By John Hajdu Heyer

ISBN-10: 0521519888

ISBN-13: 9780521519885

Louis XIV and his court docket at Versailles had a profound impression on track in France and all through Europe. In 1660 Louis visited Aix-en-Provence, a visit that led to political and cultural variations in the course of the area. quickly thereafter Aix grew to become an enormous middle of sacred song composition, finally rivaling Paris for the standard of the composers it produced. John Hajdu Heyer records the younger king's stopover at and examines how he and his courtroom deployed sacred song to reinforce the royal photo and safe the loyalty of the population. Exploring the circle of composers at Aix, Heyer offers the main updated and entire biographies in English of 9 key figures, together with Guillaume Poitevin, André Campra, Jean Gilles, François Estienne, and Antoine Blanchard. The e-book is going directly to demonstrate how the heritage of political energy within the zone used to be mirrored via church song, and the way musicians have been laid low with modern occasions.

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Extra resources for The Lure and Legacy of Music at Versailles: Louis XIV and the Aix School

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The Feste d’Orphée in Aix-en-Provence has issued a 19 20 21 Favier 2009, 578. See Dufourcq’s comment regarding Heyer 1989 in Recherches XXVI, 236, n. 5. See also, for example, the Avant-propos to Jean-François Paillard’s La musique française classique (Paris: Presses universitaires de France, 1960). For a comprehensive assessment, see Pillorget 1995. 11 12 General introduction series of recordings that include Poitevin’s masses, and motets by Gilles, Belissen, and others. Today’s fortunate students and music-lovers can listen to and reflect on the serene opening of Campra’s Messe des morts, the “Confessio” of his Cantate Domine, the “Tu devicto mortis aculeo” of Gilles’s Te Deum, the “Sicut erat in principio” of Belissen’s Magnificat, the great fugal chorus “Omnis terra” of Blanchard’s Jubilate Deo, to cite just a few outstanding movements, and decide for themselves if this is music of great beauty, artistry, and value.

Security of the port, which was plagued by Majorcan pirates, was another point of tension between the royal government and the city. 32 The most serious part of the insurgence began in July 1658, when the rebellious group drove out royal soldiers and installed a municipal government in the Marseille Hotel de Ville. City elections were held on October 28, 1658, January 26, 1659, and again in late October of 1659, at which Niozelles and his supporters won in each 31 32 See Bourde 1969, 300–01. Pillorget 1975, 751–99 presents a detailed account of the events leading up to the royal actions.

See Dufourcq’s comment regarding Heyer 1989 in Recherches XXVI, 236, n. 5. See also, for example, the Avant-propos to Jean-François Paillard’s La musique française classique (Paris: Presses universitaires de France, 1960). For a comprehensive assessment, see Pillorget 1995. 11 12 General introduction series of recordings that include Poitevin’s masses, and motets by Gilles, Belissen, and others. Today’s fortunate students and music-lovers can listen to and reflect on the serene opening of Campra’s Messe des morts, the “Confessio” of his Cantate Domine, the “Tu devicto mortis aculeo” of Gilles’s Te Deum, the “Sicut erat in principio” of Belissen’s Magnificat, the great fugal chorus “Omnis terra” of Blanchard’s Jubilate Deo, to cite just a few outstanding movements, and decide for themselves if this is music of great beauty, artistry, and value.

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The Lure and Legacy of Music at Versailles: Louis XIV and the Aix School by John Hajdu Heyer


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