Concert Spirituel

Last updated
The Tuileries Palace in 1865. The Concert Spirituel took place on the second floor of the central pavilion. 211.5 Les Tuileries vues du Louvre.jpg
The Tuileries Palace in 1865. The Concert Spirituel took place on the second floor of the central pavilion.

The Concert Spirituel (English: Spiritual Concert) was one of the first public concert series in existence. The concerts began in Paris in 1725 and ended in 1790. Later, concerts or series of concerts with the same name occurred in multiple places including Paris, Vienna, London and more. The series was founded to provide entertainment during the Easter fortnight and on religious holidays when the other spectacles (the Paris Opera, Comédie-Française, and Comédie-Italienne) were closed. The programs featured a mixture of sacred choral works and virtuosic instrumental pieces, and for many years took place in a magnificently-decorated Salle des Cent Suisses (Hall of the Hundred Swiss Guards) in the Tuileries Palace. They started at six o’clock in the evening and were primarily attended by well-to-do bourgeois, the lower aristocracy, and foreign visitors. In 1784 the concerts were moved to the stage area of the Salle des Machines (an enormous former opera house in the Tuileries), and in 1790, when the royal family was confined in the Tuileries, they took place in a Paris theater.

Contents

Original series (1725–1790)

The first concert took place on March 18, 1725. Two of Delalande's motets and Corelli's Christmas Concerto were performed.

The series was managed by a succession of director-entrepreneurs, who paid a license fee in order to obtain a royal privilege which granted them an exception to the monopoly on public performance of music held by the Paris Opera (Académie Royale de Musique). The first director was Anne Danican Philidor, brother of the composer and chess master François-André Danican Philidor. Philidor went bankrupt within two years. His successors, Pierre Simart and Jean-Joseph Mouret (1728–1733), expanded the operation with a series of "French Concerts," but met the same unhappy fate. These early concerts helped to establish the career of violinist Jean-Marie Leclair. [1]

Poster advertising the Concert Spirituel to be held on 15 August 1754 Concert Spirituel poster.jpg
Poster advertising the Concert Spirituel to be held on 15 August 1754

Because no one was willing to take their place, the series was administered by the Académie Royale de Musique for the next fourteen years (1734–1748). During this period, the works of French composers (particularly Michel-Richard Delalande, Mouret, and Jean-Joseph de Mondonville) were favored, although Italian works were never entirely absent. The series was finally profitable because the Académie did not have to pay the license fee, but in general this was a period of stagnation. Two new entrepreneurs, Joseph-Nicolas-Pancrace Royer, and Gabriel Capperan (1748–1762), purchased the privilege, redecorated the concert hall, augmented the size of the orchestra and chorus, and set out to make their fortunes. They continued to perform new and existing French works, but also presented the most famous Italian singers. Beginning in 1755, oratorios with French texts were introduced and became popular.

The series was soon profitable. In 1762 a well-connected royal functionary, Antoine Dauvergne, forced Royer's widow out of the operation she had run since her husband's death in 1755. Dauvergne and various associates managed the concerts until 1773. The interest of the public was excited by adding a motet competition and by expanding the presentation of instrumental virtuosi beyond violinists to include masters of wind instruments. Although the concerts remained profitable, Dauvergne abandoned the concerts. As a result, the Académie replaced him with Pierre Gaviniès, Simon Le Duc and François Joseph Gossec (1773–1777).

Joseph Le Gros
<<Directeur du Concert Spirituel>>
Drawing by Charles-Nicolas Cochin Joseph Legros - Cochin, Miger - 1770 - Gallica.jpg
Joseph Le Gros
«Directeur du Concert Spirituel»
Drawing by Charles-Nicolas Cochin

From 1777 the Concert Spirituel was directed by Joseph Legros, its last and most brilliant director. Legros, a star singer at the Paris Opéra, managed the concerts until they came to an end in 1790 with the French Revolution. He attracted the most famous performers in Europe and renewed the repertoire, eliminating 17th-century grand motets and replacing them with works by Johann Christian Bach, Wolfgang Amadeus Mozart (the Paris Symphony in 1778), Joseph Haydn, whose symphonies were on nearly every program, and others. Legros even commissioned new works for the series, such as Mozart's Symphony No. 31 in D Major, K. 297.

The final concert took place on 13 May 1790.

The 19th century

During the Napoleonic era concerts were occasionally held in Paris under the title "Concerts Spirituel", particularly after 1805 as religious feeling revived in France. During the Restoration (1814–1830), the Théâtre-Italien and Académie Royale de Musique gave 6 to 9 Concerts Spirituels per year, but only during Holy Week. They became a regular feature at the Société des Concerts du Conservatoire shortly after it was founded in 1828, and remained so for most of the nineteenth century. They were frequently performed as benefit performances featuring notable soloists; for example, Charles-Valentin Alkan led one of the three Concerts Spirituels in 1828.

The 20th century

In 1988 Hervé Niquet, a specialist in Baroque music, founded an early-music ensemble called Le Concert Spirituel in order to perform the repertoire of French music composed in the eighteenth century on period instruments.

Related Research Articles

<span class="mw-page-title-main">Antoine Houdar de la Motte</span> French author

Antoine Houdar de la Motte was a French author.

<span class="mw-page-title-main">Michel Richard Delalande</span> French composer and organist

Michel Richard Delalande [de Lalande] was a French Baroque composer and organist who was in the service of King Louis XIV. He was one of the most important composers of grands motets. He also wrote orchestral suites known as Simphonies pour les Soupers du Roy and ballets.

Antoine Dauvergne was a French composer and violinist.

Jean-Joseph Mouret was a French composer whose dramatic works made him one of the leading exponents of Baroque music in his country. Even though most of his works are rarely performed, Mouret's name survives today thanks to the popularity of the Fanfare-Rondeau from his first Suite de symphonies, which has been adopted as the signature tune of the PBS program Masterpiece and is a popular musical choice in many modern weddings.

<span class="mw-page-title-main">André Cardinal Destouches</span> French composer

André Cardinal Destouches was a French composer best known for the opéra-balletLes élémens.

<span class="mw-page-title-main">Henri Desmarets</span> French composer (1661–1741)

Henri Desmarets was a French composer of the Baroque period primarily known for his stage works, although he also composed sacred music as well as secular cantatas, songs and instrumental works.

<span class="mw-page-title-main">Jean-Joseph de Mondonville</span> French composer and violinist (1711-1772)

Jean-Joseph de Mondonville, also known as Jean-Joseph Cassanéa de Mondonville, was a French violinist and composer. He was a younger contemporary of Jean-Philippe Rameau and enjoyed great success in his day. Pierre-Louis Daquin claimed, "If I couldn't be Rameau, there's no one I would rather be than Mondonville".

Anne Danican Philidor was a French woodwind player and composer of the Philidor family. Born in Paris on 11 April 1681, his grandfather and father were also professional woodwind players in the king's service. Anne was named for his godfather Anne Jules de Noailles. His composition "L'Amour vainqueur" was given a court performance in 1697, financially backed by his godfather. 1702 saw him succeed his father in the king's orchestra, primarily as oboist. In addition to his playing duties he was the king's musical librarian. He assembled several hundred portfolios of music, both instrumental and operatic, several of which are well-preserved in French libraries. Anne is best remembered today for having founded the Concert Spirituel, an important series of public concerts held in the palace of the Tuileries from 1725 to 1791.

The French musical ensemble Les Talens Lyriques was created in 1991 in Paris, France, by the harpsichordist and orchestral conductor Christophe Rousset. This instrumental and vocal formation derives its name from the subtitle of Les fêtes d'Hébé (1739) an opera by Jean-Philippe Rameau.

Jacques Aubert, also known as Jacques Aubert le Vieux, was a French composer and violinist of the Baroque period. From 1727 to 1746, he was a member of the Vingt-quatre Violons du Roy; from 1728 to 1752, he was the first violinist with the Paris Opera orchestra; and from 1729 to 1740, he frequently and successfully appeared as a soloist with the Concert Spirituel, performing, among other works, concertos for violin and orchestra of his own composition.

Hiérodrame [Gr. ἱερὀς, sacred and δρᾶμα, drama] is a French musical work for two or more voices, with a plot drawn from the Bible. The term was generally used as a synonym for oratorio in France in the 1750s-1780s. Scored for soloists, chorus, and orchestra, the hiérodrame was similar to the grand motet in its structure of solo airs and choruses; however, the texts were taken from newly composed French poems, rather than Latin psalms.

Hervé Niquet is a French conductor, harpsichordist, tenor, and the director of Le Concert Spirituel, specializing in French Baroque music.

<i>Les élémens</i>

Les Élémens, or Ballet des élémens, is an opéra-ballet by the French composers André Cardinal Destouches and Michel Richard Delalande. It has a prologue and four entrées. The libretto was written by Pierre-Charles Roy. It was styled "the third ballet danced by the king" because the 11-year-old Louis XV performed dance divertissements in it, as he had already done in the previous ballets, L'inconnu by various authors, and Les folies de Cardenio by Delalande, both staged at court in 1720.

Élisabeth de Haulteterre (Hotteterre) was a French composer and violinist. Despite the similarity of the name, she did not come from La Couture, the home of the Hotteterre family including Jacques Martin Hotteterre, and is probably not related.

The grand motet was a genre of motet cultivated at the height of the French baroque, although the term dates from later French usage. At the time, due to the stylistic feature of employing two alternating choirs, the works were typically described as motet pour deux choeurs - motet for double choir.

Le Concert Spirituel is a French ensemble specialising in works of baroque music, played on period instruments. Founded by Hervé Niquet in 1987, it is named after the 18th-century concert series Concert Spirituel. The group performs internationally, playing mostly rarely performed sacred music and operas, and making recordings. Its focus is on French music played at the court of Versailles.

<span class="mw-page-title-main">Honoré Langlé</span> French theorist of music

Honoré François Marie Langlé (1741–1807) was a French theorist of music of Monegasque origin, composer, and author of a Traité d'harmonie et de modulation. Napoleon named him to the newly founded Paris Conservatoire.

<i>Thémistocle</i> Tragédie lyrique by François-André Danican Philidor

Thémistocle (Themistocles) is an opera by the French composer François-André Danican Philidor, first performed at Fontainebleau on 13 October 1785. It transferred to the Académie Royale de Musique, Paris on 23 May 1786. It takes the form of a tragédie lyrique in three acts. The libretto, by Étienne Morel de Chédeville, is based on the life of the ancient Greek statesman Themistocles.

<span class="mw-page-title-main">Louis-Augustin Richer</span> French classical singer, singing professor and composer

Louis-Augustin Richer was a French singer, singing professor and composer. He was a member of a family of musicians from Versailles who also had close ties to the family of André Danican Philidor. He gained prominence as a singer at the courts of Louis XV and Louis XVI and also served as Maître de musique for the courts of the Duke of Chartres and the Duke of Bourbon. After the abolition of the monarchy during the French Revolution, Richer became a professor at the Paris Conservatory.

Marie-Jeanne Larrivée, born Marie-Jeanne Lemière was a French soprano.

References

  1. Butterfield, Adrian (June 2022). Leclair: Violin Sonatas Book 3, op. 5, Nos 9-12 (CD). Naxos. Naxos Catalog No. 8.574381.

Sources

Bibliography