The Lure And Legacy Of Music At Versailles

Taking its departure from King Louis XIV's 1660 visit to Provence, this book reveals the remarkable musical developments that followed.

The first ever book-length study of the a cappella masses which appeared in France in choirbook layout during the baroque era. After tracing the publishing history of this distinctive but little-known repertoire, the author places the works in their social, liturgical and musical context.

This study stems from discoveries in a trove of documents belonging to Charles-Henri de Lorraine, prince de Vaudâemont, who served as governor of Milan under the Spanish crown from 1698 to 1706. These documents, together with a mass of other sources - letters, diaries, treatises, libretti, scores - offer a vivid new picture of musical life in Paris and Milan as well as exchanges between France and Italy. The book is both a patronage study and an examination of the contributions by - and the difficulties facing - musicians and dancers who worked across national and cultural boundaries. Music, Dance, and Franco-Italian Cultural Exchange, c.1700 follows the careers of the prince and the French violinist and composer Michel Pignolet de Montâeclair. In the context of a renewed fascination with Italian music in the 1690s, Montâeclair made a name for himself in Paris as a pedagogue and composer who understood both national styles and blended them in a way that was successful on French terms. Vaudâemont hired Montâeclair to direct a French violin band and to compose dance music for a series of new operas that observers declared "the best in Italy" but are virtually unknown today. These productions involved collaborations among a mixed company of French and Italian musicians, dancers, composers, and librettists modeled on the practice of Turinese court operas. The book is an account of the contributions of these figures to the cultural life of Paris, Milan, and other northern Italian states, and to the creative mixing of musical styles, operatic conventions, and dance technique in France and Italy through the 1720s and beyond.

A study of the strategies by which sacred music and liturgy was used to legitimate Louis XIII's power.

A bold application of the concept of canonical works to the development of French operatic and concert life in the eighteenth and nineteenth centuries.

Historians of the ancien régime have long been interested in the relationship between religion and politics, and yet many issues remain contentious, including the question of sacral monarchy. Scholars are divided over how - and, indeed, if - it actually operated. With its nuanced analysis of the cult of Saint Louis, covering a vast swathe of French history from the Wars of Religion through the zenith of absolute monarchy under Louis XIV to the French Revolution and Restoration, Sacral Kingship in Bourbon France makes a major contribution to this debate and to our overall understanding of France in this fascinating period. Saint Louis IX was the ancestor of the Bourbons and widely regarded as the epitome of good Christian kingship. As such, his cult and memory held a significant place in the political, religious, and artistic culture of Bourbon France. However, as this book reveals, likenesses to Saint Louis were not only employed by royal flatterers but also used by opponents of the monarchy to criticize reigning kings. What, then, does Saint Louis' cult reveal about how monarchies fostered a culture of loyalty, and how did sacral monarchy interact with the dramatic religious, political and intellectual developments of this era? From manuscripts to paintings to music, Sean Heath skilfully engages with a vast array of primary source material and modern debates on sacral kingship to provide an enlightening and comprehensive analysis of the role of Saint Louis in early modern France.

"A gathering chiefly of talks given either by invitation or at conferences throughout the world over the last quarter century. The topics range widely, but recurrent themes include the place of classical music in contemporary society and culture, the fraught relationship between aesthetics and ethics, and the responsibilities of scholarship in an age of spin"--