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Jean Baptiste Lully: Miserere mei (Choral). Be the first to review this product. Jean Baptiste Lully: Miserere mei (Choral). SKU: AL Sign up for price alert . Jean-Baptiste Lully, Philippe Herreweghe, Chapelle Royale – Lully: Miserere – Music. Find composition details, parts / movement information and albums that contain performances of Miserere, motet for double chorus on AllMusic.

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He received his naturalization papers and married the daughter of Michel Lambert, master of music of the King’s Chamber.

Miserere, LWV 25 (Lully, Jean-Baptiste)

What then, during the winter ofinspired this theatrically inclined man of action to write a Miserere for the Chapel Royal, a full motet for soloists, choir and orchestra, when such a task was not part of his duties? The mystery remains unsolved. The work was probably the first example of a style which enjoyed popular esteem until the Revolution. It is as though Lully, versatile creator of so many new musical forms, sought here also to make his mark and point the way towards new architectural possibilities.

German cantatas, Italian psalms and English anthems were all inspired by Lully’s great design. The religious context in which Lully wrote this first motet was quite particular.

The issue of the “liberties of the Gallican church” i. The debate on the question led to a parliamentary declaration in whose six articles are the precursors of the famous “four articles” of which marked the French bishops’ allegiance to the King.

More than any other work Lully’s Miserere, performed before the entire Court, seems to stand as a manifesto for what was expected of a composer at the Chapel Royal: The work, whose text is drawn from Psalm 51, one of the penitential psalms, was first performed in late Its double chorus effects owe much to the composers of the first half of the seventeenth century: During choral passages, the soloists systematically double the equivalent voices.

Treated this way, the full motet resembles a continuous chorus interspersed with more muted passages, or an organ piece in which subtle stops on the positive provide a contrast with the full organ.


Textual expression is given light and shade in a harmonious architectural construct. Listen to Lully’s counterpoint, the lines of the strings in the symphony, the low-register thirds.

The music sings and the violins, shattering the full harmony on the occasion of a cadence, break into a toccata motif that echoes the composer’s Italian past. Observe Lully’s mastery of colour. Listen to how choral and orchestral textures, now in five, now in ten parts, change with the rhythm miserefe the text; note how subtle touches of orchestral colour highlight the meaning of a verb or the sweetness of a modulation.

The sublime text of the miderere inspires Lully to paint miserfre whole sweep of emotions, at once melancholy, plaintive, sweet, tragic, suffering, noble and victorious. It was the time when there were hopes for uniting the Churches, the period when Bossuet made contact again with Pasteur Fleury, hoping to “advance as far as possible a reconciliation with the Protestants”.

The Te Deum is Lully’s best-known sacred work, first performed at Fontainebleau on 9th September, It was while directing musicians in another performance of the piece on 8th January, that Lully inflicted on himself the wound which, turning gangrenous, was to lullu fatal.

The origins of the Te Deum were quite different to those of the other works on this recording. Lully was at the pinnacle of his career, the immensely successful composer of lyric tragedies like Atys and Isis. The Te Deum calls for high pomp and considerable resources. Contemporary reports speak of the large forces as many as musicians, including chorus, orchestra, trumpets and drums assembled to perform the work, lullg at the beginning of the eighteenth century.

The success of the Te Deum is almost unique in the history of seventeenth century sacred music. Tibi cherubim et seraphim. Sanctus, sanctus Dominus Deus Sabbaoth.

Te gloriosus Apostolorum chorus. Te Prophetarum laudabilis numerus. Te Martirum candidatus laudat exercitus. Te per orbem terrarum. We praise thee, O God. All the earth doth worship thee. To thee all Angels cry aloud. To thee Cherubin and Seraphin.

Holy, holy, holy, Lord God of Sabaoth. Heaven and earth are full. The glorious company of the Apostles praise thee. The goodly fellowship of the Prophets praise thee.

Jean-Baptiste Lully

The noble army of Martyrs praise thee. The holy Church throughout all the world. Sanctum quoque Paraclitum Spiritum. Tu ad liberandum suscepturus hominem. Tu devicto mortis aculeo.


The Father of an infinite Majesty. Also the Holy Ghost: Thou art the King of Glory.

Thou art the everlasting Son. When thou tookest upon thee to deliver man. When thou hadst overcome the sharpness of death. Tu ad dexteram Dei sedes. Thou sittest at the lluly hand of God. We believe that thou shalt come. We therefore pray thee, help thy servants. Make them to be numbered with thy Saints. Salvum fac populum tuum Domine.

Jean-Baptiste Lully – Miserere Mei Deus () – Music Sales Classical

Per singulos dies, benedicimus Te. Et laudamus nomen tuum. O Lord, save thy people. Day by day we magnify thee. And we worship thy name. Dignare, Domine, die isto. Fiat misericordia tua, Domine super nos.

O Lord, have mercy upon us. O Lord, let they mercy lighten upon us: In Te, Domine, speravi.

O Lord, in thee have I trusted. Mjserere secundum multitudinem miserationum tuarum. O God, after thy great goodness. And my sin is ever before me. Ut justificeris in sermonibus tuis. Ecce enim niserere dilexisti: That thou mightest be justified in thy saying. But lo, thou requirest truth in the inward parts. Averte faciem tuam a peccatis meis: Turn thy face from my sins.

Docebo iniquos vias tuas: Quoniam si voluisses sacrificium. Then shall I teach they ways unto the wicked. For thou desirest no sacrifice. Benigne fac, Domine, in bona voluntate tua Sion: Tunc acceptabis sacrificium justitiae. O be favourable and gracious unto Sion. Then shalt thou be pleased with the sacrifice of. Righteousness, with the burnt-offerings and oblations. Rore caelesti rigantur lilia. Sacro delphinus fonte lavatur. Et christianus christo dicatur.

O Gaul, rejoice and sing. Heavenly dew bathes the lily. The Dauphin is washed in the sacred spring. And the Christian is consecrated to Christ. O Jesu vita precantium. O Jesu vita credentium. O Jesu, life to those who pray. O Jesu, life to those who believe.