The Symphonies for the king's soupers are emblematic of Versailles and of the greatest king in the world. What other Prince would assemble the 24 king's violins and the winds of his royal �curie for his meal? With the luxury of an opera orchestra, here we have Louis XIV at his table with music every day. From the chapel to the apartments, the whole ch�teau resounded with Lalande's music. His Majesty prayed, ate, laughed and wept with it. Vincent Dumestre has passionately resurrected this royal, gastronomical and therefore opulent music.

Michel-Richard Delalande is regarded as one of the great composers of the French Baroque, and so it is not surprising that our prizewinning Boston Early Music Ensemble has now turned to him. Along with his many sacred works, Delalande also wrote for the court occasions that required secular music. Les Fontaines de Versailles, the work occupying a central position on this release, above all contributed to Delalande’s increasing popularity. It was performed on 5 April 1683, some weeks before Delalande was appointed to the coveted post of “Sous-maître de Chapelle.” After the court had settled in Versailles with King Louis XIV in 1682, its musical microcosm also experienced a renewal. Les Fontaines de Versailles numbered among Delalande’s efforts to produce an oeuvre perfectly tailored for Versailles, both in its form as well as in its poetic content, thereby demonstrating his skill as a composer of »French music« and displaying it in a proper light for the king. It is with refined sophistication that Les Fontaines de Versailles evokes the special relationship between the king and his gardens. Delalande beyond doubt occupied the first place among Louis XIV’s favorites: in 1689 the king named the thirty-one-year-old his “Surintendant de la Musique de la Chambre,” a post that before only Jean-Baptiste Lully and then one of his sons had held.

In 1680, Francois Chaperon, maître de musique of the Sainte-Chapelle, entrusted the setting of some verses from the Lamentations of Jeremiah to Michel Richard de Lalande and Jean-Fery Rebel, Lalande’s brother in law. The Lecons de Tenebres of 1680, now lost, probably provided material for the Tenebrae compositions that have come down to us. Although Lalande had written his Lecons and his Miserere for solo voice for the nuns of the convent of the Assumption, they were actually sung- like many of his works for female voices- by his daughters. The Lecons de Tenebres and Miserere must have therefore been composed some time before 1711, for that year Jeanne and Marie Anne de Lalande died in the smallpox epidemic. For this interpretation of the Miserere, the musicians have chosen the version presented in Brossard’s autograph manuscript of 1711, in which the alternate verses are sung by three voices in faux-bourdon, a practice that was still in vogue at that time in France. Fragmentary notation for a treble instrument is found throughout this manuscript version, thus attesting the practice, in the seventeenth and eighteenth centuries, of improvising the countermelody at sight.

In 1683, Michel-Richard de Lalande entered the Chapelle Royale as a sous-maître after receiving the support of Louis XIV in a formidable recruitment competition. Still only twenty-five years old, the young composer would swiftly become established as the King’s favorite and ascend to the most coveted posts at court in a career spanning almost forty years. Above all, Louis included him in the consultations for the construction of the new Chapelle Royale, adjacent to Versailles Palace. As the arches gradually rose skywards, Lalande composed and revised his motets, which give expression to the then-peerless grandeur of the realm, while at the same time testifying to the chapel’s incomparable acoustics. His works – settings of psalms, hymns, the Te Deum – record the atmosphere at court in the liturgy, in times of both trouble and rejoicing. Following their earlier recording of Te Deum settings by Lully and Charpentier at the Chapelle Royale, Vincent Dumestre and Le Poème Harmonique have now returned to Versailles to tackle the music Lalande composed for that extraordinary place. Alongside the grands motets Deitatis majestatem and Ecce nunc benedicite, with their synthesis of royal pomp and the language of opera, they offer the deeply moving Miserere and the most grandiose Te Deum performed in the reign of Louis XIV, the Te Deum of the King himself.

Michel Richard de Lalande, who worked at the court of Versailles, was probably the most influential and most talented composer of sacred music during the early eighteenth century. The works on this recording show a mixture of contemplative simplicity and virtuosity and are undoubtedly amongst the most expressively eloquent works ever written for a female soloist.

One of the great composing figures from the French Baroque, Michel-Richard de Lalande is starting to receive his just dues through modern recordings, and Glossa is happy to unveil a new release featuring Olivier Schneebeli directing Les Pages et Les Chantres du Centre de Musique Baroque de Versailles in three of Lalande’s sumptuous grands motets. Very much a favored composer during the reign of Louis XIV, Lalande progressively assumed – from the1680s onwards – more and more of the principal court offices, and was called upon to provide sacred music for the Chapelle Royale within the Château de Versailles. Although the new chapel was not consecrated until 1710, the trio of grands motets recorded here will have been conceived of according to the chapel’s architectural and acoustical characteristics. Much detailed performing information from Lalande’s time is known today – including number of instrumental forces used and about the composer’s later revisions of his scores – and Venite, exultemus Domino, De profundis and Dominus regnavit all receive expressive and meticulously-prepared performances within the Chapelle Royale itself. To the quality of preparation of the CMBV maîtrise can be added the presence of a quartet of vocal soloists deeply experienced in the style of music from this time: Chantal Santon-Jeffery, Reinoud Van Mechelen, François Joron and Lisandro Abadie. Likewise, the contribution of Jana Semerádová’s Collegium Marianum provides exemplary instrumental support to Schneebeli’s direction in this new CMBV production.