last 20 or more years have benefited greatly from thecomprehensive context established by the late James R. Anthony in his seminal study, French BaroqueMusic from Beaujoyeulx to Rameau (London, 1974/1978/Portland, 1997) translated as La Musique enFrance lpoque baroque, Paris, 1981/1992), and the present author is honoured that Professor Anthonygraciously provided the avant-propos to this catalogue some months before his untimely death. Anthonysessays on Lalande in the New Grove Dictionary of Music and Musicians (London, 1980) and the New GroveFrench Baroque Masters (London, 1986) for the first time provided balanced English-language surveys ofthe composers output and his place in the French musical Parnassus. James Anthony was also personallyencouraging at all stages of development of this catalogue and responded to numerous enquiries over theyears, while his elephantine memory for detail rescued the author on many occasions.

Catherine Massip has acted as a fount of wisdom on all matters appertaining to French Baroque music forall workers in the field with whom she has come in contact, both before her appointment as Directeur duDpartement de la Musique at the Bibliothque Nationale de France and since. For more than 20 years, herprofound knowledge, particularly of manuscript material (such as her prodigious memory of differentmusical hands) alongside her wise counsel on innumerable topics, and her grace and patience, have

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sustained the present writer. At crucial points in the evolution of this catalogue, her encouragement wasindispensable to the continuance of the project, and has ensured its completion.

For all students of music at the courts of Louis XIV and Louis XV, the books of Marcelle Benoit areindispensable aids to study. The present author has been the frequent recipient of ready responses by MlleBenoit to his enquiries; her unrivalled knowledge of archives is only matched by her never-failing goodhumour and the constant encouragement she has given to this project; her Dictionnaire de la Musique enFrance aux xviie et xviiie sicles came at a very useful moment and the invitation to respond with severalarticles for it acted as a spur to further enquiry in several areas germane to this catalogue.

Any study of the music of Lalande must acknowledge a debt to those who have already done much toprovide working materials and a wide view of the sources. Chief among earlier research tools are the essaysof the late Andr Tessier and the study by the late Norbert Dufourcq and four of his then students, MarcelleBenoit, Marie Bert, the late Sylvie Spycket and Odile Vivier (Notes et rfrences pour servir une histoirede Michel-Richard Delalande 1657-1726, Paris, 1957). This volume has formed the working base for all whowould investigate Lalandes music. Constant reference to it has been the order of the day during thepreparation of this catalogue, and if more source material is now evident than was apparent in 1957, andediting and recording initiatives of more recent years have enabled us to have a wider perspective of thecomposer, the fact remains that Notes et rfrences still stands up well to close scrutiny almost 50 years on.In various parts of the present Catalogue, we have cross-referenced not only to the text but also to thethematic incipits which form the appendices of Notes et rfrences and which have served well twogenerations of researchers. Thematic excerpts from the secular music catalogue in Notes et rfrences areidentified with D (for Dufourcq) numbers and a list of cross-references to the present catalogue isprovided (those for the sacred works were not numbered in Notes et rfrences).

In the wake of Notes et rfrences, and James R. Anthonys books and essays, the most substantial study todate of Lalandes secular music (though not, by its nature, extending to all his symphonies) is an unpublisheddissertation by Barbara Coeyman, The Stage Works of Michel-Richard Delalande in the Musical-CulturalContext of the French Court, 1680-1726, (PhD, City University of New York, 1987). Coeyman has shownconvincingly that the Concert dEsculape (S134) should be added to the Lalande canon, and that thePrologue sur la prise de Mons should be excluded from it and assigned to Brossard. Her dissertation alsoprovides valuable insights into the manner and locale of performance of the 19 works she discusses (we haveextended the list to 24 in this catalogue) (S131-54), and the reader will note many references along the wayto her ground-breaking study; among documents she reveals for the first time is a manuscript livret for theDivertissement sur la paix of 1713 (S150) which appears to include annotations in the composers hand.Coeymans bibliography was also helpful in drawing attention to some literary citations we might otherwisehave missed. It was clear that we had to produce all musical examples directly from the sources, retainingthe original keys, rather than make use of Coeymans existing catalogue, which comprises unindexedexcerpts transposed into C major and minor. This was necessary in order to reflect these works as they havesurvived, and to establish an accessible thematic catalogue for the stage works which we could integrate withthat for the sacred and other secular works (including the numerous symphonies derived from the stageworks and those that are independent of them).

We have provided indexing of the thematic citations by constructing locators along the simple and ingeniouslines devised by Bruce Gustafson for A Thematic Locator for the works of Jean-Baptiste Lully (New York,1989). Gustafsons Locator itself has been indispensable in identifying Lullys participation in the manymulti-composer recueils we have consulted, narrowing the field of unidentified compositions. Gustafsonhas also responded to many enquiries, and his trenchant views on the proper functions of thematiccatalogues have helped us to focus on the necessity for sufficient indexes to ensure accessibility to theCatalogue.

We were also fortunate that before our work on this catalogue was finalised, Denis Herlin completed hismonumental Catalogue du Fonds Musical de la Bibliothque de Versailles, Paris, 1993, and his Catalogue dela Collection Hanson/Dyer, both of which include dpouillements of important recueils of Philidor andothers containing substantial numbers of Lalandes symphonies. Denis Herlin has unhesitatingly put his

detailed and wide-ranging knowledge at our disposal, and enabled us to significantly correct the chronologyof many of the symphonies in these collections. His investigation of the Airs italiens (Paris, 1695) collectedby Fossard (Herlin 1998) and of Lalandes contribution in the form of ritournelles to six of these twelve airsalso focused our attention on these works, the first of the composers secular music to be printed. Further,the author is grateful to Denis Herlin for undertaking translation of sections of the prefatory material of thecatalogue.

Clarification of the complexities of the differing collections of the composers symphonies was a prerequisiteto cataloguing them. Here, we gratefully turned yet again to Notes et rfrences, and also to the detailedknowledge and accomplished recorded performances of Hugo Reyne, who helped towards ourunderstanding and appreciation of these works. His recording of the 12 suites of the 1703 collection(Harmonia Mundi HMC901337-40, 1990) directing the Simphonie du Marais, and the ready access he hasprovided to his performing material, together with his encyclopdic knowledge of the many sourcesoutside the three best-known collections, have all widened our understanding. In addition, Hugo Reyne hasdrawn our attention to several concordances of symphonies which had not come to our notice. He has alsogiven the first complete modern performances of Lalandes Les Fontaines de Versailles, a composition whichsurely impressed Louis XIV in the weeks preceding the concours for the four posts of Sous-matres de laChapelle in 1683, at which Lalandes success marked the real beginning of his career at court.

Herbert Schneider has responded promptly to many enquiries, including the identification of severaltimbres, and his Catalogue of Lullys works (LWV) served as a constant source of reference and a model toemulate. The very existence of Schneiders Lully Catalogue has profoundly affected the course of researchinto French music of the 17th century. If the present catalogue results in a similar flowering of interest inLalandes music, and the identification of other anonymes, the author will be well satisfied.

No meaningful research in such an area is possible without the expert guidance and hospitality extended bylibrarians in charge of source material, and, principally among the very many whose libraries are listed afterthis preface, I would like to remember Anthea Baird, formerly of the University of London Library, andLucien Nethsingha formerly at St. Michaels, Tenbury, the late Franois Lesure of the BibliothqueNationale de France, Paris, and Jean-Michel Nectoux, formerly of the Bibliothque municipale deVersailles, later of the Bibliothque Nationale, and now Conseiller scientifique at the Institut nationaldhistoire de lart, Paris, and Geraldine Ostrove of the Library of Congress, Washington, DC. At theBibliothque Nationale, I was also very grateful for the expertise and ready help of Simone Wallon, BernardBardet and the late Antoine Bloch-Michel. At the Bibliothque de Versailles, Pierre Breillat and hissuccessors, Alice Garrigoux, Claire Caucheteux and Marie-Franoise Rose have similarly been unfailinglyhelpful and responsive to my requests. Among many staff of French provincial libraries, I would like toespecially thank Irma Boghossian (Aix-en-Provence, Bibliothque Mjanes), Mme Bellan (Apt,Bibliothque municipale) and Emilienne Molinar (Avignon, Bibliothque Ceccano). I am also grateful toMargarita Hanson and Robert Lutz, who offered me warm hospitality and very generous access to theirprivate libraries.

Believing passionately that research of such music is of little point unless the music is worth performing andis actually performed, it gives me pleasure to acknowledge the many promoters and musicians who havegiven first modern performances and/or made commercial recordings of various Lalande grands motets asI prepared the editions. These have included (in chronological order) Beckenham Chorale, the English BachFestival (Director, Lina Lalandi), Schola Cantorum of Oxford (directed by Timothy Hands), the Tokyo ProMusica (Director, Yuske Arimura), the Choir of New College, Oxford (Director, Edward Higginbottom),lEnsemble Vocal de Nantes (Director, Paul Collaux), La Chapelle Royale, Paris (Director, PhilippeHerreweghe), Capella Reial, Barcelona (Director, Jordi Savall), the BBC Singers and St. Jamess BaroquePlayers (conductor, Ivor Bolton), Cantus Laetus, Geneva (Director, Natache Casagrande), UppsalaCathedral Choir (Director, Milke Falck), the Thomanerchor, Leipzig (Cantor, Georg-Christoph Biller) andNonsuch Singers, London (Director, Graham Caldbeck), as well as some 40 other choirs and orchestrasworldwide. I would also like to thank colleagues and doctoral students of the Groupe de formationdoctorale (Musique et Musicologie) at the Ecole normale suprieure in Paris, for their assistance in the

Acknowledgements

xii

Acknowledgements

xiii

preparation of the score of Lalandes Confitebimur, while I was teaching there. The Centre de MusiqueBaroque de Versailles organized festivals of Lalandes music in the Chapelle royale at Versailles in 1990 andagain in 2001, and invited me to contribute both the musical material necessary for performance and thebackground material for the programme books.

Much of my research has been very generously aided by financial help from the University of LondonCentral Research Fund, the Winston Churchill Memorial Trust, the French Embassy, London, the BritishCouncil, the Centre National de la Recherche Scientifique, Paris, the British Academy and the Maison desSciences de lHomme, Paris, as well as my employers from 1966 to 1985, Whitelands College and theRoehampton Institute. There I was also assisted with provision of study leave on several occasions, andwould like particularly to remember the late Roy Knight, formerly Principal of Whitelands, for his constanthelp and encouragement.

As well as those already mentioned I would like especially to thank J. Anne Baker, Sylvie Bouissou,Laurence Decobert, Frank Dobbins, John Emerson, Ines Groh, John Hajdu Heyer, Beate Angelika Kraus,Jrme de La Gorce, Bernadette Lespinard, Sylvette Milliot, Philippe Oboussier, David Ponsford, GudrunRyhming, Julie-Anne Sadie, Karlheinz Schlager, David Tunley, Nicole Wild, R. Peter Wolf and Neal Zaslaw.

Among the many people who have answered questions, or provided assistance in various ways, I amgrateful to the following: Louis Auld, Hilary Ballon, Antonia Banducci, Naomi Joy Barker, MauriceBarthlemy, Sandra del Pilar Bastidas Vargas, Peter Bennett, Nathalie Berton, the late Barry S. Brook,Yolande de Brossard, Michael Burden, John Buttrey, Catherine Cessac, Paula Chateauneuf, Jane Clark,Albert Cohen, Frances Cooke, Michel Daudin, the late Roger Delage, Pascal Dencheau, MartineDepagniat, Anik Devris-Lesure, Graldine Gaudefroy-Demombynes, Isabelle Desrochers, FranoiseDurrance, Sbastien Gaudelus, Tula Giannini, Moira Goff, Laurent Guillo, Rebecca Harris-Warrick, H.Wiley Hitchcock, Bent Holm, the late Marc Honegger, Madeleine Inglehearn, Jacques Grimbert, EikoKasaba, Vladia Kunzmann, Albert La France, Flra Lszlo, Nathalie Lecomte, Thomas Leconte, ElenaLionnet, the late Jean Lionnet, Carol Marsh, John Massey Stewart, Bernard Minoret, Nicholas Mitchell,Jean-Paul Montagnier, Viviane Niaux, Kimiko Okamoto, Anne Pijus, Andrew Pinnock, John S. Powell,Jean-Pierre Rasle, the late Stanley Sadie CBE, Hans-Joachim Schulze, Jan Smaczny, the late Robert Spencer,Margaret Steinitz, Michael Talbot, Catherine Thpot, Jennifer Thorp, Jean Vigne, Jacqueline Waeber,Christel Wallbaum, Bruce Wood and Fusako Yamauchi. Alex Fuller, Mark Humphreys, Martin Lubikowskiand David Sawkins all gave invaluable help with page make-up and computer expertise. In the last stages ofpreparation I have been greatly aided by the research and literary skills of Carole Taylor.

The decision of Bruce Phillips, formerly of Oxford University Press, to recommend publication to theDelegates, and their acceptance of the project, has been the basis on which the work of these last years hasbeen founded. Bruce Phillipss friendly encouragement often sustained the author, particularly in the earlystages of the Catalogue when hopes of subvention moved from France to Britain. Also at Oxford UniversityPress, Paul Cleal laid down parameters for page design, and responded to many questions, Helen Foster wasunfailingly cheerful and supportive, as have been her successors, Jacqueline Smith and more recently SarahL. Holmes, who have seen the Catalogue through its final stages to publication.

This volume is dedicated to the memory of my wife, Maureen (obit 26 August 2005), who lived throughmore than 30 years of Lalande and his music, and would have been delighted and proud to see thisCatalogue finally published.

Lionel SawkinsBeckenham, September 2005

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xv

CONTENTS

Foreword vAvant-propos viPreface viiiPrface ixAcknowledgements xAbbreviations xviiLibrary Sigla xviiiList of Illustrations xxIntroduction xxiIntroduction xxivA Calendar of Lalandes Career and Compositions xxviiSummary List of Lalandes Works xxixSource Codes and Descriptions xxxiiNature of the Catalogue and Catalogue Entries xxxixPrsentation du Catalogue xliii

CATALOGUE OF SACRED WORKS

An Introduction to Lalandes Sacred Works 2Introduction aux uvres sacres de Lalande 4The Livres du Roy, 1703 and 1714 (L1, L2) 6An Alphabetical List of the Latin Psalter and Lalandes grands motets 8Correspondences between Principal Manuscript Sources of Lalandes grands motets 10Versions and Revisions of Lalandes grands motets 11The Sous-matres de la Chapelle in the time of Lalande 12The Organistes du Roy in the time of Lalande 13Lalandes motets at the Concert spirituel 14Principal Source Collections: Sacred Music (R1-13) 17

SACRED WORKSI Grands motets S177 59

II Elvations and petits motets S7890 367III Petits motets arranged from grands motets S91106 378IV Domine salvum motets S107115 394V Leons de Tnbres S116124 402

(continued)

Contents

xvi

SACRED WORKS (continued)VI Miscellaneous sacred works

Litanies de la Sainte Vierge S125 411Messe [in plain-chant musical] S126 411Cantique sur le bonheur des justes S127 412Tandis que Babylone S128 415Intermdes de tragdies S129 416Symphonies des Nols S130 417

VII Misattributed grands motets 424

CATALOGUE OF SECULAR WORKS

An Introduction to Lalandes Secular Works 426Introduction aux uvres profanes de Lalande 434Les Symphonies de M. De La Lande of 1703 442The Table Gnrale (c1715) 444The Symphonies Collections: a Comparison 447Concordances between Symphonies Collections 447

SECULAR WORKSI Ballets, Concerts, Idylles, Intermdes, Opras,

Pastorales, Srnades, etc. S131154 451II Suites des Symphonies S155172 584

III Miscellaneous instrumental movements S173 639IV Ritournelles for Airs italiens S174 643V Miscellaneous vocal movements S175 646

Bibliography Pre-1800 647Bibliography Post-1800 650Dufourcq 1957 / Sawkins Catalogue concordances 663Self-borrowings in Lalandes Stage works 666Thematic locators: an Introduction 667Thematic locator (major keys) 668Thematic locator (minor keys) 679Index of titles and first lines 691

xvii

ABBREVIATIONS

B Basse bassBc Basse-continue basso-continuobDs bas-Dessus second sopranoBg Basse-gnrale general bassbl. vide blankBsn Basson bassoonBT Basse-Taille baritoneBTpt Basse de Trompette bass trumpetBVle Basse de Viole bass violBVn Basse de Violon bass violinc circa aboutC. Cadet(te) the youngerc. sicle (17c., 18c.) century (17c., 18c.)Clav Clavecin harpsichordcs Partition des churs choral scoreDs Dessus soprano (treble)Dsi Dessus instrumental treble instrumentDsVn Dessus de Violon violinf. (ff.) folio(s) folio(s)

Fl Flte flute

Fl A Flte allemande transverse fluteFl bec Flte bec recorderfs Partition gnrale full scoreGCh Grand Chur full chorusHb Hautbois oboeHC Haute-Contre Haute-ContreHCVn Haute-Contre de Violon first violaHT Haute-Taille high tenorillum. enlumin illuminated [MS]ks Armature key signatureL. Lan(e) the elderm. Mesure(s) measure(s) [bar(s)]Mlle(s) Mademoiselle(s) Mademoiselle(s)mm. millimtres millimetresMrs Messieurs MessrsMS(S) Manuscrit(s) manuscript(s)mvt. mouvement movementn. d. sans date no date (undated)obl. oblong oblongp. (pp.) Page(s) page(s)parties Parties de remplissage viola partsPCh Petit Chur semi-chorusprov. provenance provenancePs. Psaume Psalmpt Partie (matriel) partpt-bk Partie spare part-bookQVn Quinte de Violon third violar recto rectoRcit Rcit soloRcitatif Rcitatif recitative

R Rimpression reprintrev. rvis revisedrpt Reprise repeatrs Partition rduite reduced scoreT Taille tenort. tome volumeTH Taille-Haute high tenorThb Thorbe theorboTimb Timballes timpanitp Page de titre title pageTpt Trompette trumpetts Signe de mesure time signatureTVn Taille de Violon second violav verso versov. (vv.) Verset(s) verse(s)Vc Violoncelle celloVle Viole violVn Violon violinvs Partition clavier/chant vocal score

Bibliographical abbreviations conform to those usedin The New Grove Dictionary of Music andMusicians.

xviii

LIBRARY SIGLA

AUSTRIAA-Wn Wien, sterreichische Nationalbibliothek, Musiksammlung

BELGIUMB-Bc Brussels, Conservatoire Royal de MusiqueB-Br Brussels, Bibliothque Royale Albert IerB-Lc Lige, Conservatoire Royal de Musique

CANADAC-Qmu Qubec, Ursuline Convent

FRANCEF-A Avignon, Bibliothque Municipale Ceccano (formerly Musum Calvet)F-AG Agen, Archives dpartementales de Lot-et-GaronneF-AIXc Aix-en-Provence, ConservatoireF-AIXm Aix-en-Provence, Bibliothque MjanesF-AIXmc Aix-en-Provence, Fonds de la Cathdrale (in AIXm)F-APT Apt, Bibliothque municipaleF-AR Arles, Bibliothque municipaleF-B Besanon, Bibliothque municipaleF-BO Bordeaux, Bibliothque municipaleF-C Carpentras, Bibliothque InguimbertineF-CHRa Chartres, Archives dpartementalesF-Dm Dijon, Bibliothque municipaleF-Lad Lille, Archives dpartementalesF-Lam Lille, Archives municipalesF-Lm Lille, Bibliothque municipaleF-LM Le Mans, Bibliothque municipaleF-LYm Lyon, Bibliothque municipaleF-Mc Marseilles, Conservatoire de MusiqueF-Nm Nantes, Bibliothque municipaleF-Pa Paris, Bibliothque de lArsenalF-Pan Paris, Archives NationalesF-Pc Paris, Fonds du Conservatoire (in F-Pn)F-Pcm Paris, Bibliothque du Conservatoire (formerly rue Madrid)F-Pens Paris, Bibliothque de lEcole Normale SuprieureF-Pf Paris, Bibliothque ForneyF-Ph Paris, Bibliohque historique de la Ville de ParisF-Phanson-dyer Paris, Bibliothque Hanson-DyerF-Pi Paris, Bibliothque de lInstitutF-Plutz Paris, Collection Robert LutzF-Pm Paris, Bibliothque MazarineF-Pmeyer Paris, Collection Andr MeyerF-Pn Paris, Bibliothque Nationale de FranceF-Po Paris, Bibliothque et Muse de lOpraF-Psg Paris, Bibliothque Ste-GeneviveF-R(m) Rouen, Bibliothque municipaleF-Rad Rouen, Archives dpartementalesF-RE Rennes, Bibliothque municipaleF-RS Reims, Bibliothque municipaleF-SE Sens, Bibliothque municipaleF-Sn Strasbourg, Bibliothque Nationale et UniversitaireF-SOI Soissons, Bibliothque municipaleF-T Troyes, Bibliothque municipale

Library Sigla

xix

F-TLc Toulouse, Fonds du Conservatoire (in F-TLm)F-TLm Toulouse, Bibliothque municipaleF-TO Tours, Bibliothque municipaleF-V Versailles, Bibliothque municipaleF-VAL Valenciennes, Bibliothque municipale

GERMANYD-B Berlin, StaatsbibliothekD-Dlb Dresden, Schsische LandesbibliothekD-Hs Hamburg, Staats- und UniversittsbibliothekD-Kl Kassel, Murhardsche Bibliothek und Landesbibliothek

GREAT BRITAINGB-Cfm Cambridge, Fitzwilliam Museum LibraryGB-Lbl London, British LibraryGB-Lcm London, Royal College of Music LibraryGB-Lu London, University of London Music LibraryGB-Lva London, Victoria and Albert Museum LibraryGB-Lwa London, Westminster Abbey LibraryGB-T Tenbury, St. Michaels College Library

ITALYI-Gi Genova, Conservatorio di Musica Nicolo PaganiniI-Tn Torino, Biblioteca Nazionale Universitaria

THE NETHERLANDSNL-DHgm The Hague, Gemeentemuseum

RUSSIARU-Mrg Moscow, Rossiyskaya Gosudarstvennaya Biblioteka (formerly Ml, Lenin

Library)

SWEDENS-Sk Stockholm, Kungliga BiblioteketS-Smf Stockholm, Stiftelsen Musikkulturens FrmjandeS-Uu Uppsala, Universitetsbiblioteket

USAUS-AAu Ann Arbor, University of Michigan, Music LibraryUS-BE Berkeley, University of California, Music LibraryUS-BO Boulder, University of Colorado, Music LibraryUS-CA Cambridge, Harvard University Music LibrariesUS-Cn Chicago, Newberry LibraryUS-NH New Haven, Yale University, School of Music LibraryUS-R Rochester, University, Sibley Music LibraryUS-Wc Washington, Library of Congress, Music Division

xx

LIST OF ILLUSTRATIONS

Portrait of Michel-Richard de Lalande by Robert Tournires (1667-1752) frontispiecePhoto: Collection archives Larbor, Paris

Ex. 1. VPh , page 16 of Quam dilecta S12/i, in the hand of Andr Danican Philidor lan, showingold and new paginations (F-V , Ms mus 9).

Ex. 2. VPh , page 15, Deitatis majestatem S3, in the hand of Franois Fossard (F-V , Ms mus 14).

Ex. 3. VPh , page 24, Christe redemptor S21, in a third hand, with text added by Franois Fossard(F-V , Ms mus 15).

Ex. 4. TPh, printed title page of set of part-books for motets of Lalande (F-Pn, Rs. F. 1697).

Ex. 5. V25, Venite exultemus Domino S58/i, in the hand Herlin Ph5 (F-V , Ms mus 25, p. 1).

Ex. 6. MR, Te Deum Simple S32/iii, autograph (F-Pc , H400D[3], f. 1r).

Ex. 7. MR, Te Deum Simple S32/iii; Lalandes instructions for copying of parts. (F-Pc ,H400D[3], f. 27v).

Ex. 8. H, Table des Motets gravs de Feu Mr. de Lalande et lAnne quil les a composs (tablefound in some volumes of Motets de feu M. De La Lande..., Paris, 1729-34, 20 vols.

Ex. 9. H, frontispiece, engraving by S. Thomassin [after a portrait by J.-B. Santerre (1651-1717)] ,and title page a1 of Livre I of Motets de feu M. De La Lande..., Paris, 1729-34, 20 vols.

Ex. 10. H, title page a2 found on early impressions of Livres II-V, with the same plate modifiedto include details of the address of Mlle Hue (b, c and d). Title page b is only found in copiesof Livres II-XIII (those published by 1732), title page c is found in a few copies of Livres II, IV,V, XIV and XV , but title page d was used for all 19 Livres II-XX and so probably dates from1734 (see Distribution of Printed Edition and Impressions, pp. 42-3).

Ex. 11. H, newly-engraved title pages e and f, where La Veuve Boivin has replaced Le SieurBoivin (after November, 1733 see text); copies are also shown as available chez le Sr. LeClairc; title page f also shows that Mlle Hue had moved chez Mr. Blot. Title page e onlyappears on Livres IV, VI-VIII and XI, whereas title page f is found in Livres II-XX .

Ex. 12. H (21), title pages (a) and (b) (the second a modification of the first) of Les III Leons deTenebres et le Miserere a voix seule de feu M. De La Lande, Paris, 1730.

Ex. 13. A5840, Table Des motets de feu Monsieur De la Lande qui nont point est gravez etlanne quil les a composs (the 2nd table; the 1st lists motets included in H) (F-A, Ms 5840, f. 3).

Ex. 14. C, Laudate Dominum (Ps. 146) S57/ii, showing the hand responsible for all 21 volumes ofthe Cauvin collection (F-V , Ms mus 224, p. 5).

Ex. 15.Mgr le Duc dAnjou declar par le Roy, et reconnu Roy dEspagne Versailles le 16. 9bre .[novembre] 1700, vignette, Le Conclave des cardinaux pour llection du pape, Paris (Langlois),1701. Photo: Giraudon/Bridgeman. See Commentary: Beati omnes S51.

Ex. 16. Table Gnrale apparently describing a collection, Gh2 (TG), dating from c1715 (F-Pc,Rs. 581, t. II, pp. 273-82).

21

22

22

24

25

28

28

34

36

37

38

41

45

52

258

444

Kind permission has been given by the following libraries to reproduce illustrations:Exs. 1-3, 5 & 14 by the Bibliothque municipale, Versailles; Exs. 4, 6, 7 & 16 by the Bibliothque Nationalede France, and Ex. 13 by the Bibliothque municipale, Avignon (Livre Ceccano).

xxi

INTRODUCTION

Michel-Richard de Lalande [De La Lande, Delalande] was born in Paris on 15 December 1657, and died on18 June 1726, at Versailles. By the end of his life, he was Chevalier de lOrdre de St. Michel, Surintendantde la Musique du Roy, Sous-Matre de Musique et Compositeur Ordinaire de la Chapelle, Matre deMusique and Compositeur de la Musique de la Chambre, having served under two sovereigns, Louis XIVand Louis XV (see A Calendar of Lalandes Career and Compositions below).

Becoming an Enfant de Choeur of St-Germain-lAuxerrois at the age of 9, at the same time as Marin Marais,Lalande was singled out by the Matre de Musique, Franois Chaperon, as his most gifted pupil. Soon afterChaperon moved to the Sainte-Chapelle in 1679, he encouraged the young Lalande by performing some ofhis Leons de Tnbres there. By then, Lalande was organist of both Saint-Jean-en-Grve and at St-Gervais,in the latter case acting as locum tenens during the minority of Franois Couperin. Some of Lalandes grandsmotets, known to have been composed before his appointment to the Chapelle royale, may also have beenperformed by Chaperon, or perhaps at Saint-Louis-des-Jsuites, where (according to Alexandre Tannevot)Lalande was also organist at this time (perhaps while Marc-Antoine Charpentier was matre de musiquethere). Tannevot also related that Lalande composed music for several tragedies for the Jesuits (now lost),in which il sen acquitta avec succs.

Lalandes success as a harpsichord teacher to Mlle de Noailles led to a similar appointment to teach Mlle deNantes and Mlle de Blois, the kings daughters by Mme de Montespan. In 1682-3, he composed four worksfor stage or outdoor entertainment, notably Les fontaines de Versailles. But his first important court postcame with his success at the great 1683 concours when Lalande was the kings personal choice as one of thefour Sous-matres de la Chapelle in succession to Henry Du Mont and Pierre Robert.

The unexpected death of the Queen, Marie-Thrse, a few weeks later, and the consequent strengthening ofthe influence of Mme de Maintenon produced an atmosphere more conducive to a royal interest in sacred,rather than secular music, exactly matching Lalandes own inclinations. By the time he had taken up hisappointment on 1 October 1683, he had composed 13 grands motets, and in little more than five years, atleast another 11, as well as more stage music, notably the Ballet de la Jeunesse (1686) (which supplantedLullys planned premire of Armide at court), and, in January 1689, Le Palais de Flore. Within days of thislatter premire, he was appointed Surintendant de la Musique de la Chambre. By the end of 1689, he hadcomposed another six grands motets, and the court copyists Franois Fossard and Andr Danican Philidorlan had almost completed their magnificent folio Recueil qui contient tous les Motets de Mr. de laLande, made on the kings orders. This was a singular tribute to the 31-year-old composer, when oneconsiders that his two predecessors motets were not collected and published until their retirement, and nosimilar collections were made of the works of his three fellow Sous-matres (Colasse, Minoret andGoupillet). This Recueil of 1689-90, today containing 27 motets, is the principal source of our knowledgeof Lalandes early sacred style (F-V, Ms Mus 8-17) (VPh).

Over the next 15 years, Lalande produced a steady stream of new motets and stage works, but had alreadybegun to significantly modify his style in an increasingly Italianate manner, and to revise his earlier works(even the 1689-90 Recueil had included one such such revision). Ironically, from the moment Lully arrivedin France from Italy at the age of 13, he seems to have worked assiduously throughout his career to provehe was more French than the French, while many other French composers, including Lalande, wereinteresting themselves in the latest ideas from Italy, and how they could best absorb them into the Frenchstyle. Les gots runis was a many-faceted phenomenon, but one may note some of the incidents inLalandes life which demonstrate his interest in and familiarity with Italian style and the way in which thisinterest was absorbed into his own compositions. In chronological order, these events include:

(i) the appointment of Henri Du Mont as one of the two Sous-maitres de la Chapelle in 1660; Du Mont hadarrived in Paris from Flanders about 1643, already well-versed in the Italian continuo style (Lalande wasdestined to replace him as one of the Sous-matres in 1683 and his early grands motets show Du Montsinfluence),

(ii) the arrival at Versailles in 1679 of the first five Italian castrati to sing in the choir of the royal chapel,singers with whom he would shortly be working. The castrati had been brought from Italy by PaoloLorenzani, who had himself arrived at the French court the previous year,

(iii) Lalandes cooperation with Lorenzani in providing the music for Une Srnade en forme dOpra S131at Fontainebleau in November 1682,

(iv) Lalandes participation in the soires dedicated to Italian music chez the Abb Mathieu (who, accordingto Brossard, left his library of such music to Lalande)

(v) Lalandes contribution of six of the 12 ritournelles to the book of Italian operatic airs collected byFossard and Philidor, and published in 1695 (these reappeared in a larger manuscript collection for thecomte de Toulouse in 1703) (see S174),

(vi) the appearance in Paris of copies of Corellis trio sonatas as early as 1695 (see Pc533 1695). Lalande wasto acknowledge his debt to Corelli by including the Christmas Concerto in the programme of the firstConcert spirituel in March 1725 (the rest of the programme consisted entirely of Lalandes works).

By the time the comte de Toulouse commissioned his collection from Philidor in 1703 (TPh), Lalande hadcomposed a further 34 grands motets, as well as several lvations (petits motets), his Cantique de Racine(1695), numerous settings of Domine, salvum fac regem (S107-15), and seven major stage works. Theearliest volumes of the collection of the comte de Toulouse (TPh) appear to be Les Symphonies de M. DeLa Lande qui se jouent ordinairement au Souper du Roy (1703) (F-Pc, Rs.582) containing 160movements organized in 10 suites and a Concert de Trompettes (later collections of these symphoniesincluded some 300 movements). Of the stage works of this period, the only one to survive in complete formis the pastorale, LAmour flchy par la Constance (F-LYm, Ms 133620), performed first at Fontainebleau inOctober 1697, and then probably repeated alongside Destouches Iss, for the wedding of the duc deBourgogne in December at Versailles; Lalandes grand motet, Eructavit cor meum, graced the same occasion.

During the remaining years of the reign of Louis XIV, Lalandes production of secular music ceased exceptfor his Ballet de la Paix in 1713, and the rate at which he composed new grands motets also slowed down.His energies appear to have been mainly directed at extensively revising earlier motets to match the style ofthose few he newly composed. Outstanding among these revisions must be counted those of De profundis(sung at the funeral of Louis XIV), Miserere mei (Ps. 50), Confitebor tibi (Ps. 110) and Te Deum laudamus.But the years 1705-10 also produced eight new grands motets, and the seven that have survived show thecomposer at the height of his powers: Confitemini, Quare fremuerunt, Exurgat Deus, Cantate Domino (Ps.97) (the most performed of all his motets at the Concert spirituel 1725-1770), Dixit Dominus (2nd setting),Sacris solemniis and Exultate justi. This last may have been written for the consecration of the present chapelat Versailles, on 5 June 1710 (Louis XIV had required Lalande to perform motets in the new chapel in orderto judge its acoustic before he permitted the consecration to go ahead).

In 1711, the smallpox epidemic which resulted in the Dauphins death moved Lalande to revise his Dies ir,originally written for the Dauphines funeral in 1690, thereby producing one of his masterpieces in theprocess. Like their mother, Anne Rebel, Lalandes two daughters were both outstanding singers, but theytoo were claimed in the same epidemic, soon after the Dauphin. Lalande only composed two more grandsmotets; one, Exaltabo te, Deus meus, the next year, included a soprano duet which was undoubtedly atribute to his daughters, and the other, a new setting, in 1721 (during the Regency), of Omnes gentes. Theinclusion of trumpets in this work would imply it was for a ceremonial occasion. But he continued therevision process of earlier works, including that of Veni Creator in 1722 (probably for the Coronation ofLouis XV) and the Te Deum, the only one of his motets to survive in his own autograph. This score (F-Pc,H400D[3]) is a unique document, showing many revisions, cuts and alternatives, and includes timings at theend of each movement, as well as a total of une bonne demi-heure (S32/iii).

Most of Lalandes shorter sacred works for which he is justly celebrated the three surviving Leons deTnbres (he set all nine), his Miserere voix seule, and O filii & fili voix seule, (together with a Reginacli voix seule, now lost) must have been composed before 1711, since Philidor, in his 1729 Catalogue(F-A, Ms 1201) tells us they were chantez par Mesdemoiselles De la Lande ladmiration de tout Paris.

Introduction

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Introduction

xxiii

In 1720, Lalande resumed composition of stage music with a series of ballets devised for the young LouisXV: LInconnu, Les Folies de Cardenio (both 1720) and Les Elmens (1721), this last with Destouches. Thedeath of Lalandes wife in 1722, and the busy schedule occasioned by the return of the court to Versaillesand the coronation of Louis XV were no doubt all factors that led him, early in 1723, to resign from threeof his four quarters as Sous-matre de la Chapelle; Nicolas Bernier, Andr Campra and Charles-HubertGervais were appointed in his place. In April of the same year, he remarried, his new wife being the violplayer, Marie-Louise de Cury, who was ultimately to play such a significant role in the posthumouspublication of her late husbands motets.

In the last year of his life, although none of his grands motets had been published (no doubt he would neverhave agreed to such an idea while he was still revising them), he experienced what must have been the greatpleasure of having numerous works performed at the Concert spirituel which began in March 1725. Hisdeath at the age of 68 in June 1726 marked the end of a remarkable career of 43 years at court, during whichhe acquired even more posts in the musical establishment than had the notorious Lully. But it was also thebeginning of a new life for his grands motets, flourishing as the staple diet of the Concert spirituel for thenext 45 years, with 14 of them also remaining in the repertory of the Chapelle royale until the last days ofthat institution in 1792. A major factor in the diffusion of these works was the posthumous engravededition (1729-34) (H) which his widow launched immediately after his death. It contained 40 grands motetsin partition rduite, including almost all the works of his maturity together with some of the earlier ones inlate revisions, as well as three of the Leons de Tnbres, and his Miserere voix seule.

If Lalandes stage music was unpretentious and largely conformed to inherited Lullian models, the samecannot be said of his 77 grands motets (of which 65 survive in score), which mark the apoge of the genre,and served as the yardstick by which all such works composed before or after were measured. They aredistinguished by a remarkably subtle response to the texts, and writing for both voices and instruments thatalways demands sensitivity to phrasing, and often, virtuosity. Among his generation, Lalande was the mostskilled of contrapuntists, and he also exploited the extended harmonic palette inherited from Charpentier.Orchestral accompaniments employ the whole gamut of colourful effects common to sacred and secularmusic of the time, as the dramatic nature of the psalm texts so often demanded, and such accompanimentsexhibit a new independence from the straightforward doubling of voices that contented most of Lalandespredecessors and contemporaries. Little wonder that as late as 1754, the Abb Laugier could write: LaLande offers us beauties of composition the result of great contemplation and study. One finds nothingthere of the obvious, the facile, the elegant, or the graceful, but in portraying the devout, the tender, thegrave, the noble, the majestic, and the terrible, he has eminently succeeded.

Recognizing the importance of Lalandes library (which included works inherited from the Abb Mathieu),Sbastien de Brossard, immediately he heard of Lalandes death, approached the royal librarian, the AbbBignon, to request that the library acquire Lalandes collection from his estate. Sadly, Bignon replied (27June 1726, nine days after Lalandes death): With respect to the library of the late M. de La Lande, I do notquite see what use we can make of the information you have given me. We have no funds at the library tomake acquisitions. You have certainly seen that for yourself. There is no indication that at some time theKing would take it into his head to augment the extraordinary expenditure. On the other hand, it wouldnot be right to acquire these curiosities without paying the heirs generously for them. (F-Pn, ms fr 22234,f. 30. [Less than 18 months later, on 20 November 1727, the royal library nevertheless found 300 livres topurchase the manuscripts of the works of Marc-Antoine Charpentier (see Hitchcock 1985).]

INTRODUCTION

Michel-Richard de Lalande [De La Lande, Delalande] n Paris le 15 dcembre 1657, mourut le 18 juin 1726 Versailles. la fin de sa vie, il tait Chevalier de lOrdre de St. Michel, Surintendant de la Musique du Roy,Sous-Matre de Musique et Compositeur Ordinaire de la Chapelle, Matre de Musique et Compositeur dela Musique de la Chambre, et avait t au service de deux souverains, Louis XIV et Louis XV (voir plus basla Chronologie de la carrire et des compositions).

Devenu Enfant de Chur Saint-Germain-lAuxerrois lge de 9 ans, au mme moment que MarinMarais, Lalande fut choisi par le Matre de Musique, Franois Chaperon, comme tant le plus talentueux deses lves. Peu aprs que Chaperon eut occup le poste de la Sainte-Chapelle en 1679, il encouragea le jeuneLalande y donner quelques-unes de ses Leons de Tnbres. Par la suite, Lalande devint organiste de Saint-Jean-en-Grve et de Saint-Gervais o dans ce dernier cas il fit office de remplaant durant la minorit deFranois Couperin. Quelques-uns des grands motets de Lalande passent pour avoir t composs avantquil nentrt la Chapelle royale et ont pu tre donns par Chaperon, ou peut-tre Saint-Louis-des-Jsuites, o selon Alexandre Tannevot, Lalande fut aussi organiste cette poque (peut-tre pendant queM.-A. Charpentier y fut matre de musique). Tannevot rapporte aussi que Lalande composa la musique deplusieurs tragdies (aujourdhui perdues) et qu il sen acquitta avec succs .

Son succs comme professeur de clavecin auprs de Mlle de Noailles lui permit de devenir celui de Mlle deNantes et de Mlle de Blois, les filles du roi et de Mme de Montespan. En 1682-1683, il composa quatreuvres pour le thtre ou des divertissements dextrieur, notamment Les Fontaines de Versailles. MaisLalande remporta son premier poste important au clbre concours de 1683, lorsquil fut choisi par le roipour devenir lun des quatre Sous-matres de la Chapelle et succder ainsi H. Du Mont et P. Robert.

La mort soudaine de la reine Marie-Thrse, quelques semaines plus tard, et le renforcement qui sen suivitde linfluence de Mme de Maintenon cra une atmosphre plus propice un regain dintrt envers lamusique sacre, au dtriment de la musique profane, ce qui correspondait aux propres inclinations deLalande. Au moment mme o il prit ses fonctions le 1er octobre 1683, il avait compos 13 grands motets,et en un peu plus de cinq ans, au moins 11 autres, ainsi que beaucoup de musique thtrale, notamment leBallet de la Jeunesse (1686) (qui supplanta la premire initialement prvue dArmide de Lully la Cour) et,en janvier 1689, Le Palais de Flore. Quelques jours aprs la premire du Palais de Flore, il fut nommSurintendant de la Musique de la Chambre. la fin de lanne 1689, il avait compos six autres grandsmotets, et les copistes de la Cour Franois Fossard et Andr Danican Philidor lan avaient quasimenttermin le Recueil qui contient tous les Motets de Mr. de la Lande , magnifiques volumes in-folio ralisspar ordre du roi. Cest un hommage unique un compositeur g de 31 ans, si on se rfre au fait que lesmotets de ses deux prdcesseurs navaient t ni runis ni publis avant leur retraite, et quil nexiste aucunrecueil comparable des uvres des trois Sous-matres (Colasse, Minoret et Goupillet). Ce Recueil de 1689-1690, runissant 27 motets, est la source principale pour notre connaissance du style des uvres sacrescomposes durant la jeunesse de Lalande (F-V, Ms Mus 8-17) (VPh).

Durant les quinze annes qui suivirent, Lalande, tout en produisant un nombre soutenu de nouveaux motetset duvres thtrales, avait dj commenc modifier intentionnellement son style sous linfluencecroissante de la manire italienne, et rviser ses premires uvres (mme le Recueil de 1689-1690 comportedes remaniements). Ironiquement, partir du moment o Lully quitta lItalie et arriva en France lge de13 ans, celui-ci semble avoir uvr assidment au cours de sa carrire prouver quil tait plus franais queles Franais eux-mmes, tandis que nombre dautres compositeurs franais, y compris Lalande,sintressaient aux dernires ides venues dItalie, et la meilleure manire dont ils pouvaient les fondre dansle style franais. Les gots runis taient un phnomne qui recouvrait de nombreuses facettes, mais ilconvient de souligner les influences quils exercrent sur la vie de Lalande, dmontrant sa familiarit et sonintrt pour le style italien et la faon dont il la assimil dans ses propres compositions. Ces vnementscomprennent dans lordre chronologique :

(i) lengagement de Henri Du Mont en tant que lun des deux Sous-matres de la Chapelle en 1660 ; Du

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Mont, originaire des Flandres, tait arriv Paris vers 1643, et tait dj bien au fait du style italien enmatire de continuo (Lalande devait le remplacer en 1683 et devenir lun des Sous-matres et ses premiersgrands motets tmoignent de linfluence de Du Mont),

(ii) larrive Versailles en 1679 des cinq premiers castrats italiens destins chanter dans les churs de laChapelle royale, chanteurs avec lesquels il travailla peu de temps aprs. Les castrati avaient t ramensdItalie par Paolo Lorenzani, qui tait arriv lui-mme la Cour de France lanne prcdente,

(iii) la collaboration de Lalande avec Lorenzani lors de la composition de la musique dUne Srnade enforme dOpra S131 Fontainebleau en novembre 1682,

(iv) la participation de Lalande des soires consacres la musique italienne chez labb Mathieu (qui,selon Brossard, laissa sa bibliothque musicale Lalande),

(v) la contribution de Lalande au livre dairs dopras italiens rassembls par Fossard et Philidor et publisen 1695 pour lequel il composa six des 12 ritournelles (celles-ci furent remployes dans la grandecollection manuscrite du comte de Toulouse en 1703) (voir S174),

(vi) lapparition trs tt de copies des sonates en trio de Corelli Paris vers 1695 (voir Pc533 1695). Lalandemanifesta sa reconnaissance envers Corelli en insrant le Concerto de Nol dans le programme du premierConcert spirituel de mars 1725 (le reste du programme tait entirement dvolu aux uvres de Lalande).

Lorsque le comte de Toulouse commanda sa collection Philidor en 1703 (TPh), Lalande avait compos 34motets supplmentaires, ainsi que plusieurs lvations (petits motets), son Cantique de Racine S127 (1695),de nombreux Domine salvum fac regem (S107-15) et sept uvres thtrales majeures. Dans les premiersvolumes de la collection du comte de Toulouse (TPh) figurent Les Symphonies de M. De La Lande quise jouent ordinairement au Souper du Roy (1703) (F-Pc, Rs.582) qui rassemblent 160 mouvements organissen 10 suites et un Concert de Trompettes (des collections plus tardives incluront vers 300 mouvements). Desuvres thtrales de cette priode, seule subsiste en totalit la pastorale, LAmour flchy par la Constance(F-LYm, Ms 13362), donne pour la premire fois Fontainebleau en octobre 1697, et probablement rpteen mme temps quIss de Destouches, lors du mariage du duc de Bourgogne en dcembre Versailles ; legrand motet de Lalande, Eructavit cor meum, fut interprt dans les mmes circonstances.

Durant les dernires annes du rgne de Louis XIV, la production de Lalande dans le domaine de la musiqueprofane cessa, bien quil compost le Ballet de la Paix en 1713 ; le rythme auquel il crivit de nouveauxgrands motets se ralentit aussi. Il employa principalement son nergie une large rvision des premiersmotets afin de les rapprocher du style quil employait dans ses nouveaux motets. Parmi ses rvisions il fautsignaler celles quil entreprit du De profundis (chant lors des funrailles de Louis XIV), du Miserere mei(Ps. 50), du Confitebor tibi (Ps. 110) et du Te Deum laudamus. Mais vers 1705-1710, il avait aussi composhuit grands motets, et les sept qui nous sont parvenus dmontrent que le compositeur tait alors au sommetde ses capacits : Confitemini, Quare fremuerunt, Exurgat Deus, Cantate Domino (Ps. 97) (le motet le plusjou au Concert spirituel entre 1725 et 1770), Dixit Dominus (deuxime version), Sacris solemniis et Exultatejusti. Ce dernier pourrait avoir t compos pour la conscration de la Chapelle royale Versailles, le 5 juin1710 (Louis XIV avait demand Lalande dexcuter des motets dans la nouvelle chapelle afin que lesouverain pt juger de son acoustique avant quil nautorist la poursuite de sa conscration.)

En 1711, lpidmie de petite vrole qui provoqua la mort du Dauphin incita Lalande rviser son Dies ir,initialement crit pour les funrailles de la Dauphine en 1690, et par la-mme produire par le biais desremaniements lun de ses chefs duvre. Chanteuses exceptionnelles comme leur mre Anne Rebel, les deuxfilles de Lalande furent elles aussi victimes de la mme pidmie, peu aprs le Dauphin. Lalande composaseulement deux autres grands motets ; lun lanne suivante, Exaltabo te, Deus meus, comporte un duo desopranos qui est sans aucun doute un hommage ses deux filles, et lautre en 1721 (lors de la Rgence), unenouvelle version dOmnes gentes. La prsence des trompettes dans cette uvre signifierait quil le remaniaen vue dune crmonie officielle. Cependant il poursuivait le processus de rvision de ses premires uvres,et tout particulirement du Veni Creator en 1722 (probablement pour le couronnement de Louis XV) et duTe Deum, le seul de ses motets dont lautographe nous soit parvenu. Cette partition (F-Pc, H400D[3]) estun document unique, qui montre les nombreuses rvisions, coupures et versions alternatives, et quicomporte des indications de dure la fin de chaque mouvement ainsi que la dure totale de luvre unebonne demi-heure (S32/iii).

La plupart des uvres sacres de plus petite dimension qui ont contribu juste titre sa renomme lestrois Leons de tnbres qui subsistent (il en avait compos neuf en tout), son Miserere voix seule, et O filii& fili voix seule (runi avec un Regina cli voix seule, maintenant perdu) ont d tre composes avant1711, puisque que Philidor dans son catalogue de 1729 (F-A, Ms 1201) nous dit quils avaient t chantezpar Mesdemoiselles De la Lande ladmiration de tout Paris .

En 1720, Lalande revint la composition duvres thtrales avec une srie de ballets destins au jeuneLouis XV : LInconnu, Les Folies de Cardenio (tous deux de 1720), et Les Elmens (1721), ce dernier encollaboration avec Destouches. Le dcs de sa femme en 1722, un emploi du temps trs charg occasionnpar le retour de la Cour Versailles et le couronnement de Louis XV le conduisirent sans aucun doute renoncer au dbut de 1723, trois de ses quatre quartiers de Sous-matre de la Chapelle ; Nicolas Bernier,Andr Campra et Charles-Hubert Gervais furent engags sa place. En avril de la mme anne, il se remariaavec Marie-Louise de Cury, qui jouait de la basse de viole et qui eut un rle dterminant dans la publicationposthume des motets de feu son mari.

Dans la dernire anne de sa vie, bien quaucun des grands motets net t publi (sans aucun doute ilnaurait jamais accept une telle ide, car il souhaitait toujours rvis son uvre), il prouva, ce qui a d treun immense plaisir, davoir de nombreuses uvres donnes au Concert spirituel qui ouvrit ses portes enmars 1725. Son dcs lge de 68 ans en juin 1726 marqua avec 43 annes au service de la Cour le termedune remarquable carrire au cours de laquelle il occupa plus de postes dans les institutions musicales quele clbre Lully. Mais ce fut aussi le dbut dune nouvelle vie pour ses grands motets, qui firent office de platprincipal au Concert spirituel durant les 45 ans qui suivirent sa fondation, tandis que 14 motets restrent aurpertoire de la Chapelle royale jusquaux derniers jours de linstitution en 1792. Ldition posthume grave(1729-1734) (H) que la veuve du compositeur entreprit immdiatement aprs son dcs joua un rledterminant dans la diffusion de ses uvres. Cette srie, qui rassembla 40 grands motets en partition rduite,comprenait aussi bien des uvres de la maturit que des uvres de jeunesse prsentes dans leur versionrvise, ainsi que trois des neuf Leons de tnbres et son Miserere voix seule.

Si les uvres thtrales de Lalande sont sans prtention et tout fait conformes aux modles hrits de latradition lullyste, il nen est pas de mme de ses 77 grands motets (dont 65 subsistent en partition) ; cesderniers incarnent lapoge dun genre, et servent dtalon pour valuer toutes les uvres composes avantet aprs. Ils se distinguent par une remarquable et subtile mise en valeur des textes et une criture pour lesvoix et les instruments qui requiert toujours un sens du phras, et bien souvent de la virtuosit. Descompositeurs de sa gnration, Lalande, qui fut le plus talentueux des contrapuntistes, exploita une paletteharmonique tendue hrite de Charpentier. Les accompagnements orchestraux utilisent toutes lesressources de la gamme avec des effets de couleur communs aux uvres musicales sacres et profanes delpoque, effets requis par le caractre dramatique des textes issus des psaumes. De tels accompagnementsinstrumentaux tmoignent de cette nouvelle indpendance et de laffranchissement de la doubluresystmatique des parties vocales dont se contentaient les prdcesseurs de Lalande et ses contemporains. Peusen tonnrent, tel labb Laugier qui crivit en 1754 : La Lande nous offre des beauts de compositionplus rflchies et plus tudies. On ny trouve point le grand naturel, le facile, llgant, le gracieux; maisdans le dvot, le tendre, le grave, lauguste, le majestueux, le terrible, il a russi minemment.

Ds quil sut le dcs de Lalande, Sbastien de Brossard, qui connaissait limportance de la bibliothque ducompositeur (celle-ci comprenait les uvres hrites de labb Mathieu), sentremit auprs de labb Bignonafin que la bibliothque royale se portt acqureur de la collection du compositeur auprs de ses hritiers.Malheureusement, Bignon rpondit le 27 juin 1726, neuf jours aprs la mort de Lalande : lgard ducabinet de feu M. de La Lande, je ne vois pas bien quel usage nous pouvons faire de lavis que vous medonns. Nous navons aucun fonds a la Bibliotheque pour faire des acquisitions. Vous lavis bien vu parvous-mme. Il ny a pas dapparence que dicy a quelque tems le Roy saviseroit daugmenter les depensesextraordinaires. Dun autre cot il ne seroit pas juste datirer ces curiosits sans les payer noblement auxhritiers. (F-Pn, ms fr 22234, f. 30). [Moins de dix-huit mois aprs, le 20 novembre 1727, la bibliothqueroyale trouva 300 livres pour se porter acqureur des manuscrits des uvres de Marc-Antoine Charpentier(voir Hitchcock 1985).]

Introduction (franais)

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xxvii

A CALENDAR OF LALANDES CAREER AND COMPOSITIONSYear Events Sacred Works Secular Works1657 15 Dec., born Paris1667 15 Apr., Chorister, Paris,

St Germain-lAuxerrois1672 9 Sep., left Choir1678 June, St Germain-en-Laye,

rejected at organ concoursNon, non, je ne croyais pas(Chanson) (by 1678)

1679 26 Feb., Organist, Paris,St Gervais (until 1685)

1680 Taught harpsichord toMlles de Noailles, de Nantes,de Blois

Dixit Dominus I;Leons de Tnbres (withChaperon, Lalouette),17-19 Apr., Ste-Chapelle

1681 Magnificat1682 30 May, Organist, Paris,

St Jean-en-Grve (until 1691)Deitatis majestatem,Intermdes for tragdies byFleuriau (Collge de Clermont)

[Une Srnade en formedOpra] , Nov., Fontainebleau(with Paolo Lorenzani)

1683 16 May, success at Concoursfor 4 Sous-matres de laChapelle ; 31 July, death ofQueen Marie-Thrse;1 Oct., Sous-Matre de laChapelle (Oct.-Dec.)

Afferte Domino, Beati quorum ,Ad te levavi , Audite cli,Ecce nunc benedicite, JubilateDeo , Laudate Dnum Ps. 116,Omnes gentes I, Quam dilecta,Super flumina Babylonis

LAmour Berger, Mar., Paris;Les Fontaines de Versailles,5 Apr., Versailles;Concert dEsculape,May, Versailles

1684 9 July, married Anne Rebel,Paris

Veni Creator, In convertendo,Te Deum laudamus

1685 8 Jan, Compositeur de lamusique de la Chambre(Jan.-Mar.)

Miserere Ps. 56,Deus, Deus meus

Epithalame pour les Noces deMr le duc de Bourbon & Mllede Nantes, 25 July, Versailles

1686 Daughter Marie-Anne born Domine, Dominus noster,Laudate pueri

Ballet de la Jeunesse, 28 Jan.,Versailles

1687 Daughter Jeanne born;22 Mar., death of Lully

Deus miseratur, CantemusDomino, Miserere Ps. 50

1688 Exaudiat te Dnus, Nisi quia Dnus1689 9 Jan, Surintendant de la

Musique (Jan.-June);1689-90: Philidor & Fossardcollected 27 motets (VPh)

De profundis, ChristeRedemptor, Exaudi Deus,Dne in virtute tua, Dne non estexaltatum, Pange lingua

Le Palais de Flore, 5 Jan.,Versailles

1690 25 Sep, Compositeur de lamusique de la Chambre(July-Dec.)

Lauda Jerusalem, Dies ir,Deus stetit in synagoga,Deus in nomine

Ballet de M. de Lalande,? 1690-91, ? Versailles

1691 Deus in adjutorium, Cantemusvirginem, Dne quid multiplicati

Ballet de Saint-Louis, 25 Aug.,Versailles

1692 Beatus vir, Usquequo Domine1693 Judica me, Ltatus sum1694 1 Jan., Sous-Matre de la

Chapelle (Jan.-Mar.)Cum invocarem, Nisi Dominus

1695 12 Feb., Matre de Musique dela Chambre (Jan.-June)

Dominus regit me, BenedictusPs. 143, Cantique de Racine

LIdylle de Fontainebleau,? 1695, ? Fontainebleau

1696 Quemadmodum Mirtil ou La Srnade, by 1696,Adonis, n.d., ? Fontainebleau

1697 Laudate Dnum Ps. 150,Confitebor Ps. 137,Credidi propter, Eructavit

LAmour flchi par laConstance,Oct./Nov., Fontainebleau

1698 Beati omnes, O filii & fili,Regina cli, Cantate Ps. 95

Intermdes pour Mirtil etMlicerte, Oct., Fontainebleau

A Calendar of Lalandes Career and Compositions

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Year Events Sacred works Secular works1699 Deus noster refugium,

Confitebor Ps. 110Intermdes pour la Comdiedes Fes, 24 Sep., Fontainebleau

1700 6 Jan., Compositeur de lamusique de la Chambre(Apr.-June)

Laudate Dominum Ps. 146,Venite exultemus, Dominesalvum motets S107-111

La Noce de Village, 13 Feb.,Marly; LHymen Champtre,n.d., ? Marly

1701 Confitebimur,Ad Dominum cum tribularer,Magnus Dominus

1702 Benedictus C. Z., Notus inJuda, Ad te Domine clamabo,Elvations S78-86

1703 Symphonies de M. DeLaLande[TPh]

1704 1 Apr., Sous-Matre de laChapelle (Apr.-June)

Dominus regnavit, Exaltabo teDomine, Domine salvummotets S112,113

Madrigaux, 6 Aug., Marly;Ode la louange du Roi,24 Oct., Sceaux

1705 Confitemini, Verbum supernum1706 Quare fremuerunt,

Exurgat Deus1707 Cantate Domino Ps. 971708 Dixit Dominus II1709 17 July, Matre de Musique de

la Chambre (July-Dec.)Sacris solemniis

1710 23 Jan., apoplexy;21 Apr., Compositeur de lamusique de la Chapelle (Apr.-June); 5 June, Versailles chapelconsecrated

Exultate justiNunc dimittis voix seule*(see text)

1711 14 Apr., death of Dauphin;8, 22 May, deaths of Marie-Anne & Jeanne de Lalande

(Dies ir revised)9 Leons de Tnbres,Miserere voix seule,O filii & fili voix seule,Regina cli voix seule

1712 Exaltabo te, Deus1713 Divertissement sur la paix,

19 July, Marly1715 1 July, Sous-Matre de la

Chapelle (July-Sep.);1 Sep., death of Louis XIV

(Revision of grands motetsresumed after death of LouisXIV)

1720 LInconnu, 8 Feb., Paris;Les Folies de Cardenio , 30 Dec.,Paris

1721 Omnes gentes II Les Elments, 31 Dec., Paris(with Destouches)

1722 5 May, death of 1st wife;25 Oct., Coronation of LouisXV, Reims

(Veni Creator revised)

1723 20 Jan., resigned as Sous-Matre de la Chapelle (exc.Jan.-Mar.); 23 Apr., marriedMarie-Louise de Cury

1725 18 Mar., 1st Concert spirituel (Lauda Jerusalem revised )1726 18 June, died, Versailles, aged

68dates indicated in this columnare the latest possible (see text)

xxix

SUMMARY LIST OF LALANDES WORKS

Sacred Works

I Grands motetsS1 Dixit Dominus I (1st setting)S2 Magnificat (music lost)S3 Deitatis majestatemS4 Afferte DominoS5 Beati quorumS6 Ad te levaviS7 Audite cliS8 Ecce, nunc benediciteS9 Jubilate DeoS10 Laudate Dominum Ps. 116S11 Omnes gentes I (1st setting)S12 Quam dilectaS13 Super flumina BabylonisS14 Veni CreatorS15 Miserere Ps. 56S16 Deus misereaturS17 Domine, Dominus nosterS18 Laudate pueriS19 Lauda JerusalemS20 Deus, Deus meusS21 Christe, redemptorS22 Cantemus DominoS23 De profundisS24 Exaudi DeusS25 In convertendoS26 Nisi quia DominusS27 Miserere Ps. 50S28 Domine non est exaltatumS29 Domine in virtute tuaS30 Deus stetit in synagoga (music lost)S31 Dies irS32 Te Deum laudamusS33 Deus in adjutoriumS34 Cantemus Virginem (music lost)S35 Deus in nomine tuoS36 Exaudiat te, Dominus (music lost)S37 Domine quid multiplicati suntS38 Judica meS39 Beatus virS40 Usquequo DomineS41 Cum invocaremS42 Nisi DominusS43 Dominus regit meS44 Benedictus Ps. 143S45 QuemadmodumS46 Laudate Dominum Ps. 150S47 Ltatus sum (music lost)

S48 Confitebor Ps. 137S49 Credidi propterS50 Eructavit cor meumS51 Beati omnesS52 O filii et filiS53 Regina cliS54 Deus noster refugiumS55 Cantate Domino Ps. 95S56 Confitebor Ps. 110S57 Laudate Dominum Ps. 146S58 Venite exultemusS59 ConfitebimurS60 Ad Dominum cum tribularer (music lost)S61 Magnus DominusS62 Benedictus Cant. Zach.S63 Notus in JudaS64 Ad te, Domine, clamaboS65 Dominus regnavitS66 Exaltabo te, DomineS67 Pange lingua gloriosiS68 Confitemini Domino Ps. 104S69 Verbum supernum (music lost)S70 Quare fremueruntS71 Exurgat DeusS72 Cantate Domino Ps. 97S73 Dixit Dominus II (2nd setting)S74 Sacris solemniisS7