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Show French sacred m.usic, vestigate two his it would be motets here-if they chorus and motets were in We have here orch-estra, including sinfonj,a, recitatives, arias, ouets and Ghorues. ordiparily interestipg history Of the The ttmotetsff Clpse;r of Jean-Phiippe these imortnt works have, to do sort, si,mil,ar to a Rousseau, m s I old for eample, spite of their We must ;remember for nam l'e(glise, The s I lengtry compositions They employ chorus for best , of in all , as of the des par-o l.e s sur and so-calleq "motets" ant Lenne s, of them fill tw extendd chora cntata. consists chorus, are , general l.'!lY,gjq.e ;*atin;1 of The first reoitative and trio and I rest of these I1Aujourdhuj,. orchestra 'and or-gan, example, In cnvertQ chorus, duet, air, recitative en nmott" GQuntres, hymne s , RQmeau--five de$ignated so Lof.s t s ps aume s appe Ll.e that t r ansf'o r-ma t Lon and taking place c omme almost sacrd woks of every "Arrthem'", as th, their.coptent, titles? wrote in his Dictionaire: at t ouf cela lage vOlumes--are piece, to entend de t out s pieQ9 de musique fai te etc 0; The very form According pubished :J.n i colltive latines a l'\).sage de repons, in the Eng Li.s h dispersion of the extfa art also falls to Rameau are of his works. with the m9tt. at that time of of hes cantata. Oesamtausgaa nothing investigaton and valuable works Paris was opportunity t9 large psalm oompositions, cast in the form of cantats for soloists, the welcome a I choruso The ' similarly cast. A history cantata opce agai is the proper plae for their closr invstigation. 0 |
