Treasures of Versailles
Dipping further into the treasure-house of riches that Versailles and the court of Louis XIV offer, French music & gamba specialists Jennifer Eriksson & Cathy Tabrett present music for viola da gamba by Marais, Boismortier and Caix d’Hervelois. Soprano Belinda Montgomery reveals the genius of the largely unrecognised composer Elizabeth Jacquet de la Guerre in her cantata ‘Judith’.
8 AUGUST 2.30PM 2010
ST LUKE’S CHURCH OURIMBAH RD MOSMAN
Marin Marais (1656-1728) Suite in A minor Book V for viola da gamba and basse continue
Jacques Hotteterre ‘Le Romain’ (1673-1763) Suite in g op. 2 nos. 3a and 3b for recorder and bass continuo
Louis Caix d’Havelois (1680-1755) Premiere Suite in G major for 2 viols and b.c
Elisabeth-Claude Jacquet de la Guerre (c. 1664-1729) Sixième Cantate Judith à voix seule avec Symphonie
St. Colombe Concerto No. 2 for 2 viols
Program Notes
Louis XIV dominated cultural and political life in France and influenced the whole of Europe for over half a century (1660-1715). As an autocratic ruler, he exerted absolute control by the conscious use of rigid regulation of all social, artistic, architectural and political forms. French language, fashion and etiquette extended beyond French courts to become the guiding force for all European courts. Louis directed a unity of style that crossed all genres and has been described as stately, moderate and restrained (though this is perhaps belied by the grandeur and sheer extent of Versailles, built under his personal supervision).
In his court, which anybody of note was bound to attend, status and prestige were signalled by position within the ballroom for Louis used dance as a representation of courtly life. Himself an extremely able dancer (his label as ‘sun king’ came from his role as Apollo in Benserade’s 1651 Ballet de roy des festes de Bacchus), all courtiers were obliged to present themselves in dance. Conforming with his ideas of excellence in all things, the musicians and orchestra that played for dances, balls, theatre and private concerts were of the best quality.
The composers whose works we perform today are all either directly or indirectly influenced and patronized by the court at Versailles. Hotteterre and Elisabeth-Claude Jacquet de la Guerre came from families of musicians. Others such as Marais and Caix d’Havelois came from humble beginnings but flourished once they had achieved courtly notice. Reference to their aristocratic patrons are constantly made with ‘name tags’ to each dance movement, by the use of dance forms, and by the style which defines them as French.
Of these composers, particularly noteworthy is Elisabeth-Claude Jacquet de la Guerre of whom was written: Four years ago a WUNDERKIND appeared here in Paris. She can sight-read the most difficult. She accompanies herself and other singers on the harpsichord which she plays in uncomparable fashion. She composes pieces and plays them in any key which is requested of her. As I have mentioned, she made her first appearance four years ago and today she is only ten years old. (Printed originally in the “Mercure galant’ in July, 1677).
At the age of five she came to the attention of Louis XIV who took her to the court and saw to her education. In 1684 she left the court in order to marry but always retained the support of the king, later achieving a reputation commemorated on a royal medallion with the inscription ‘She competed with greatest musicians for the prize of being best.’ Her cantata shows great originality both in its subject material and in its structure – she chose a heroine-warrior rising victorious, as she had done in the court of Louis XIV, portrayed in the form of a mini-opera.
Diana Weston